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ACEUEL Architecture Yearbook 2015

Publisher University of East London Editor Michela Pace Graphic Design Michela Pace Jon Spencer Production Michela Pace Jon Spencer

Showcase Edition June 2015

University of East London School of Architecture, Computing and Engineering Dockland Campus E16 2RD T+44 020 8223 2041 F+44 020 8223 2963 www.uel.ac.uk


Contents INTRODUCTION Degree Y1 Showcase Degree Y2/3 Unit Showcase BSc/BA Courses in Architectural Design Technology, Interior Design, Product Design Diploma Y4/5 Unit Showcase PRIZES WORKSHOPS AND CONFERENCES OPEN JURY LECTURE SERIES CIVIC ARCHITECTURE OFFICE Masters Technical and Professional Studies


We would like to thank the many organisations, companies and individuals who we have had the pleasure of collaborating with over this last year, including: ARB/Architects Registration Board RIBA/Royal Institute of British Architects NLA/New London Architecture The Building Centre Camden Council LLDC/London Legacy Development Corporation William Paton Community Garden, London Borough of Newham Social Life ECOBUILD Sustainable design 2014 Lee Valley Regional Park Authority Leaside Wood Recycling Project Creekside Education Trust Article 25 Les Ateliers IUAV/University of Architecture of Venice, Italy University Finis Terrae of Santiago, Chile Kazan State University of Architecture and Engineering, Russia St Petersburg State University of Architecture and Civil Engineering, Russia Guangzhou, School of Architecture and Urban Planning, China Akmei Metropolitan College of Athens, Greece Shanghai Giao Tong University, China Ca’ Foscari/University of of Venice, Italy University of Hasselt, Belgium SRI/Sustainable Research Institute BBAA/Soprintendenza ai Beni Architettonici e Paesaggistici di Venezia e Laguna, Italy ARUP Heatherwick Studio Ramboll ATER Pordenone, IT muf/ArchitectureArt PRL/Place Research Lab Tony Fretton Architects C+S/ Cappai Segantini Architects, IT WWM Architects/Witherford Watson Mann Architects InTeA srl, Venezia


Our A+D Architecture and Design programs develop practice to enhance life in the context of society and nature. Our staff teach at the highest level and maintain an enquiring research approach to physical and intellectual contexts.

Our teaching balances a respect and understanding of the past and the present with an inspirational, poetic and innovative stance towards the future. Our staff and students, from all over the world, are encouraged to work nationally and internationally to explore a wide variety of interests, approaches and areas of research.


WELCOME THE VICE CHANCELLOR & DEAN OF FACULTY

Welcome to this year’s edition of the Architecture and Design Yearbook. I hope that you enjoy the work that is on show at this year’s exhibition. I’m sure that you will. We are extremely proud to be situated as an anchor institution at the heart of east London and, for the last forty years, we have been at the forefront of pioneering community design solutions and working in collaboration with local practices. Ours is an engaged curriculum where students learn by doing and participate in a unique form of exploration using advanced materials and processes. Students have the chance to work internationally as well as nationally across their years of study. This year our staff and students will be working and running workshops in Milan to coincide with the Milan Expo. At Docklands we also host the regional RIBA hub for East London Architecture. Taken together, this series of achievements makes UEL a beacon for innovation in Architecture and Design. My sincere thanks to those colleagues, practitioners and alumni who continue to work together to make architecture the award-winning subject that it is.

Professor John J. Joughin Vice-Chancellor and Chief Executive University of East London

Dear Colleague, ACE is an award winning school which aims to give our students the best experience possible and ensure they are ready for their industry. We do this by working and engaging closely with employers and architecture practitioners. We carry out research which transforms lives and society. Architecture is a flagship subject for UEL and I am thrilled with the quality and standard of the students’ work. This year book presents a comprehensive profile of our students, reflects creative thinking, and a holistic approach to design. I am grateful to staff who have worked very hard to develop a rich diversity of talents. I wish all graduates a very successful and bright future. We hope you will remain in touch with us as you forge ahead in your careers, remembering that it all began at the University of East London. Best wishes

