RGU Scott Sutherland School 2019 School Yearbook by The Robert Gordon University

Editors Owen Clark, Patrick Harris, Dale Leith, Kirsty Lucas, Rebecca McLeod, Cerys Mitchell, Wuraola Olalere, Megan Watson-Foster Designers Stuart Campbell, Hugh Fish, Mathilde Lereec Le Bricquir, Andrew McKinnon Publisher Scott Sutherland School of Architecture and Built Environment, Robert Gordon University, Aberdeen, UK Printer McAllister Litho Glasgow Ltd ISBN 978-1-907349-17-1 Special thanks to Professor David McClean, Martin Parker, Neil Harrison and the rest of the Gatehouse team.

Scott Sutherland School Yearbook 2018/19

Contents Foreword Architecture and Well-being Professor David McClean Architecture 1 Gillian Wishart ERASMUS Architecture 2 Silvia Bassanese

06 Vision 2030 Professor Gary Clark 08 Surveying Dr Michael Dignan 12 More Than Surveying Professor Richard Laing 24 Architectural Technology 1 28 Dr Jonathan Scott

76 82 94 98

Architectural Technology 2 40 Dr Jonathan Scott

102

Visualisation 44 Dr Amar Bennadji

106

RIBA Part 1 Experience

Architectural Technology 3 56 Dr Jonathan Scott

110

Outreach Professor David McClean

60 Architectural Technology 4 Dr Jonathan Scott

114

The Future of Aberdeen City Sandy Beattie Architecture 3 David Wilson

Almuni Jamie Yorkston

122 In Emergency, Break Glass Professor Alan Dunlop

182

The Integra House Professor Gokay Deveci

124 Almuni Emma Gibb

186

Construction Management Tahar Koudier

126 Architecture 5+6 Unit 3 David Vila Domini

188

Scott Sutherland School Ball

136 Prospect North Professor Neil Gillespie OBE

210 214

Architecture 5+6 Unit 1 Neil Lamb

138 Almuni Andrew Megginson 142 57°10

Drawing in a Digital World Professor Bill Black

162 Digital Craftsmanship Dr Theo Dounas

224

Dissertations

166 30 Years Festival

226

Architecture 6 Unit 2 Tim Bayman

168 Closing Remarks

238

Civitas PORTIS Caroline Hood

216

Foreword Welcome to the 2018/19 edition of the Scott Sutherland School’s yearbook. It has been another great year for the school, and we are excited to share with you the work, events and achievements from this year. Each yearbook provides an important snapshot of Scott’s and its present place as well as adding to the collective record of the School throughout time. A celebrated aspect of Scott’s is its role as the most northern school of its kind in the UK. While for others it may seem that the northern location would place the school away from the “cutting edge”, the ethos of Scott’s ensures that the reverse is true - that this distance is in fact a defining strength. This position allows the School to deeply explore the often-overlooked northern context and its inhabitants, to develop

better solutions that can become leading examples for elsewhere and create opportunities that are only available because of this exceptional locale. Whilst there is a focus on the locale of Aberdeen, many of the School’s projects and people also branch out to far afield locations, often to those with shared challenges, aims and opportunities. This year there are projects looking at the Orkney islands, Bulgaria, Greece, Glasgow and Portugal as well as competitions, trips, placements and workshops that have taken our students to places including London, Japan, France, Italy, Denmark, the Netherlands and Croatia. The diverse range of experiences that the students and staff bring together feed into the innovative ideas generated. The school has this year continued to

foster its links with the city, various communities, other schools of its kind and the wider industry. Professionals from a variety of roles often come in to share their knowledge and experience with our students and similarly our students head out to showcase their research, skills, innovation and work to the public. There are insightful articles throughout this book that come from external and internal members, tutors and students alike that all demonstrate the connections between the school and its wider setting. Each yearbook has a prevailing theme relevant to each year. This year the book’s central aim is to include the voices of all our members, from all our courses, to provide a moment of introspection in the series. The school would not achieve so much without the thriving studio culture - so we are including

the personal views and accounts of all that has happened to share this experience with you. We are sure that their voices will provide insight into the school’s unique character and offer a glimpse of the industry’s future. We hope you enjoy the yearbook. 2018 / 19 Yearbook Team

Article: Architecture and Well-being

Architecture and Well-being Over the last couple of years, much has been published regarding mental health issues within university students in general. Of particular concern to schools such as ours, is that architecture education nationally has been portrayed as being especially prone to high levels of poor mental (RGU, 2017) health. Certainly there are factors such as course length and intensity of The study of architecture in most countries is a lengthy process, but one study that might lead many to assume that study in architecture is especially that students quickly become deeply engaged in and feel passionately about. challenged. Is there a basis in fact for such the claims that have been made Unfortunately, it seems that this very and, if so, what might be done to commitment can have a darker side alleviate the problem? in terms of student well-being, or so it has been claimed. As the welfare In July 2018, RGU and Northumbria of students is central to our concerns University won an RIBA Research Grant as a school of architecture and built to collaboratively investigate environment, it is in our interests well-being in UK architecture students to investigate such a claim and in a more systematic way than the understand the true picture through analysis undertaken to date. Whilst firm evidence rather than anecdote.

Article: Architecture and Well-being

“an appropriate balance between their studies and the other commitments” (RGU, 2017)

this work is ongoing, this piece gives some insight into this complex, highly nuanced, and sensitive area. We all recognise that achieving academically requires effort and application, and that commitment to education requires a degree of sacrifice. Yet it is equally in the interest of students to determine an appropriate balance between their studies and the other commitments in their lives. The ‘tension’ that can arise where such balances are challenged can prove difficult not only for students, but also for practitioners in many professional fields as they strive to achieve a healthy life balance in the workplace. Arguably, this tension or conflict is heightened in areas where the nature of work is open-ended, such as in design or the arts, where work is only

complete once the practitioner has satisfied his or her personal standards as regards quality… or when the available time runs out! In the field of architecture this can be frequently seen, with many practices often committing resources to developing projects beyond the point of maximum profit in pursuit of a quality of work that develops reputation, whether in the eyes of their clients and / or their professional peer group. In a related vein, a number of professions, including medicine, veterinary medicine, teaching, and architecture, amongst others, suffer from poor mental health statistics. It is noteworthy that these fields, concerned with the well-being of people (or animals) whether in terms of health, personal growth, or physical environment, are also often regarded as

Article: Architecture and Well-being

vocations as well as professions; with many practitioners being motivated by altruistic rather than purely commercial interests. For architecture education, the issue of life balance extends beyond well-being to the very heart of an architect’s role. As has been noted by many, for a profession that observes, interprets and synthesises so many diverse aspects of society and our wider world in the creation of quality buildings and cities, the irony of an often all-consuming or hermetic educational process is clear. Viewed through the lens of productivity, a study of the workplace conducted by Stanford University showed that people who put in 70 hours per week produce no more than those who work for 55 hours. Why should any difference be expected in education? There is no reason whatsoever. It is therefore welcome that so many schools around the world are progressively rejecting the historic culture that celebrated the ‘all-nighter’ as a badge of honour - high time too! The culture of 24/7 studio is outmoded and runs counter to current thinking on effective learning as much as well-being. An example is ‘whole person learning’ in which the development of the individual’s approach to the workplace, and the attributes that they bring in addition to professional expertise (which are of increasing interest to employers), are an overt part of the educational process.

It is also interesting to see celebrated practices such as Rogers Stirk Harbour + Partners show leadership in this area, limiting their office opening times to 09:30-18:00 five days per week. From insurance to design, many of the more creative businesses are taking bold decisions to alter work patterns to facilitate increased productivity and satisfaction. Perhaps architecture education can learn from this… although it does assume that individuals use their working time productively. That, of course, is the responsibility of the student as well as being an important professional skill. And so to our research. The scope of the work is limited, initially to producing the first comprehensive literature review relating to the current context and a survey of perceptions and actions across all UK schools of architecture. Informed by the outcomes of this work, our ambition is to seek further funding to address the critical, and as yet unexplored, question of how a course curriculum could be designed to nurture and support well-being and resilience. In conducting the literature review it quickly became clear that terms which are commonly used when generally describing mental health issues often have very specific meanings to health professionals. Hence the input of colleagues with expertise in this area from elsewhere within RGU was vital to developing a more precise understanding. It was then necessary to establish whether or not there is any evidence to support the suggestion

Article: Architecture and Well-being

that students on architecture courses are more susceptible to mental health issues than those of other disciplines, and the degree to which the instances reported directly relate to the learning process or other external issues. There is considerable complexity in all of these matters, but to abbreviate the discussion substantially there are as yet no robust data that directly compare architecture students with the general student population. Notwithstanding this, based on observation, there is an emerging consensus amongst UK educators that there is an increasing prevalence of reported mental health issues. It is not possible to verify whether this perceived increase results from genuine change, or rather an increased tendency to report issues as they arise. Whilst this distinction is significant in better understanding the prevailing trends, what is most important is that mental health issues amongst students are worryingly high, and certainly at a level that warrants action. What appears to be much clearer from data is that the study of architecture introduces a number of pressures that are particular to the process, which have the potential to impact negatively on student well-being. Over decades the phenomena of long hours and the intensity of the working patterns are well documented as challenges. Latterly the costs of a lengthy course are increasingly cited too, and although those studying in Scotland are (mercifully) shielded from the full brunt

of this - they are by no means immune. To many educators and students alike, these pressures are well known. Despite this, to my colleague at Northumbria, Dr Peter Holgate, and I, it seemed that acceptance of this reality is typically being met by schools and institutions more with sympathetic acknowledgement rather than proactivity and action. What is to be done? Many questions arise, perhaps the most significant of which is that mentioned before relating to curriculum design. There is great complexity underlying such a question, but our work will provide for the first time an analysis and evidence base at subject level across the UK from which innovative solutions may be developed in time. I believe that it is the role of education to lead the profession in this area, addressing the needs and welfare of the future generations of professionals. By beginning to instil a work ethic that reflects more progressive thinking on teaching methods and productivity, we can hopefully contribute to improved well-being for future students, and in doing so make the profession and its educational processes ever more appealing. To that end, I hope that we can report on further progress in these pages next year. Professor David McClean Head of School

Architecture Stage 1

In Stage 1 Design Studio we aim to introduce the students to universal concepts in architecture, develop their understanding of the subject, their communication skills, and nurture an individual design process. In the first semester the students began with a “design and build” exercise using timber batons and the adaption of universal geometries. In groups they created full size spaces using their bodies and the batons, recorded them, and subsequently made a set of orthographic and axonometric drawings to represent their installation, also to imagine what a built structure of a similar form might be. In the next project they used the batons to make an item of furniture using only dowel joints – engaging them in the workshop, through design. Their final project asked them to design a social space for students in a site between the Business School and the river. It involved dealing with topography, careful site location and the ergonomics of cooking, circulation and dining. The second semester builds on the principles and skills learnt in semester one leading to the individual design of a studio and house for a Scottish artist in the walled garden in Seaton Park. Issues of site, internal spatial organisation and building composition are explored through this project, and skills in graphic and 3D representation are employed in the result. Gillian Wishart Lecturer

Broad Fundamentals Desislava Kalaydzhieva

Architecture Stage 1: Project

Broad Fundamentals Sara Remali

Architecture Stage 1: Research

Precedent Studies “The goal was to develop the skills to read and interpret buildings”

Architecture Stage 1: Research

The first project of the second semester for the first year architecture students was an investigation into a series of houses around the world. The goal of this precedent study was to develop the skills to read and interpret buildings, showing them in orthographic drawings and three-dimensional form. A direct way of interpreting these houses was to replicate them at a scale of 1:100.

proportion and circulation. The drawing displays these ideas, all of which are independent of architectural styles. The ability to recognise such patterns enables the students to draw on a wide range of architectural projects as precedents for their own work. From what I have heard from the rest of the students the precedent study has greatly improved our analysis and observation skills. Not only are we able to investigate and analyse buildings but we can now draw the buildings in orthographic and axonometric showing the building from different angles.

Before constructing these models, we were tasked with designing concept models to represent the essence of the house. Those concept models could represent key drivers in the form of an organisational move, or Ronald Kamwa material expression. While generating diagrams the student’s observation was directed to key formative ideas in architecture. These ideas are composed of geometry, symmetry, balance,

Architecture Stage 1: Project

House & Studio for an Artist Tadgh Charles

Architecture Stage 1: Project

House & Studio for an Artist Agata Hryniewska

Architecture Stage 1: Study Trip

London

Architecture Stage 1: Study Trip

“developing key sketching and observational skills ”

As part of our first year studies, we had the opportunity to travel to London which allowed us to experience the architecture of key organisations like Peter Barber Architects and Foster & Partners. We took time exploring each building, first by researching the basic background of each location, then by sketching key elements we particularly enjoyed or found interest in. In some cases, we were also allowed to explore the buildings and meet the architects themselves. I think this really benefited my learning and overall Design Studio experience of first year as it allowed me to learn what architecture means in context and in a built environment, while also allowing me to explore buildings like the St Paul’s Cathedral which we have been learning about in History & Theory. St Paul’s Cathedral was a personal favourite as the sheer size and scale was unlike anything

I had ever seen. The intricate detail added more grandeur to the Cathedral. Another favourite was The Shard. A small group of us had the opportunity to go on The View from The Shard, which took us up to the 72nd floor of the building. It allowed us to see buildings we had previously explored and buildings we were yet to discover. Going up The Shard has always been on my bucket list, so this was definitely my highlight of the trip! Overall, the trip was very beneficial to my appreciation of architecture, while also developing key sketching and observational skills which are essential for success in Design Studio. Laura Sangster

Architecture Stage 1: Reflections

Student thoughts My first degree (unrelated to architecture and many years ago) entailed long hours in a lecture theatre taking copious notes to be regurgitated in the end-of-year exams. Studio has consequently been a revelation to me – who would have thought learning could be so much fun? Through skilful tutoring by engaged staff and industrywide involvement, the Scott Sutherland culture is one of professionalism and the end prize of actually working as an architect is constantly being addressed. Approaching the end of first year (what, already?) I reflect on how I can now produce professional looking drawings by hand and with AutoCAD, make convincing models and confidently present my very own designs and ideas. Carol Bristow

Architecture Stage 1: Reflections

I think that the course is great because of the approach it has to teaching. It does well in combining all three subjects (studio, history & theory and building technology) together in such a way that what you learn in history and building tech can be used for your current studio. The university itself has a great variety of clubs, which is great as you can meet more people with similar interests as yours, whether sports or others. Everyone is open minded and friendly, from students to the staff. Eduard Ene My first year at The Scott Sutherland School has been a thrilling new experience. The most exciting and educational part of the course is most definitely the studio sessions, as they not only give you skills in drawing and sketching, but also offer independent time to explore your own designs, with help on hand whenever you need it. Although Aberdeen did feel new and daunting at first, it did not take me long to warm up to the Granite City, as there are many things to do and explore as a student. Caleb Young

Article: ERASMUS

ERASMUS

Article: ERASMUS

Aberdeen I first came to Scotland to study at RGU for a year as an exchange student. More than a studying abroad experience, I found my place here. I made friends, I explored, I experimented, and I thrived. When my year as an Erasmus student came to its end I realized I did not yet make the most of my experience both as a student and a person. It has now been two years and I completed my masters degree at RGU in the best conditions I could have imagined and I can’t wait for what is next. Mathilde Lereec Le Bricquir Amsterdam Amsterdam gave me back one of the things I love most. Cycling. I grew up in a big bicycle culture in Cologne. I missed the freedom of going places on my own terms. Going places by bike has something so pleasant about it, to cycle past the canals, the tulip gardens and colourful doors on the little brick houses. Slalom your way through the people and the busy streets at rush hour. Meeting your friends for drinks before stopping by the market to grab some essentials for dinner, all this is what I will never forget about my time in Amsterdam. It has given me my little happy place back. Viola Königs

Article: ERASMUS

Copenhagen Studying abroad has been the best decision I have ever made. The city is spectacular – from the architectural fabric, to the vibrant roads of Nyhavn, to the cozy cafes on block corners. The people I’ve met are some of the kindest and friendliest people I’ve ever encountered – by my second day here I already knew I’d found my home from home. It has been challenging at times, but I wouldn’t change it for the world. It has given me a greater appreciation of different cultures and history; I can’t wait to explore more! Alyx Stickle Lille As each experience moulds our behavioural patterns, the significant change in my design process is not surprising. After all, I am experiencing a new culture, academic structure and society. However, after reflecting upon the root of the change, it appears as if it is not only from the academic suggestions, but rather from the scholarly environment, in which students and lecturers have this great passion for not only architecture but music, art, poetry and sciences. In this manner, they lead their lives, embracing something which they´re passionate about, every single day. Mirjam Kuntu

Article: ERASMUS

Milan Milan is a city full of inspiration, great architecture, design, fashion and not to forget, food! Studying in Italy has allowed me to explore different and diverse design processes. I have had to work with new people from different backgrounds that speak different languages. Milan’s location is perfect for travelling around Italy and surrounding countries. Erasmus is also an amazing opportunity to meet people from universities from all over the world. It can sometimes be challenging, but in the end, the experience of a lifetime! Dalibor Baran Stuttgart ERASMUS promises many things: a chance to meet new people, experience new things, learn from other cultures. Yes, it has its challenges, but I can honestly say my Erasmus in Stuttgart has lived up to these claims. The people, I think is the best, most interesting, most enjoyable part of Erasmus. I have made amazing friends, people I can trust and have a great time with. From all over the globe, we have learnt from each other and had fun together. Truly a transformative, rewarding and eye-opening experience and one I am glad to be part of. Joe Inman

Architecture Stage 2

Contrary to the rapidly expanding new metropoles in Asia and Latin America, the form of the European city – as with Aberdeen - is still largely determined by tradition and history. The restructuring of industrial society, demographic changes and an increasingly pluralistic society present distinct challenges to architecture and urban planning, particularly existing urban structures. Meeting these means discovering new opportunities for interaction between past, present and future. This year Stage 2 investigated the contemporary nature of former industrial areas in Aberdeen, specifically the infrastructure for transport. While the first semester studio project questioned the configuration of “the space above” the former Deeside railway, during the second semester “the space under” the railway roused a lively discussion on how to reclaim and inhabit contemporary urban voids. In both projects we designed tentative solutions through a careful reading of the context, trying “…to be capable of seeing small, between things” (Gregotti 1985). Along the Deeside Railway line a sequence of follies linked to bakeries, collective areas and educational centres, breaking the North-South spatial separation and East-West circulation. Under the arches 28-36, a fish market, identifying a consistent spatial relation at street and railway levels. Silvia Bassanese Lecturer

Incubator & Folly Dalibor Baran

Architecture Stage 2: Project

Incubator & Folly Robbie Marke

Architecture Stage 2: Research

DEE-RAIL “to explore and strengthen the social connections within the communities”

Architecture Stage 2: Research

(RGU, 2019)

