MA studio handbook

COURSE HANDBOOK 2017/18

MA Architecture MA Interior Design UCA Canterbury School of Architecture // MA Architecture // MA Interior Design // 2017-18

Contents 1.1 Welcome to UCA! 1.2 Induction Week timetable 1.3 What will you be doing?

1.4 Making and research 1.5 Assessment 1.6 Teaching Staff at UCA 1.7 Learning Support 1.8 Units 1.9 Blog and documentation 1.10 Design Supervisions 1.11 Portfolio 1.12 Final Installation and the UCA Summer Show 1.13 Reviews 1.14 Resources 1.15 Study Trips and international visits 1.16 History And Theory 1.17 Thesis Review 1.18 Library resources 1.19 Reading Lists 1.20 Material: online Resources 1.21 Equipment and technical spec 1.22Health and Safety in your work 1.23 Code of Conduct

UCA Canterbury School of Architecture // MA Architecture // MA Interior Design // 2017-18

75 years of Canterbur y School of Architecture

1. 1 Welcome to UCA! Welcome to a year of adventure of your own making. There will be lots of new things to discover. We are pleased to welcome you to the Canterbury School of Architecture and hope you are looking forward to an enjoyable and successful year.

Below is your timetable for key events during the induction week. Your course will start in earnest on Monday 18th September with a 10am briefing and design charette.

School publications

Student life

1962 prospectus

UCA Canterbury School of Architecture // MA Architecture // MA Interior Design // 2017-18

1.2 Induction Week timetable Table 1

Monday

10:00 - 10:30

10:30 - 10:45

11:00 - 12:00

13:00 - 16:00

16:00

Welcome to the Course & detailed week brief

Basic Health & Safety Induction

Course Handbook briefing

Home Stories

Welcome to UCA reception

Foyer

Foyer

Foyer

Crit Room

Main Reception

Tuesday

11:00

15:00

15:45 - 16:00

Activity

TRAK-LAB Induction (with JJ Brophy)

Library and Student Services Induction

Student Union Introduction

Location

Trak-lab

Library

Studio

Wednesday

Thursday

11:00

11:00–17:00

Instant City: inflatable architecture Intro

Instant City: inflatable architecture workshop

Architecture foyer

Architecture 11:00

12:00-1:00

11:00-15:00

14:00

4.00pm-6.00pm

FAB LAB Induction Chris Settle

Enrolment Session Please bring ID and your qualification certificates

FAB LAB Induction Chris Settle

Fresher’s Fair

Wood Workshop Induction (with Simon Nimmo/ Ben Fletcher)

International and EU Welcome Event

Fablab,

Craig Lecture Theatre

Fablab,

Main Building

Wood workshop

Cragg Lecture Theatre

Architecture Friday

foyer, quad

10:00-11:00

10:00

11:00

Sci-Fi Vernaculars Intro

Climates Walk

Crit Room

Meet architecture foyer

Architecture

Making

17:00

18:00

Return to Canterbury

Into Canterbury for a drink

1

UCA Canterbury School of Architecture // MA Architecture // MA Interior Design // 2017-18

1. 3 What will you be doing?

During this course you will be freed to identify your personal lines of enquiry, beginning with observations drawn from natural phenomena, making processes or behaviours that intrigue.

We will mis-use contemporary technologies, referencing current work in the fields of phenomenology, neuroscience, robotics, material studies, art and interactive installations. We will borrow from a long history of artistic representation, narrative performance and craft making. We will hack into consumer culture and manufactured products as and when it suits our agenda. Our work will speculate upon possible outcomes and alternate realities that have been grown from familiar contemporary technologies; but we will do so through an assimilation and expert application of making skills and artistic craft knowledge that is readily accessible in the wider UCA community.

Throughout the year, hands on, 1:1 scale prototyping will be used to design and fabricate phenomic devices and interactive installations of increasing scale and complexity. These will be used as a means with which to iteratively and intensively refine distinctive motive performances, patterns of behavior, novel forms of communication or interaction and manufactured artefacts. You will be expected to demonstrate expert knowledge of your chosen field of interest and complete mastery of your performative outcomes.

Much of your work will exhibit a time based narrative element. It is expected that you will record and document every stage of your making and testing; explaining your manufacturing processes as physical cognition where error or failure is an accepted part of learning. These records will form an important element of your peer recognition and each project portfolio.

In tandem to your prototyping work, you will be encouraged to speculatively draw, paint or simulate as a parallel means of representation of design thought. These exercises will act as an important feedback loop; cognitively dissecting your built artifacts whilst informing and forming subsequent design steps. In so doing, you will learn to extrapolate the outcomes of your prototyping to provoke and disseminate dialogue on larger scale, contextual interventions.

Embodied thinking Process Problem solving Speculation

Creative

Art

Conceptual Critical Narrative Virtual

Technology

Collaboration Developing portfolio Making real scale Virtual realities

UCA Canterbury School of Architecture // MA Architecture // MA Interior Design // 2017-18

1. 4 Making and Research Evolution through natural selection exists as a series of prototypes, the principle of the survival of the fittest following the phenomena of genetic mutation affecting behavior and morphology in a particular ecology. This is a principle of design making and critical understanding fundamental to the development of new work embarked upon, and as with genetic diversity, each maker finds a niche in which to flourish, developing an individual area of interest and expertise. Research develops expertise in a certain, often tiny and anonymous field, and the initial thinking is often identifying gaps in knowledge and practice which will enables mystery to develop a new moment in a field of thought and making.

As research makers we think carefully about perception and future casting, how we as a species might develop in the future, how we adapt to our particular environments as individuals. What about a post-human evolution? We question how our relationship to our environment might be mediated and augmented by technology, about how environments might go through an evolutionary process, adapting to external pressures to responsively change form, shape, colour or other physical attribute, as the fundamental principle of interactive space. As design thinkers on the edges of architecture, we have often to engage with thinking in specialist fields such as 3d-scanning, coding, cybernetics, interactive art and architecture, psychology, biochemistry, material science, behavioral science and particular aspects of engineering.

Often integral to the design process of prototyping and survival of the fittest is the slow increase in scale and ambition as a research project progress, and in tandem with the independent nature of working at odds with typical thinking, working from observation to drawing to model and to 1:1 immersive space, all the while challenging perceived thinking to achieve the most ambitious outcome. The greatest surprises and achievements have often come at unexpected moments, accidents and mutations, which create new and surprising phenomena, new species of space, let us say.

What happens over the period of an intensive research project or design process , what sinks in and sticks as real embedded skill, is often nefarious, glimpsed only by those involved in another context, when challenged anew under different circumstances and we may react more confidently, boldly and with experience. The deepest and most lifelong lessons are then sometimes felt only at a later point, when working in new contexts, the changes, are behavioral, habitual, rather than made of a particular factual learning. As animals, as species, we are inclined both to repose and industry. Often we are encouraged to think deeply, to pause in our lives and motion to let inspiration enter us like a wind. Designing through prototyping, we find the repose and ideal independent thinking occurs in the moment of making, of actively behaving and exploring through adjustment and command, the environment which surrounds us in both raw material of craft and digital potential.

Projects started abstractly then inevitably, sometimes grudgingly, bear a debt to a site, a set of environmental conditions, and have undergone a form of adaption, arguably man’s greatest skill, and perhaps downfall, as an animal, the ability to adapt according to place. In understanding the complex ecological and spatial narratives which surround us, we shift across cultures, textures and materials to encourage a paradigm shift in praxis and attitude to praxis, we hope that our experimentation sinks into us and becomes part of our everyday behaviors for thinking and lucid practitioners moving on, to other, more intricate projects. We hope to develop skills we may have never imagined could hold value or intrigue evolve into mastery of a certain, tiny, niche.

UCA Canterbury School of Architecture // MA Architecture // MA Interior Design // 2017-18

1. 5 Assessment Assessment will be based upon clearly identified criteria that are mapped to the learning outcomes itemised in the unit briefings. Formative feedback will be provided at each review whilst summative feedback will be given at the end of the units.

The assessment for each unit component will be explained in detail in the brief for that component, alongside the contribution of that component towards the final degree classification. All design work will ultimately be reviewed via a final portfolio submission alongside a completed final project output. Portfolios should demonstrate exemplar ordering and presentation of your individual work. They will be based upon completion of all components and all phases outlined in this and all subsequent briefs. Assessment will be based upon criteria that are mapped to the learning outcomes determined in the course specification and learning descriptors. The universities documentation on grading, specifically the common credit framework, to be found on the university website is used for benchmarking the assesment process, and all unit information and Learning Outcomes can be found on the course page on my UCA. Formative feedback will be provided at the completion of each component or unit.

Written feedback should only be seen as a summary. Students are expected to lead in recording more detailed feedback during crit panels. Feedback types for each crit are identified in the overall course programme.

Assessment will be based upon the following criteria, as mapped to the learning outcomes previously itemised and represented by the briefed outputs of each phase: 1. CONCEPTUAL SKILLS Demonstrated through knowledge of theoretical and creative practice contexts, references and methods specific to your area of enquiry and appropriate specialist technical knowledge 2. RESEARCH SKILLS Demonstrated through the practical application of research methods to address questions in your own work 3. TECHNICAL SKILLS Demonstrated through your use of and experimentation with specialist technical skills 4. COMMUNICATION Demonstrated through the communication of interim projects/critiques and a coherent and well-structured project proposal 5. SELF MANAGEMENT Demonstrated through your planning and organisation of exploratory creative practice projects

UCA Canterbury School of Architecture // MA Architecture // MA Interior Design // 2017-18

1.6 Teaching Staff at UCA Lucy Jones Lucy Jones has over 6 years practice experience, she qualified as an architect in 2011 and previously worked at Rick Mather Architects and OMA New York. Lucy has experience of working with the existing fabric of Listed buildings on complex sites, she has worked on multi-programmatic projects, auditorium design, academic buildings, large scale housing and bespoke small scale interiors.

Lucy is particularly interested in the unusual and edge conditions in architecture and this is reflected in her individual research and making interests. She is currently working on projects to develop her experience of the multidisciplinary aspects of spatial design, particularly in the realm of immersive in-situ film installation, exploring different ways in which we can engage with the tactile in our environment. From this interest, Lucy has gained experience of the design and delivery of multi-media installations in settings as diverse as the Nevada desert to five star hotels, from one-off, large-scale, multi screen events to smaller animated models. Lucy has been working at UCA for seven years in both design and history and theory and is currently year convenor for Stage 2 Interior Architecture and Course Leader for MA Architecture and MA Interior Design.