Professor Hassan Abdalla PhD FRSA Dean Architecture, Computing and Engineering


A  D Architecture and Design CARL CALLAGHAN

I would like to begin by congratulating the students and staff on being rated one of the top three schools of Architecture and Design in London. It has been a year of elections in the United Kingdom. A Scottish referendum questioning the union and a national election debating issues large and small, national and international. As I reflect on this I am reminded that as Architects and Designers our main role is to enhance life within our particular sphere of operation. To thrive, we need to develop our own artistic creativity and also situate this within a broad context of ideas and the physical world in which we live and work. This stance to the education of Architects and Designers within A+D has been reinforced this year by the central mission of the university to become the leading university for Civic Engagement. A+D has a strong track record with considerable involvement in applied project work both here in the UK and internationally over many years. We benefit from the rich and historic cultural context of London and the United Kingdom and an outward looking learning strategy which encourages our students to travel abroad in every year of their studies. As I write, we have received the news that four of our staff have been nominated for the Turner Prize. Set up by the Tate Gallery, the Turner Prize is the UK’s leading international prize for creative achievement. Adam Willis, Lewis Jones, Paloma Strelitz and James Binning are part of an exceptionally talented staff group working in A+D Architecture and Design. Their collective is called Assemble and their work at UEL in 2014 on the Little Klondyke estate in Liverpool (see 2014 yearbook) is part of the research that underpins the Turner Prize nomination. Under their direction their students surveyed and made proposals to act as prototypes for the reuse of terraces of housing currently lying empty both in Liverpool and in other cities in the UK. The prototypes outlined exciting new opportunities for living, working and public life. This civic engagement project demonstrates how work in the university can cross over into exciting and innovative proposals to enhance life in our urban communities. As a further reinforcement of Civic Engagement we have set up the Civic Architecture Office (CAO). This office was established to bridge practice, research and

education and is the platform for delivery of project work into communities both nationally and internationally. The office is led by Roland Karthaus had has a variety of project work both for private clients, charities and local authorities. We are also leading in pure academic research. I am delighted to congratulate the all the staff who participated in the outstanding research submission and especially Professor Tony Fretton, Maria Segantini of C+S Architects, Anna Minton and Katherine Clarke of muf architecture/art. This is the first year that A+D submitted for ref on our own account and is witness to our expanding research capabilities and international network and profile. We have an expanding network of national and international speakers at the school and I would like to thank speakers, invited guests and critics who give generously of their time who contribute to the learning environment in the school. In particular I would like to thank Michael Manser CBE form the Manser Practice, past president of the RIBA, for our annual London Festival of Architecture address and opening the summer show. We have an active student society that arranges the lectures and I would like to thank and congratulate the students for assisting with the speakers and their work in the society and in particular Fabien Mitchell, President of the Students Society, Helen Richardson-Crespo, Raghav Dixit, Jordan Harris, Neil Dixon, Blessing Mudzamiri, Erica Da Silva Correia and Jennifer Coote. As an expansion of the existing evening lecture series, starting in November 2015, we will also be launching our international lecture series sponsored by STO. We are very grateful to STO for their generous sponsorship both of the international lecture series and of a series of student workshops. There is also an increasing participation of staff in international events, workshops and conferences both in Europe and in the US. We are strengthening our international academic network both in research and programme delivery. Following on from the work at the Venice Biennale last year, we will be participating in the Milan expo with a workshop based in Milan with partners Politecnico of Milan, Universiteit Hasselt and