Curated by Stage 2 Architecture students, the exhibition focused on the Deeside Way, a public path that was created after the dismissal of the Deeside Railway that ran from Aberdeen to Ballater. A line now travelled by pedestrians and cyclists running east to west, it provides very limited circulation between north and south, especially within the city limits. Our overall aim was to explore and strengthen the social connections within the communities that it divides between Duthie Park and Pitfodels Station. To accomplish this we implemented a series of architectural interventions along the path at specified intervals Ferryhill, Holburn Street, Ruthrieston, Morningside, Deeside Gardens, Garthdee and Pitfodels Station. These interventions were built of two

separate but linked elements. The first part took the form of 3m follies, constructed of Cor-Ten steel and acted as way-finding markers to strengthen each site’s unique identity. The second part was the individually designed community centres that were made up of two age-specific function rooms and a bakery, which would ultimately compliment their respective follies. This project, along with the best designs from each of the seven groups, was presented to the public in the David Welch Winter Gardens - just a few metres from where the Deeside line begins. The exhibition was open for a week at the beginning of March but is still accessible via website. It was made possible by MAC Architects and The Aberdeen Society of Architects. Cameron Brown

Railway Intervention Connor Downie

Architecture Stage 2: Project

PLAN

Railway Intervention Ho Yau

SECTION A-A

SECTION B-B

Architecture Stage 2: Study Trip

Venice

Architecture Stage 2: Study Trip

“Travelling between destinations by boat was a new experience” I found Venice uniquely interesting due to the circulation of the city. Arriving in Venice you get out of the airport buses, descend steps and find yourself in a car-less place, where the canals are roads, and the pavements are streets. Travelling between destinations by boat was a new experience which allowed you to view the city from many perspectives, with a higher vantage point than you would gain on foot. Touring the Biennale, we came across the Swiss Pavilion which expressed architecture at different scales. It was a powerful reflection on the design process and how different stages of life give different perspectives. The tangibility of the buildings in Venice allowed an immersive and sensory experience. Learning to design for the northern climate at the Scott Sutherland School gives a particular outlook, and experiencing

the contrasting climate, lifestyle and atmosphere in Venice enhanced my perspective and understanding. Exposure to the Biennale and the diversity of architects and architecture styles broadened my perspective. I found the different modelling techniques particularly interesting, varying from abstract to very precise. Further, the approach of the exhibitors to the exhibition was inspiring with a wide range of presentation styles used to display their work. This has expanded my understanding of the concept of exhibiting, as they pushed the boundaries of what it means to exhibit – I believe this will be hugely impactful to me and my classmates. Jonathan Gray

Architecture Stage 2: Reflections

Student thoughts “preparing us well for the future and what will be expected from us going forward”

This year has been focused on the tectonic approach to architecture in real life applications within our proposals. It has been harder to grasp some of these concepts, we’ve had opportunities with cross presentations to discuss and have feedback on our ideas from tutors and peers. In March, we took part in a study trip to Glasgow and Edinburgh to observe architecture practices. Touring these practices, we witnessed first-hand an architect’s office; the atmosphere of a team collaboratively working on a project, amazement as we saw a site model being made by hand. Also having the opportunity to speak to a Part 1 student a year on, who was currently working at the practice whilst also studying 5th year, advising us on the route he took and being able to relate with us on past experiences. Melanie Golshan

Architecture Stage 2: Reflections

Towards the end of first year everyone told us how much more work and time we’d have to put into our studies in second year and of course I thought “how much more work can there really be”, the answer… a lot! Second year has been tough to say the least but for example when we went to visit different practices in Glasgow, we got to first hand experience the variety in work, environment and schedule which differs between practices and architects. The experience made me think so much more not only about the type of practice I would like to be part of and maybe even do my placement with but the type of architect I wanted to become and the ways in which I could achieve this.

I think that second year has been a big jump up from first year, the work has become more intense and there is a greater emphasis on technical resolution. For me this required a greater understanding of the way a building works and displaying attention to details. After our practice visits this year and seeing how an office truly operates, I believe that the jump in difficulty this year is preparing us well for the future and what will be expected from us going forward. My favourite part of the year has been our study trip to Venice to experience the Biennale. It was a great opportunity which I thought was inspiring and definitely something I hope to return to in the future.

Rebecca Hawley Maxwell Wilson

Article: The Future of Aberdeen City

The Future of Aberdeen City As a former student of Scott Sutherland’s and a passionate Aberdonian, I believe the School has an immensely important role to play in developing the future of our city. I have the pleasure of being associated with several School projects focussing on Aberdeen and have found the students (and staff) output from these to be both challenging and stimulating. The freedom of thinking, unconstrained by convention, old habits and political institutionalisation is entirely refreshing. My background is in architecture, planning and conservation. After joining the planning service at Aberdeen City Council in 1993, I made a move towards specialising in conservation, looking after the city’s listed buildings and conservation areas as part of the heritage team. Strategic place planning

is essential and over the last two decades I have developed placemaking through the Council’s Masterplanning, Design and Conservation team, a rarity of design resource in the Scottish planning system. The current projected growth of over 30,000 new homes across Aberdeen means that for the first time in generations, we are holistically planning the city, it’s infrastructure and growth needs. Masterplanning has enabled the coordination of more effective delivery programmes and planned infrastructure whilst focusing on creating quality places for people. Masterplanning, however, can be an intensive undertaking for both developer and local authority, so it must be effective and fit for purpose. Public sector resources are limited

Article: The Future of Aberdeen City

“we need to be creative in the way masterplans are developed” and will continue to be stretched so we need to be creative in the way masterplans are developed. We work with developers and communities to prepare masterplans in accordance with a defined process whilst focusing on addressing key issues and placemaking.

The Scott Sutherland School is in a unique position to develop that engagement and has a crucial role to play in imagining the future of our city. The principle of collaborating on project work was established many years ago with the Medal for Civic Architecture and has continued more recently with So far there are eleven masterplan collaboration as a critical partner in zones designed for the city which the brief and public engagement in follow key principles of design laid the City Centre Masterplan, raising out by the planning authority – design and urbanism quality aspirations understanding context, creating in the city. Collaboration on various identity, connecting new communities. projects including housing, harbours, Essentially we aim to conserve our high streets and currently Aberdeen heritage, masterplan the new and Harbour and Beach and Civitas Portis, weave them together with high quality is an extremely valuable resource design. Methodologies to achieve this for the City. The School has a lot to have varied over the last ten years, offer not only by becoming a critical including community workshops, friend in how the city develops, but charrettes and city-wide polls. Effective also in challenging current thinking engagement is critical, after all - people about sustainable development and make places. placemaking.

Article: The Future of Aberdeen City

Student work is much more than merely theoretical. It is the freethinking opportunity to explore new paradigms and to shake society out of a stagnant and often stereotypical development slumber. Climate change is no longer a distant threat, developing truly carbon neutral communities that focus on active travel and healthy, socially sustainable outcomes must be the norm, not just an ideal. Market driven development can lead to a spreadsheet architecture city where experience, culture, joy and delight are secondary to numbers and profit. We must redress that balance in favour of urban sustainability and create places people want to be. At Aberdeen City Council, we are working on projects that shift the focus from market-driven demand to one that more readily addresses human need. Data collection

and analytics will play a huge role in predicting our future needs, wants and pressures from all parts of society. The effect good planning and placemaking has on health, wellbeing and social responsibility cannot be underestimated. We must deliver places that encourage active travel, contribute to air and environmental quality, promote biodiversity, carbon neutrality and social interaction. The narrative behind this is inherent in the study programmes at The Scott Sutherland School. Students and research teams are developing stimulating ideas that should be shared with the city. Visionary student work on, for example, “A Manifesto for Change for Union Street”, was developed as a response to Aberdeen’s City Centre Masterplan and encouraged

Article: The Future of Aberdeen City

debate on what the future holds for the city’s main thoroughfare, imagining new uses for historic buildings whilst creating new urban opportunities. The Council and the School have also collaborated on digital data capture, laser scanning key city centre zones. Such collaboration is a practice that should continue to be developed, opening up to embrace others as we work together for the betterment of the City. The School is in a unique position to stimulate and encourage intelligent engagement in Aberdeen. Creating and developing the conditions for informed conversation and debate is crucial to any city, none more so than Aberdeen as too often major projects have generated extremely polarised views. Indeed, there is a powerful collective resource across all sectors of the design community which should

be harnessed and directed toward developing Aberdeen of the future, now. So, could the School develop such a design conversation in Aberdeen? Certainly it could and it should. Students may benefit from early exposure to the challenges of such engagement whilst also developing new tools to generate inclusivity. The research background and neutral arm’s length position could enable the School to orchestrate meaningful dialogue whilst engaging the rest of the design community, the city and its people. Every day is a school day. Sandy Beattie Aberdeen City Council

Architecture Stage 3

Stage 3 builds on knowledge gained, bringing together core concepts with professionalism. The projects allow for a significant level of independent and collaborative working. It also prepares students for their year out as their projects introduce the students to frameworks and procedures they will become familiar with in practice. The first semester project is the redevelopment of Denburn Health Centre, a neglected brutalist oasis in Aberdeen. The students were tasked with designing a new community health centre, developing briefs which allowed latitude in the proposals. Students were then encouraged to work collaboratively before developing their own responses with a heavy emphasis on understanding the needs of the user as well as considering the buildings contribution to the city. The focus of second semester was housing. Students researched historic and contemporary flat types to establish a set of precedents. Then looking at the site to understand aspects affecting occupants and developing a brief for either student housing, elderly housing, family flats or studio flats. Contributing to this discussion were occupational therapy students who helped us understand the human aspects and the occupants changing needs. Students were encouraged to create realistic, buildable and pragmatic solutions. David Wilson Lecturer

Denburn Health Centre Andrew Harvey

Architecture Stage 3: Project

Denburn Health Centre Jennifer Laffan

Architecture Stage 3: Research

LIVING m

“Our analysis covered factors such as zoning, circulation, fenestration and cultural context.”

Architecture Stage 3: Research

SSSarch3 was a project that aimed to promote the work of Stage 3 students via social media and a website. We created a typology of flat types showing examples of both historic and contemporary dwellings, with case studies from around the world. Our analysis covered factors such as zoning, circulation, fenestration and cultural context. We called this project ‘Living in m2’.

some of our case studies. All of this collectively served as a promotional tool for Stage three’s work.

Furthering this project I created the website www.sssarch3.com as an easily accessible database of precedents for our second semester housing project. As a team, we refined the content of the year’s work to create a cohesive and comprehensive body of work. We also made engraved coasters with our logo and created ‘flatpack flats’ – jigsaw pieces that could be assembled to make a scale model of

The creation of the website and Instagram has been a unique and enjoyable task. Using social media to promote ourselves and our work is something that has helped prepare us for our placement year. The project allowed us to engage with different people, allowing our work to be seen outwith the architecture school.

To further promote the work we made an Instagram to show not only the finished work of the project but also the process and studio life. The intention was that from our website you could be linked to our Instagram and from that, to individual students work.

Liam Carlton

Shelter Charity Housing Matt Clubb

Architecture Stage 3: Project

Shelter Charity Housing Andrew Rough

Architecture Stage 3: Study Trip

Copenhagen

Architecture Stage 3: Study Trip

“trips are great for broadening your understanding of the subject.” During my three years of studying at RGU, I have had the opportunity to be part of a study trip every year. This year the trip was to the Danish capital, Copenhagen. As a student these trips act as a great opportunity to be exposed to different types of architecture and the culture in which they are situated. They act as a great escape from studio and allow you to strengthen your knowledge within the subject of architecture but also open your mind up to new ideas and possibilities which can be a great help for when you get back into your studio environment.

are exploring. It is very easy to get used to what is around you and forget how different architecture can be in other cities, therefore these trips are great for broadening your understanding of the subject. I have done my best to attend whatever study trip is on offer and then document what I am exploring through the use of photography and sketches so I can learn from this. There have been many times I have been able to relate my design to a building I have visited and been able to develop my project further due to this.

Travelling with your classmates allows Andrew Rough you to become closer and speak to others you may not have previously had the chance to. It lets you hear their views and opinions which can make you really think about the architecture you

Architecture Stage 3: Reflections

Student thoughts Third year has been an exciting and eye-opening year. Working with an existing building, Denburn Health Centre, was a completely new and challenging project. Working around something that exists, that you can physically see and touch, makes everything we have previously learned very real. Third year has taught us that we can achieve our architectural visions not only through form and materiality, but through structure and construction, thinking about how our designs can be made and put together is something that can reinforce our conceptual ideas. Thinking about all these aspects concurrently is what has made this year exciting. Liam Carlton

Architecture Stage 3: Reflections

Study in the third year of architecture has been a much more integrated experience than previous years. The topics of history, urban context, technical detail and design can all be considered simultaneously, which has given me a better feel for what working in a practice is really like. This also makes one realise how big a challenge good architecture is and the importance of collaboration. It’s great to have the tools at hand for going into practice where the process of learning how to apply ideas and technologies in the real world can begin. Matt Clubb Aberdeen, being much smaller than most cities, is easy to navigate, and students quickly become familiar with their surroundings. With plenty of options for student accommodation and places to rent, you can choose to live central or closer to the uni depending on the student experience you are after. Either way, our bus services mean you are well connected to the whole city. While studying third year architecture, I still enjoy living in the bustling city centre amongst the night life, but my favourite thing about Aberdeen is being just minutes away from beautiful beaches and countryside, which provide an essential break from the intense workload. Lola McHardy

Article: RIBA Part I Experience

RIBA Part 1 Experience Anderson Associates, Stornoway During my time here I learnt that working in a smaller practice allows you to have a bigger role on a greater variety of projects than in a larger urban practice. Within my first month I was given responsibility of my own project. It was just a small privacy screen for a maternity ward but even so it was very fulfilling to see my drawings brought to life in a short period. Another great advantage was the scenic rural sites I had the chance to visit - such as a house right on the edge of the shoreline. Neil Macalister

Article: RIBA Part I Experience

Schmidt Hammer Lassen, Copenhagen The moment I walked into the Schmidt Hammer Lassen office in Copenhagen, I was faced with a large print of the Sir Duncan Rice Library in Aberdeen which immediately made me feel at home. The first week at SHL was strangely surreal, not only was I adjusting to an office environment, but also a new country, language and culture. Luckily, on my first day I was introduced to eight other students from across the world who were all in the same position and would later go on to become my good friends. I was fortunate enough to be a part of the team who were working on a new headquarters for Solvay, an advanced materials & specialty chemicals company based in Brussels, Belgium.

I gained invaluable experience while working on this project due to the fantastic team I worked with day in and day out. After longs days in the office and a great amount of learning every day I was exhausted, but I still made time every evening to explore the city and visit places I’d longed to visit, marking sights off my list that was ever growing. During my time at SHL and in Copenhagen, my eyes have been opened to the fantastic architecture, design and culture the city has. I have learned so much, in and out of the office and I am now more aware of the direction I want to move in during my Part 2 studies and beyond. Alex Angus

Article: RIBA Part I Experience

Stephen Taylor Architects, London I started my year out experience by spending a month as a research fellow at Scotland’s contribution to the Venice Biennale of Architecture. After working on a number of small projects, I moved to London in late autumn and found a job at Stephen Taylor Architects, a small practice in Shoreditch. My time in the office has allowed me to gain a meaningful insight of architecture as a profession, working on projects of varying nature and scale. This whole year and my time in London has widened my view of the architectural discipline as something extending well beyond the pencil and paper, and has allowed me to understand how I want to contribute to it.

I have been very happy to find myself surrounded by people who patiently enable me to learn so much, and am very excited to continue learning in the coming years as a Part II. Lucia Medina Uriarte

Article: RIBA Part I Experience

Aim Design, Dundee

planning and building warrant stages and then out to tender.

I am currently undertaking me year out at Aim Design, based in Dundee. Aim is multi-discipline practice offering a range of services including concept design, feasibilities, the full range of chartered architects’ services, master planning, conservation, zero carbon initiatives, interior design, visualisation & animation, graphic design, interpretive planning, exhibition design, brand awareness & marketing.

As part of Aim this year I attended the Dundee Institute of Architects Awards where we as a practice came away with a series of awards including ‘Best Small Non-Domestic Project’, ‘The Ambassador Award’ and we even beat the V&A to the ‘Best Interior Design Award’.

Working at a smaller practice has been extremely beneficial in getting an overall awareness of all RIBA stages of work as well giving me the opportunity to work on a spectrum of different projects doing a variety of tasks. Most recently I was given the responsibility to get a domestic extension through

Beth Milne

Outreach

Our School abounds with talent, creativity, energy and ideas, yet it is all too easy for such a resource to remain concealed from public view. In recent years we have consciously sought to increase the exposition and dissemination of the work of students and staff, particularly, but not exclusively, within our local and regional community. Academia often possesses the time to examine issues in depth that commercial pressure constrains in practice and, as such, the school represents a unique resource that can contribute much to public discourse about our environment. And we have much to say. Outreach assumes many different forms; from the speculative conceptual energy of early years students to the detailed and scholarly proposition of those about to graduate; from the findings of funded research to opinion pieces or thoughtful and purposeful provocations. Whilst the cultivation of a relationship between the School and its immediate communities should be tangible, outreach to industry and academia is also important. Much of what we do within the School has relevance far beyond our location; much is transferable and, importantly, worthy of note. The following captures just some of the outreach activity that has formed part of this year’s activities and community engagement. Professor David McClean Head of School

Outreach: School’s Construction Workshops

School’s Construction Workshops In today’s globally competitive economy, the value of nurturing high performers has never been greater. With the construction industry having suffered skills shortages for a number of years, the current reports highlight that the industry employs only a small percentage of women – accounting for 12% of the median workforce (UK Industry Performance Report 2016). With the demand for talent at an all-time high (as highlighted by the UK Government) business leaders in the architecture, construction, surveying, engineering and rail industries are enhancing their workforces to keep ahead of the largest projects seen in recent times. From Crossrail and HS2 to the more local AWPR and AECC, to football stadiums, heritage building refurbishments, conservation works and commercial ventures of various

scales, these projects all depend on having skilled professionals that will design, develop and manage these projects and processes successfully. Construction is an industry that requires many different skills and abilities. To achieve high levels of performance it is important to employ people with different experiences and a variety of capabilities. Unfortunately, women remain a minority in the construction industry despite positive advances in recruitment in recent years, for example we have more women in STEM related apprenticeships in 2017 than 2016 (6% growth), but there is still more that can be done to encourage diversity in the workplace, attract more women into the industry and enable a smoother path to senior leadership. Failing to promote women to leadership

Outreach: School’s Construction Workshops

positions undermines the valuable contribution that they make to the built environment world and to the economy, as female representation has been shown to improve company performance, collaborations and ethical behaviour (McKinsey & Company, 2015, Diversity Matters). With women comprising just under 20% of the directly employed construction workforce it is essential to support women for jobs in construction. For this reason, Robert Gordon University and the school are making a concentrated effort to endorse women in construction and architecture, by developing and running a campaign that challenges prevailing stereotypes and expands understanding of the opportunities available for all. An initial program of activities is aimed at different stages and levels of expertise

with an ambition to showcase the opportunities and possibilities within the sector. This started at the launch event the first Women in Architecture and Construction Conference - targeted at secondary schools and run in collaboration with St Margaret’s School. The event attracted around 80 girls from schools as far afield as Huntly and Edinburgh and aimed to encourage the next generation of female specialists into the built environment. The program continues through research seminars, a collaboration with Women in Property (WIP) and future events involving the local and wider professional and educational communities. Dr Marianthi Leon Lecturer on Project and Construction Management

Outreach: Look Again Festival

Look Again Festival

Outreach: Look Again Festival

For two years the product design module has had a direct link to the Look Again festival organised every summer. The event gives a fantastic opportunity for students to make a real, rather than theoretical, impact on the city of Aberdeen. The theme given each year allows the students who chose Product Design as their elective module to create an art installation or pavilion that will be featured at the festival. This year’s theme is ‘New Narratives’, which proved to be interesting and versatile in terms of its interpretation by the students and their initial individual ideas. Separated into two groups, two pavilions were designed, both with a sense of uniqueness. The first group created a parametric shaped dome, made out of triangular elements, each allowing a different use or aspect of the pavilion, i.e. chalk

boards, tinted acrylic sheets and old images of Aberdeen. This idea is based on the concept of people exchanging books and creating a comfortable, home-like environment. The second group focused on a different aspect of Aberdeen, the contrast between its ‘grey’ stereotypes and the reality of hidden colours exemplified by its nickname of ‘Floral Capital of Scotland’. The idea revolves around the appreciation of stereotypical Aberdonian aspects, like the rain and wind, and the enhancement of the ‘hidden colours’. The pavilion is a simple post and beam structure, with hanging fabric and colour strings resembling the rain and wind, with silhouettes of the local skyline, interpreting Aberdeen in a different perspective. Jamie Christou

Outreach: Tokyo

Tokyo

Outreach: Tokyo

“a unique project, in a new context, with new software”

Our last year’s trip to Japan was all an architecture student could ask for - we were able to work on a unique project, in a new context, with new software, meeting students from countries none of us ever visited before, exploring one of the largest cities in the world. For this marvellous opportunity we have to thank Professor Amar Bennadji who informed us about the competition and guided us throughout the whole venture, surely not an easy undertaking. We were tasked with designing a large-scale development in the city of Shanghai, a development reflecting the new merger of technology and architecture taking place in the Chinese metropolis and that would answer the issues inhabitants of huge, congested cities face on daily basis.