JJ Brophy John Joe Brophy (JJ) is a digital media lecturer and technologist. A graduate of the University of Huddersfield, JJ completed his MA in 3D Digital Design in 2004 for which he received a distinction, as well as the COEDD (Centre of Excellence in Digital Design) Award. In 2006 he co-founded Alchemation Studios, a multi disciplinary media arts and design practice based in the South East of England. JJ is the leader of the Digital Media and Communication specialism across the school, teaching on the BA Architecture, BA Interior Architecture and Design, and the MArch courses. As founder of the CSA Digital Futures Lab, JJ’s research and teaching interests include interaction design, LIDAR scanning and rapid fabrication, specifically how they can become more embedded elements in student design workflows, JJ is also expert in Virtual Reality and manages the virtual reality and motion tracking space at UCA, the Traklab, launched in 2015.

Anna Holder Dr Anna Holder trained in architecture and planning, and completed a PhD in Architecture at the University of Sheffield in 2014, funded by the Arts and Humanities Research Council. Her research centres on developing understanding of the production of space as a socially transformative, interdisciplinary endeavour which brings together the creative and political work of architects with many other professions, as well as activist citizens.

Anna has worked in design practice in the UK and the Netherlands, on projects ranging in scale from domestic conversions to new neighbourhoods. She worked in design research consultancy as part of Prof. Prue Chiles’ Bureau – Design + Research, and contributed to the practice’s ‘Building Schools: Key Issues for Contemporary Design’ book (Birkhauser, 2015). Since 2010 Anna has been a Director at social enterprise architecture practice Studio Polpo, and in this role has been invited to speak on architecture and social enterprise in the UK and Finland.

In 2014-2015 Anna was a Postdoctoral Researcher at Aarhus School of Architecture, Denmark. She organized the international creative practice research conference ‘Making Research | Researching Making’ as part of the EU-funded innovative training network ‘ADAPT-r’, a four-year collaboration between seven creative practice research institutions.

UCA Canterbury School of Architecture // MA Architecture // MA Interior Design // 2017-18

Kim Trogal Dr Kim Trogal completed her architectural studies at the University of Sheffield, including a PhD in Architecture (2012) for which she was awarded the RIBA LKE Ozolins Studentship. Kim is co-editor, with Prof. Doina Petrescu, of the book ‘The Social (Re) Production of Architecture’ (Routledge, Forthcoming 2016). She was research assistant to the Building Local Resilience Research Platform at the Sheffield School of Architecture (2012-15), concerned with bottom-up social, ecological practices across the field of architecture. She was a Postdoctoral Researcher at Central Saint Martins, University of the Arts London (2014-16) before joining UCA in summer 2016.

UCA Canterbury School of Architecture // MA Architecture // MA Interior Design // 2017-18

1.7 Timetable & Learning Support Your registry administrator will be Tracie Money who is available in the registry office.

The registry is the location of all of your physical hand-ins. Please be patient and polite to the staff and respect the hand- in times. You will sometimes need to plan your time carefully to make sure you get your printing arranged to meet those deadlines.

The University Library (Gateway) provides comprehensive visual arts and design resources. Visit the library on campus, online via myLibrary on myUCA, or at http://community.ucreative.ac.uk/library. You can reserve selected materials on campus or online from home. There is also a shelf of books relating to the course and the individual projects reserved for your use. Please ask if you cannot find these reources, it will be very helpful to you to engage with this selected reading.

Our Faculty Librarian is Ian Badger. You can find him in the library, telephone him to make a research appointment on 01227 817314 or email- ibadger@ucreative.ac.uk Steven Dixon Smith the campus learning development tutor or Nick Ross, the Gateway Services Manager are available for consultation and are located in the Gateway services (in the Library). You can contact the Gateway on 01227 817314. myUCA, UCA’s virtual learning environment, will be utilised to support the delivery of your course. The project brief, timetables, lecture handouts and written feedback will be posted there. To access myUCA; on the student web portal click on myUCA then enter your username and password (same as your IT username).

Timetabling At the beginning of the year we issue a timetable with the closest degree of accuracy we can manage according to our planning at that moment. Occasionally unforeseen events occur, such as staff illness which require an adjustment to the timetable. If this happens, an adjusted timetable is issued.

Briefing and announcements Announcements or briefing moments, arrangements and reminders are posted on myUCA, so keep an eye out for these, and check you email regularly. The school also has a text messaging service, so announcements and reminders might also be texted to you via registry.

Visa Support If you have a visa and there are any queries or problems regarding this, please get in touch with the Gateway, in particular Colin Barnes should be able to help you with your questions.

UCA Canterbury School of Architecture // MA Architecture // MA Interior Design // 2017-18

jTimetable - CSA_UCA / MA Architecture and MA Interior Design 2017_18 - To be read in conjunction with the unit briefs and handbooks.