also have links with schools abroad and students have the possibility of engaging with schools of Architecture in a number of cities including Venice, Milan, St Petersburg, Paris and Athens. Our students benefit from the traditions in the school of making and the study of materials. To these skills our students can add traditional and new approaches to representation and to advanced computing. There has been considerable expansion of the computer manufacture facilities in our new Digital Fabrication Lab and our computer training facilities. Looking ahead we are developing our facilities to include robotic manufacture to further enhance this area of research. Our school has links with a variety of offices. Our studio staff are often practitioners of architecture, art and design and students regularly engage with practitioners at design reviews. Our students have an excellent track record of employment. 21st Century architecture and design faces complex challenges from local to international scales. The complexity of these challenges requires us to balance our own creative thinking with working together with others. Our professional and academic programmes address innovative strategies and new poetic approaches to the understanding of people, societies and places and relate these to new contexts, materials, processes and technologies. We aim to equip our students with thinking processes and skills to thrive and lead in the working and cultural contexts of their choice. I would also like to invite all past students to keep in touch with the school and to make sure we are up to date with contact details. I would like to thank the students and staff for their work this year and to wish those student leaving the school every success.

Carl Callaghan BA (Hons) Dipl (Cantab) RIBA Subject Leader A+D Architecture and design

INTRODUCTION

Universidad Francisco Maroquìn, looking at the legacy and re-design of the pavilions. This has also been an exceptional year for academic success. At the core of our teaching philosophy is the relationship developed between staff and students. Students are taught one to one, in small groups as well as in studios, workshops, seminars and lecture halls. Our project work follows a pattern of investigation, experiment and innovation. This year Kent Gin was awarded the SOM Foundation Medal at the RIBA Presidents Medal Awards (tutors Clara Kraft and Satoshi Isono). His project titled “Cultural Perforation of Madrid, The Disruption of the Defined” is an exceptional investigation into the role of the museum in society. The project made innovative proposals for the Villa del Conde Duque in Madrid. It has also been another good year for our student alumni. Last year’s RIBA Stirling prize (best building nationally and internationally) was won by Withersford Watson Mann for their reworking of Astley Castle and this year’s winners were Haworth Tompkins with the Everyman Theatre. It is interesting to note that students from our school worked on both of these projects This year we have seen considerable refinement and development in the portfolio of teaching programmes we offer. We have been developing a new Foundation in Architecture and Design to act as an introduction to the other degree programmes and this opens to new students in September 2015. The new programmes are designed to work together to promote cross disciplinary learning. We have a number of professional programmes available including BSc (Hons) Architecture (ARB/RIBA Part1) and MArch (ARB/RIBA Part 2) in Architecture. We are delighted that our Landscape programme received professional accreditation from the Landscape Institute. We have a lively undergraduate BSc (Hons) Product Design programme and to this we have added a BA (Hons) Interior Design programme and a BSc (Hons) in Architectural Design Technology. Our MA/ MSc programmes have been streamlined into Landscape Architecture, and MA Architecture and Urbanism. The new programmes allow for specialisation in Urban Design, Computing, Sustainability and Heritage and Theory. We


FIRST YEAR LEVEL 1 ARCHITECTURE Raphael Lee Programme Leader


Level 1 Architecture is structured around a number of practical and design based projects working through from the scale of the body to the scale of the city. Through the year the course aims to provide a broad platform for exploring creativity and introducing a set of skills and standards that range from surveying and technical drawing, to sketching and model making. Embedded within the schedule of projects and activities are lectures, practical workshops and tutored classes structured to guide every student along these first steps on the path to becoming an Architect, building confidence and developing a strong sense of purpose and direction. All the tools needed for a life long engagement with the discipline and theory of Architecture. Raphael Lee


FIRST YEAR

PATHWAY, BRIDGE, BUILDING RAPHAEL LEE, KRISTINA HERTEL, REEM CHARIF, TOSHIYA KOGAWA, PALOMA STRELITZ, JAMES BINNING, TOM RANDALL PAGE, RENEE TOBE, JANET INSULL, ALEXANDER VEAL