Throughout our creative process we oscillated between the world of architecture and IT in an effort to provide a suitable answer to the problems. As it turned out this effort did finally take us to Japan where we were able to participate in a three day long conferences during which we networked with architects and developers and met students from within and without Japan. Although meeting new people was no doubt enjoyable our favourite part had to be just walking around Tokyo, appreciating the macro- and micro-climates of this overwhelming city, visiting gardens and museums and eating copious amounts of ramen. Krzysztof Kalita Karolina Przynarowska

Outreach: Rijeka

Rijeka

Outreach: Rijeka

“an exciting, anarchic and sleep-deprived two weeks”

Six hundred students, one abandoned warehouse. It’s surprisingly not a rave. Organised by students on a cooperative basis with almost no formal structure, the European Architectural Student Assembly happens over two weeks every summer. Located in a different country each year, it comprises a mix of workshops, lectures, excursions and adventures organised around a specific theme. In 2018 I attended ‘re:EASA’ in Rijeka, Croatia as one of seven students who made up Team Scotland. In 1981 students Richard Murphy and Geoff Haslam were inspired to start EASA by the student-led UK Winterschools happening at the time. They believed British architectural education to be inadequate and thought we would be able learn more from other students, especially those from different cultures.

There is a very strong community aspect to EASA, with everyone living and working together. Scaffolding was used to create makeshift ‘bunkbeds’ for everyone to sleep in. Cold water showers were set up outside, however in the summer heat the lack of hot water was actually not as much of an issue as it first appeared! There were endless activities - I went to a Croatian music festival, visited an insulation factory in the mountains, learnt how to print t-shirts, cooked with leftover food from the market, took a boat trip to the island of Krk and explored the abandoned Haludovo Palace Hotel. EASA was an exciting, anarchic and sleep-deprived two weeks and I would recommend it to anyone who gets the opportunity. Cerys Mitchell

Article: Architecture Students Network

Architecture Students Network At the beginning of November, the 57°10 Architecture Society was invited to take part in an event hosted by the Architecture Students Network (ASN) in Birmingham. A good number of the forty or so RIBA/ARB charted schools within the UK also attended the event. Representing the Scott Sutherland School of Architecture and Built Environment, the general discussion was centred around the connectivity (or lack of) between architecture schools and societies throughout the UK. Resulting from this conversation, a new association was proposed with the backing of the RIBA - the Future Architects Network (FAN).

years and is trying to realise currently. In the afternoon, we were involved in workshops to discuss how FAN would differentiate itself from the ASN and the logistics of how it would operate. These workshop discussions have now been collated and they have been presented to the RIBA council for review.

In the morning, we heard from the RIBA President, Alan Jones, amongst other keynote speakers and it was encouraging to hear his support for what the ASN has achieved over the

Firstly, there is huge student support for FAN to happen and now that the manifesto is drafted, hopefully the RIBA will fund the organisation and we will all genuinely be more connected.

The event was a great networking opportunity, in which the society established new connections with both students and staff from different schools across the UK, as well as design professionals. We both agreed that there were two main positive outcomes from the event.

Article: Architecture Students Network

Secondly, the Scott Sutherland School, based off many discussions with other students, is offering possibly one of the best learning environments and studio cultures of any school within the UK. The quality of tutoring we receive and level of guidance offered at the school easily holds its own against all of the schools we spoke to during the event. To top this, the 57°10 Architecture Society could be the most established and successful society within any school at the event. It may seem as though this article is a bit of a ‘pat yourself on the back’ exercise…well in essence it is, but we both just wanted to take a bit of time and debunk the myth that ‘the grass is always greener’ in other universities. So we want to extend a sincere thank you to all the staff at the school for the

great work they are currently doing. A thank you also to the students for the fantastic culture we have here. It is something quite unique that other schools were really impressed by and even envious of. Last but certainly not least is a massive thank you to the Head of School, Professor David McClean. Not only for supporting us down to the event, but for directing the school in a way that such a laudable character has been allowed to develop and be felt within the building. We do hope that year on year the school continues to build upon this reputation and it continues to produce the most outstanding design professionals. Hugh Fish Dale Leith

Outreach: McMemory Maker

McMemory Maker

was set up by his family to help to create memories for others affected by life-limiting illness. The charity provides families who are affected with the equipment they need to create lifelong memories so that loved ones can always remain a part of their lives. The charity also offers suggestions and advice about making memories together, in addition to leaving very personal touches that help a legacy live on. The McMemory Maker Charity was set up in memory of Graeme McRobbie - a lecturer of Architecture at Scott Sutherland School. While Graeme had been diagnosed with advanced bowel cancer, he worked hard to create memories and prepare gifts and letters ready for his children as they grow up. He later passed away in September 2017 and the charity, McMemory Maker,

Stage 5 and 6 were fortunate enough to have had Graeme as their firstyear tutor, the memories of which they all look back on fondly. He was an incredibly kind, perceptive and fun teacher who made their start in Scott Sutherland School an enjoyable and inspiring experience; invaluable in preparing them for the course ahead

Outreach: McMemory Maker

and for shaping the designers they look to become. As these year groups come to the end of their Masters course, 57°10 set up an event to both raise money for McMemory Charity and honour Graeme by bringing together all the courses at Scott’s. A football tournament with competing teams from Architecture, Surveying, Architectural Technology and Construction Management was an exciting event which brought about a buzz and reinforced connections throughout the school. The atmosphere was aided by the competitive spirit of tutors Jonathan Scott and Theo Dounas, and was cheered on from the sidelines by David Wilson. With the donations made from the teams, spectators and collections around the school the tournament raised a total of £357.80.

In May, Sam, Robert, Jamie, Elliot, Stuart, Craig and Jordan from Stage 5 Architecture ran the Baker Hughes 10Km in Aberdeen with McMemory Maker as their chosen charity. They raised £1011. It is the hope of Graeme’s students that his kindness will always be remembered through the legacy of his time in the school and through the incredible work of McMemory Maker. Rebecca McLeod

Outreach: ASA Annual Dinner and Design Awards

ASA Annual Dinner and Design Awards

(Parker, 2019)

(Parker, 2019) (Parker, 2019)

Outreach: Archilink

Archilink

Growing up we have witnessed computers revolutionise the way architectural designers work but the way we find clients and interact among ourselves within the industry has still remained the same. Many designers and newly qualified architects have no network of contacts yet possess a variety of skills. In this challenging climate, it is hard for these individuals to find constant work and many young designers struggle to secure their first job due to lack of industry experience. Archilink is the first online platform dedicated to the architecture industry. This platform will build on the gig economy and help designers expand their client base by connecting them with homeowners requiring architectural services. Our goal at Archilink is to create a community of designers that can work

collaboratively to complete projects. This interconnectivity will benefit established practices looking for short term staff and one-off tasks. We have received funding from Robert Gordon University which has enabled us to develop the software to create this marketplace. The pre sign-up response has been overwhelmingly positive, we are now preparing for launch. If you’d like to find more about our service then please enquire at archilink@outlook.com. You can also join us by signing up at www.archilink. co.uk. Shehan Heguragamage Alistair Lea

Article: Vision 2030

United Nations Sustainable Development Goals: The 2030 Vision Challenge The time has now arrived when humankind has a last chance to avoid the worst outcomes of global environmental disaster by limiting global temperature to below 2°C increase above pre-industrial levels. To achieve this outcome we have only 11 years left to stabilise carbon dioxide emissions by 2030 and then to reduce to net zero emissions by 2050. Every year that we do not stabilise emissions will increase the frequency of climatic disasters on a scale never seen before by humankind.

I have been repeating the same warnings for nearly thirty years but this feels different now, since we see the tangible, profound and devastating effects of disasters on a regular basis somewhere in the world. But think of a future where a disaster happens every month… or every week… and then think what happens when the oceans cannot support life and crops fail. The leading scientists in the world believe that this outcome is the most likely.

In October 2018, a report by the Intergovernmental Panel on Climate Change (IPCC) found that limiting global warming to a less damaging rise of 1.5°C is still possible, however it will require rapid and far reaching changes including a need to reach ‘net zero’ emissions globally by around 2050. (IPCC, 2018)

The worlds cities and buildings account for around 40% of all global carbon emissions with roughly 10% of global emissions related to merely heating or cooling of building occupants.

What does this mean to architects?

Visiting Professor Lynne Sullivan and I organised, with the help of

Article: Vision 2030

Net Zero Carbon Eddington Village, NW Cambridge, WilkinsonEyre

Neil Lamb, a whole day conference in February demonstrating that a zero-carbon architecture is possible now (with reference to examples such as Architype Passivhaus and WilkinsonEyre Code 5 Projects). Architects have therefore a central role and moral responsibility to lead a sustainable revolution. The new RIBA Code of Conduct released on the 5th April enshrines this principle. The previous architectural generations have done little, and colleagues of my generation despite acknowledging its importance are still largely preoccupied with aesthetic issues to the detriment of environmental performance, or worse still, actually believe their own greenwash. So it comes to you, who will become

the next generation of architectural leaders to make a last stand, to demand action, to find creative solutions, to inspire, and to deliver a sustainable future. Make no mistake you will be the generation that has to deliver a sustainable future. When I graduated from The Scott Sutherland School in 1990, little did I realise that the task of mapping out this future for the architectural profession would fall to me as current Chair of the RIBA Sustainable Futures Group, along with colleagues from leading practices. We are currently completing our sustainability guidance documents which will be published along with the new RIBA Plan of Work in Autumn of 2019.

Article: Vision 2030

UEA Enterprise Building, Architype, DEC A rated

A fundamental part of our work is to clearly define what a sustainable building needs to achieve, and to set targets for you and the construction industry. The UK, Scottish Government, and the RIBA have signed up the UN Sustainable Development Goals which define the 2030 and 2050 future of Global sustainable Development. We have used these to create more specific goals for architecture and the construction industry- and are called the 2030 RIBA Sustainable Outcomes. These eight outcomes set specific targets for you and the construction industry to achieve by 2030 in order to avoid the worst impacts of climate change. But this will not reverse the global warming momentum that is

already happening, so the future will mean designing buildings and cities that are resilient and able to withstand unprecedented natural climatic events. To agree to write this article, my challenge to the final year was to demonstrate how, as a year, they are responding to these eight RIBA Sustainable Outcomes and associated design principles in their projects. So on the proceeding pages you will see architectural responses to: Net Zero Operational Carbon CIBSE TM54, Passivhaus, Living Building Challenge- kWh/m2/y, kgCO2e/m2/y Net Zero Embodied Energy Carbon RICS Whole Life Carbon, BREEAM, Living Building Challenge- kgCO2e/m3

Article: Vision 2030

Sustainable Connectivity and Local Transport BREEAM Transport- kgCO2e/km/p/y Sustainable Water Cycle Living Building Challenge, BREEAM Water- litre/person/y Sustainable Land-use and Ecology Living Building Challenge, BREEAM Biodiversity- species enhance Good Health and Well-being Well building Standard- light, air, water, noise, thermal comfort (overheating) Good Social Value Living building Standard, BREEAM, Well building Standard Sustainable Life Cycle Value RICS Operational Cost- £/m2

It is difficult to find the words to explain the importance of this moment in modern human history. We stand at the brink of an uncertain future, one which will bring incalculable destruction, unless humanity can work together to save ourselves and our planet. This is could also become a defining moment for the next generation of architects to play a central role in creating a sustainable future. This is your challenge - good luck. Professor Gary Clark WilkinsonEyre

Article: Vision 2030

1. Net Zero Operational Carbon 2. Net Zero Embodied Energy Carbon 3. Sustainable Connectivity and Local Transport 4. Sustainable Water Cycle 6 5. Sustainable Land-use and Ecology 6. Good Health and Well-being 7. Good Social Value 8. Sustainable Life Cycle Value

3 6

Article: Vision 2030

5 8 7

Surveying

At RGU we develop an integrated learning experience through our surveying programme that provides for the dual pathways of Quantity and Building Surveying. Quantity Surveying involves the comprehensive management of projects from commencement to completion, ensuring effective value for money, quality control and contractual arrangements. Building Surveying is concerned with the effective management of property ensuring that they function effectively, are well maintained and can be adapted to meet our changing needs. A common first year presents an illuminating introduction to the built environment that ensures all students have an underpinned knowledge in the ways we build and how we want our buildings to perform for us. From second year, students chose their pathway and develop more bespoke learning to gain an understanding of how they can become an effective contributor to their intended profession. In year three the students supplement their on campus learning with workplace experience within a surveying practice, major contractor or local authority provider. Final year will bring this experience together in a major integrated project. The approach to our educational experience is built around live projects, supported by a close working relationship with industry professionals and leading practices. Dr Michael Dignan Course Leader

Surveying: Fyvie Castle

Fyvie Castle

Surveying: Fyvie Castle

“The partially ruinous condition of the historic steading allows them to gain an understanding of how it was built” For Building Surveyors, Building Pathology underpins everything they do and forms the backbone of their knowledge. It informs the variety of surveys they may be expected to undertake throughout their career such as dilapidations, technical due diligence, pre acquisitions, condition or residential. We start the student journey in this area in 2nd year and they complete a suite of 3 modules of Pathology by the time they graduate on the completion of their 4th year. For their introduction, the students undertake a small project on the dilapidated steadings at Fyvie Castle. The partially ruinous condition of the historic steading allows them to gain an understanding of how it was built, how it was used and how the materials performed. They are tasked with noting the condition of the steadings then fully diagnosing

the defects prior to outlining a repair strategy to make the building wind and watertight. The course team believes in the use of real buildings for projects and assessment throughout the students’ time with us. This style of “authentic assessment” prepares the student for their entrance into the workplace and also allows them to apply their learning in various contexts gaining a hands-on experience of real case studies. Craig Wilson Lecturer

Surveying: North Silver Street

North Silver Street

Surveying: North Silver Street

“works can include conservation, maintenance, repair, adaptive re-use and dilapidations.” Building adaptation and refurbishment is a core part of building surveying work. Building Surveyors are routinely commissioned by clients who own or lease buildings and are involved at various stages of ownership or tenancy. These buildings are usually historic, often have listed status and works can include conservation, maintenance, repair, adaptive re-use and dilapidations. We were given access to a vacant building in the city centre so that we could execute projects using “real life” scenarios. We combined 2nd and 4th year students for the early stages of the project so they could work with each other to gather data of the existing building that they will all use later in the projects. The initial parts of the project included a full measured survey followed by building and

conditions surveys. We get the two years to collaborate in order to allow the 4th year students a chance to manage and mentor the 2nd years. The 2nd year brief was to adapt and refurbish the existing building into serviced office and conference space. They were given a detailed brief which they developed into a full design along with reports and condition schedules. The 4th year project was more complicated. Their “Client” wanted to adapt and extend the building to allow for the development of a new restaurant. This allowed the students to develop technical solutions for the addition of a significant new extension onto a 200 year old building as well as meeting the client’s requirements. Dr Michael Dignan Course Leader

Surveying: Stage 4 Projects

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A. Contrat Documents: 50 1. The contractor shall carefully examine all contracts documents and coordinate the work with all trades. Any devation or inconsistencies shall be brought to the D attention of the desgner prior to work. 12 2. All drawings are diagrammaric and schematic in nature. 650 Work includes certain components. appurtenances and related specialties that may not be shown. Work also includes all components of assemblies to which are part of the assembly. Contractors shall provide all necessary Service Area & components required for a completed structure ready Distribution human occupancy. 3. Drawings and specification are complementary, any discrepancies between drawings and specification shall be brought to the attention. 4. Construction means and methods are the sole responsibility of the contractor. 5. All drawings to work in accordance with each other. 2400

2845

T250PD

2420

2251

452

D 08

900

Execution

2845

150

1. 462

Elevator

1200

Products

D 21

Control Panel

4740

380

730

Bar / Waiting area

1800x1400mm Unobstructed Maneuvering Space

1123 A. Materials: 1. All materials shall be of new unless otherwise 800 noted. 101 2. Contractors shall furnish and install all materials D required for the assemblies in which they are 09 part. 3. Contractor does not select specific manufacturers of products or fixings that is not stated on drawing unless stated otherwise.

Steel roof trim capping to keep with the theme of steel and timber

Fire Hall svp

Internal Wall Finishes Refer to: N-01

accordance with all buildind codes, designer is not responsible for code changes occurring more than 6 months after completion of these drawings.

Extension Windows Bespoke Made. Standards Met: BS EN 12150-12000-BS EN 6375 Part 2 Colour: Brushed Steel Heat Loss U Value: 1.5 W/m² K Glazing Type: Clear Features: Low E Coating Energy Efficiency Rating: A Material: Steel Glass Type: Triple Glazed

25 Ø450 Space clear of door swing

D 07

A. Related - Referenced Documents & Agreements: 1. All work shall be conducted by the contractor in accordance with the latest adopted editions Elevator of building standards/codes. 2. All work shall be in accordance with industry standartd. Industry standards shall be as determined by manual or handbook of the primary association of each trade,ie GYPSUM etc. 3880 3. All agreements between the contractor and owner shall be in writing and shall spell out the duties and responsiblities of each party Existing wall and plaster to remain with prior to construction. Walltile insulation sprayed in between. 4. The contractor shall be fully licensed and Walltile Specification: Insulation sprayed bonded for the work which they are between studwork. Mechanical and electrical services can be fixed between responsible. the foam and the plaster. Thermal 5. Manufacturers warranties shall be the conductivity as low as 0.025 W/mk property of the owner and shall be transferred Internal Wall Finishes Refer to: N-01 to the owner upon substanrial completion. B. Miscellaneous: Clean Store & 1. Contractor shall have a safty program in A Distribution place and shall be soly responsible. Board 2. This project has been designed in

Attic

Male Toilets

Control Panel

2220

Plant Room & Service Riser

380

General Notes

1000

150 418

svp

D 05

2995

1770

2995

Internal Walls Make-up Wall achieves: 120mins Fire Protection 58dB Rw Sound insulation Refer to Detail: Internal Wall Detail S-01

1600

2995

1502 Ø1500mm Maneuvering Space

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600

D 18

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230 493

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2723

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1600

1680

1500

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Del

3493

2723

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D 03

2130

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2420

Restaurant Regeneration Jordan Thomas

825

Surveying: Stage 4 Projects

NORTH SILVER STREET

Restaurant Regeneration Steven Carnegie W.C.