Wk01

multistory Wk01

Wk01

timings activity

room

who

room

10:00 - 13:00 Induction Workshop

Lucy Jones

MA Studio G0.4

14:00 - 17:00 Induction Workshop

Lucy Jones

MA Studio G0.4

12/9 Tue

10:00 - 13:00 Induction Workshop

Lucy Jones

MA Studio G0.4

14:00 - 17:00 Induction Workshop

Lucy Jones

MA Studio G0.4

14/9 Thu

10:00 - 13:00 Induction Workshop

Lucy Jones

MA Studio G0.4

14:00 - 17:00 Induction Workshop

Lucy Jones

MA Studio G0.4

15/9 Fri

10:00 - 13:00 Induction Workshop

Lucy Jones

Foyer

14:00 - 17:00 Induction Workshop

Lucy Jones

Foyer

18/9 Mon

10:00 - 13:00 Design Charette 1

MA Studio G0.4

14:00 - 15:00 Design Charette 1

Lucy Jones

MA Studio G0.4

20/9 Wed

10:00 - 13:00 Self-directed study 10:00 - 13:00 Workshop

Design Tutors

MA Studio G0.4

14:00 - 17:00 Self-directed study 14:00 - 17:00 Workshop

Design Tutors

22/9 Fri

10:00 - 13:00 Site Visit/ London

Lucy Jones

Itinerary

14:00 - 17:00 Site Visit/ London

Lucy Jones

Itinerary

25/9 Mon

10:00 - 13:00 Design Charette 2

Design Tutors

MA Studio G0.4

14:00 - 17:00 Design Supervision

Design Tutors

MA Studio G0.4

26/9 Tue

10:00 - 13:00 Self-directed study 10:00 - 13:00 Research Seminar

Lucy Jones

MA Studio G0.4

14:00 - 17:00 Self-directed study

28/9 Thu

10:00 - 13:00 Workshop

Design Tutors

Itinerary

14:00 - 17:00 Workshop

29/9 Fri

10:00 - 13:00 Self-directed study

MA Studio G0.4

14:00 - 17:00 Self-directed study

2/10 Mon

10:00 - 13:00 Design Charette 3

Design Tutors

Foyer

14:00 - 17:00 Design Charette 3

4/10 Wed

10:00 - 13:00 Research Seminar

Lucy Jones

MA Studio G0.4

14:00 - 17:00 Research Seminar

MA Studio G0.4

5/10 Thu

10:00 - 13:00 Climates Pin-up

Foyer

14:00 - 17:00 Climates Pin-up

Foyer

9/10 Mon

10:00 - 13:00 Design Charette 4

Foyer + Crit Room

14:00 - 17:00 Design Charette 4

10/10 Tue

10:00 - 13:00 Self-directed study

MA Studio G0.4

14:00 - 17:00 Self-directed study

MA Studio G0.4

11/10 Wed

10:00 - 13:00 Research Seminar

MA Studio G0.4

14:00 - 16:30 Research Seminar

MA Studio G0.4

13/10 Fri

10:00 - 13:00 Self-directed study

MA Studio G0.4

14:00 - 17:00 Self-directed study

MA Studio G0.4

16/10 Mon

10:00 - 13:00 Design Charette 5

MA Studio G0.4

14:00 - 17:00 Design Charette 5

17/10 Tue

10:00 - 13:00 Build prep

MA Studio G0.4

14:00 - 17:00 Build prep

MA Studio G0.4

19/10 Thu

10:00 - 13:00 Build prep

MA Studio G0.4

14:00 - 17:00 Build prep

MA Studio G0.4

13/9 Wed

19/9 Tue multistory Wk01

Wk02

multistory Wk02

Wk03

21/9 Thu

27/9 Wed

3/10 Tue multistory Wk03

Wk04 Open

6/10 Fri

12/10 Thu Wk04

Wk05

multistory Wk05

timings activity

who

11/9 Mon

18/10 Wed 20/10 Fri

10:00 - 13:00 Induction Workshop

Lucy Jones

10:00 - 13:00 Self-directed study

MA Studio G0.4

MA Studio G0.4

10:00 - 13:00 Self-directed study

10:00 - 13:00 Self-directed study

Itinerary

MA Studio G0.4

MA Studio G0.4

MA Studio G0.4 Design Tutors Lucy Jones

10:00 - 13:00 Workshop

Design Tutors

10:00 - 11:00 Intro: History and Theory 11-13 Library Quiet Room

History and Theory tutors

10:00 - 13:00 Build prep

MA Studio G0.4

14:00 - 17:00 Induction Workshop

14:00 - 17:00 Self-directed study

Lucy Jones

MA Studio G0.4 Itinerary

MA Studio G0.4 Design Tutors

Itinerary MA Studio G0.4

Design Tutors

14:00 - 17:00 Self-directed study

MA Studio G0.4 MA Studio G0.4

MA Studio G0.4 Design Tutors

14:00 - 17:00 Workshop

Foyer + Crit Room

MA Studio G0.4

Design Tutors

MA Seminar + LQR 14:00 - 17:00 Research Seminar MA Studio G0.4

MA Studio G0.4

MA Studio G0.4

14:00 - 17:00 Research Seminar

14:00 - 17:00 Self-directed study

MA Studio G0.4

MA Studio G0.4 MA Studio G0.4

14:00 - 17:00 Build prep

MA Studio G0.4

communication Introduction / Rhino Workshop 01 Wk06

23/10 Mon

10:00 - 13:00 Study week - Self-directed study

14:00 - 17:00

10:00 - 13:00

14:00 - 17:00

10:00 - 13:00

14:00 - 17:00

26/10 Thu

10:00 - 13:00

14:00 - 17:00

27/10 Fri

10:00 - 13:00

30/10 Mon

10:00 - 13:00 Build

UCA Quad

14:00 - 17:00 Build

UCA Quad

31/10 Tue

10:00 - 13:00 Build

UCA Quad

14:00 - 17:00 Build

UCA Quad

2/11 Thu

10:00 - 13:00 Build

UCA Quad

14:00 - 17:00 Build

UCA Quad

24/10 Tue

25/10 Wed Wk06

Wk07

multistory Wk07

1/11 Wed 3/11 Fri

14:00 - 17:00

10:00 - 13:00 Build

UCA Quad

12:00 Build Completion deadline

UCA Quad

14:00 - 17:00 Build

UCA Quad

17:00-20:00 Pavilion Opening event

UCA Quad

Open

Wk08

6/11 Mon

10:00 - 13:00 REVIEW

Design Tutors + Guests

Foyer + Crit Room

14:00 - 17:00 REVIEW

Design Tutors + Guests

Foyer + Crit Room

8/11 Wed

10:00 - 13:00 History and Theory Seminar 1

History and Theory tutor

MA Seminar

14:00 - 16:00 Library seminars

Steven Dixon Smith + Ian Badger

Library Quiet Room

9/11 Thu

10:00 - 13:00 Self-directed study

MA Studio G0.4

14:00 - 17:00 Self-directed study

13/11 Mon

10:00 - 13:00 Design Supervision

MA Studio G0.4

14:00 - 17:00 Design Supervision

14/11 Tue

10:00 - 13:00 Self-directed study

MA Studio G0.4

14:00 - 17:00 Self-directed study

15/11 Wed

10:00 - 13:00 History and Theory Seminar 2

History and Theory tutor

MA Seminar

14:00 - 17:00 Self-directed study 14:00 - 17:00 Workshop

Ross Cairns

17/11 Fri

10:00 - 13:00 Workshop

Ross Cairns

Traklab

14:00 - 17:00 Workshop

Ross Cairns

Traklab

20/11 Mon

10:00 - 13:00 Design Supervision

Design Tutors

MA Studio G0.4

14:00 - 17:00 Design Supervision

Design Tutors

MA Studio G0.4

21/11 Tue

10:00 - 13:00 Self-directed study

MA Studio G0.4

14:00 - 17:00 Self-directed study

7/11 Tue multistory Wk08

Wk09

multistory Wk10

Wk10

multistory Wk10

Wk11

10/11 Fri

16/11 Thu

22/11 Wed

multistory Wk11

Wk12

multistory Wk12

Wk13

multistory Wk13

MA Studio G0.4 Design Tutors

10:00 - 13:00 Workshop

Ross Cairns

10:00 - 13:00 History and Theory Seminar 3

Traklab

MA Seminar

14:00 - 17:00 Self-directed study

MA Studio G0.4 MA Studio G0.4

14:00 - 17:00 Self-directed study

MA Studio G0.4 Design Tutors

MA Studio G0.4 MA Studio G0.4 MA Studio G0.4 Traklab

MA Studio G0.4

14:00 - 16:00 Library seminars

Steven Dixon Smith + Ian Badger

Library Quiet Room

10:00 - 13:00 Self-directed study

Design Tutors

MA Studio G0.4

14:00 - 17:00 Self-directed study

Design Tutors

MA Studio G0.4

27/11 Mon

10:00 - 13:00 Design Supervision

Design Tutors

MA Studio G0.4

14:00 - 17:00 Design Supervision

Design Tutors

MA Studio G0.4

29/11 Wed

10:00 - 13:00 History and Theory Seminar 4

History and Theory tutor

MA Seminar

14:00 - 17:00 Self-directed study 14:00 - 17:00 Workshop

Ross Cairns

1/12 Fri

10:00 - 11:00 Workshop

Ross Cairns

Traklab

14:00 - 17:00 Workshop

Ross Cairns

Traklab

4/12 Mon

10:00 - 13:00 REVIEW

Design Tutors + Guests

Foyer + Crit Room

14:00 - 17:00

Design Tutors + Guests

Foyer + Crit Room

5/12 Tue

10:00 - 13:00 Self-directed study

MA Studio G0.4

14:00 - 17:00 Self-directed study

24/11 Fri

30/11 Thu

6/12 Wed

10:00 - 13:00 Self-directed study

10:00 - 13:00 Self-directed study 10:00 - 13:00 Workshop

10:00 - 13:00 History and Theory Seminar 6

Ross Cairns

History and Theory tutor

MA Studio G0.4

MA Studio G0.4 Traklab

MA Seminar

14:00 - 17:00 Self-directed study

14:00 - 17:00 Self-directed study

REVIEW

14:00 - 16:00 Library seminars

MA Studio G0.4 MA Studio G0.4 Traklab

MA Studio G0.4 Steven Dixon Smith + Ian Badger

Library Quiet Room

7/12 Thu

10:00 - 13:00 Self-directed study

G Block Atrium

14:00 - 17:00 Self-directed study

G Block Atrium

8/12 Fri

10:00 - 13:00 Self-directed study

MA Studio G0.4

14:00 - 17:00 Self-directed study

MA Studio G0.4

11/12 Mon

10:00 - 13:00 Design Supervision

MA Studio G0.4

14:00 - 17:00 Design Supervision

Design Tutors

MA Studio G0.4

13/12 Wed

10:00 - 13:00 Self-directed study

MA Seminar

14:00 - 16:00 Library seminars

Steven Dixon Smith + Ian Badger

Library Quiet Room

14/12 Thu

10:00 - 13:00 Self-directed study

MA Studio G0.4

14:00 - 17:00 Self-directed study

MA Studio G0.4

MA Studio G0.4

14:00 - 17:00 Design Supervision

MA Studio G0.4

Registry

14:00 - 17:00 Self-directed study

MA Studio G0.4

MA Studio G0.4

14:00 - 17:00 Self-directed study

Foyer + Crit Room

14:00 - 17:00 REVIEW

12/12 Tue Open

10:00 - 13:00 Self-directed study

MA Studio G0.4

23/11 Thu

28/11 Tue Open

10:00 - 13:00 Self-directed study

15/12 Fri

Design Tutors

10:00 - 13:00 Self-directed study

10:00 - 13:00 Self-directed study

MA Studio G0.4

MA Studio G0.4

14:00 - 17:00 Self-directed study

14:00 - 17:00 Self-directed study

MA Studio G0.4

MA Studio G0.4

CHRISTMAS BREAK Wk14

8/1 Mon

Applicant

10/1 Wed

10:00 - 13:00 Literature Review SUBMISSION

12/1 Fri

10:00 - 13:00 Self-directed study

15/1 Mon

12:00 - 13:30 REVIEW

16/1 Tue

10:00 - 13:00 Self-directed study

MA Studio G0.4

14:00 - 17:00 Self-directed study

18/1 Thu

10:00 - 13:00 Self-directed study

MA Studio G0.4

14:00 - 17:00 Self-directed study

19/1 Fri

10:00 - 11:00 Self-directed study

MA Studio G0.4

14:00 - 15:00 PORTFOLIO SUBMISSION

9/1 Tue

11/1 Thu

Wk01

Wk15 Applicant

Wk02

17/1 Wed

11:00 - 13:00 Design Supervision

10:00 - 13:00 Self-directed study 10:00 - 13:00 Self-directed study

MA Studio G0.4 Registry Staff

Design Tutors

10:00 - 13:00 Self-directed study

MA Studio G0.4

MA Studio G0.4

14:00 - 17:00 Self-directed study

MA Studio G0.4

14:00 - 17:00 Self-directed study

MA Studio G0.4 MA Studio G0.4 Design Tutors

Foyer + Crit Room MA Studio G0.4

14:00 - 17:00 Self-directed study

MA Studio G0.4 MA Studio G0.4 Registry Staff

Registry

Applicant/ Open Day Please ensure studio is tidy and welcoming to prospective new students!

Timetable correct at time of printing. Any changes will be notiďŹ ed via MyUCA. Students to check MyUCA daily. Please note that teaching day ending time is indicative.

UCA Canterbury School of Architecture // MA Architecture // MA Interior Design // 2017-18

UCA Canterbury School of Architecture // MA Architecture // MA Interior Design // 2017-18

UCA Canterbury School of Architecture // MA Architecture // MA Interior Design // 2017-18

1.8 Units The structure of the course is intended to support your progressively deeper understandings of your area of investigation and the requirements reflect your developing expertise in planning and delivering complex, ambitious and professional pieces of work.

Each unit has more than one component and it is important to There are four units to the MA course, running across 3 semesters. There are the breaks of the Christmas and Easter holidays and also a semester break at the beginning of semester 3. There are two reading weeks during the term and these are times when you are expected to progress your independant learning and research but there is no formal teaching on these weeks.

MA Architecture Units CIND7002 Exploratory Practice 30 CIND7011 Contexts and Methods 30 CIND7012 Project Development 60 CIND7013 Final Realisation 60 MA Interior Design Units CARC7001 Contexts & Methods 30 CARC7002 Exploratory Practice 30 CARC7003 Project Development 60 CARC7005 Final Realisation 60 Marking and assessment the range of award is from pass, merit and distinction. The pass mark is 40% across all units.

SEPT

OCT

NOV

DEC

JAN

FEB

MAR

APR

MAY

JUN

JUL

AUG

HOLIDAYS SEMESTER 2

SEMESTER 1

SEMESTER 3

CARC 7001

30 Credits

CARC 7003

60 Credits

CARC 7005

60 Credits

CIND 7011

30 Credits

CIND 7012

60 Credits

CIND 7013

60 Credits

Project Development

Contexts and Methods

Deliverables: 25% Extended Critical Thesis 25% Theory Presentation 50% Portfolio and physical outputs

Deliverables: Literature Review 7011 Blog of experimentation (assessed end of the year) CIND 7002

30 Credits

CARC 7002

30 Credits

Final Realisation Deliverables: 100% Final installation work 80% Portfolio, ambition, delivery skill 20% Project Report

Exploratory Practice Deliverables: Portfolio and physical output 50% Degree Classification

50% Degree Classification

UCA Canterbury School of Architecture // MA Architecture // MA Interior Design // 2017-18

1. 9 Blog and documentation t is of real importance that you record and document the physical tests you progress.

You will be asked to produce a documentation blog to collate and present the documentary information you gather as you work. This is a great space to post videos, photographs, progress diary posts, scans of sketches, work in progress drawings, successes and failures. You should be posting information as regularly as possible over the entire year of your course as this is an assessed element in the unit Contexts and Methods and as such we will be scrutinising them carefully for the presentation of the development of your work over your projects during the assessment period. The blogs are also an important resource to help explain all your hard work and investigation to the External Examiners, and as such we forward your blog addresses to them prior to their interim visit in April. You are free to use whatever platform you prefer for your online presence, but we do recommend tumblr for ease of use and presentation. We encourage you to format your presentation profile to your requirements and remove unnecessary graphic additions to present your information calmly and clearly. https://bespokejuxtaposition.tumblr.com/ https://zigiantmadesign.tumblr.com/ https://chentsungchun.tumblr.com/ https://www.facebook.com/sourcedlife https://intersection88.tumblr.com https://www.tumblr.com/blog/haoshuang1617 https://aesahe.tumblr.com/ https://qjane333.tumblr.com https://xinyuelong0422.tumblr.com/ https://maworksilviaxyj.tumblr.com/

UCA Canterbury School of Architecture // MA Architecture // MA Interior Design // 2017-18

1. 10 Design Supervisions These are very important moments in your week, when you and your design tutor will sit down in a 1:1 tutorial to review the progress of your work. You should always come to these meetings so we can help you progress in the most effective way with your studies.

Please bring to your supervisions:

1.