Practice and Attention to Detail First Year Architecture is structured around a sequence of immersive and open-ended project briefs, working spatially at various scales both here in London and beyond. The course aims to provide a broad platform for exploring creativity and introducing a set of skills and standards that range from surveying and technical drawing, to model making and freehand sketching . Alongside traditional skills, computing is integrated throughout the programme and fundamental to our practice in both design work and supporting studies subjects. Embedded within the schedule of projects and activities are lectures, practical workshops and tutored classes structured to guide every student along these first steps on the path to becoming an Architect, building confidence and developing a strong sense of purpose and direction. Framed this year around the theme of Urban Pathways, our projects set out to introduce and establish a thorough spatial discourse and diverse architectural toolbox, empowering every student to work independently in the development of their own viable propositional solutions rooted in a deepening understanding and fascination for our complex urban context. Over the course of the year there is a balance between group work and individual output giving an overview of the design process and integrating new skills and territories explored through the supporting studies modules. Shorter, more experimental projects develop the spontaneity and courage required to undertake

urban pathways cody dock

two substantial and more ponderous propositional design projects, the first along the canals of Venice and Birmingham and the second at Cody Dock in East London. It is expected that both of these key projects lead to a building design pursued to a high level of architectural complexity and resolution. A real project for a real client in a place of real cultural value and currency.


YEAR 1

“Each day a day goes by...“ Carlo Goldoni

Students: Jordan Harris, Alford Dyett, James Mear, Ghafir Abbas, Vikrant Panchasara, Abdul Salim, Feli pe Ndjoli-Cuba, Lisa Danquah, Rozkar Ali, Gergana Georgieva, Erica Da Silva Correia, Huda Hassan, Angelica PhetphimFarrow, Nurul Asyiqin Binti Mohd Nazam, Patrizio Akkary, Mohammed Chowdhury, Adam Emmerson, Hani Saab, Suthashan Sivalingam, Mats Rasmussen, Tom Dale, Zeinab Barada, Suzanna Boulogne, Jennifer Coote, Blessing Mudzamiri, Hashea Pinnock, Joanna Adamczyk Evgeni Galinov Gradev, Dogan Kaya, Nuno Pereira Goncalves Lopes, Michael Gonzalez Jaramillo, Sufyan Khalifa, Eleftheria Lampropoulou, Jana Dockalova, Sylvia Argyroula Manta, Hazel Teles, Raquel Simoes da Silva Vieira, Sajat Rai, Mert Faizel, Sina Fekri, Shady Nazir, Abdul Hadi Jelani, Makinde Otesanya, Guillermo Cano, Neil Dixon, Beryl Hussain, Kim Small, Corey Smith, Christina Nika, Aniqa Khan, Dhara Bhatt, Michael Susmani Ryan Kyberd, Haakon Askim Vatne, Kurt Darryl Mendoza Arenas, Kieran Green, Pujan Gurung, Fikrat Gasim-Zada, Clinton William Ogbebor, Irene Furlanetto, Danii Martin, Leyana Clarke, Chompunuch Varasit, Jehoshua Busari, Bryan Valencia, Rudau Ali, Sidney Carvalho, Simone Dillon Russell, Bavneet Jagpal, Benedict Ododo, Surendran Prabaharan, Aaron Williams-Grant, Marcus Sterling, Syed Ahmed, Stanislava Katonova, Fatma Kavak, Diana Rupinska, Elham Alfaify, Stephanie Ortiz Loaiza, Hongyu Zhang

Visiting Crits: Yasar Shah, Simon Myers, Shabnam Noor, Daniel Mcintosh, Carl Callaghan, Christian Groothuizen, Hwei Fan Liang, Renee Tobe, David Carquejeiro, Rob Pyecroft, David Gogo, Abdul Munie, Garry Doherty, Gerry Grainger, Natalie Murphy, Hoiyat Tsoi, Declan Molloy, Takako Hasegawa, Keita Tajima, Tak Hoshino Special thanks to: Simon Myers, Tony Fretton, Renee Tobe, Anna Minton, Fiona McDonald, Anita Nadkarni, Christoph Hadrys Robert Fordham GBC, Dan Duran, Craig Madden, Paola Leonardi, David Morgan, Daryl Brown, Mark Sowden, Ben Lee, Glen Marston, Gaynor Zealy, Fred Brown, Troy Frazer, Charles Gall, Andrew Clarke, Chelsea Scholes, Jack Shepherd, Raffaele Aurienna, Batool Abbas and many others at UEL Sponsors: UBM Ecobuild London 2015, Brockley Bikes, Cody Dock & Gasworks Dock Partnershi p, Vaidas Bikes, LWRP