WINE CELLAR

DRINKS CELLAR

STEEL I BEAM

RAINWATER HARVESTING TANK TO BE INSTALLED UNDER STAIRS AT BASEMENT LEVEL

BOILER ROOM

S.Carnegie || Integrative Studies SU3014

LOG BURNING STOVE TO BE INSTALLED

GLASS FLOOR TO WINE CELLAR

DOWN

21 | P

SERVICE

LARGE WINE DISPLAY CHILLERS

PASTRY/ DESSERTS

PASRTY

FREEZER W.C.

SHOWER ROOM

VEG STORE CHANGE ROOM

CHILLER

CHEF'S OFFICE DRY STORE BIN STORAGE REAR DOOR GOODS/ KITCHEN STAFF

MAIN RESTAURANT - 54 COVERS

REAR ENTRANCE

PANTRY

VEG PREP

FIRE ESCAPE

FLOOR TO CEILING WINE RACK TO SEPARATE AREAS FIRE ESCAPE

POT WASH

DUMB WAITERS TO UPPER FLOORS

SERVICE VOID TO ALL FLOORS

MEAT & FISH CORRIDOR

RECEPTION AREA CAN BE USED FOR GROUND FLOOR PRIVATE DINING/ MEETING ROOM

RECEPTION AREA

LOUNGE/ BAR

UNDER FLOOR HEATING GAS BOILER TO BE INSTALLED UNDER STAIRS AT BASEMENT LEVEL

W.C.

FOH STAFF ROOM

LOG BURNING STOVE TO BE INSTALLED

RUBY LANE

CLEANER STORE

RUBY LANE

STORAGE

FRONT ENTRANCE

MAIN GAS SUPPLY

SECOND FLOOR STAFF TRAINING SPACE/ GENERAL OFFICE

FIRST FLOOR EXTENSION TIMBER CLAD WITH CHARRED LARCH

BASEMENT FLAT ROOF EXTENSION WITH BROWN ROOF FINISH (SEE DETAIL013).

GROUND FLOOR

GLASS CURTAIN WALL SEE DETAIL 016

REF:

ADDRESS: PROPOSED EXTENSION

NORTH SILVER STREET ABERDEEN

DRAWN:

DRAWING:

SCALE:

009 SC

G/L

PROPOSED FLOOR PLANS

A - A SECTION

NEW EXTENSION BUILT OFF STRIP REINFORCED STRIP FOUNDATION

1:100 ..

REAR ENTRANCE TO KITCHEN AREA

DATE:

JAN'19

Surveying: Built Heritage Conservation

Built Heritage Conservation

Surveying: Built Heritage Conservation

“knowledge of how older buildings were constructed and the ability to understand how they can age” Building Surveyors play a vital role in the conservation of our historic buildings and structures. The importance of having knowledge of how older buildings were constructed and the ability to understand how they can age and the potential issues which can require addressing is crucial to protecting our heritage assets. In a joint module with the BSc (Hons) Architectural Technology, students were tasked with appraising the numerous distinctive twentieth century churches which are located with Aberdeen’s environs. Following the surveying principles of survey, record and recommend, the materials which formed these church buildings assessed and any potential defects highlighted with appropriate intervention proposed.

Professor Richard Laing of the Scott Sutherland School introduced students to laser scanning technology which was applied to their chosen case study. The scanner would be erected on site to undertake a full digital survey of the churches. The data was then processed to create a 3D physical model and visual poster. The role of new technology was then appraised as a method to support our understanding of historic buildings and ensure where under threat a detailed record of them will be retained in perpetuity. Craig Wilson Lecturer

Surveying: Lunch and Learn

Lunch and Learn

(RGU, 2015)

Surveying: Lunch and Learn

“share their professional experience, current research and reflect on their own pathway into and through the profession” The Lunch and Learn CPD series completed its second successful year, this year. The organising committee was formed of students from both the Building Surveying and Quantity Surveying courses where they were tasked with organising lunchtime CPD sessions to be held in the Surveying studio. The students took leadership in identifying key speakers from industry and experts in their field to share their professional experience, current research and reflect on their own pathway into and through the profession. The talks are open to all students of the School and particularly across the years of the surveying programme. The speakers this year included visiting professor and heritage consultant Professor Ian Davidson, formerly principle surveyor of The National

(RGU, 2015)

Trust for Scotland. Dragados, one of the world’s leading infrastructure and engineering providers who are responsible for developing the Aberdeen Harbour Expansion Project. Representatives of Stewart Milne, the major house builder in north east Scotland and CHAP Construction, a major contributor to the sector in the region. Dr Michael Dignan Course Leader

Article: More Than Surveying

More Than Surveying Richard Laing Speaks his Brains

Over the course of many years, and through the completion of numerous research commissions, the School has developed a research track record where some key strands remain consistent. Among these are the subjects of designing and building a constructed environment focused on people and embraces emerging technologies to drive and assist these efforts. Over the past year or so, our research has included work that deals with public engagement in relation to digital heritage, exploration of the manner in which we can deliver transport and mobility options that meet people’s needs, and the design of housing that considers a whole spectrum of issues that might contribute towards healthy citizens and a better environment.

To take just one of these strands, our work regarding digital heritage has included work dealing with data capture, architectural modelling, exploration of digital manufacturing and how this might connect with notions of ‘heritage-BIM’. We have spent a considerable part of the year engaging with external partners, including our own local authorities and international collaborators, and with world-leading researchers in Milan. This has enabled us to forge a unique and innovative path for our own work, focused on collaboration, participation and engagement, supported by the technology itself. Our feeling throughout these projects is that the ‘real’ environment cannot somehow be substituted by the virtual, but that the virtual can offer important opportunities in terms of a depth of

Article: More Than Surveying

“the crossover between teaching and research has become far stronger in the past few years” information, or could help to augment experiences within the real world. On that note, I mentioned during a public lecture early in 2019 that I was often reminded of the perils of blindly moving towards virtual simulation as an alternative to real experiences. Whether this refers to travel, education or other cultural experiences, many of the digital data capture technologies now widely available can accurately record the geometry of the ‘real’, but this in no way detracts from the value which can be derived from engaging with real buildings, streets, people and so on. Anybody who has attended a concert in the past few years may have had the unfortunate experience of having to somehow watch musicians past a sea of mobile phones, held aloft as people concentrate on taking poor quality photographs rather than losing

themselves in the moment (to counter this, the American singer Jack White usually has on-stage announcements before each show, encouraging people to put away their phones, and to try to take part in an actual real-life performance). This has led us to often undertake digital heritage studies in a manner where public engagement, and with all ages, has become the starting point and the central focus of the work. With some recent work in both Ballater and Fraserburgh (undertaken with my colleagues Dr Marianthi Leon, Dr Theo Dounas and Dr Yang Jiang), our aim has been to ensure that the initial ‘outputs’ from data capture are then immediately used as the starting point for community engagement. In Ballater, it was fascinating to see how the material was positively discussed

Article: More Than Surveying

by local heritage groups and school children, but that the emphasis of that discussion was quite varied. Whilst heritage experts tended towards using the digital data as a starting point for talking about local heritage, the children with whom we met – all under the age of ten, and both boys and girls - were already quite familiar with 3D digital modelling and virtual environments. That they saw such technology as normal and everyday maybe signals how such technology will be likely to find its way into industry, practice and education in the coming years. Over the year, we have also been undertaking work concerning the future directions that might be taken by surveying education in the next few years. Technology – particularly the centrality of BIM within design, value engineering, cost control and facilities

management – forms an important strand of that work. What has been particularly interesting, though, is the extent to which diversification of the surveying disciplines and how they are ‘taught’ is being recognised as vital. One of the core themes for our School over the past year has been that of gender balance in the industry, and this is reflected in much of the debate within surveying. Although the surveying disciplines have traditionally been inclusive in terms of scope, a gender imbalance towards male students has been typical. This is changing though, and efforts are being made by universities and the professional bodies to address this challenge. With regards to how people learn, the rapid pace of change within construction means that there is a challenge to both continuing education for those already qualified, as well as a recognition that entrants

Article: More Than Surveying

to the built environment disciplines may in the future wish to study in ways which are quite different to full-time university courses. Particularly when we consider how the disciplines within architecture and surveying came originally from approaches heavily based on in-work and apprenticeship teaching and learning, this presents a challenge but moreover an exciting opportunity. Perhaps most important to take from our experience of research is that the crossover between teaching and research has become far stronger in the past few years. As concepts and technologies become pervasive in industry and society, there is a need to ensure that our courses embrace such change. Indeed, it is also important to note that a demand to utilise cuttingedge digital tools has often come from

the students themselves, and this is perhaps one of the most satisfying outcomes which can come from any research programme. Professor Richard Laing Professor of Built Environment Visualisation

Architectural Technology Stage 1

First year Architectural Technology students usually develop a small building, to better understand the structural and material underpinning that they gain across the year. This year’s project was a topical one in that it focused on developing a temporary structure for Dolphin Watching at a site near Torry Battery, facing north. The students developed their own designs and structurally resolved their designs through models, physical and digitally, presenting the work at the end of the year. Dr Jonathan Scott Course Leader

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Architectural Technology Stage 1: Projects

1. Anett Szabo 2. Erin Anderson 3. Rachael Craig 4. Louise Regazzoni 5. Anett Szabo 6. Matthew Long

Architectural Technology Stage 1: Projects

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Architectural Technology Stage 2

The main project for second year focused on small scale housing, this being a narrow site in Cults. This provided the students complications for buildability and materials getting to site. Many resolved these through standardisation and/or prefabrication of the structure. Environmental strategy plays a significant role in the design and the project was developed as a family home, with the potential for an independent space for an elderly relative. Dr Jonathan Scott Course Leader

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Gap Site Residence Alex McAuly-Brand

Architectural Technology Stage 2: Project

The Bothy Jonathan Miller

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Article: Visualisation

Visualisation: Interview with Dr Amar Bennadji

So, what sort of work are you doing? The aim of the visualisation research was to be a tool for communicating ideas to people who are not architects and cannot always understand plans or people who might have a different interpretation of text when you write a proposal, for example. Visualisations help to really show the idea and show it in real context and I think this is a really powerful tool

for communicating ideas to clients and so on. In the past architects and students used to draw 3D drawings, like perspectives, which used to be quite time consuming and if you wanted to change something it’s very difficult and takes time. And when discussing the ideas with clients, they cannot draw it but now they can make alterations and changes themselves with new technology, allowing them to be more involved in the process. The student can enhance their ideas, making them clearer and this suits every part of the design team. How did this start for you? When I was a student I was always concentrating on 3D representation of the scheme and I always put myself into the drawings. To somehow be able to put myself into the design and be

Article: Visualisation

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“a tool for communicating ideas to people who are not architects ” in the scenery holding a bag or reading a book but it’s me that is there was so fun for me. At that time there was CAD and so on but it was not advanced as now and when I started to work at RGU I started exploring ideas related to Aberdeen, concerning RGU purchasing the south bank of the Dee. I knew that it is a flood plain so I thought that since we purchased the site we needed to do something but instead of just extending the campus we needed to go further and be beneficial to the wider community. I took into account the A90 dual carriageway as I realised that in the last five miles before reaching the Dee Bridge people might take forty minutes to complete these five miles and actually get across the bridge and finally be able to park their cars.

to do something to deal with this problem. I created an addition just off the A90 opposite the university, negotiating passages through the private lands. To communicate this idea I could draw it in plan or 3D but I put this idea in a video using various software, even showing traffic AI. This allowed me to visualise the journey that a future driver would have as well as the journey that the current driver has on the A90 to RGU route. The visualisation shows a future floating car park that allows drivers to park there easily and cross a pedestrian bridge allowing quick access to the campus. It could even have student accommodation and other aspects to add life to the area. This was the starting point for this sort of work.

We published our research on this experience and so I thought we needed

After that you’ve managed to carry it into the education of the students.

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Article: Visualisation

Do you see that as an important part of the research but also the teaching of the students? I thought that we could use the same techniques of the earlier project in education. Because first years are not really skilled, we tried to start a step by step process to allow them to learn the programs easier. We started with hand drawings which are very accessible and selected twelve portions of streetscape in Aberdeen City centre of around 600m each. Two groups were on Union Street and ten others were scattered around the rest of the city. I put parts of them on YouTube so you can see what they did. First, they drew the elevations of the buildings by hand and to have the same quality they did the drawings together, each taking on a part of each building.

We then used Sketchup, as it’s accessible, to model the basic masses of the street’s buildings. They pasted the hand drawn elevations on the mass and then once we had that done the students were asked to animate a story of the street like a tourist video but with a 3D model rather than real life. They brought a lot of skills to this, such as writing their own music for the background and narrating it as well. This was a good way of introducing first year students to VR and animation in a very basic and affordable way. The results were fantastic and when I presented them to colleagues in other universities it was really welcomed. How do you see the future of these techniques? I feel that in the present the techniques are far more accessible and affordable

Article: Visualisation

than in the past. I recall that I joined the university seventeen years ago and in the first few months I put a proposal to the school, after some research into the development of VR in the school, with an idea for a digital cave that allows projections to go on inside this. I thought this was the way forward for VR and we could really embark in this direction but for budget reasons it was never done, which is understandable. I’m glad this is not the case anymore but now we need to be really engaged as this is the way forward. It’s very accessible and even ergonomic and truly architecture orientated which was not always the case. We used to have to code things but that’s not the case anymore and everything is quite straightforward. It can even be really simple like a hand drawn sketch that is then animated really quickly and easily.

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Students who are graduating with great grades might not always get the jobs if they don’t have the digital skills as they cannot market themselves to an industry that is so focused on these techniques, which is why we strive to teach them early. Dr Amar Bennadji Lecturer Patrick Harris Interviewer

Architectural Technology Stage 3

The first semester project focused on a café – which formed part of the Stage 4 students’ master plan for their project – located as part of an extension to the farmhouse and steading owned by RGU on the south side of the river. Stage 3 developed a timber framed building from initial design sketches that encompassed a large, single span, open space for the café. The students initially proposed various forms of café to fit in with projects developed with our final year students. Dr Jonathan Scott Course Leader

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RGU Waterside Alex Marwick

Architectural Technology Stage 3: Project

Steading Conversion Charne Van Rinsberg

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Architectural Technology Stage 4

The final year students developed a sports rehabilitation centre on the same site as the Stage 3 students. The year-long project started with research, design and investigation of various typologies and methodologies for rehabilitation before developing from concept to planning permission the case for each design. The second semester saw the students develop the project further and finalise key technical detailing around core aspects of the design. Dr Jonathan Scott Course Leader

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Architectural Technology Stage 4: Project

Sports Rehabilitation Centre Kevin Boneham

Architectural Technology Stage 4: Project

Waterside Sports Rehabilitation Centre Dan Sharma

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Architectural Technology Stage 4: Project

Sports Rehabilitation Centre Kathryn Urquhart

Architectural Technology Stage 4: Project

Waterside Rehabilitation Centre Cameron Wood

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Architectural Technology Stage 4: Reflections

Student thoughts

My course has given me many opportunities to prepare for my career in the construction industry. I was a direct entry student into the second year of the course and my lecturers were nothing but supportive. They encouraged us to take part in competitions, provided us with feedback on our entries and our

personal portfolios, which allowed me to gain work experience over the summer between second and third year. In third year, the course also provided students the choice of a professional placement, simulated practice in the university and the option of an ERASMUS exchange, which was my choice. I found it to be a fantastic experience. The options that I was able to explore were vital in my development as an architectural technologist and has given me a range of experiences that I will be able to translate to the working world. Calum Hutcheon

Architectural Technology Stage 4: Reflections

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“reinvent and imagine everyday spaces in the city so that people can see the city with fresh eyes” The course has prepared me for the future, through our design studio projects being of local and national interest, as well as in line with needs of realistic clients. Our final year project was a sports rehabilitation centre on a challenging site with steadings that had to be utilised in some way. Sports rehabilitation provided us with the challenge of technically designing a well performing and aesthetically pleasing functional building as well as conserving the existing steading buildings, making them a feature through contrasting materials. The most exciting part of the final year was the product design elective that I have been part of. We were tasked to design, consolidate and construct a pavilion to be part of this year’s look again festival in Aberdeen. The festival aims for artists and designers

to reinvent and imagine everyday spaces in the city so people can see the city with fresh eyes from a different perspective. This gave us a project for a real client, with a real budget, with a real team or architecture and architectural technology students. The project has also been accepted as part of the 2019 Architecture Fringe. School culture is an integration of the built environment disciplines within a self-contained setting that is not too large and has the ability for lecturers and students to know each other and disciplines to mix and share their expertise with one another. Many of our modules do this throughout our course where we collaborate with the architecture, building and quantity surveying students. Jonathan Strachan

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Alumni: Architectural Technology

Alumni I graduated from RGU with a firstclass honours degree after studying Architectural Technology from 20102014, giving me a great start to my professional career and directed me down the route to becoming chartered. As part of my four years of study I gained a work placement in third year. This developed into a part time position throughout fourth year and led to a full time position after graduation. Working as an Architectural Technologist at Inspired Design & Development Ltd in Stonehaven I was exposed to a large number of projects, ranging in scale, budget and complexity. I worked there for six years and was involved in the bidding of projects, conceptual design, detailed design, tenders, contracts, on-site delivery, site inspections and project handovers. This experience provided the perfect platform for

working through the CIAT professional assessment to becoming a full Chartered Architectural Technologist. I have kept a strong working relationship with the university, being invited back to end of year presentations and to participate in the studio sessions. Latterly I am now an ad-hoc lecturer within the Architectural Technology course which is a particularly rewarding position to hold, as well as working full time in practice. Being an active member of CIAT has also been key to my professional progression and has been vital for making some very valuable contacts within the industry, both locally and internationally. I am the CIAT aspirATion group Chairperson - an initiative set up by the institute to inspire students, graduates and recently chartered

Alumni: Architectural Technology

members to participate in the institute. This has been great to be involved with as again I get to meet with members of the institute from all over the UK and globally. Recently I was invited to present at a CIAT event in New Delhi – ‘Introducing Architectural Technology to India’. This was a great honour to be asked to such an event and it is the start of a really interesting time for links to Architectural Technology in yet another country. Recently I have taken on a new position as an Architectural Technologist at Cumming and Co. in Aberdeen. This role is in a larger practice that and it will see me involved in larger scale projects throughout the UK working with more advanced software to assist with delivering more complex projects. Since graduating there isn’t a week that

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passes where there isn’t something new to learn and I am sure this will continue to be the case. The industry is developing quicker than ever and it is key for me to progress with the changes. It’s a very enjoyable role as an Architectural Technologist and every day you are faced with a new challenge to overcome. Studying Architectural Technology at RGU is a great opportunity to learn the key skills needed to enter the industry, and the links the university has should be explored. Jamie Yorkston Cumming and Co.