Research you have done. It is often a good idea to bring an article, book,

journal, printed out in the flesh. This means your tutor can comprehend

and browse the entirety of the work you are investigating rather than a

narrow image of the work.

2.

Updated progress blog, include tests, failures, experiments.

3.

Models of work. These can be large or small, but don;t leave them be hind!

4.

Printed drawings. If your work involves drawn work, it is important you

manage to print them so your design tutor can review the work in physi

cal form (how it will appear in the portfolio), and be able to make marks

on the drawings for corrections and development.

We expect you to be in all day for your design supervisions which happen on a Monday. If you are unable to attend for whatever reason, you need to get in touch with Lucy Jones as course leader and offer an explanation as to why you are unable to attend on the design supervision day. As a matter of course alternative supervisions are not offered and are only allowed under particular circumstances and as a one-off situation.

Between design supervisions we expect you, as postgraduate design students, to work hard independently, manage your time effectively and demonstrate skills of self evaluation, self management and critical design ability independently from your tutor. This self-determination is the critical factor of this course and whist it may feel difficult at first to be in control of your own learning process, it is a very valuable skill you will have developed by the end of the year.

Feedback to us There is an important survey you can fill out in January which offers feedback on your experiences. This survey is primarily there to help us improve the course for future students through understanding your experience. Your feedback matters to us. There will be further briefing regarding this closer to the time which lands sometime in April.

UCA Canterbury School of Architecture // MA Architecture // MA Interior Design // 2017-18

1. 11 Portfolio

Your portfolio is a document which can support constant addition and should be a document you set up at the beginning of the course and develop over your studies.

Your portfolio is a place where you clarify your concepts, present edited selections of crucial precedents, demonstrate the breadth and depth of your research information, diagramming, analysis and speculation. It needs to be presented to the highest possible level of precision and refinement in terms of the graphic management and it is often an idea to test print parts to make sure there are no nasty surprises when the whole document gets printed.

The submissions of the units request an A2 portfolio.

Please purchase an A2 Archival Box. 50mm deep from Seawhites or similar. You will be producing 3 portfolios, so the box can be submitted and returned with each portfolio.

This means you will have a box which can hold all of your paper produced work and for your final exam be a neat and tidy, professional way of presenting your work to your examiner.

Printing We have an in-house reprographics bureau and they are open on a 10-5 basis daily. You can take your prints on a stick or submit them online. The bureau and staff try very hard to accommodate your needs and do anticipate busy periods when many students need to print their submissions. Please be patient in return when there are queues. The prices are competitive and in fact discounted with respect to what you might expect to pay in a commercial bureau, but there are a couple of options in town such as Omnicrom should you require. There is a breadth of options available in terms of format and material so it is a good idea to discuss you options with Terry Norton, the manager.

UCA Canterbury Print Bureau

PRINTING PRICES Inkjet Prices 80 gsm Matte

120 gsm Matte

180 gsm Matte

£1

A4

180 gsm

21 x 29.7

£2

A3

180 gsm

29.7 x 42

A2

42 x 59.4

£1.50 80 gsm

B/WLine Drawing

£1

£3

Colour Line Drawing

£2

A1 59.4 x 84.1

£3

80 gsm

B/WLine Drawing

£2

£4

80 gsm

£4 £8

120 gsm

B/WLine Drawing

£3.50

Colour Line Drawing

£5

per Metre

£4

£7

180 gsm

120 gsm

Colour Line Drawing

B/WLine Drawing

84.1 x 118.9 £3

Colour Line Drawing

B/WLine Drawing

£2.50 £3

A0

£5

180 gsm

120 gsm

B/WLine Drawing

£1.50

£7

120 gsm

Colour Line Drawing

£6

£13

180 gsm Colour Line Drawing

£10

£12

180 gsm

240 gsm

Lustre

Matte

£1.50 240 gsm

£3

240 gsm Matte

£6

230 gsm Colour Line Drawing

£5

£8

230 gsm Colour Line Drawing

£7

£15

230 gsm Colour Line Drawing

£11

£14

230 gsm

£1.50 254 gsm

£3

254 gsm Matte

£6

254 gsm Colour Line Drawing

£5

£8

254 gsm Colour Line Drawing

£7

£15

254 gsm Colour Line Drawing

£11

£14

254 gsm

Gloss

Tracing

£2

£1

254 gsm

112 gsm

£4

£1.50

254 gsm

112 gsm

£7

254 gsm Colour Line Drawing

£6

£5

112 gsm

B/WLine Drawing

£3

Colour Line Drawing

£4

£9

254 gsm Colour Line Drawing

£8

£16

254 gsm Colour Line Drawing

£12

£15

254 gsm

£7

112 gsm

B/WLine Drawing

£5

Colour Line Drawing

£6

£12

112 gsm

B/WLine Drawing

£9

Colour Line Drawing

£10

£11

112 gsm

Acetate

& Backlit film

Canvas

Cotton

Museo Rag 285 gsm

£0.50

110 micron

£1.50

110 micron

£10

110 micron

£14

£12

£14

£25

£16

£25

£35

£28

£46

£34

£27

£45

B/WLine Drawing

£7

Colour Line Drawing

£8

£15

110 micron

B/WLine Drawing

£12

Colour Line Drawing

£14

£26

110 micron

B/WLine Drawing

£22

Colour Line Drawing

£24

£25

110 micron

*Enquire for Specialty Paper Prices

UCA Canterbury School of Architecture // MA Architecture // MA Interior Design // 2017-18

1. 12 Final Installation and the UCA MA Summer Show

Your year masters here at UCA will cumulate in a final built work which can be virtual or analogue, but is a developed spatial work which is installed in a location around the school which is agreed between the staff and students according to the opportunities and requirements of the project. These installations form the basis of the final examination, internally and externally and are ambitious works which require careful planning and execution. The installations then form part of The UCA MA Summer Show which opens at the end of the course after the internal and external examination process, alongside the other MA courses across the school and is open for a week.

There are various points to bear in mind with respect to the planning of your final work in-situ in the spaces across the show and the fact that the works form part of a public exhibition: 1. Risk Assessment individual work: final 2-3 months of project, June.

2. Risk assessment general exhibition get-in work, June/ July 3.Details for the catalogue, will need to be provided, name, email, website/blog address.

4. Images for the catalogue, these are usually 300dpi, 250x250mm dimension maximally, but can vary slightly year on year. Please be aware of emails which specify these details.

5. Checking emails. The closer the show gets, the more likely immediate actions will be required. This is often communicated through email/myUCA, so please make sure you check the relevant places on a regular (at least twice daily) basis as your build deadline nears.

6. What is a technical check? This is an important day of internal examination. We will be walking around the site visiting you at your piece, where you will need to present your work formally to us from first principles and demonstrate that it works, or you can present a video of the installation working. We use this to make sure we have understood your piece and to make an assessment of you grade.

7. External Examination, very soon after the internal examination session is typically a 20 minute interview with your portfolio and your final built work. This may have to be managed if your work is in a location which cannot support portfolio review, for example if your work is outdoors on the lawn. Typically you need to think about a temporary table to show your portfolio, of which there are many around the department.

8. Framed work. There is generally opportunity for some framed work to accompany your final built outcome. You can include drawn work which can describe the interactivity of your piece, or possibly the work you have made in an imagined built environment. You might include information and images from off-site installation work you have done, site images, process work, photographs or diagrams. This is a carefully curated moment so make sure you are able to print images up to A1 size of what you are planning. Sometimes you might need to do a test print and you will definitely have to check your proposed images with your tutor and possibly do some revision work to get this right.

9.Production List. This is a short spreadsheet summarising the space requirements, the frames you are considering, the light sources you might need, if the space is dark or light, power, water, ventilation.

10.Spaces across the school. There are several spaces the MA Architecture and MA Interior Design students occupy for the final show. These are discussed and finalised in July. It is helpful if you have an idea of these spatial needs for these conversations.

11.Invigilation. There is a need for invigilation during the show, which lasts typically from Friday to Friday the last week of August. The exhibition is generally open between 10 and 5 so the day is split into two with 12.Show take down you are generally expected to take down your work, or have it arranged to be taken down within a week of the closing of the exhibition.

UCA Canterbury School of Architecture // MA Architecture // MA Interior Design // 2017-18

13.Resources. Over the summer there is a reduced technical provision across all the spaces of the school. This is understood as the are less students in the school at this time so a fraction of the week availability is accepted on this basis. There is also annual leave to be taken into account. Communication of availability of the school resources is our main priority so you are able to effectively manage your time towards the final examination period, but this is a factor you will have to manage.

14. Documentation. Please carefully document your work. For many of you when the show comes down, the installation is no longer a viable piece of work, and some of you will be traveling home to other parts of the world. It is therefore of utmost importance for your portfolio and other CV materials that you effectively document your work while it is up. As a department we welcome you sending us your documentation to add to the archive alongside out documentation materials.

UCA Canterbury School of Architecture // MA Architecture // MA Interior Design // 2017-18

1. 13 Reviews You will notice on your timetable there are a series of reviews peppered throughout the year. Reviews serve several purposes. The purposes of reviews include feedback and advice from a diversity of sources, you will have the opportunity to discuss your work with some interesting people. Crits also serve as a very real world scenario and the students’ ability to prepare and present at these occasions is a crucial skill to develop in preparation for the professional world of presentations.

Sign up list There will be a sign-up list posted on the morning of the crit, please sign in by 10am, we are only able to review those students who have signed in. We plan the day on this basis so you are unlikely to get a full and helpful feedback with encouraging advice if you do not arrive promptly on these days.

Layout This is often flexible but make sure you print your work at least on A3 sheets of paper.

The portfolio requirements ask for A2 sheets and it is often most efficient to lay out sheets for your crit you can then later use in your portfolio.

Pin-up and be ready: Make sure you have thought your presentation through. Visually think about how much space you want to use for your drawings. Usually you have about a 2.2 meters wide space by the 2.4m height of the panels. So you can plan your layouts generally ahead of time.

Help each other and good housekeeping We like to start as promptly as we can. If you see a colleague who needs help pinning up on time, please be polite and helpful and help them out if you have finished your work. For the day, the crit space is like an exhibition space, its an idea to get your bags and personal possession out the way as much as possible and try and keep the space as clean as possible, using the bins for litter and tidying up after yourself at the en of the day.

Be flexible Sometimes, and depending on numbers, there is a requirement to pin down at lunchtime for other students to pin up. But this is generally brief on the day. The layout and sign up sheet are pinned up in the foyer space, where most of the crits take place.

Presentation time You will have an approximate duration of the crits, depending on the schedule, but typically between 20-30 minutes. You should imagine presenting for 5 of those minutes, planning what you have to say and the route around your work (what you present, in what order) and making sure you introduce with two sentences defining what you have done or aimed to do and then presenting the process in more detail. The remaining time is given to feedback from the tutors and critics Demount Please take your work down at the end of the session/ day. Its important to keep the communal areas of the school clear as they are heavily used spaces and need to be ready for the scheduled events each day. We cannot promise that your precious drawings and models will be rescued and returned to you if they are left in these spaces beyond time.