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Article: The Integra House

The Integra House

The Integra House, built in Tyrie, near Fraserburgh, is designed to offer a genuinely affordable and a low-energy concept for rural living by applying the roof truss concept to the whole house including walls, floors and roof. The design rethinks an existing product in a new construction concept for rural living. Roof trusses are the most common and cost-effective way to build roofs in the UK. The Integra House took this well-understood concept and technology of truss manufacturing to design a new truss type which will provide the super structure and building envelope for the entire house. The design utilises a blown woodwool insulation solution to meet the ‘breathable’ wall construction, as well as meeting the very low-energy standards in a cost effective manner. The wood-burning stove, which sits

in the main living area provides the majority of the space heating for the home, with an innovative natural heat distribution concept being trialled. This development proves that an innovative and energy efficient and healthy home is possible on a low budget and this affordability has not been achieved at the expense of architectural design or construction quality. By using innovative methods for the construction of the Integra House, we have been able to address these problems and create, what I believe, is a viable, affordable home regarding both the capital and life-cycle costs. The design enables a reduction of operations on site and the time spent erecting the structure while simplifying the processes involved. Truly sustainable architecture

Article: The Integra House

“a genuinely affordable and a low-energy concept for rural living” embraces not only ecological and energy considerations, but also economic, societal and aesthetic aspects, all of which are reflected in this affordable rural house project. It stands as a joint initiative by the university and the Construction Scotland Innovation Centre (CSIC) exploring innovations in affordable rural housing. It responds to advances in building technology and changing social and cultural patterns. In coming years, the social and environmental impact will continue to grow, expanding into new focus areas and transforming the way we think about current housing challenges. Our multi-disciplinary housing research, relevant to the region, that involves aspects of regional development, environmental performance, health care and well-being in rural and regional communities.

Our research focus and engaged agenda are already making positive impacts on individuals, communities and industries across the region. Our applied research impact is apparent in improved industry processes, regional and economic development, productivity and innovation, social advancement and equity as well as healthier communities. Professor Gokay Deveci Professor in Architecture

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Construction Management

Digitisation, new methods of construction, and low productivity are only some of the challenges facing the industry. Future construction managers need to develop creative solutions to face up to these issues. This course has been developed in close collaboration with industry and the professions with these challenges in mind. The aim of the course is to develop students’ knowledge and understanding and equip them with the skills necessary to manage the complete building process from inception, through construction to the maintenance of the asset. Students are also prepared for the dynamic and commercially competitive nature of the construction industry from a project management perspective. New digital skills including BIM are progressively introduced as a key part of the students’ skill-set. Teaching is directly informed and guided by new industrial developments as well as by research carried out by experts within the School. During the current academic session construction management students engaged in several live projects which included regular input from practicing construction managers and project engineers. This was accompanied by a series of visits to live construction projects to contextualise learning and prepare students for professional practice. Tahar Koudier Undergraduate Programme Leader

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Construction Management: Stage 4 Project

Stage 4 Project

Construction Management: Stage 4 Project

Students undertook the role as an external Construction Manager working for a Design and Project Management Consultancy, advising the Client; the Aberdeen Harbour Board. This advice related to the design and construction of the proposed Harbour Expansion Project located in Nigg Bay, Aberdeen. The historical context of the Aberdeen Harbour development had to be evaluated, as well as the effectiveness of the management of design and construction of this complex project. Supply chain appraisal involved caisson construction in Spain and rock supplies from Norway, which are logistically challenging activities with environmental implications. Alan Watson Lecturer

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Construction Management: Project

Aberdeen Harbour Expansion Aberdeen Harbour is one of the UK’s busiest ports, handling around eight thousand arriving vessels a year. Five million tonnes of cargo for a wide range of industries worth approximately £1.5 billion is annually processed at Aberdeen Harbour. However, in recent years the harbour has not been operating at its full capacity. The growing trend for new, larger multi-purpose vessels has created a demand for deep water harbouring, which the current Aberdeen’s facilities cannot fully accommodate. The purpose of the project is to expand and diversify the capabilities of the current harbour whilst maintaining current operations. The proposed new harbour will be able to facilitate large cruise ships, support off-shore

renewables and decommissioning of oil rigs. Aberdeen Harbour has been shaping the development of Aberdeen since the 12th century, when King David I was granted the trade privileges of the town. Up until 19th century the harbour was predominately fishing industry oriented. However, with the diversion of the River Dee and accompanying improvements by Thomas Telford, the harbour could now accommodate larger cargo ships and ship building docks. The requirement for modernisation came with oil & gas discovery in the North Sea and associated effective and efficient supply chains in the 1970’s. As the new harbour project is designated a nationally significant development, the project is part of the government’s National Planning

Construction Management: Project

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(Dragados, 2019)

Framework (NPF3). This is further aligned with regional and local strategic planning regimes (Aberdeen City and Shire Strategic Development Plan 2014 and Aberdeen Local Development Plan 2017). Public consultations were integral to the process, in order to gain full and proper planning permission. The main contractor is therefore responsible not only for the new harbour construction but in addition delivering enhancements to the local area. Such community improvements involve infrastructure, amenity, open spaces and connections. The environmental impact and its corresponding assessment for the complex scheme was given high priority. At initial design stages, several technical considerations were

evaluated. Species of fauna and flora could be negatively impacted due to the construction activities such as underwater blasting. Birds, fish, shellfish and marine mammals occupy the Nigg Bay area. Although the environmental assessment concluded that the majority of impacts will be negligible, several mitigation measures were implemented including “bubble curtains” to reduce the consequences of collateral damage form blasting. The project utilizes the NEC3 Contract, ensuring all stages of the project lifecycle are fully considered. The Harbour design was influenced by many factors, from which the most significant were safety, environment and economy. Physical and Building Information Models (BIM) proved effective design tools to

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Construction Management: Project

(Dragados, 2019)

predict outcomes. Wave simulation technology helped to shape the design of quays and breakwaters. Pre-cast concrete prefabricated caissons were constructed in Spain, floated over to the project and submerged in their location. Rock armoury from Norway and local quarries were sourced. A new precast concrete factory was constructed on site to produce the large volume of concrete Accropodes required to protect the harbour from weathering. The Aberdeen Harbour expansion is both challenging and complex. Yet it is also a highly interesting project due to its uniqueness, not least in the inter-country solutions required, but also its opportunities for the local supply chains and businesses during construction and thereafter.

The development looking forward will have positive diversification impacts on the North East Scotland by increasing the shipping capacity; and will open up space for new marine projects such as off-shore renewables, decommissioning and tourism. Benjamin Brezina

Construction Management: Novus CIOB

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Novus CIOB I am a student representative of the Stage 2 students of Construction Management and a Novus CIOB (The Chartered Institute of Building) representative in Aberdeen. The CIOB gives students the opportunity to register as a student member, and Novus CIOB is a forum for young members of the CIOB which exists to provide a link between students and corporate members. This allows networking, socializing, making new connections in relation to job opportunities, placements and mentoring as we embark on a career in construction, and provides support needed to remain successful for many years to come in the construction industry. I liaise between the CIOB and students within the school. During one of the Novus CIOB visits to RGU in October

2018, it was noted that Aberdeen did not have a branch compared to Edinburgh, Glasgow, and Dundee. I contacted students in the Built Environment, we discussed and shared ideas about the progression of the school and the benefits of having a Novus CIOB in Aberdeen, which many of the students agreed with and showed interest. Based on the number of students that showed interest, I contacted the Novus CIOB committee with the support of David McClean (Head of School), and the request to form a Novus CIOB Aberdeen branch was granted. On the 15th March 2019, we had our first event “Aberdeen Hub in the Pub” which was successful with positive feedback. Bukola Adeoye

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Construction Management: Reflections

Student thoughts My first year studying Construction Management has already been an interesting experience. Studying with the Architecture Technology and Surveying students, and learning the basics together was fun, even if hard at times. The support in the school is wonderful, everyone is kind and we can always go to the lecturers for help. Up to now I enjoyed site visits the most, seeing everything on site made me understand the process of building better. Before I decided to study here Aberdeen was not a city I had heard about. But staying here has been a better experience than I expected, and I enjoy living here. Teresa Hammer

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As a previous Architecture student, I switched to Construction Management in September 2018 as I felt my skills suited that course better. If it wasn’t for the supportive faculty it wouldn’t have been as easy as it was to make the jump. By far the best part about this year for me has been placement, going from being in lectures and classrooms to actually being on a site has been eye opening. I’ve already learned so much about the construction industry and how a site runs from being there. Sophie Keast The final year of the course has been very enjoyable and intellectually stimulating. It is a year where we evaluate and apply skills gained in previous years. By conducting an in depth enquiry in the form of a dissertation and compiling professional reports, we have gained deeper knowledge of the processes and challenges within the industry. As the modules are delivered by experienced professionals and external industry speakers, the course is an excellent blend and thoroughly prepares students for the fast paced industrial environment, which I find very exciting. Benjamin Brezina

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Scott Sutherland School Ball

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Article: Civitas PORTIS

Civitas PORTIS

Building on participation in previous European initiatives, Aberdeen City Council (ACC) and local partners are currently involved in the EU Horizon 2020 initiative known as CIVITAS PORTIS (PORTIS). Comprising the five European cities of Aberdeen, Antwerp, Constanta, Klaipeda and Trieste, the project commenced in September 2016 and will conclude in August 2020. Fulfilling the role of local evaluation partner for Aberdeen, the team here at RGU were responsible for producing the local evaluation plan for the City and now work to ensure that all the necessary data required to meet project objectives is collected on an annual basis. In Aberdeen, local partners are working on a number of thematic areas, including: (i) updating the Sustainable Urban Mobility Plan; (ii) improving opportunities for walking and cycling; (iii) harnessing technology to

enable smart journey planning; and (iv) improvements to freight routing around the City. Working with Professor Richard Laing in the School, in addition to supporting research outputs from the project, my role is to act as a primary contact point for the project within RGU and to collate and analyse the data that ACC and local partners collect throughout the project. PORTIS presents a unique opportunity to trial and implement sustainable transport policies for the region. Local authorities in Scotland are all facing transformative budgetary cuts and funding constraints that impact on the level of service they are able to provide; Aberdeen City Council is no different. External funding sources, such as Horizon 2020, offer local authorities the opportunity to achieve objectives that would perhaps remain unfulfilled in the

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“a greater emphasis on the importance of creating a walkable and cyclable city” absence of additional funding due to revenue constraints. There has been a number of benefits to PORTIS already being seen in the City including: (i) closer links with industry, in particular enhanced working relationships with local hauliers; (ii) a greater emphasis on the importance of creating a walkable and cyclable city; (iii) a return of focus to the city’s Sustainable Urban Mobility Plan; and (iv) a public consultation on the viability of a bike hire scheme for the City. All of these points are also to be viewed through the lens of the changes that the recently completed Aberdeen Western Peripheral Route has meant for transportation in and around the City. Originally, it was predicted that there would be a 33% reduction in traffic through the City. If accurate, these reductions in traffic flow allow

for creative thinking in making a more walkable and cyclable urban core, with preference being given to pedestrians and cyclists over motorists. From a personal perspective, there has been a number of highlights of the project to date. A key part of PORTIS from RGU’s perspective is the emphasis on producing high quality research linked to the project. As part of ongoing work within PORTIS, RGU is currently engaged in a collaborative research project with Nestrans to understand the experiences and needs of cyclists in both Aberdeen City and Aberdeenshire. Over 350 questionnaire responses were received and interview data from over twenty individuals has been collected and a report on the research is forthcoming this year. It has been

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Article: Civitas PORTIS

exciting to see the interest in the research, from both those who cycle and organisations such as Cycling Scotland, Cycling UK and the local authorities. Another highlight in the PORTIS journey to date has been the constituting of Grampian Cycle Partnership (GCP), a representative organisation for all of those who choose to cycle in Aberdeen City, Aberdeenshire and Moray. The inaugural meeting of GCP was held at RGU in September 2018 and GCP has since gone on to agree a constitution and to begin work promoting the benefits of cycling for all in the North East of Scotland. Cycling continues to be increasingly popular across the North East for all ages and abilities and the goal of GCP is to work with others to develop, promote and support cycling and to work towards making

Aberdeen City, Aberdeenshire and Moray even more welcoming to cycle in than they are currently. Also, being given the opportunity as a researcher to work with the MArch students and to see the impact the PORTIS project has had on their thinking around transport and urban design will feature as an enduring highlight of the project. The need for cities to be sustainable means that the success of our cities now and in the future will rely on an integrated approach to urban design across the built environment and other professions. The level of engagement with PORTIS and understanding of the wider sustainability issues surrounding our evolving cities demonstrated by the students was visible in both their coursework and in a successful presentation given by the students to

Article: Civitas PORTIS

local partners in the PORTIS project. The feedback provided about their presentation was a credit to the students involved and an important indicator of the connection between teaching and research in our School.

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health challenges that Aberdeen faces. The health benefits, both physical and mental, of increased levels of active travel in the City hold the potential to benefit every citizen through improved levels of wellbeing and reduced levels of obesity, cardiovascular disease, diabetes and preventable cancers. The creation of a walkable and cyclable urban environment remains key to these ambitions and PORTIS represents an important step forward in the City’s transformation and the normalising of cycling as an efficient and healthy mode of transportation for all.

In terms of project outcomes and the wider project legacy, from a professional perspective I hope to be able to report back to our European partners that ACC and all the local partners have successfully achieved their project objectives and also to be able to demonstrate the tangible impact that PORTIS has had on the City. From a personal perspective, I hope Caroline Hood that the legacy of PORTIS is twofold: (i) a city that is more willing to engage in imaginative and innovative thinking when it comes to sustainable transport; and (ii) that increased levels of walking and cycling will impact on the public

Architecture Stages 5+6 Unit 1

Unit 1 continues to explore a possible future for the City of Aberdeen. It is focused on the creation of a resilient city and the potential for new residential buildings to underpin thriving urban environments. This work responds to the national need for new housing and proposes an alternative to the usual suburban development. It builds on the work of previous years which looked at Union Street, The Denburn Valley and the old fishmarkets beside the Dee. Stage 5 are looking at a new masterplan for the whole beachfront, between the harbour and the River Don. The project proposes a new living edge with a dense urban realm behind it, that is knitted into the existing street pattern. A mix of housing, commercial, cultural and leisure projects form the individual elements within this strategic masterplan. Stage 6 have finalised their proposals for the north edge of the harbour – from Market Street to Footdee. ‘Reclaiming the Waterfront’ proposes an idea that the creation of the new harbour in Nigg Bay will move the centre of gravity of the existing harbour to the south and allow its northern edge to be reinhabited by the city. The quayside can become a real part of the urban life of the city and the development behind it a vibrant place to live. Neil Lamb Course Leader

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Living Edge “we live in a further period of change today”

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Aberdeen’s life has always been dictated by its relationship with rivers and the sea. In the past, the main lines of communication were by sea between Aberdeen and the south or more commonly to Baltic and mainland Europe. This association has always undergone changes and indeed we live in a further period of change today.

improved the legacy of public spaces in the city. That the boom period of oil extraction may have brought about wealth, but that wealth has not trickled down to the city itself. As we move into a period of decline in the industry, the city needs to prepare sustainable plans for a post-oil economy that ensures a successful future for the city.

Despite being on the coastline with a harbour located at its heart, Aberdeen has always had a somewhat reserved relationship with the sea, suggesting the nature of how the sea was regarded by previous generations. The city is set back from the coastline and is separated by a strip of ‘machair or links’, bound by sand dunes and a golden sandy beach.

We believe that Aberdeen’s waterfront has the potential for development that we have explored in our group masterplan. From identifying what we have researched to be the key needs, we developed a plan for Aberdeen, titled ‘The Living Edge’. The Edge as an architectural strategy is used to define the boundaries between urban and natural, as a method of connectivity between the two, but with the wider benefit of future-proofing our coastline.

There is a growing realisation that the bounties of the past fifty years has not

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“defining a new urban edge to the city can improve our connectivity with the landscape” A series of moves across the site have been implemented in order to connect the city and sea, enhancing permeability through green access routes, promoting a healthy lifestyle for the betterment of our city. We believe that creating a greener, more walk-able city will enhance the well-being of the population.

As a method of defence, we have introduced a new offshore ‘Living Breakwater’. The artificial reef takes the full impact of the waves, meaning the effects of coastal erosion will be reduced. This has allowed us to modify the existing sea wall into a more gradual and natural slope, further enforcing the accessibility between land and sea. We believe that our city An increased density of housing follows needs to be fit for the future and that the lines of these routes enforcing this our new coast defence strategies will edge and promoting new affordable defend us from sea level rises. housing close to the city centre. A newly designed ‘Complete Street’ runs Stage 5 parallel to our routes of permeability across the full length of the site, where we have proposed the introduction of a new Autotram transport network running on green energy. Defining a new urban edge to the city can improve our connectivity with the landscape as well as increase density.

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1. Jamie Parish 2. Lorna Robertson 3. Sam Kerr 4. Alistair Lea 5. Sophia Rusinova 6. Pat Kong

Architecture Stage 5 Unit 1: Projects

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7. Jordan Devenny 8. Violeta Vasileva 9. Wang Yanze 10. Craig MacKenzie 11. Basia Walicka 12. Stuart Alexander 13. Zayn Afzal

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Architecture Stage 6 Unit 1: Research

Reclaiming the Waterfront

“reclaim the harbour for the public and to create engaging new spaces”

Architecture Stage 6 Unit 1: Research

Historically, Aberdeen has been fortunate in its ability to capitalise on an abundance of valuable natural resources - fish, granite or latterly oil. But as finite resources dwindle, the city is now challenged with developing alternative economies, attracting investment from beyond and cultivating an attractive environment to stimulate activity. As a city that turns its back on the water, the project hopes to shift public space back to the waterfront. With the downturn in the oil industry and the new harbour at Nigg Bay, an opportunity is presented to reclaim the harbour for the public and to create engaging new spaces. In order to maximise impact on the site, four new zones with their own character were established, the

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aim being to introduce people to the water. These zones spread out from Castlegate through the site, to Footdee linking the area. In order to connect these four zones, the harbour front (Trinity Quay, Regent Quay and Waterloo Quay) has been widened and prioritized for public transport, pedestrians and cyclists. Accessibility and improving the transport infrastructure is a key theme throughout the masterplan. The unit’s priority was to alter the perception of the waterfront, making it more desirable and accessible in a bid to create a safer, more active and tourist friendly environment. The vision was to recreate a thriving public space on the harbour edge, shifting the emphasis of public space back to the water. Stage 6

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Architecture Stage 6 Unit 1: Project

“A warm, safe haven within the cold, windswept edge of the harbour”

Architecture Stage 6 Unit 1: Project

The H2 Haven Patrick Harris

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“Re-envisaging industrial heritage with tourism”

Architecture Stage 6 Unit 1: Project

Brew Hotel Fay Stables

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Architecture Stage 6 Unit 1: Thesis

Revisiting the Waterfront “bringing residents, tourists and business into the area”

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The coming of oil was a blessing and a curse for Aberdeen Harbour. Before oil, the area was dense and lively, with people promenading along the waterfront, almost within touching distance of the ships coming into the harbour. But now, it is a different story, with imposing fences blocking any route to the water and what little public space there is, cars dominate, further isolating pedestrians and cyclists.

buildings in the area and filling in the gaps. This became the centrepiece of the redesign, with everything behind it designed to support the harbour edge, bringing residents, tourists and business into the area keeping it lively and exciting. Put simply, the harbour redesign is made up of a “served” waterfront full of business and leisure and a “serving” backlands with industry, housing and community space.