UCA Canterbury School of Architecture // MA Architecture // MA Interior Design // 2017-18

Feedback is given through a number of methods.

“The role of assessment is in promoting learning, especially as the basis for reflection and dialogue between staff and students. This activity is often referred to as assessment for learning and equated with formative assessment, being developmental. It is contrasted with assessment of learning - often equated with summative assessment - the principal purpose of which is to determine student attainment against predetermined criteria” (Quality Code - Chapter B3: Learning and teaching pg.6) You will have a combination of verbal and written feedback from Reviews, often the tutor will write feedback notes there and then in the crit and these are issued through MyUCA. Typically these formative feedback moments are not graded, the point of summative grading occurs in the portfolio and installation review rather than in on crit occasions.

You might also be asked to do peer to peer review and create feedback and notes for a colleague during a crit sessions.

Student Assessment Feedback Form This form is to be used to provide feedback to all undergraduate and taught postgraduate students. A separate form should be used for each summative assessment component (as defined in the unit descriptor). It should be completed by the assessor and, normally, returned to the student within four1 weeks of the due date for this assessment component (or, where the component comprises multiple assessment tasks, within four weeks of the submission deadline of the final assessment task). Where appropriate, reference should be made to the University’s generic mark descriptors, which can be found at Appendix 1 of the Common Credit Framework. Before completing this form, staff should ensure that they are familiar with the Student Assessment Feedback Policy.

Student name: Academic year: Unit Title: Unit Code: Component:

2016/17 MA ARCHITECTURE PROJECT DEVELOPMENT CARC7003 Set Exercise (weighting 50%) Project (weighting 50%)

Date:

Indicative Grade: Project (please circle or underline)

A++

A+

A

B

C

D

E

F

N

Feedback Assessment Criteria (please list below) 1. Contextual Knowledge

Feedback (please comment on achievement against assessment criteria)

Critical and contextual understanding of the proposed project; a deep understanding and critical awareness of contemporary theory and practice and of research methodologies central to the discipline.

LO3 LO4 LO5 2. Application and understanding Creativity and originality: original and independent thinking as expressed in the interpretation and development of the project, both practically and theoretically. Conceptual clarity: a rigorous understanding of form and process through critical development, reflection and analysis. LO1 LO3 3. Technical and professional skills Technical skill: an advanced, professional level of understanding of materials, processes and techniques that has resulted from iterative physical testing and development. LO1 LO2 4. Communication An ability to communicate the central concerns of the research project and theory, demonstrating effective use of knowledge and sources; independent thought; and presentation.

LO3 LO4 LO5 5. Self-management Demonstrated through self-motivated directed research activities, iterative documentation, compilation and delivery of the assignments. LO2 LO6 I confirm that I was involved in the assessment of this student and that I agree with both the mark awarded and the feedback comments: Name

Name of assessor providing this feedback: ……………………………………………………………

1

In the case of dissertation (or equivalent), the completed form should normally be returned to the student within eight weeks of the due date.

UCA Canterbury School of Architecture // MA Architecture // MA Interior Design // 2017-18

1.14 Resources Wood workshop: 9am - 5pm daily, lunch is 12:30 - 1:30pm The workshop has a wide range of machines for traditional joinery and general making.

The workshop will order wood if you liase with the Metal and jewelry workspace: located in the wood workshop, same opening hours Sculpture workshop: Monday, Wednesday to Friday, 10-5pm Welding slab: Please talk to Sim, the sculpture technician regarding access to the slab for larger welding pieces.

Fashion workshop: Varying times, please speak to your tutors about access to this resource Print workshop: Open generally Fablab: 9:15-4:45pm daily you need to book a slot, Chris Settle runs this facility which includes the laser cutting machines and 3-D printing.

Traklab: The virtual reality and spatial tracking room in the architecture department is well supplied with current VR technology and is supported by JJ Brophy who manages and offers advice on developing projects in this type of technology.

In studio workspaces: you will have a space to work in studio, where you should have the room to progress the making work you need to to develop your projects. There is a designated workshop area you can develop larger and more technical projects. The shelves have lots of small pieces of electronic equipment, small tolls and fixings which might help you in your work. Otherwise, the wood workshop, Maplin, B and Q, Screwfix and Timberite can help you with sourcing tools, supplies and materials.

AV store: You can borrow cameras, tripods, projectors, media players, video cameras, microphones and other electronic and AV equipment using your University Card. Take care with opening hours and returning equipment on time as you may be charged.

UCA Canterbury School of Architecture // MA Architecture // MA Interior Design // 2017-18

1.15 Study Trips and Site Visits There are several points during the year for collective off site exploration. The first is our climates walk through Canterbury and a local area of ancient woodland. The second is a cultural and architectural trip to London. There is a requirement in the second project to engage with a particular site and this will be an aspect of independent adventure to find! The local area is rich in histories and geographies and interesting spaces and materialities, ecologies and environments so we will be looking forward to hearing about your discoveries and researches in due course! It might be worth starting to read more and discover more about the local area through walks, visits or cycles in your spare time.

There is a scheduled study trip at the beginning of semester 2, at the end of January. We generally visit a European country and this incorporates visits to places of architectural and interior design interest. The visits have included Innsbruck, Seville and the Venice Bienalle. The location of this year’s trip, tbc! If you have to get a visa to travel in Europe, Please get in touch with Lucy Jones and Colin Barnes. Generally for a study trip, you will have to provide some visa information, a deposit and then a payment of a full amount.

You will also have to sign and return the health declaration, provide absolutely your full and accurate name, where you were born, and an image of your passport.

Many of you have traveled a long way to come and study at UCA. We are delighted you have decided to come and study here and understand that during your time in this part of the world you will want to make the most of your time and possibly visit other places in Britain and Europe. We encourage you to be curious and learn and adventure as much as you can, but we do encourage you to avoid taking non-essential time away from your studies and in particular missing tutorial days. Please let Lucy Jones as course leader know of any absences and try to arrange your adventures to new places during the timetabled breaks and we will look forward to hearing about them!

LT Ranch This is an opportunity to learn in a totally different way and to experience a very different part of Europe. The LT Ranch is a non-profit rural art space in Lithuania hosting seasonal student sessions, providing a facility for research, experimentation and cultural events related to art, architecture, film and landscape. The ranch session runs in early July and can form part of your MA research project exploration if you choose to take part. http://ltranchspace.blogspot.co.uk/ http://cantarch.com/works/lt-ranch-summer-session-2016-stuciai-lithuania-gxra https://issuu.com/lt_ranch_space

UCA Canterbury School of Architecture // MA Architecture // MA Interior Design // 2017-18

1.16 History And Theory History and Theory is introduced over the Critical Context module. Reading understanding and seeking knowledge about what you are are doing is incredibly important.

To move your work through the world, the world of UCA or the wider public domain you need to be able to communicate effectively about what you are doing and also to understand your work, your area of expertise within the landscape of knowledge and endeavor in the wider design environment.

The University Library provides comprehensive visual arts and design resources. Visit the library on campus, online via myLibrary on myUCA, or at http://community.ucreative.ac.uk/library <http://community.ucreative.ac.uk/library> You can reserve selected materials across the five sites, on campus or online from home.

Our Faculty Librarian is Ian Badger. You can find him in the library, telephone him to make a research appointment on 01227 817314 or email- ibadger@ucreative.ac.uk Steven Dixon Smith the campus learning development tutor or Nick Ross, the Gateway Services Manager are available for consultation and are located in the Gateway services (in the Library). You can contact the Gateway on 01227 817314.

UCA Canterbury School of Architecture // MA Architecture // MA Interior Design // 2017-18

1. 17 Thesis Review There are two Thesis Review sessions which are assesed aspects of the units and therefore contribute to your overall grades. As such its important to prepare carefully for these sessions, one at the beginning and one at the end of semester 2.

Diagram questions, in bold, as below incorporating thesis and practice, show images where you can and be as precise as you can, some diagrams might be more straightforward than others.

1. What have you tried out? What have you been doing in the workshop and what have you been doing in your reading and writing?

2. What is successful and what is going wrong? Be straightforward and honest here.

3. What have you found out? Even small, strange things, like how a material behaves strangely.

4. What are the skills you have developed? What have you learned so far on the course?

5. Why are you doing this? (not ‘its the brief’!) What do people think or feel that you hope to change?

6. Who is writing about what you are doing? Writing about theory and practice. Look at your bibliography.

7. Who is making the work like yours? Name names here. Who? Look at your bibliography and research. Try to show relationships.

8. Where is research on your area happening in the world? Universities/ industries/ design studio/ art practice?

9. How is what you are doing different? Small or large, what is nobody else doing?

10. What is valuable about what you are doing? How could it help? How could people think differently in a small way?

What is successful and what is challenging?

Practice

Thesis Arguement not clear enough Articles are hard to read

My bibliography is written

Sucessful colour management

Takes a long time... time management

I have written well about my design

3d making

Knowledge of Field

Body Space

Utopia

I’m not sure I have found all the right information I have read a lot now!

Presenting technical aspects of interactivity on paper

Technical investigation

Virtual world working

Sucessful colour management

2d representation

Allegorical Architecture

Lots of large files, how to manage?

Relates to theory: Marx/ praxis/ Candide/ Jameson

The area is interesting to me (phew!)

Some nice details emerging: hand drawing

Work has gone through a lot of development

Conceptual Location It takes a long time to explain

Difficult to manage lead time on parts

Budgeting for materials

Hard to find a workflow that amagamates hand work with the computer

I have found enough precedents, just

Getting something to work

Good progress with materiality decisions

Design development

Lots of meaning

Relates strange things together

Needs more spatial complexity, hierarchy

Conceptual rather than spatial?

UCA Canterbury School of Architecture // MA Architecture // MA Interior Design // 2017-18

1.18 Library resources The University Library (Gateway) provides comprehensive visual arts and design resources. Visit the library on campus, online via myLibrary on myUCA, or at http://community.ucreative.ac.uk/library. You can reserve selected materials on campus or online from home. There is also a shelf of books relating to the course and the individual projects reserved for your use. Please ask if you cannot find these reources, it will be very helpful to you to engage with this selected reading.

Our Faculty Librarian is Ian Badger. You can find him in the library, telephone him to make a research appointment on 01227 817314 or email- ibadger@ucreative.ac.uk Steven Dixon Smith the campus learning development tutor or Nick Ross, the Gateway Services Manager are available for consultation and are located in the Gateway services (in the Library). You can contact the Gateway on 01227 817314.

Library catalogue The Library catalogue is your main point of access for UCAâ&#x20AC;&#x2122;s extensive range of print and e-books, DVDs and online videos. As well as your campus library, you are also able to request material from other UCA campuses. On-campus access to e-resources is seamless and instant, but off-campus you will need to use your single sign on login.

Library catalogue: http://ucca.ent.sirsidynix.net.uk/client/en_GB/default Databases We subscribe to over 50 specialist databases that are for finding articles, ebooks and other material not held on the library catalogue. They can be accessed via an a-z list on the library catalogue: Databases: http://ucca.ent.sirsidynix.net.uk/client/en_GB/default/?rm=DATABASES0%7 C%7C%7C1%7C%7C%7C0%7C%7C%7Ctrue Video guide to databases for architecture students: https://www.youtube.com/ edit?o=U&video_id=gaqQr4c_fbM Interlibrary loans and document supply You are not just restricted to the information resources available at UCA. If you wish to access material that we do not hold, you can request it via our Document Supply service. We will then source the relevant book or article from another UK library and notify you via email when it is available to collect from your campus UCA library.

Document Supply: http://uca.ac.uk/library/services/requesting-material Reference management and citation At UCA, we use the Harvard method of referencing. Our Harvard Referencing page contains our Harvard Referencing Guide that details how to reference a variety of sources, and our frequently asked questions.

Harvard Referencing: http://www.uca.ac.uk/library/academic-support/harvard-referencing/ Reference management software can be a vital tool for any researcher. You can save references when you find them, such as when searching the Library catalogue, our databases or websites you use in your research. The software will store any articles that you find, as well as giving you the functionality to add notes and annotations to your research. When it comes to writing and reporting your research the software will allow you to add citations into your text as you write, and will format your bibliography in the UCA Harvard Style.

We provide support for two pieces of software Paperpile and Zotero. Paperpile is a web based tool that works with Google products, you can access it easily on any computer with a Chrome browser. Zotero is an open source program that requires a piece of software on your computer, which is free to install. For more information on how to use the software, visit our Referencing Software page.

Referencing Software: http://www.uca.ac.uk/library/academic-support/referencingsoftware/ UCA Canterbury School of Architecture // MA Architecture // MA Interior Design // 2017-18

1. 19 Reading Lists There are course based general readings and unit readings. These readings are supplemented by specific readings year by year relating to the specific theme of the projects, so please keep an eye on the project shelves in the library and the bibliographies provided in the briefs. There are many of the readings in electronic format, links to which will appear on myUCA under the appropriate unit.

Essential Reading for the course.

The following list is an introduction to the field of interactive art and architecture, with extensions into the realms of robotics and cybernetics. They are useful compendia for those exploring our field for the first time. Being able to access and reference them will do much to help you understand the vocabulary involved, find precedents and potential approaches for your installations and understand the architectural outcomes and relevance of the theoretical works.

You are expected to assimilate and understand the arguments within these texts as a first minimum. As your individual areas of interest come into focus you should greatly expand your library of relevant theoretical sources to suit.

These sources have been selected as they offer major shifts or baseline readings in the way you might consider architecture. They are generally succinct and easy to read; as such they are a must read. Take the time to understand the careful distinctions that they draw and how these are relevant to architecture.

Usman Haque, ‘Distinguishing Concepts: Lexicons of Interactive Art & Architecture’, in Lucy Bullivant (ed.) 4dSocial: Interactive Design Environments, (London: Wiley & Sons, 2007) Discusses terms common in interactive art and architecture, including “interactive”, “open source” and “public & private” Michael Fox & Miles Kemp, Interactive Architecture (Princeton University Press, 2009) An overview of themes that architects have been exploring using responsive technologies.

Norman M Klein, Vatican to Vegas: A History of Special Effects (The New Press, 2004) A tour through special-effects environments from 1550 to the present, this book demonstrates how Renaissance and early Baroque artists pioneered interactive, cinematic, and even digital environments. Klein reviews this syntax and demonstrates how it is not only a barometer for politics, myths of identity and economic relations, but a parallel for understanding where our civilization may be heading.

Anthony Dunne, Hertzian Tales: Electronic Products, Aesthetic Experience, & Critical Design (Cambridge, MA: MIT Press, 2006) A compact manual that explores the complex chemistry whereby industry, design, use, misuse, and marketing combine to form product. Dunne describes the potential for objects to offer ‘complicated pleasures’ akin to those we get from film or literature, and points to concrete ways that poetic products could be engineered.

Ranulph Glanville, An Intelligent Architecture, in Convergence: The International Journal of Research into New Media Technologies, vol. 7 (Sage, 2001) pp.12-24 This paper starts a process of redefining where intelligence is found and how it should be understood as shared, a product of interaction. What this means for an intelligent building is developed, and intelligent architecture is redefined.

Richard L. Gregory, Eye and Brain: The Psychology of Seeing, (Princeton University Press, 1997) A succinct and successful introduction to the psychology of vision. It presents what we know, what we don’t know, what we think we know and how.

Valentino Braitenburg, Vehicles: Experiments in Synthetic Psychology, (Cambridge, MA: MIT Press, 1986) This is a brilliant work. It outlines a series of thought experiments and is both a stunUCA Canterbury School of Architecture // MA Architecture // MA Interior Design // 2017-18

ning example of how to conceptually develop a series of ideas and how to narrate them clearly. It is inventive, creative and light to read; demonstrating how, by accumulation of well-defined and feasible mechanisms, initially trivial “vehicles” can develop emergent properties that can be defined by psychological jargon and assume the appearance of purposeful, thinking brains.

Rodney A. Brooks, Cambrian Intelligence: the early history of the new AI, (Cambridge, MA: MIT Press, 1999) Brooks was once the sole vanguard of what is now accepted wisdom in the field of AI. This book narrates his pioneering of the field of behaviour based robots and overturning of long established understandings of intelligence as being held endosomatically as a complete map of everything. The cornerstone of this approach is the realization that the coupling of perception and action gives rise to the power of intelligence and that cognition is only in the eye of an observer.

Stephen Gage, ‘The Wonder of Trivial Machines’, Systems Research and Behavioural Science, vol.23 (London: Wiley, 2006) pp.771-8 Stephen Gage, ‘How to design a black and white box’, Kybernetes, vol.36 no.9/10 (Emerald, 2007) pp.1329-39 An argument that physical architecture can be observed as the nesting of a trivial machine within a machine whose function is not fully known, thus producing the attributes of non-trivial machines [ie delight and surprise]. Gage links the basic vocabulary of cybernetics to architectural design practices to establish a link that you must have a critical awareness of.

Heinz Von Foerster, Understanding Understanding: Essays On Cybernetics and Cognition, (New York: Springer, 2003) In this series of essays Heinz von Foerster (one of the founders of the study of Cybernetics) discusses some of the fundamental principles that govern how we know the world and how we process the information from which we derive that knowledge.

Gordon Pask, ‘A comment, a case history and a plan‘, in Jasia Reichardt (ed.) Cybernetics, Art and Ideas (Greenwich, Connecticut: New York Graphic Society, 1971), pp.76-92 Usman Haque, ‘The architectural relevance of Gordon Pask’, in Lucy Bullivant (ed.)

4dSocial: Interactive Design Environments, (London: Wiley & Sons, 2007) Together these two papers provide an accounting of the processes and a review of the work of cybernetician Gordon Pask, with suggestions of how his ideas can inform the development of authentically interactive architecture.

Exploratory practice: Gage, Stephen. A. (2006) ‘The Wonder of Trivial Machines’ in: Systems Research and Behavioral Science 23 (6) pp.771–778.

Sheil, Robert (ed.) (2005) Design through Making. Chichester: Wiley.

Pallasmaa, Juhani (2009) The Thinking Hand: Existential and Embodied Wisdom in Architecture. Chichester: Wiley.

Pallasmaa, Juhani (2012) The Eyes of the Skin: Architecture and the Senses. (3rd Ed.) Chichester: Wiley.

Dunne, Anthony (2006) Hertzian Tales: Electronic Products, Aesthetic Experience, and Critical Design (Revised Ed.). Cambridge, Mass.: MIT Press.

Lloyd Thomas, Katie (Ed.) (2007) Material Matters: Architecture and Material Practice.

Abingdon: Routledge.

Rosenbluth, Arturo et al. (1943) ‘Behavior, Purpose and Teleogy’ in: Philosophy of Science 10 (1) pp.18–24.

Fox, Michael & Kemp, Miles (2009) Interactive Architecture. New York: Princeton Architectural Press.

Haque, Usman (2007) ‘The Architectural Relevance of Gordon Pask’ in Bullivant, Lucy (ed.) 4dSocial: Interactive Design Environments. London: Wiley & Sons. Pp.54-61.

Khan, Omar & Beesley, Philip ‘Performing Instruments’ in: Khan, Omar et al. (ed.) Situated Technologies Pamphlets 4. New York: The Architectural League of New York. Pp.24-32.

Context and Methods History and Theory introductory unit, you will be exploring the baseline reading and UCA Canterbury School of Architecture // MA Architecture // MA Interior Design // 2017-18

developing your knowledge on a specific topic, increasing your independence with research and investigation.

Bachelard, Gaston (1994) The Poetics of Space: The Classic Look at How We Experience Intimate Spaces. Boston: Beacon Press.

Psarra, Sophia (2009) Architecture and Narrative: The Formation of Space and Cultural Meaning in Buildings. Abingdon: Routledge.

Lefebvre, Henri (1991) The Production of Space. Oxford: Blackwell.

Bataille, Georges (1988) The Accursed Share: An Essay on General Economy, Vol.1 Consumption. New York: Zone.

Mauss, Marcel (2011) The Gift: Forms and Functions of Exchange in Archaic Societies.

Mansfield Centre, Conn.: Martino.

Foucault, Michel (1991) Discipline & Punish: The Birth of The Prison. London: Penguin.

Guattari, Felix & Deluze, Giles (2004) A Thousand Plateaus: Capitalism and Schizophrenia. London: Continuum.

Benedikt, Michael (1987) For an Architecture of Reality. New York: Lumen Books.

Brooks, Rodney. A. (1999) Cambrian Intelligence: The Early History of the New AI. Cambridge, Mass.: MIT Press.

Hiller, Bill & Hanson, Julienne (1984) The Social Logic of Space. Cambridge: Cambridge University Press.

Project Development Second project develops your research interest from the more prescribed parts of the first project, exploring your individual research interests.

Clark, Andy & Chalmers, David. J. (2010) ‘The Extended Mind’ in: Menary, Richard (ed.)

The Extended Mind. Cambridge, Mass.: MIT Press. Pp.27–42.

Haque, Usman (2007) ‘Distinguishing Concepts: Lexicons of Interactive Art and Architecture’ in: Architectural Design. 77 (4) pp.24–31.

Pask, Gordon (1971) ‘A Comment, A Case History, A Plan’ in: Reichardt, Jasia (ed.) Cybernetics, Art and Ideas. Greenwich, Conn.: New York Graphic Society. Pp.76–99.