The two main aims of the project expanded on this, imagining a future where the working life of the harbour moved to the south, freeing up the north edge to be redensified and refocused around pedestrian life, creating a route from the city centre to the fishing village of Footdee (“Fittie”).

Jamie Christou Patrick Harris Cerys Mitchell Thomas Proctor

A hard waterfront was introduced, making use of much of the existing

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Architecture Stage 5+6 Unit 1: Study Trip

Gdansk

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“the Amber City, broadened our knowledge both architecturally and politically.” While looking into which city to choose for Unit 1’s study trip, Gdansk was always one of the top options, however no one fully understood its true significance until we got there. As Gdansk is a port city heading towards its post-industrial years, we thought visiting such a location was a great opportunity, due to its similarity to Aberdeen, to learn from the city’s example. One of the most significant aspects of Gdansk’s history is that the first shot of World War II occurred in the city, indicating its importance to the rest of Europe, and the effects of the conflict were noticed throughout our visit. The war also lead to the destruction of a huge portion of the city centre, which was completely refurbished in a way which demonstrates Dutch, French and Italian influences. With a mixture of guided tours and wandering around the city

centre, outskirts and nearby areas, Gdansk - also known as the Amber City, broadened our knowledge both architecturally and politically. Visiting the WWII Museum and Solidarity Museum helped us learn about the history of the city as well as the design of such important monumental buildings. The designs complimented and embraced the stories being told while also acting as landmarks, noticeable from a distance, signifying the importance of these buildings. The trip was one of the most worthwhile visits I personally had during the course as we were educated in far more than architecture. Jamie Christou

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Architecture Stage 5+6 Unit 1: Reflections

Student thoughts The course at Stage 5 has been unlike any other year so far. Working on a city masterplan as a group of almost twenty was almost disastrous at times but the opportunity to work at such a large scale was new and exciting to us all. When we put our heads together we worked as a great team. This year’s studio project has been a chance to step out of our comfort zone and push the boundaries of design. It’s become an opportunity to be bold and innovative and to find ourselves architecturally. Jordan Devenny

Architecture Stage 5+6 Unit 1: Reflections

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I find the informal and social nature of The Scott Sutherland School the most critical aspect of student life. It allows studio to be a friendly environment facilitating close bonds between fellow students, making it easier and more interesting to discuss and interact with your work. This paves the way for close-knit friendships to develop over your time as a student, making studio a co-operative environment where it’s easy to get help from fellow students, sharing tips and tricks to help you develop your work. Alistair Chikwawawa

The best part of the Master’s degree programme is that you can choose the direction and style of your project based on your own interests. The studio environment is engaging, active and you are motivated to get involved in many different activities and develop various skills. Sophia Rusinova

As a final year student at the university I’m beginning to look to employment within the architectural field and which architects’ practices would suit me best. As part of the master’s degree I have been able to investigate areas of design that interest me, and learn about detailed design focused on the users of the buildings and how the creation of space betters the user. The time spent learning this aspect of architectural design in university will help me in architectural employment, as I can apply what I’ve learnt at university to real world projects. Benjamin Muir

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Article: Drawing in a digital world

Drawing in a digital world I like pencils. There is something about the soft way the lead (well… graphite) leaves a line on the paper that I have always enjoyed. The pencil has such vast possibilities of delicacy, of texture, of dark and light or thin or thick that can be achieved all with the same simple tool. As a student I drew a lot in pencil – latterly on smooth white detail paper and using a Staedtler clutch pencil with H or HB lead – (2H on trace) – but occasionally softer when shading patterns of shadows and light. The clutch pencil could be constantly sharpened in a small barrel sharpener – never the one in the end of the pencil as this sprayed graphite powder everywhere if you were not careful. The drawings had to be spotless and I would constantly wash my hands, my set square, scale and anything

else that touched the surface, to avoid smudging. Tiny pieces of card would help keep the parallel motion off the surface of my A0 drawing board. We had no heating in our flat so in winter we had small portable Calor gas heaters - mine sat under the drawing board to keep me warm – looking back that was probably a risky strategy amongst all that paper. These drawings took many hours, many days sometimes; every element drawn painstakingly by hand. I had my own style of trees, my own way of drawing a WC or a basin – never a template; techniques to do hatching or tile patterns where you learnt to move the set square over a few millimetres at a time without measuring the movement but managed to get it equal. This was all about practice, care and attention and the craft of making the drawing. Once finished the detail

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“the greatest strength of all in the pencil is its immediacy”

sheets were mounted onto card for the final presentation – this had to be done by the copy shop to get a proper bond. I still have those drawings (apart from some A0 size boards from my diploma that were destroyed by a water leak – still a source of regret) stored in the loft but never discarded – I remain proud of them. I didn’t always use pencil – sometimes another technique seemed more appropriate to the scheme. Crayon on tracing paper was popular in the early years - the translucence of the trace made the crayon glow on the surface. Sometimes Rotring pens on tracing (which was then still what one used in the office if you had a summer job) or sometimes film for a super-technical feel – if you have never seen drafting film it was like tracing but heavier and invitingly smooth – the ink used to flow

like silk on to it – although bizarrely it wore away the nibs really fast. In each case the approach to crafting the drawing remained the same, developing a style that you could use and repeat and which fitted the style and aspiration of your project. There was of course no digital option. CAD systems were in their infancy when I was a student and slow and cumbersome and used by nobody. If you wanted a 3D image or representation of your scheme you had three options: to sketch it; to laboriously project a single or, if you were good at it, a two point perspective; or to make a model – cutting each piece with a scalpel, gluing and assembling them and adapting them as you went along.

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Model making still happens of course – although perhaps too often as a presentation rather than a development tool – and now with all the power at your disposal of laser cutting from CAD and 3D printing. For ‘perspectives’ the possibilities of Sketch-up, 3D imagery and full colour renders and photo-montages are almost limitless. In his recent lecture to 57°10 Ulrich Königs talked about the value he still places in his office on sketching - on making the first lines and ideas in pencil and that this is the only real way to make and develop those first moves in a design. I could not agree with him more. For all I have described the possibilities of the immaculate finished drawing the greatest strength of all in the pencil is its immediacy. An idea can be explored, shaped, adjusted and

discussed without the pencil lead ever leaving the paper. You can mould and shape a form or a plan or a section whilst you speak – perhaps even to yourself – if a line feels in the wrong place just draw it again a bit further over, on top of the old one. Hatch a bit in to emphasise mass, leave a piece out for transparency, lay over another sheet of trace and do it again, refining it as you go. You can doodle a 3D diagram, a room, a space and all of this can be done at a table, in a train, a cafe or the pub – the design process integral to your life - your project sitting in your brain forming itself in that immeasurable space. The pencil and paper allowing others (and perhaps yourself) to see what you are thinking. The computer is an amazing tool. It can draw, model, change, repeat and present everything and can tell you

Article: Drawing in a digital world

everything you need to know about what you have drawn and what it looks like. And yet somehow, for too many students, it seems to remove an understanding of scale and size. If you have worked out the size of a room using your senses, a scale rule and a pencil there seems to be a greater connection with how big it is. When asked you might just be able to tell us its dimensions or draw a bed within it and make a judgement about the amount of space around that bed before you pin it up. You can make a sketch-up model of your building in a day and then give me any image of it in a second but how do you make a judgement about what you have made – is it good because it is drawn in three dimensions or is it actually an interesting and inventive space full of light, complexity and elegance? This is about the idea of crafting a building and of developing an understanding of space and scale in every line you draw. Even the most basic pencil drawing should still have a rough idea of scale. Developing that ability to draw to scale, to test an initial idea quickly and carefully, to draw it for an initial tutorial or review is a key skill in every architect’s life. Yes, a 3D CGI may be the thing that grabs a headline but for most clients to have their building or spaces drawn for them before their eyes is of far greater value. The computer for all its limitless possibilities is a drawing board – yes, a

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more sophisticated one than my giant board with dangerous semi-integrated heating system – but a drawing board nonetheless. My heart sinks when students say ‘I’m going to put it into Revit’ not because you should not use or be proficient in the current technology but because I know that all too often I will see lifeless technical drawings which do not show the potential of the building or the craft of drawing it. The drawings you present should be illustrations of your project that demonstrate what you are trying to achieve - your idea of space and form, scale, texture, the impact of light and shade and perhaps most of all - the place of people. Use the computer – of course – but do it with invention, wit and care, as if you were drawing the project by hand. In their recent RSA Metzstein lecture Yvonne Farrell and Shelley McNamara of Grafton Architects praised the value of the sketch: ‘...a tiny thing that can hold a huge building in its few lines’. In a conversation about the limitless and extraordinary possibilities of digitalisation I would ask you to hold three words in your head – ‘remember the pencil’. Professor Bill Black

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Article: Dissertation

Dissertation Can design support social capital? When given the chance to research any topic within architecture, I found that I was more interested in people than in the physical makeup of a building. The primary thought behind this was all spaces, structures and buildings are designed for us to use, rather than admire, so I based my research on how design influences or impacts those within a space or environment. My dissertation allowed me to compare city and housing design throughout the world and investigate how design, or lack of it, has helped or hindered the communities within. This interest in designing for the user fed into my studio work, where spaces and how I could better them for the user, were considered in a new light. Benjamin Muir

Is gender inequality in UK society the cause of gender inequality in the UK construction industry? The construction industry is inherently male dominated; gender representation generally hasn’t improved over the years despite numerous campaigns and drives to encourage more diversity. I am interested in gender equality as a wider topic and my findings look at some of the challenges the industry has in the wider context of UK society, including the current barriers preventing women entering or remaining in the industry. The dissertation has enabled me to develop my research skills and explore the subject matter in more detail, which in turn has enhanced my understanding of gender politics in UK society. Leanne Mackenzie

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“all spaces, structures and buildings are designed for us to use, rather than admire” The Exploration of Proportional Techniques and the Resulting Volumes in Palladio’s work.

The Visual Bias My dissertation explored the visual bias within architecture and solutions on how to solve this. This revolved around the exploration of whether there could be a blind architect (there is one) and other examples of professionals who had lost a sense relevant to their field (eg. Mozart).

The idea of geometry in architecture has always intrigued me. With some research, I managed to narrow this down to the exploration into a correlation between the role of heights in the proportional definition of individual rooms in Palladio’s work. His work has stuck with me since first year All this research led to some realand it felt only right to explore how the world workshops with fellow students he designed such resplendent buildings. involving blindfolding them and testing their design skills while “blind”. The Many authors established correlations test subjects responded well and felt between the dimensions in the plans they had learned something about the of Palladio’s designs, but few comment way they designed but unfortunately on the overall volumes found in the I haven’t seen anyone else doing buildings and the relationships of the drawings while blindfolded since then room heights to their plan dimension. so it wasn’t a complete success! Kirsty Lucas

Patrick Harris

Architecture Stage 6 Unit 2

Unit 2’s aspiration is to explore architecture provoked by this word ‘home’ - a word that is expansive in meaning compared to its neighbours, houses and housing. A word both broad and intimate. The unit encourages students to explore contemporary issues and how these contribute to the idea of home, yes, table, hearth and bedchamber but also beyond. The idea of coming home, of leaving home, perhaps as a traveller, or as one in more unfortunate circumstances, displaced by economics, social upheaval, climate change, or war. The idea of feeling at home in a city or neighbourhood. The idea of being welcomed home. Each student looked at imaginative architectural solutions to problems identified through group explorations surrounding the provision of homes. Topics investigated included; globalisation, legislative barriers, affordability, transport, density, and the impact of extreme weather driven by a changing climate. Then addressing the question of how these homes might make good neighbours and how they might contribute to the life of cities. While grappling with these difficult issues we were keen to cultivate architecture that understands the importance of designing for human beings, their quirks, obsessions, and above all else their desire to have a suitable home. Tim Bayman Lecturer

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(RGU, 2017)

HOME “The exhibition acted as the forum for all of our research to come together” (RGU, 2017)

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(RGU, 2017)

The starting point for our individual housing projects was a semester of group research into the issues facing housing today and the role architects can play in solving those issues. We began this research with the question: Can architects solve the housing crisis? Whilst that question is brief, it requires an extreme depth of knowledge in order to even begin to answer and over the course of the semester our research tackled a wide range of issues. Each of our projects is a response to these issues both in terms of the brief but also the location. The approach of focusing on a particular typology as opposed to a specified site has led to a diverse mix of proposals across the world, that address a range of issues from co-living to housing an aging population.

This semester of research culminated in a number of outputs, such as: a zine featuring opinion pieces on the state of housing; a database of exemplar housing projects; case study models of housing types across Scotland and most notably an exhibition that was featured at the 2018 RIAS Convention. The exhibition acted as the forum for all of our research to come together into a cohesive whole, which gives a wider picture of the issues and opportunities in mass housing that acts as a platform for our individual housing projects. Stage 6

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Architecture Stage 6 Unit 2: Project

“Landscape is the rug, architecture is the picnic”

Architecture Stage 6 Unit 2: Project

Granton’s Artist Hub Alaa Beruwien

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“Forward thinking construction for progressive living”

Architecture Stage 6 Unit 2: Project

Thinking Outside the Bloc Stuart Campbell

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Critically Engaged

Our two-year masters began with a semester of group research. This research into mass housing formed the initial issues and topics that we wanted to explore in our individual design projects in semester 2 and 3. In semester 4 we had the opportunity to evaluate our design projects considering our initial investigations and to explore these issues further in our final thesis projects. As we undertook this initial group research we were encouraged to not only critically engage with a range of issues but to also challenge ourselves with how we express our research and explore our designs, leading us to create paintings, posters, poems, videos and even a textile piece as well as more typical architectural drawings and models. This creative act of forming a material response to our findings

was key in allowing us to engage the research from a design perspective. The process of research-based design is not necessarily a new one, but it was a fresh challenge for us to begin our design process not knowing where or what our projects would be until we were nearly a semester into our masters and even then, our own design journeys weren’t exactly straight lines. In many ways our research came as a challenge to the current architectural climate, to the ways the profession has allowed itself to be shut out of the majority of house building in the country. We believe that there is great potential for architecture to create better places to live, from the scale of a handrail all the way to the designs of our cities. That architects have a role to play in all aspects of this, from policy making to community

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“our research came as a challenge to the current architectural climate” involvement. In order for that to happen we as architects need be willing to get involved in all aspects of housing. We are all deeply invested in wanting to create beautiful spaces, but the arguments for how these spaces would or could be created needed to be investigated as rigorously as our design. Each of us discovered an interest from the research that we formed a brief for a housing project around. These varied from adapting a derelict gasholder into an artist’s hub, to creating floating homes and eventually a house building factory on derelict docks in Glasgow. Once developing our designs in semester two and three, the fourth and final semester allowed us to return to the initial research questions we began with and explore further an aspect that we had discovered on this two-year journey. I personally had

the opportunity to investigate smaller scale policy-led urban regeneration after designing a council-led adaptive reuse project, but others in the unit explored different issues such as the importance of green space, the potential for landscaping to re-mediate contaminated land and challenging concepts of urban density in Edinburgh. As we near the end of the course and prepare to enter the profession, it is both daunting and exciting at the same time. Our education has made us critically engage with the issues that society currently faces and we now understand the problems and possibilities around them. We go into the industry well-equipped to make change. We now just need to make and take the opportunities provided. Owen Clark

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Architecture Stage 6 Unit 2: Study Trip

Copenhagen

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“There is a seamless connection between the architecture and nature” Each year in the school brings an opportunity to explore a new city and in this, our final year, we travelled to Copenhagen. The growth and popularity of Danish culture has resulted in the expansion of the city and the creation of new housing districts, making it the ideal location for us to visit, as housing is the focus of our masters unit. We explored a multitude of these districts from the new housing district of Nordhavnen, the floating urban rigger designed BIG and the self-build commune of Freetown Christiana, each notable in their own way. Despite planning our short time in Copenhagen with a focus on housing, for me the most significant building we visited was the Louisiana Museum of Modern Art.

Twenty-five miles north of the city, the Louisiana Museum has an architectural hype around it that is hard to avoid as a student of architecture. Although it is home to some interesting and impressive examples of modern art, it also demonstrates that the building itself can be a piece of art. There is a seamless connection between the architecture and nature, travelling through the permanent exhibitions the building encouraged the exploration of the gardens alongside the interior spaces. Although further from the main attractions of Copenhagen, Louisiana exceeded our expectations and provided a fleeting break from the busy city centre. Eilidh Smith

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Architecture Stage 6 Unit 2: Reflections

Student thoughts From the moment I stepped into the Scott Sutherland School, I found friends who shared the same passion as me, people from different backgrounds but with their eyes looking in the same direction. For me, what we have here in our school is rare. We are no strangers to each other, unlike some other courses. Our community was formed naturally, as a result of our mutual efforts to maintain the architectural culture in the North, by organizing various student events and networking with each other and with architects from around the globe. After spending six years on this course, I can say that I feel well-prepared and professionally trained for what awaits me in the future. Debora Dimitrova

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Stage 6, although stressful, was my favourite year. It really pushed my skills to the limit, and allowed me to find a style and an architectural expression. The lecturers also made this journey enjoyable, always pushing and challenging, allowing me to find my niche and what’s important to me about my project. In the end I found myself in a place of satisfaction, not necessarily because of how my work turned out, but the realisation I had explored a variety of advanced architectural nuances in great detail, contributing to my overall growth as a designer. Alaa Beruwien Our education in The Scott Sutherland School is not only about getting our degrees, but it’s about creating a community and exploring a culture which will stay with us and follow us even after we leave the school. The studio is not only our working space, it is the place where we socialise, have our breaks, meet with our friends and have fun. It’s the space where we spent most of our days and so it’s important that it gives us the sense of a “second home”. That is why the studios maintain an atmosphere of mutual respect, where we are able to share our ideas and passions but also have our own personal space. Nikolas Nempis

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Article: In Emergency, Break Glass

In Emergency, Break Glass

(Dunlop, 2018)

The course of architectural education has changed in universities. The pursuit of knowledge for its own sake was once encouraged. Today, critical engagement, open enquiry and allowing graduates the freedom to think is being driven out by the profession’s apparent need to create office ready employees. While it is important for students to learn basic office skills, the teaching of administration and project processes is the responsibility of the profession not the role of schools.