Foerster, Heinz (2003) Understanding Understanding : Essays on Cybernetics and Cognition. New York, NY: Springer-Verlag.

Gage, Stephen (2007) ‘How to Design a Black and White Box’ in: Kybernetes. 36 (9/10) pp.1329–1339.

Gregory, Richard. L. (1997) Eye and Brain : The Psychology of Seeing (5th Ed.). Oxford: Oxford University Press.

Braitenberg, Valentino (1984) Vehicles, Experiments in Synthetic Psychology. Cambridge, Mass.: MIT Press.

Hofstadter, Douglas. R. (1999) Gödel, Escher, Bach : An Eternal Golden Braid (20th anniversary Ed.). New York: Basic Books.

Norman, Donald. A. (2005) Emotional Design : Why We Love (or Hate) Everyday Things.

New York: Basic Books.

Final Réalisation MA Architecture: MA Interior Design: This is the final parts of your Masters degree, leading up to your final exam and the MA final show. The work is a large scale installation, supported by a portfolio and summarizing report.

Students will develop a bespoke individual bibliography depending upon the focus and scope of their overarching MA research agenda. Course tutors will closely guide and negotiate such an agenda through studio and theory tutorials. Additionally, the University Library provides a comprehensive collection of material for visual arts and design. It can be visited on camUCA Canterbury School of Architecture // MA Architecture // MA Interior Design // 2017-18

pus, via myLibrary on myUCA, or http://community.ucreative.ac.uk/library.

Selected materials can be reserved on campus or online from home. To locate additional material browse these subject areas: 003.5: Cybernetics 006.3: Artificial intelligence 114: Space 115: Time 152.14: Visual perception 306.46: Material culture 720.1: Architecture philosophy/theory 709.04: Installation art 720.103: Architecture and social conditions (participation/

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1. 20 Materials: online Resources These are self explanatory and the list is far from exhaustive; it is intended to act as a point of departure for your own research.

FIRSTLY: mudarchitecture.com - Sam McElhinneyâ&#x20AC;&#x2122;s site; includes a small online archive of papers, (some of which are listed above) ARTISTS IN THE FIELD: calder.org/ cyberneticserendipity.net/ camilleutterback.com/ chrisoshea.org/ flong.com/ lozano-hemmer.com/ smoothware.com/danny/ uva.co.uk/ tmema.org/messa/messa.html lebbeuswoods.net/ christian-moeller.com/ lumiskin.net/ ruairiglynn.co.uk/ snibbeinteractive.com/ BLOGS/ONLINE COLLECTIONS: bldgblog.blogspot.com/ interactivearchitecture.org we-make-money-not-art.com/ creativeapplications.net infosthetics.com nanoarchitecture.net visualcomplexity.com machinethinking.org smart-machines.blogspot.com/ createdigitalmotion.com/ pixelsumo.com generatorx.no http://www.bldgblog.com/2017/09/fab/amp/ MAKING KNOWHOW: Kobakant - http://www.kobakant.at/DIY/ - Tutorials and more relating to textiles and interaction design Arduino - http://www.arduino.cc/ - Popular cheap open source microcontroller. It has a large online support community.

Freeduino - http://www.freeduino.org/ - Knowledge base for the Arduino Instructables - http://www.instructables.com/ - Massive open source database of tutorials from the simple to the complex projects.

Make - http://www.makezine.com/ - Similar to the above with a more deliberate project based approach Fritzing - http://fritzing.org/projects/ - Useful for gaining knowledge about designing electronic circuits Cool Components - http://www.coolcomponents.co.uk/ - UK Store for your component supplies.

Robives - http://www.robives.com/mechs - handy guide to mechanic gear systems Grand Illusions - http://www.grand-illusions.com/ - Online shop of optical and other tricks Rapid - http://www.rapidonline.com/Education/Systems-Control -Useful online supplier of basic kits including gear and electronics packs. Check out their education section in general also!

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1. 21 Equipment and technical Equipment and technical spec of equipment had at UCA following a baseline installation of VR and spatial tracking, alongside the Lidar scanner.

We have a developing portfolio of technology DJI Mavic aerial drone; Aerial photography and videography have long been a missing element in the schoolâ&#x20AC;&#x2122;s arsenal of spatial capture and recording technologies, and opens up new avenues in the exploration and documentation of large landscapes and building environments. http://www.wexphotographic.com/dji-mavic-pro-fly-combo-bundle-1608640 Sense 2 hand held scanner; The Sense 2 represents an upgrade from our existing Sense 1 scanner, especially in terms of texture resolution and clarity. The Sense 1 has been instrumental in our development of object and material capture to virtual environments, but lacks clarity and detail currently. http://uk.rs-online.com/web/p/products/7990480/ EinScan SP desktop; The EinScan SP is a desktop, turntable based, structured light object scanner, which enables the accurate and speedy capture of small scale objects and components for use in 3d printing, design development or archive. http://www.einscan.com/?gclid=CjwKEAjw_6XIBRCisIGIrJeQ93oSJAA2cNtMHQNrepo upI3HOUH-vGZb6uhB4A7CGw6SOMVJVqWvTBoCrnXw_wcB EinScan-Pro Full Pack; The EinScan-Pro is a hand held scanner capable of capturing high resolution and very accurate geometry of small to medium scale objects, people and spaces. The scan output is geometry only, without colour, but offers considerable advantages over the Sense when it comes model fidelity and accuracy. This scanner would be more helpful in scenarios where an accurate mesh of the object being scanned is desirable for augmentation or modification. https://www.imakr.com/en/home/963-ein-scan-pro-basic-tripod-turntable-color-packaccessory.html Xcarve CNC/Plotter; The Xcarve framework is an open platform for multi axis plot and CNC development and would complement our existing, more proprietary systems, by being more easily modifiable and extensible than those existing systems allow. This platform presents tremendous opportunities for coding projects with physical computing and machine control objectives. https://robosavvy.com/store/x-carve-1000mm.html To support and encourage more flexible and potentially off site use cases for the scanning equipment above, three dedicated laptop computers would be needed. This equipment would still be based in the TrakLAB, but the flexibility of a mobile capture platform would enable staff and students to access scanning opportunities which would otherwise be impossible.

3no x Laptop Gopro omni 360 video; In some circumstances, active geometric scanning and capture are not the most appropriate solution. In these situations, 360 Video can be more useful, especially when one wishes to capture the passage of time in space. Being able to revisit sites or events filmed in 360 Video within the existing TrakLAB VR system, enables some compelling opportunities for research. https://shop.gopro.com/EMEA/virtualreality/ TPCast Vive wireless kit; The current Vive VR headset in use in the TrakLAB is by far UCA Canterbury School of Architecture // MA Architecture // MA Interior Design // 2017-18

the best solution currently available for high end, room scale VR experiences. It does however suffer from immersion loss due to the presence of the trailing umbilical cable from the back of the headset to the PC it is connected to. The TPCast wireless negates this problem by providing a battery pack and wireless communication system between the headset and its connected PC, freeing the user to engage with the virtual experience without tripping over the trailing wires. ÂŁ200 TrakLAB audio system upgrade; The current surround audio system installed in the TrakLAB is inadequate in terms of flexibility and accessibility. The system is tethered to a single PC, mounted in the ceiling grid, and does not support the connection of additional input sources. The suggested upgrade would add a surround amplifier with multiple inputs, mounted at user level and connected to an upgraded speaker system.

YAMAHA RXV381 http://www.richersounds.com/product/av-receivers/yamaha/rxv381/yama-rxv381-blk CAMBRIDGE AUDIO MIN12 x 5 & SX120 https://www.richersounds.com/package/speakers/speaker-packages/pah013563 Fabrication facility upgrade; The school has for many years understood the important role digital fabrication has within the design process, both as representation tool and for component construction. The upgrades outlined below would enable the production of new forms, currently not possible on our existing systems, due to the requirement of a soluble support material process. The Ultimaker 3 fills this gap, bringing both higher resolution and the opportunity to print more complex parts and models. The additional Ultimaker2+â&#x20AC;&#x2122;s further augment this resource with greater print capacity and flexibility to work with different filament types and thicknesses.

Ultimaker 3 https://ultimaker.com/en/products/ultimaker-3 2x Ultimaker 2 https://ultimaker.com/en/products/ultimaker-2-plus

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1. 22 Health and Safety You will be working with some exciting new processes and materials, engaging with various technologies, experimenting with the boundaries of what is possible. However, we do require that you are safe when you do so! We understand you are ambitious with your design aims and keen to get a working outcome, especially at crit time. We are here to guide you to those successful design outcomes, but safety in the studio must be of paramount importance and we need to make sure we stick to using equipment that secures that safety.

Below are a few requests and needs of safe working practice in prototyping and fabrication: 1. We need to take care there is no built circuitry over 12V and with the proper equipment. This should not impact on your design working there is plenty of equipment out there which can help you achieve your project without using hazardous amounts of voltage and practicing safe working methods.

2. Working within the 12V range, you should not be constructing any circuitry which connects directly to a 240V mains plug. You need to use off the shelf components and we would advise battery if possible to achieve your aims.If your work requires sustained power, you need to use an appropriate step-down transformer, with a maximum output voltage of 12V or less. These are widely available, and can be useful in protecting and maintaining the low voltage components of the circuits you are constructing.

3. You need to use appropriate wiring, take care not to leave wires exposed (neat and tidy working) and make sure you have the correct specification in terms of components for what you are proposing. Use electric tape and heat shrink tubing to finish neatly and safely your wiring and use the correct tools and preparation area. This is especially important if you are soldering components and wiring.

Please email a tutor if you have any queries and stop working on any circuitry you even think might be unsafe according to the above advice.

4. You should ensure that your working area is well ventilated and clear of all flammable materials or liquids. Seal and store carefully any hazardous materials safety in sealed and labelled containers and check with your tutor if they can, in fact, be stored in the wider studio space. Do not store paint, white spirit etc. on top of heaters or ducts, or in unlabelled containers. Again, please discuss any particular chemicals or liquids you intend to use with your tutor before purchasing.

5. Use eye protection when using hazardous materials and using power tools on materials which might have a problem with flaking or particles flying off.

6. If you have an accident, please report this to reception and please also let Lucy Jones know in person or by email.

7. Please use cutting mats and scalpels with safety blades when making models. You can get these supplies from the university show located in reception.

8. When you are working hard in the studio to a built outcome, the temptation is to ignore the environmental impact of your work, but please be careful to manage the dust your making produces, please clean up after yourself and please work outside where possible if you are doing mechanical sanding.

9. Slip hazards, if you do spill anything, you need to manage this through clearing and mopping where required, and letting estates know if there needs to be any action you cannot manage and if any signs are necessary.

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10. Trip hazards, you are quite likely to have to do some carful management of wires as you develop your piece if this has electronic, mains based supplies. You can ask one if the technicians to provide some of the rubberized floor based trunking for larger wires, you can artfully use tape to cover the wires and fix down, and please, if you are working outside, please use the box we have in the department to protect the sockets from getting wet.