It is important that practices retain strong links with education and forge connections with students, and in my experience Master of Architecture graduates are bright and capable and learn quickly, so should be able to leave university confident that they can secure a long career in architecture. However, in order to respond to today’s culture of low fees and low pay, there is pressure on schools coming from the general profession to make architecture graduates able to deliver professional skills right away. This means that more MArch teaching effort is diverted into administrating business, legal and client protocols rather than beautiful and insightful design. I believe that my role as a professor of architecture is not to help students find a job – it is to teach them what it is to be an architect. Architecture is a learned

Article: In Emergency, Break Glass

“I have promoted free thinking and open enquiry, taught the importance of history, social responsibility and of context” profession and must always remain so. In my own units at Scott Sutherland, I have promoted free thinking and open enquiry, taught the importance of history, social responsibility and of context and developed students as creative thinkers, who also have the expertise and knowledge required to make buildings of worth. This approach has produced many young architects of real value to the profession, now successfully holding senior positions in major, international practices. I have also taught the importance of drawing by hand, throughout my time at Scott Sutherland. While digital drawings can communicate a great deal of information, they often fail to provide the completeness of vision that a hand drawing relates. With each pen stroke the image and meaning of a project are revealed and reinforced, communicating not only the essence

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(Dunlop, 2018)

of an architectural proposition but also the resolve, disposition, and identity of the architect. There is a certain naked honesty to a hand drawing that digital drawings often conceal, resulting in a flatness and regularity that may excite the imagination and senses, but rarely ignites the soul. “The creative process is a path of discovery. The hand makes drawings and arrives at solutions before the mind even contemplates them.” - Glenn Murcutt Murcutt is right, architecture is a creative process and the path of discovery best undertaken through hand drawing. The computer is a tool, intended to support the creative process but now often replaces it. Moreover, the drawing and the handsketch relay an architect’s intention

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Article: In Emergency, Break Glass

“When done skilfully, a drawing communicates with an undeniable clarity” (Dunlop, 2018)

in a way that digital representations cannot. When done skilfully, a drawing communicates with an undeniable clarity. The delicate weighing of value and the subtle balance between elements to create a harmonious drawing reveal an unmistakable deliberateness. The process of creating the drawing, of an idea vibrating to the surface of an architect’s mind and being expressed through the hand, invites the viewer to connect and engage at a level that is difficult for the digital drawing, AutoCAD, Vectorworks or whatever else to attain. For Louis Kahn, perhaps the greatest architect of the 20th century “The importance of a drawing is immense. Put simply, it is the architects’ language.”

We no longer seem to talk about poetry and beauty in schools of architecture. Instead, sustainability, environmental awareness and technical competence are considered more important. There is no agreed architectural canon nor core teaching today in UK schools, nor work by architects and exemplar projects that considered to be fundamental to student education. Students don’t seem to read as much and are just as likely to be influenced day to day by website images via their mac than any rigorous investigation or questioning of a body of work. It is the questioning and true critical engagement that is important and what we appear to have lost and that I have tried to counter. Professor Alan Dunlop

Article: In Emergency, Break Glass

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(Dunlop, 2018)

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Alumni: Architecture

Alumni I joined Foster + Partners five years ago as an artist within the Design Communications team, which is run by Senior Partner Narinder Sagoo. After completing my master’s degree in the unit led by Alan Dunlop, I joined rural Scottish practice Annie Kenyon Architects (AKA). Here I learnt how to liaise directly with clients and understand the process of how to get things built through an appreciation of materiality and its impact on the wider environment. At this stage I was on the more traditional career path with architecture. However once I joined Foster + Partners, my role became very different. Having met Narinder through a hand drawing competition I had entered, I was offered the opportunity to join his team to produce early stage hand drawings. As this was my real passion I didn’t hesitate to accept the role.

Within four and a half years of joining Foster + Partners I have become an Associate Partner within the Design Communications team. As a team we are built of twenty highly creative individuals responsible for all artwork and visual representation of the practice’s projects; from initial sketches to photo-realistic artwork. We focus on creating and designing the unbuilt reality through relationships with the environment with a strong focus on storytelling. Working with every studio in the practice, we draw as a way of questioning and communicating the design and its ideals. Our artwork is intended to connect our clients to the emotions and feelings of a place, focusing on the user and how the space is inhabited. This for me is very similar with how we worked at university; working in small teams each with different skills to build a

Alumni: Architecture

story around our architecture, breaking down a project into its key conceptual element and adding more detail and complexity as the project developed. A key component of our work is to deliver artwork in which the style of communication is reflective of the design stage of the project. My role specifically is to lead these smaller teams to create a visual direction to best communicate the concept of the project. This can involve me producing a variety of artwork; diagrams or loose sketches that simplify the design concept, quick sketches and storyboards which later inform the photo-realistic artwork, digital paintings which capture the light, life and 3D space to tell a story or captivate the client’s imagination as well as final detailed hand drawings of the schemes for presentation. Our

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work-flow is heavily inspired by the film industry, particularly their approach to storytelling and their use of concept art to inform the final image or scene. One of the biggest things that has helped me during my time at Foster + Partners is the skills I learnt during my time at university. Whilst the hand drawing unit was very challenging, it taught me to think conceptually and push the boundaries of design, whilst learning to understand how to break this down and communicate the architecture into simple sketches before producing detailed drawings. It is amazing to think that in essence this is my role today…it just happens to be at one of the best architectural practices in the world! Emma Gibb Foster + Partners

Architecture Stages 5+6 Unit 3

For a second year now the richly layered landscape and settlements of Orkney have served as the frame and setting for the work of Unit 3. Refining and completing the work they commenced last year, Stage 6 have given full form to proposals that take their cue from the influx of tourists that visit the islands; they have fleshed out their ideas for places of cultural exchange, their caravanserai of music and history, craft, archaeology and storytelling. Meanwhile, Stage 5 have taken living in Orkney as the source of their speculations. They have explored how the main settlements of Kirkwall and Stromness may be developed to offer a larger, perhaps newlyOrcadian population a dwelling place in keeping with the human, hand-made scale of these towns. Where to live, and how; and what to do for a living. They propose housing in walkable environments with nearby leisure and water sports facilities. They consider renewable energy sources, research into the environment, the politics of the Arctic, humble local shops and the essential fire station. These and other varied and careful thoughts make up this Unit’s work in Orkney. David Vila Domini Lecturer

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Architecture Stage 5 Unit 3: Research

Orkney: The Resident

Architecture Stage 5 Unit 3: Research

The Orkney Islands are set apart from the rest of Scotland, having their own unique and rich history and culture, played out against the backdrop of the island’s unique geography. Located off the north coast of Scotland, the islands are characterised by their low lying, undulating landscape. Encircled by the North Sea and Northern Atlantic Ocean, the waters surrounding the Islands are often rough and volatile.

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There have however been recent innovations on the Islands, in the development of renewable tidal and wave energy production. Acting as a test site for the development of these technologies, Orkney now produces over 100% of its electricity needs and has become an area of interest for companies internationally.

Our challenge is to capitalise upon this interest by further integrating In recent decades young locals have innovative technologies and lacked the opportunity of long-term methodologies into the islands career prospects on the islands, with infrastructure and industries. We aim the islands economy still relying heavily to ensure that Orkney can support the on agriculture and tourism. This has led everyday lives of the residents and to many leaving to find opportunities play a leading role in the fight against elsewhere. This combined with the climate change. Creating a model for islands aging population has resulted in self-sustaining rural communities that Orkney’s depopulation, placing stress can grow, develop and adapt with the on the funding for public services on the changing needs and circumstances island. affecting the people within them.

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Architecture Stage 5 Unit 3: Research

“Creating a model for selfsustaining rural communities that can grow, develop and adapt” We will be implementing the following into our proposed masterplans for Stromness and Kirkwall.

Encourage active-aging and general wellbeing by establishing walk-able urban environments.

Island Growth Benefitting from Orkney’s current position as a gateway to the Arctic to increase industry and employment.

Tackling climate change Further incorporating of renewable energy sources into building design, cutting carbon emissions and energy costs.

Provide a mixed typology of affordable housing. Expand industry and employment already on the island, supporting creative and entrepreneurial endeavours. Caring for the Elderly Mandate housing schemes to include housing for the elderly providing independence within communities and have communities play an active role in their care.

Mixing building typologies to ensure efficient and appropriate development, freeing land for further agricultural development and food production on the Islands. Creating a comfortable urban environment, creating shelter from the wind and storm surges which are becoming more prevalent. Stage 5

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Architecture Stage 5 Unit 3: Projects

1. Sophie Macaulay 2. Robert Coutts 3. Shehan Heguragamage 4. Krasimir Banchev 5. Claire Milnes 6. Antony Cheung

Architecture Stage 5 Unit 3: Projects

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7. Neil Macalister 8. Daniel Mattioli 9. Dobromir Georgiev 10. Ross Munro 11. Meghan Rasmussen 12. Kirsty Douglas

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Architecture Stage 5 Unit 3: Study Trip

Orkney

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“to fully understand a place, you must go and experience it for yourself” The study trip to Orkney proved to be a valuable experience for several reasons. Notably by developing our understanding of the islands, their history, culture and environment. Before visiting Orkney, members of the unit had their own preconceived ideas of what the islands were like, based upon the initial research that we had conducted, along with our own individual experiences of rural areas. However, upon visiting Orkney, we were able to develop a broader and more rounded understanding of the islands, which reinforced the notion that to fully understand a place, you must go and experience it for yourself as books and online resources won’t do it justice. Our visit to the Pier Arts Centre, by Reiach and Hall Architects, reinforced the importance of our understanding of place in the

design work to come. The design of the building carefully references the historical and physical context of Orkney, creating a building that is distinctly modern yet engages with and compliments the area in which it sits. Furthermore, our trip to Orkney provided an excellent opportunity for the members of Unit 3 to be reacquainted with one another after our year out, strengthening existing and forming new relationships between members. The trip allowed for students who previously hadn’t really engaged with each other to converse and share in experiences, which would play a crucial role in helping members become more comfortable with one another, allowing for the unit to effectively work together upon returning to Aberdeen. Ross Munro

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Architecture Stage 6 Unit 3: Research

An Orcadian Caravanserai “a place to generate mutually beneficial exchange between cultures.”

Architecture Stage 6 Unit 3: Research

In the past, Unit 3 has concentrated its gaze on Aberdeen, initially exploring the eastern seaboard, the wonderful old town and the western landward margins which are currently being redefined by the Aberdeen bypass. This year the studio has strayed north from Aberdeen, shifting the setting for exploration of these themes to the Orkney Isles, with the ambition to generate compelling design ideas through collaborative group work and to later produce individual responses to these themes. The unit also proposes to look into the more specific topic of tourism during their research as this is an area of charged debate not only for Orkney but globally too. Orkney’s residents have a strong sense of identity pertaining to the

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Islands’ unique history and remote location. Meanwhile, the seasonal visitor population has increased greatly, consistently breaking volume tourism records for Orkney year on year. Unit 3’s studio project seeks to bridge these two distinct halves with architectural intervention. To begin, in-depth research and analysis was conducted into the possibility of a contemporary ‘Orcadian caravanserai’ – a place to generate mutually beneficial exchange between cultures. The core questions raised during the research phase encapsulate the social, cultural, environmental and historic spheres surrounding the Orkney Islands, providing a focus to direct design intent. Stage 6

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Architecture Stage 6 Unit 3: Project

“An Orcadian Cabinet of Curiosities”

Architecture Stage 6 Unit 3: Project

Stromness Museum Chester Kendell

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Architecture Stage 6 Unit 3: Project

“Floating on the horizon”

Architecture Stage 6 Unit 3: Project

Stenness Archaeology Research & Education Centre Dale Leith

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Architecture Stage 6 Unit 3: Thesis

Orkney Exhibition

We live in a time where a significant proportion of the world’s population can afford to become a global tourist. In recent years Orkney’s role within travel has dramatically changed with the archipelago itself becoming the destination. The seasonal population is increasing year on year with the population of the island multiplying by almost six times when the cruise ship docks at Hatston Pier. This number shows no signs of stopping with over 140 ships anchoring in both Stromness and Kirkwall between the spring and autumn this year. The visitor is thus becoming rooted in the cultural and economic landscape of Orkney.

implications, both positive and negative, of an ever-growing tourist industry, in which the artificial takes precedence over the authentic?

Over the course of a two-year master’s investigation a series of architectural interventions have been proposed with the aim to enhance the experience for visitors whilst maintaining the everyday intimacy of the island community, culture and place. The projects are based on an exploration of the poetic through careful observation and reflection on space, materials, landscape and light; aiming to celebrate the real, the everyday and the quotidian. It is important to recognise that Orkney is a functioning entity in its The island has many historic landmarks, own right with the visitor, for the most many of which are world heritage part, being a very beneficial addition sites, it is provoking to think however for the economy of the island. It is about what are the social and cultural imperative to acknowledge however

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“The projects are based on an exploration of the poetic”

that there is not a suggested hierarchy of the visitor over those of the settled communities of the island. Upon completion of the projects we wanted to take this back to the island in the form of an exhibition in order to provoke meaningful conversation and contribute to the island realising their immense potential in regard to the tourism industry. This exhibition will distil two years of intense research around the prospects of the island, both on a global and local scale. Displaying projects based on an immersive investigation into culture and the everyday, coupled with sustainable growth around an expanding tourist economy. It is the primary aim that the exhibit will benefit both the community and local authority whilst creating momentum and excitement for real projects to come. It will allow

for the opportunity for real public engagement and discourse around our work creating connections with the Architecture School and Orkney for future development prospects. The exhibition is a celebration of community and will attempt to broaden the outlook of Orkney’s future. Through a series of explorative architectural interventions that sensitively cultivate the tourist industry, we discuss the important Northern geographical position of Orkney in a potentially prosperous yet uncertain climate. Rachael Maclean

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Architecture Stage 6 Unit 3: Study Trip

Venice, Verona, Milan

Architecture Stage 6 Unit 3: Study Trip

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“Expanding knowledge, developing attitudes and building friendships.” Every year we embark on a study trip, who have shaped the world in which but this one was a little different. It was we study. Each tutor sharing their our last. insight, excitement and stories of their first visit to the same spots as This year we visited Venice, Verona students, what their tutors taught and Milan. Although the purpose them, how things have changed. In of our study trips has remained turn, they have enabled us to compose constant, the way we have engaged similar stories ourselves. with them has matured. From merely participating to rigorously planning, Only now can we see how our travels feeling overwhelmed to completely continue to shape our perception and encapsulated. Study trips have been knowledge. The experience of being fundamental in shaping our experience present, moving through spaces and of education. Not only have they given touching surfaces. These tangible us the opportunity to visit places we feelings cannot be represented in otherwise wouldn’t, they’ve provided images. Reflecting upon our last six us with a platform for exploration, years has reinforced the significance and orchestrated the evolution of of these fundamental moments on our close friendships outside the studio growth. Above all, our study trips have environment. taught us to keep travelling, as much as possible. Our tutors curated each trip to allow us to experience the work of architects Karla Duncan

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Architecture Stage 5+6 Unit 3: Reflections

Student thoughts For the past six years 5710 has provided a welcome break from studying. The lectures - and of course the cheese and wine which followed – are always an anticipated event in themselves. Nonetheless, the opportunity to attend a post-lecture meal with the guest speaker is invariably a highly appealing possibility. Throughout my six years I have been fortunate enough to attend a number of meals and have repeatedly found them to be thoroughly enjoyable. I have had the opportunity to speak to a variety of professionals from across the world in a relaxed, intimate group setting which is undoubtedly an extremely unique and privileged experience exclusive to SSS students. Sarah Broadhurst

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Moving here as a direct entry Stage 3 student was a bit challenging, aside from the culture shock, it was a different learning system I had to understand. It didn’t take too long thanks to the help of my tutors and the course structure that encouraged an open studio style, working in design units, sharing ideas and presenting design proposals to team mates. These experiences built my confidence and prepared me for my placement year and life in a work environment. Ifechukwu Okwuosa The first semester began with the undertaking of rigorous research focused on the topic of living and working on the islands of Orkney. After the completion of this research I felt reasonably confident I had a good grounding of knowledge to begin designing. After our research, however, we travelled to Orkney on a study Thesis opened my eyes to the fact that trip during a particularly bad storm in which the winds were around 70mph. architects have a habit of gathering We spent three days travelling around data; be it images, texts or objects the incredibly beautiful yet extremely - like the thieving magpie – retaining exposed island wrestling with the wind this encyclopaedia to later recall upon that was so strong at one point it blew for inspiration. My investigation has taught me to allow art to influence my a car door off its hinges. And I think architecture, giving myself the freedom that was the most dramatic lesson I’ve to explore different avenues and deliver learned on the importance of the site my project at a more considered whole. visit. Since then I have put particular emphasis on wind resistance within my individual project design. Ross Hampton Claire Milnes

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Article: Prospect North

Prospect North

I was very pleased to be asked to write a short piece of text to under the title, Prospect North. The idea of North has always been a core aspect of Unit 3, helping us to shape our speculations on an architecture that is concerned with the everyday and the marginal. The north suggests an architecture, of simplicity and directness. It evokes a way of building that is unpretentious and pragmatic yet at the same time the north can draw out a rich, poetic response from the architect in terms of space, light and material. The addition of Prospect adds further to the richness of ideas that are contained within their coupling, Prospect North. Prospect is a wonderful word. Prospect means on the one hand, view, outlook or vision and on the other hand, prospect, is concerned with hope, possibility, expectation and chance. It is also a verb, to prospect, to seek or to mine.

Rannoch Moor Sheep trintles a wisp of wool buzzing fly - Kenneth White I have always been drawn to the north, particularly the north of Scotland. A yearning that stemmed from family holidays in wild places, camping, walking, fishing, paddling, drawing always drawing, lying in the heather, eating smoky bacon crisps which in those days seemed so exotic and luxurious, they still do. As a child you lie close to ground, you fall through grass and bracken, the occasional sting from a nettle or thistle, the chirp of a grasshopper nearby but always out of reach. As a child you have a real sense of earth, you know its smell and dampness intimately, of rock, its

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“I have always been drawn to the north, particularly the north of Scotland.” hardness and warmth in the summer sun, the bleached white and yellow of lichen. These memories are deeply etched in my psyche as I am sure similar memories are in yours. The north, as described by the wonderfully erudite scholar and writer Peter Davidson is a place of the imagination, a cruel place of snow and ice, harpoon and flesh, claw and tusk. But the north is also, a white land, a place of purity and clarity, of the sensuous, fur and ivory, crystal and amber. When do we lose our early acute understanding of the world? When do deep inner feelings lose out to the intellect? Why do we view the senses as vulgar, as childish, in our sophisticated adult world? Is it when we get seduced by the authority and

language of our noble profession, by earning money, by making a career? In losing access to our deep-felt sensibilities we lose the ability to make great architecture. By great I mean architecture that causes you to pause, to reflect, to feel. Architecture that is part of an everyday life. Architecture that touches you. Northern Prospects Our sense of north however is being challenged. Global warming is having an obvious effect on how we think about the north. There are the physical effects, of course, of rising seas and changes in weather patterns. The ecological balance is being increasingly affected. There is a general softening of the ground both physically and metaphorically.