11. Please take care working alone and at height. You should avoid doing a lot of making alone, as if you have an accident there won’t be anyone there to help you. Particularly using ladders, make sure someone is at the bottom of the ladder, holding it safely. Take care not to stand on the top-most step.

8. Please consider the safety of others when making work in the studio, clearing up after yourself and putting tools and equipment away safely.

4. You can always discuss any aspect of your project with the tutors and review what you are proposing before you spend money and order anything. There are lots of options out there. Between JJ, myself and Sam, we have a lot of equipment in the office that we can show you at least an example of what you might need to order to stay safe.

5. Please attend the required university inductions, particularly the FAbLab and workshop inductions, please respect the rules and regulations of the space you are working and respect the advice and instructions the supervising technicians.

7. Please keep the fire escapes clear at all times. Please be particularly aware of large bags of materials, or half made fabrication across the fire escape path, as indicated on the floor currently.

8. Keep your personal items safe, take out insurance for your possessions. Rarely, but we have historically had a degree of stealing of electronic possessions from the department. This has been improved/ solved by the electronic card system we have currently.

10. Please fill in the correct rick assessment for your project activities, anything apart from usual studio practices requires a risk assessment. There is an example risk assessment at the back of the handbook. You will be asked particularly to complete a risk assessment before you progress your final project work alongside the general risk assessment for the setting up of the final MA show.

12. A little housekeeping, please be aware we cannot store bikes in the studio spaces and be careful not to block the fire exits with your work. The studio space is getting congested, please do your bit and make sure the tools and equipment you use gets put back safely and neatly on the shelves.

13. Please keep your studio clean, tidy and safe. You can eat and drink in the studio, but please throw away cartons, leftovers etc after your snack!

14. There are quite a lot of tools and wires, materials and supplies in the workshop area of the studio. Its there for you to use, but please respect the space, return items safely (no blades, sharp items etc).

15. Please clean up after yourself when you are doing messy work, painting etc. There are tarpaulins around the department so there are facilities to use to allow you to work in the cleanest possible way.

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1.23 Studio Conduct We ask you to behave in a considerate and professional manner in studio and when on university site visits and trips. Below is the Architectâ&#x20AC;&#x2122;s code of professional conduct and practice. Its a series of tenets we think could be applicable to how we might behave as professionals in a practice environments you might move on to later in your career, but many of the points can apply now. Please respect each other and conduct yourself well.

The Architects Code: Standards of Professional Conduct and Practice As a design professional you are expected to: 1. Be honest and act with integrity 2. Be competent 3. Promote your services honestly and responsibly 4. Manage your business competently 5. Consider the wider impact of your work 6. Carry out your work faithfully and conscientiously 7. Be trustworthy 8. Have appropriate insurance arrangements 9. Maintain the reputation of architects 10. Deal with disputes or complaints appropriately 11. Co-operate with regulatory requirements and investigations 12. Have respect for others

The Architects Code: Standards of Professional Conduct and Practice

As an architect you are expected to: 1.

Be honest and act with integrity

2.

Be competent

3.

Promote your services honestly and responsibly

4.

Manage your business competently

5.

Consider the wider impact of your work

6.

Carry out your work faithfully and conscientiously

7.

Be trustworthy and look after your clientsâ&#x20AC;&#x2122; money properly

8.

Have appropriate insurance arrangements

9.

Maintain the reputation of architects

10. Deal with disputes or complaints appropriately 11. Co-operate with regulatory requirements and investigations 12. Have respect for others

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1. 22 Equipment and technical

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UCA Canterbury School of Architecture // MA Architecture // MA Interior Design // 2017-18

Student Work Exhibition Installation Risk Assessment RISK ASSESSMENT This risk assessment is applicable to exhibition design, build, installation, display & dismantling.

The overall risk is assessed as: □ Low □ Medium □ High Date assessment completed: Author: Course:

Location of Exhibit Description of Exhibit Presentation of student work for the end of year show and external examination, comprising of both 2d and 3d work If exhibit is not on the University Campus, please complete the following section: n/a Do you have signed location permission? n/a Does the venue/location require you to complete submit a risk assessment?

Identify potential hazards; who could be affected; how they could be affected; and list the control measures that will reduce the risk. University HS&W policies can be found here.

Students, staff, members of the public

Access/ Egress □x

Likelihood of injury5

Hazards or hazardous activity (please tick)

List the control measures you will put in place to reduce risks from the hazards to an acceptable standard3

Severity of potential injury 4

Who may be affected1 and how2?

Entrances and exits to be kept clear

L

L

Ensure that all work is installed safely and securely.

L

L

Trip or injury

Allergens □ Animals □ Audience / public □ Compressed gas / gas □ Confined spaces □ Cranes, hoists, lifts & access platforms □ Dangerous structures □x

Students, staff, members of the public

Falling objects/ equipment from height

1

E.g. Staff, student, member of the public E.g. Cut, bruise, fracture, electric shock, burn, allergic reaction etc.

3 Control measures should ultimately reduce the overall risk. Do not purely rely upon providing Personal Protective Equipment or rely on just ‘being careful’ 4 For guidance on level of Severity please see Severity table below 5 For guidance on level of Likelihood please see Likelihood table below 2

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Students, staff, members of the public

Electric shock from poorly maintained electrical equipment

Electricity □x

Students, staff, members of the public

Falling objects □

Falling objects/ equipment from height Students, staff, members of the public

Fire resulting in smoke inhalation, damage to persons and property

Fire □x

Tape down and secure any trailing cables.

Ensure that extension leads are not overloaded.

Ensure that electrical items are PAT tested and have been visually checked for exhibition.

Do not use personal tools or electrical equipment.

Ensure any items are secured properly to avoid falling objects/equipment from height.

M

L

L

L

UCA Fire Policy and Evacuation Procedure

H

L

L

L

Keep fire evacuation routes, exits, call points and extinguishers clear and easily accessible, particularly before exhibition opening.

Food □ Generators □ Glass □ Hand tools □(non electric) Hazardous substances □

Students, staff Cut injury

Safe disposal of smashed glass Supervision whilst framing Protection of frames prior to framing

Students/ staff

Use cutting mats and safety rulers.

M

L

Safe working method Students briefing Use of gloves and safety eyewear UCA Health and Safety Policy UCA Student Health and Safety Booklet

M

L

L

L

L

L

M

L

Cuts to hands from tools and sharp objects Students/ staff

Burn from flammable liquids Students/ staff

Potential of burning from flame of handheld torch/ soldering iron

Heat / cold □x

Inexperienced / children / vulnerable persons e.g. expectant mothers □ Lighting □ Lone working □

Students/ staff

Students/ staff

Injury whilst working alone

First aid kit in studio Eye protection Gloves used Safety catch on torches Small torches used as minimum risk but adequate as required for the task

UCA Health and Safety Policy UCA Student Health and Safety Booklet Supervision UCA Lone Working Policy Supervision

Machinery □ Manual Handling □

Students/ staff

Get help when lifting and positioning heavy or unwieldy work.

L

L

Students/ staff

Get help when lifting and positioning heavy or unwieldy work.

L

L

Students/ staff

Observe security policy Do not leave valuable personal items around the studio

L

L

Noise □ Performance □ Physical exertion □ Scaffolding □ Security/Theft □

Loss of personal items

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Students, staff, members of the public

Slip, trip of fall □

Slips, trips and falls resulting in cuts bruises, sprains

Keep work areas and exhibition space free from trip hazards.

L

L

L

L

M

L

L

L

H

L

L

L

M

L

.

Stress □ Stunts □ Students, staff, members of the public

Trailing cables □

Slips, trips and falls resulting in cuts bruises, sprains

Tape down and secure any trailing cables.

Violence, aggression, public disorder □ Visual effects: smoke, snow, fireworks □ Water □ Weapons □ Students/ staff

Falls from height resulting in fracture or head injury

Working at height □

UCA Working from Height Policy Do not work from the top rung of the ladder.

Do not overreach.

Select a ladder which is suitable for the task.

Ensure that a second person is footing the ladder.

Wear flat and sturdy footwear

Other (add rows as necessary)

Dust

Poor housekeeping Students, staff, members of the public

Accident management

Injury not reported to staff member or reception.

Using small hand held blow torch/ soldering iron to solder

Students/ staff

Accidental burn from torch

UCA Health and Safety Policy UCA Student Health and Safety Booklet

Students

If in any doubt or if you have any concerns in relation to health and safety, speak with a member of staff.

No

Information may need to be given to audiences. In such instances advice should be sought from the Course Leader or Cultural Programme Curator.

Unresolved queries Is the installation of a sensitive nature or likely to cause offense to the beliefs or values of others? □

Work outside where possible, if not possible, work in an adequately ventilated space.

Use mask when producing dust for extended period of time (e.g. over 10 minutes) Sweep and clear dust away when finished, practice good housekeeping.

Protect any nearby sensitive property and respect your neighbours.

Space kept clear of rubbish using the available bins, tidying up as progress is made UCA Incident and Accident Procedure Report any incidents or accidents immediately to a member of staff.

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Risk Rating Guidance Severity High • Hazard capable of resulting in death, severe injury, disability or serious illness • High cost both to individual and organisation Medium • Hazard capable of resulting in moderate personal injury/illness/damage/loss capability Low • Hazard resulting in minor injury requiring first aid treatment/minor lost time or slight damage • A minor loss event to the individual or the organisation

Likelihood 3

2

High • Likely to occur imminently or in the very short term Medium • Likely to occur in time Low • May occur in time, however low expectation

3 2 1

1

Overall Installation Risk Rating

Mark an ü next to your risk levels With control measures in place what is the potential severity of an injury or health effect?

How likely is the most significant hazard to cause harm?

Calculate the risk score Severity multiplied by Likelihood = RISK

Low 1 Low 1 Low 1−2

Medium 2 x x

Medium 2 Medium 3−4

x

High 3 High 3 High 6−9

UCA Staff Authorisation The names below are confirming they have read and understood this risk assessment, and where necessary discussed further with the student. It is noted that the control measures are considered appropriate unless additional controls are identified in the box below.

Position

Risk

Student Unit Tutor Pathway Leader Course Leader Technician/Tech Tutor Head of School Facilities Manager Resource Manager Campus Operations’ Manager Health & Safety Manager Executive Dean

Low Low Low Low Low Med Med Med High High High

Name & Signature

Date

Additional controls measures required by any of the above signatories?

April 2017

UCA Canterbury School of Architecture // MA Architecture // MA Interior Design // 2017-18

To be completed by the students, following sign off by all of the appropriate UCA Signatories.

Student Name

Signature

Date

NB: By signing here you are agreeing to abide by all control measures identified by this risk assessment and any additional control measures identified by the UCA signatories.

April 2017

UCA Canterbury School of Architecture // MA Architecture // MA Interior Design // 2017-18