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Article: Prospect North

Forest without Trees

peregrination is concerned with Northern Prospects. The geographic to the north the land hardens location of The Scott Sutherland it meets and challenges the eye School is significant. It is the most sandstone, gneiss, quartzite northerly school of architecture in windswept and empty the UK. In terms of the north it lies on the periphery of its southern edge a desert of wide skies and in terms of the south it lies on rock and water, a sparse cover the periphery of its northern edge. of purple moor grass, deer sedge Strategically therefore it is in a critical the light-loving dwarf juniper position. The prospects of location are - Thomas A Clark good. The north has yielded up oil, wind and wave energy generation and in the near future fast sea trade routes across the world. Routes once blocked by sea ice are now conceding passage. Our sense of an impenetrable wasteland, a last wilderness, the redoubt of an untrammeled imagination, is being diminished and defiled. The context for this northern

However, the future of architectural practice in Scotland is precarious, but then it always has been. Practice in my experience has been a series of highs and lows, great euphoria when something goes well to terrible depressions both financial and mental when faced with an indifferent culture. Scotland is not prepared or able to

Article: Prospect North

invest beyond the minimum in the funding of projects be they private or public, witness the furore when a project is adequately funded e.g. the V&A or the Scottish Parliament. Politically architects struggle to find a voice in a culture that plays lip service to quality and a civilized, cultured debate. The bottom-line drives Scottish and UK culture. The talk of Brexit is all about financial trade, but the greatest loss is the loss of cultural trade, the exchange and free movement of people, ideas and research. Prospect of a vision However, architecture comes out of new alignments and crossings, connections and often chance. The great architect reads the territory, be it political, social or financial allowing their work to be located at the crossing of these forces. We can navigate this difficult and demanding contemporary terrain. Our training and positive outlook enables us to take advantage of the circumstances of a particular time and place. A context that is always political, always financial, and always physical. Prospect of hope and possibility The very good news is that there are many wonderful architects making great work today that is born out of austerity, hardship and indifference. A couple of shelves in my bookcase reveals a new generation: Anne Holtrop, BAST, Bruther, Arrhov Frick, 51N4E, LAN, Bovenbouw Architectuur, GAFPA, noAarchitectecten, Lopez

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Rivera, OFFICE, Harquitectes, not to mention a legion of Swiss architects and an older generation that includes Arno Brandlhuber, Lacaton & Vassal, Robbrecht en Daem, Marie Jose Van Hee, Tony Fretton amongst many many others. Then there are the wonderful architects from South America, Peru, Brazil and Asia, Vietnam, China, Japan. They all offer us their imagination and ideas. Prospect to seek ‘’Dreams don’t take up much room. It can be a tiny place but it’s important to have it. Because the dreams are there. You just have to free them.’’ - Jonathan Lamy Any architectural project is an opportunity, albeit subject to many heavy demands and frustrations, to uncover or mine those childhood senses that lie just below the surface. Senses that are concerned with being human, with being endowed with remarkable skills of empathy, imagination and intelligence. If you can recall and harness these in your work as an architect, you will create buildings and structures that not only support and shelter people, they will also affect them deeply, almost as much as smoky bacon crisps can. Professor Neil Gillespie OBE

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Alumni: Architecture

Alumni projects and others, in which we have completed a large number of projects all around the UK and abroad.

Andrew Megginson Architecture is a contemporary practice, based in central Scotland that was founded in 2008.

My first AMA project was in second year of university. My uncle approached me and asked if I could get planning permission and a building warrant for a set of double doors and alterations to a property in Aberdeen. From then on I have always had a project on the side whilst at university.

At AMA we feel architecture should be used to improve people’s lives. For that reason, we draw people in to our designs from the start. We aim to produce designs that respond strongly to cultural, contextual, historical and landscape settings. AMA’s current and previous work includes new homes and home refurbishments, alterations and extensions, leisure and commercial

At the end of university, I decided to continue working on my own business as my client base began to grow. I was then approached by a mutual friend of Murray Yeoman, senior partner at Yeoman McAllister, who was looking for Part II architectural assistants where I applied and got the job. At first, I felt very lucky and happy to be part of such a large practice with the kind of projects

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“designs that respond strongly to cultural, contextual, historical and landscape settings.” they were involved in, at the same time, I was working on my own business. After being there for three years I soon began to realise that it was not for me. I worked on some great projects and gained some great experience but there were too many issues that outweighed this. I then decided to leave and fully go on my own. Since leaving Yeoman McAllister, AMA has grown very rapidly. AMA advertise very little with the majority of commissions through word of mouth. At the start of this year AMA have already gained many commissions and at present have staff working on various projects due to this. We will possibly be seeking an architect to join us at director level so that the practice can become a chartered architectural practice in the near future and then expand from there.

Studying architecture at RGU was a great experience and although I wasn’t the best student it taught me a lot, not just about the profession but generally in many aspects of life. I am grateful for the university staff’s time and guidance which has helped me get to where I am now. Andrew Megginson Andrew Megginson Architecture

57°10 Architecture Society

The students at the Scott Sutherland School of Architecture started 57°10 in, rather like today, challenging times. Higher Education was being squeezed, there was a lot of talk around the closure of Architecture schools and London’s economy was relatively speaking so vibrant that you felt that working there would be the ultimate test you would have to pass. All of that was happening at a time when there was no internet, airfares were more expensive than fares today and the vast bulk of students at Scott Sutherland were from the North East of Scotland. Given that context it would be easy for the student cohort to feel on the edge and to take what was given to it. The Society has grown considerably since its humble beginnings, but I believe that the active participation of Students in setting the agenda, organising events together, being close to great architects/designers/thinkers is as strong and as important as ever. It is perhaps even more relevant today than it was when it started, because Architectural education has been squeezed constantly during 57°10’s history and the financial pressures on students is ever greater. I know I learned a great deal from the taking part, quite apart from attending lectures. It is after all an opportunity to take ownership of your education and to look outwards at a time when society is looking increasingly inwards. Willie Watt Nicoll Russell Studios

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57°10: 30th anniversary

On the surface this same purpose - broadening the discussion of architectural discourse within the school - still exists however the society has undoubtedly evolved. Thirty years on from Willie Watt and David Anderson’s hopeful fishing line cast into an ocean of Architecture, hoping to lure just a handful influential architects to the peripheral corner of Scotland, Aberdeen. 57°10 has established itself nationally, attracting guest speaker series that rival institution led and sponsored events from the likes of the RIBA.

We agreed that in such a monumental year, the future direction of the society was to stay true to a fundamental core, that the success is not measured from a commercial aspect but is rather down to the student members at the Scott Sutherland School. The time, the buildings and the people always change - this is inherent - but the independent drive that students at Scott’s School possess for knowledge and social interaction, is somehow transcendent and our agenda should be to reward them for their efforts, continually resisting this squeeze.

Inheriting leadership of 57°10 a year ago, we had to step back and evaluate this purpose once more. Only when you are responsible for something developed over thirty years, do you look at 57°10 and even try to comprehend some of its achievements.

Dale Leith Hugh Fish

57°10: 30th anniversary

Year after year, the branding and graphic identity for the society becomes ever more important as interest reaches a larger audience, this year has been no exception to this. The duty of the yearly re-brand hopefully showcases the skills and personality of the students currently responsible for managing the society, which creates a graphical legacy and back catalogue that we can be proud of.

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and advertising the lecture series line-up. These models never fail to flatter our guest speakers and always provoke interesting conversation about design and representation through tangible / physical objects - sometimes an aspect of architecture school that can be taken for granted with such convenient access to digital means. The showcasing of modern tools with traditional crafts has hopefully been of interest to those working in the profession and the students starting their educational journey to understand that there is always a place for models in this now digitally prevalent industry.

Prior to the start of the 2018/19 academic year we meticulously planned, drafted and designed our own logos, templates, invitations and our always popular poster series. With yearly growing interest and opportunity Stuart Campbell the society brings, Aberdeen Society of Architects and Robert Gordon University generously funded the making of a new model series that would work as content for exhibiting

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57°10: 30th anniversary

The society isn’t just the students that turn up every week but those who might be on their year out in America or the alumni that have moved to London or simply the student that couldn’t find the time to go downstairs to the lecture theatre. The introduction of a podcast where we could sit down with our guests each week was our attempt to bring together the far-flung

society members and allow them to take part in the excitement, if only for a brief fifteen minutes interview that hopefully captures not only something of the guest’s ideas but also of their personalities, an ever important aspect of the 57°10 experience. The last question every episode, to tie them together in a way separate

57°10: 30th anniversary

lectures never could, was always “What stop would you recommend on a Grand Tour?” The map above shows the result. It would be an impossible and expensive tour of course, and no one person is likely to visit every stop but hopefully when you look at the map you might realise that you too have visited someone’s favourite place in the world and feel a connection to

them, no matter how small. After all, isn’t that what a society is all about? Patrick Harris

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57°10: 30th anniversary

We wanted to showcase how the society works, the collaboration and talents of the committee, its resources and reputation, to produce something with a sense of permanence about it. That celebrates the school in this specific moment in time. This larger architecturally driven theme is what the founders were striving to bring to Aberdeen. We have marked them in the society’s history now, on the brink of yet another squeeze. Testament to this was only weeks ago, when the society was honoured with RGU:Union’s, Society of the Year award for the first time in its existence. As we hand the baton over, we have a sense of fulfilment. However, we feel whatever hardship the profession and education may face, the society is still always going to be about cementing memories of your

journey at the school. The off camera moments every Thursday; living between the juxtaposition of receiving an academic presentation on the deterioration of school design in the UK from Nick Hayhurst, then three hours later dancing in an Irish pub singing and helping him eat his takeaway food on the way back to the hotel. Or discovering that Fergus Fielden after a few pints is rubbish at stop the bus, yet he is operating one of the most intriguing small practices in London. Or beating Joe Morris at pool, even though it would be impossible to compete with the beauty of his practice’s model making skills. This is what 57°10 is. A platform for controlling your education and gaining a unique experience in a profession that can seem so uncertain. Dale Leith Hugh Fish

57°10: 30th anniversary

The future of 57°10 is now our responsibility. We must grow and develop its legacy, provide it the resources to nourish the new blood arriving through the universities’ architectural artery. The society must adapt to the continually expanding industry. Architecture is a vastly collaborative field of study. Throughout a career you never solely work alone on a project. If our society is to reflect, truly, the experience within our profession, diversification is indispensable to its future success. Inspiration from other professions within our industry can improve us as architects, not solely the individual but to the institution of architecture as well. Diversification shouldn’t just deal with who we approach as a proposed speaker either, it can also be in the ways we

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communicate within our technology driven world. For example, broadening the use of all our social media platforms is important for the further inclusion and reach of our society, as it is the way many communicate and is the most influential tool to use at present. Additionally, increased activism from all years within the school is a diversification theme we should strive for to get the best possible outcomes for everyone. The society, we feel, is about creativity and growing in ourselves with the invaluable wealth of information that year on year comes through Scott’s doors, therefore, why not get as many people involved from within our school and within our industry as we can? Rachael O’Donnell Lorna Robertson

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Article: Digital Craftsmanship

Digital Craftsmanship Architecture the past 20 years has seen its field eroded by allied professions or even not so allied professions. As the basic art that provides structure and form to our world it has seen its name used by many other activities that do not have to do with the physical world. At the same time, beyond the digital, in the physical, architects find their discipline eroded by bureaucratic devices of procurement, or narrow minded definitions of architectural practice. At the other end of the spectrum, the emergence of a new category of architects, for example computational designers promise the optimum scientific shaping of architecture. Other alternative practices of architecture that have emerged, for example the design of video games or virtual and augmented reality experiences, the architect can develop pure architecture unshackled by the

physical and regulatory constraints. In the physical environment, alternative architectonic practices also include reclaiming responsibility for shaping the built environment, as architects start to develop practices that include themselves in design and build, or single procurement mechanisms - or as product designers of complete pods of living. Innovation is the underlying narrative when architects reclaim responsibility for the built environment. Innovation on how our cities are shaped, on how our projects are managed, on how energy is embodied and managed in our designs, and innovation on how we design, digitally, or otherwise, is the key strategy that allows architects to refresh their toolset and engage in 360 degrees with the challenges of tomorrow.

Article: Digital Craftsmanship

Within a profession that is inherently conservative, risk-averse, and slow in changing, it is amazing that we are still discussing within schools of architecture and within offices, in binary terms of either drawing by hand or either drawing by computer. Very conservatively, the argument a lot of times comes with reservations on what kind of advantages and disadvantages the computer or ‘the digital’ has, but also with the understanding that when things are done by hand, one thinks, while when things are done by the computer, one produces. In a sense, it reminds me of a discussion I had with a former boss, Nikos, who called my laptop ‘Joe’ as I was doing everything on the computer. I realised talking with him, that he did not actually mean the specific machine. He called ‘Joe’ the software-hardware construct but also what I made with the computer. The action and the thinking that I constructed through the computer was personified to my boss’ eyes as this supraentity called ‘Joe’. For my boss, ‘Joe’ was a magic entity. Initially I thought my boss did not like computers, but then I realised the opposite was taking place. He did not understand them, but he appreciated what ‘they’ did, He really wanted to learn, but a busy practice would leave him with understanding digital craftsmanship as ‘magic’. Within the discipline of Architecture, the craft of making buildings, the practice of digital design brings forward again 19th century craftsmanship: we are able

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not only to create multiple variants of an architectonic solution, but we can also make them valuable, with unique customised characteristics fit for different scenarios that fulfil the needs of our clients. To accomplish this, architects develop systemic processes that have to take into account larger urban contexts, ideas borrowed from project management, a scientific appreciation of how a building performs environmentally but also how to orchestrate complexity by using digital design. Within these computerised, global practices, the development of processes, of the “knowhow” of how to achieve a specific spatial feature or architectonic spectacle, becomes essentially the identity of the practice. The architect by pushing pixels and vectors, produces and makes unique architecture, hence unique value,with the intention to produce it at the price tag of industrial production. We need therefore to shape architects as digital craftsmen, that know how to set a tool bench, understand sequences of processes, digitally, and know when to push or not against the feedback the material gives them. Dr Theo Dounas Learning Excellence Leader

30 Years Festival

As students of Architecture we’re always challenging and exploring ideas of the macro and the micro - the large scale and the small scale. The Thirty Years Festival had the ambition to celebrate both the overarching achievements of the 57°10 Architecture Society and the school, along with the individual student moving on to their next venture. The Thirty Years Festival featured a series of events over the course of a weekend; A lecture and workshop by world-renowned Architect Brian Mackay-Lyons. The Big Crit and then the Stage 6 Architecture exhibition, ‘Future Communities’, held in Aberdeen city centre. It was a moment to reflect and comment on the changing nature of architecture and education within Aberdeen. But primarily it was a celebration of the fantastic achievements of both the 57°10 Architecture Society and the students of the Scott Sutherland School. Chester Kendell

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30 Years Festival: Nova Scotia meets Scotia

Nova Scotia meets Scotia We welcomed Brian MacKay-Lyons to Aberdeen as the final guest of our anniversary talk series and our tenure as the presidents of the 57°10. It was a once in a life time experience delivering our bespoke architectural workshop, A Moment of Pause alongside him and open up an insightful discussion about architectural fundamentals with the participating students. That same evening we were all captivated by Brian’s talk, Economy as Ethic, about his practice. For me, his presentation provoked a re-revaluation of how far one can push the boundaries of regional dialects in design and a renewed definition of what sustainable design actually means. A local man conversing on a global scale about the idea of place making, Brian spoke of the rise to fame of the Ghost workshops as well as Shobac residencies he has created in Nova Scotia. Venturing from the

farm and familiarity, Brian continued to show how his ethos, even in unfamiliar surroundings - Utah or Dhaka, is still about trying to create a common piece of architecture that is engrained into its context and continues that specific places’ narrative. Some truly incredible projects were shown. Eager to impress in the following days of his stay, we tried to pull together an itinerary to showcase Aberdeenshire. We sat thinking how we could entertain an architect of such revere? We pondered, Nova Scotia - New Scotland. This idea dwelled on our minds. Perhaps we should instead help him discover more of Old Scotland. We soon understood that heritage was not only something Brian enjoyed in his work but also in his recreational time. Travelling around Aberdeenshire

30 Years Festival: Nova Scotia meets Scotia

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“ to create a common piece of architecture that is engrained into its context” we walked around Balmoral Castle and its picturesque grounds; the sleepy town of Ballater; took an in-depth tour of Craigievar Castle and pleasant wander through old Aberdeen, Footdee and Stonehaven. Even the weather played ball. All these historic buildings with narratives and stories were well received by our guest. There have been many moments important to us this year, but our morning in the haar at Dunnottar Castle might resonate with me the most. The castle possesses that particular archetypal quality Brian had talked about, an example of prospect and refuge. It was a magnificent and educational experience to walk among the ruins and hear the specific things about Dunnottar that Brian found interesting, something I won’t soon forget.

Architects often forget to be human; a contradiction as we spend so much time thinking about what human needs are. The opportunity to informally speak away from the studio and tutors allowed us to break the barriers as well as the pretentiousness of architectural conversations that often arises when trying to level with a guest academic. We discovered an invaluable lesson that even infamous figures can be humble people and Brian was still very human. Departing north from the school, to the Orkney Isles, for the remaining few days, Brian’s set to continue his voyage through history. We are certain that the Neolithic sites he will visit shall influence him and we look forward to seeing the results in his future work. Dale Leith

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30 Years Festival: BIG CRIT

(RGU, 2019)

BIG CRIT

(RGU, 2019)

30 Years Festival: BIG CRIT

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“it is an opportunity to publicly celebrate the students’ work” (RGU, 2019)

In its eleventh year The Big Crit is the established end of year event for the Scott Sutherland School of Architecture and Built Environment. Organised by a team of fifth year architecture students and lecturer Gillian Wishart, it is an opportunity to publicly celebrate the students’ work. The day-long discussion sees students from all stages present a range of projects to open a platform for debate. This year’s panel of architectural critics included Professor Neil Gillespie, Professor Alan Dunlop, Sandra Denicke-Polcher, Akiko Kobayashi, Pascal Flammer, and Brian MacKay-Lyons.

work, giving positive and constructive feedback to develop and take their projects forward. Throughout the day lively discussions were formed around numerous topics, from small creative spaces and healthcare design, to large scale masterplans. Once presentations were over everyone was brought together, as the guest critics gave their closing remarks, all highly commended the event as inspiring and engaging. The day was rounded off perfectly with drinks at the opening of the final year degree show and we hope the successes of the event continue for many years to come.

The event provided a fantastic opportunity to see the range of work undertaken from all stages and explore some of the design, construction and social issues tackled. The critics were largely impressed by the students

Sam Kerr

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30 Years Festival: BIG CRIT

(RGU, 2019)

30 Years Festival: BIG CRIT

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(RGU, 2019)

“discussions were formed around numerous topics, from small creative spaces and healthcare design, to large scale masterplans”

(RGU, 2019)

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30 Years Festival: Future Communities

(RGU, 2019)

Future Communities

(RGU, 2019)

30 Years Festival: Future Communities

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(RGU, 2019)

Friday 17th May 2019.

solve the housing crisis.

On that day, twenty nine masters students from the Scott Sutherland School hosted one of the most memorable student exhibitions ever, Future Communities. The Anatomy Rooms in the city centre, which hosted the exhibition, was full to bursting and the company rivalled that of a buoyant Aberdeen FC following. World-renowned Architect, Brian MacKay-Lyons, had travelled over from Canada to open the exhibition and after a poignant opening speech, the drinks were flowing. The buzz about the place that night was electric and the Anatomy Rooms was definitely the place to be. A plethora of work was on show from the future architects, from strategies to regenerate Aberdeen’s waterfront, to sustainable toWurism proposals in Orkney and even ideas to

The exhibition extended to the Saturday and Sunday as well, which gave the students (quite sleepily, after an incredibly unhealthy lack of rest) the chance to present their work to the public. Of course this paled in comparison to their reviews a few days earlier and they all impressed. To the outsider, this may have appeared a glorified ‘knees up’ at the end of the year. But after five years of hard work in university, it was well deserved …and what a celebration of our education it was. Long may it live in the memory. Hugh Fish

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30 Years Festival: Future Communities

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(RGU, 2019)

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Closing Remarks

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Thank you for spending time to look through the 2018 / 19 edition of the yearbook and we hope you have enjoyed the features, information and student work presented throughout. Our focus on our students’ perspectives of the school will have certainly provided insight into their experiences and the creative and collective atmosphere at Scott’s. We also looked forward to possibilities becoming reality through developments in education and the wider profession. It has been a pleasure to collate all the year’s events and achievements in this book and an honour to continue this yearly publication. We trust that the legacy of this year’s book will aid those that follow and that it will be used as a memory of the school’s place within the industry’s present atmosphere. 2018 / 19 Yearbook Team