YEAR 1

Cody Dock Parade The year began with group designs for an impromptu architectural intervention in Canning Town. Adapting old bicycles, students designed a mobile Fairground for Cody Dock in Canning Town. Travelling from the First Year Studio along the Greenway Path the vehicles paraded to the site at Cody Dock where they folded out and opened up to temporarily occupy and inhabit the quiet river banks of the Leeway Path.

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fy.1 Nuno Pereira Goncalves Lopes getting ready for the Parade. fy.2 Setting up the Meal Event at Cody Dock. fy.3 The fairground Organ Grinder. fy.4 Taking stock after the Parade. fy.5 Sidney Carvalho, Market Stall, Cody Dock Fairground Parade.

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YEAR 1 fy.4

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YEAR 1

La Serenissima – Mask / Building In early November we travelled to Venice and Birmingham to search the canals and back streets for quiet corners where the ordinary comings and goings of city life set the scene for extraordinary events. Working through explorative models and drawings we developed propositional designs for a contextual and site specific architectural intervention, a performance space defined by the day to day performance of city.

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Madame Butterfly – Laser Cut Plywood fy.6 Irene Furlanetto, New Vaporetto Stop for Campo San Marcuola, Venice. fy.7 Irene Furlanetto, Alleyway Space. fy.8 Ryan Kyberd, Meeting Place, San Giacomo di Rialto, Venice. fy.9 First Year Architecture students presenting their chosen sites in Campo Santa Maria Formosa, Venice. fy.10 Jana Dockalova, The Usual Performance, Venice.

YEAR 1

Design a second intuitive propositional form for the sites in Venice and Birmingham, a space or a structural element made from a single sheet of laser-cut plywood. Playfully revisiting the original design proposals, this project explored both scale and materiality.

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YEAR 1

Pathway, Bridge, Building... A new community for Cody Dock. Returning to Canning Town, the final project began in February and set out to establish viable proposals for the future growth and development of Cody Dock as a linking community in the heart of this area of rapid change and renewal. As the hinging point between existing communities and industrial areas, and the

bridging point for the new Leeway Path and the redevelopment of Canning Town, students worked closely with local residents and site management to envisage a secure future for the dock and a coherent architectural strategy for exploring the raw potential of this historically disjointed quarter of East London.

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YEAR 1

fy.11 Erica Da Silva Correia, New Market for Cody Dock. fy.12 Rozkar Ali, Playful Community, Cody Dock. fy.13 Irene Furlanetto, Garden Auditorium, Cody Dock. fy.14 Sidney Carvalho, A Space for the Boat People. fy.15 Neil Dixon, Nature and Industry, Cody Dock.

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YEAR 1

UEL DESIGN LAB First Year Architecture & Graphic Design G20 For the fourth year running UEL First Year Architecture Students created a stir at EcoBuild 2015 in the Excel Centre London, teaming up with second year Graphic Design Students to run an interactive design charrette collating and developing site research from their work this year at Cody Dock in East London. Following on from our award winning contribution in EcoBuild 2014, this is an important date in the First Year

calendar and a great opportunity for the next generation of young Architects and Designers to discuss their work and perspective with other professionals and members of the public from all walks of life. Amidst the bustle of exhibitors and lecture arenas UEL students recreated their familiar studio environment with tables and chairs and a long wall of ideas. Each day visiting professionals and designers helped guide the students towards an innovative and viable design strategy for this historic site, layering their thoughts

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fy.16 UEL Design Lab, EcoBuild 2015. fy.17 Neil Dixon, Cody Dock Plywood Shelter fy.18 Irene Furlanetto, ‘Everything you can see... Getting to know Cody Dock.

YEAR 1

and sketches onto a huge map of east London. Material collected through the week went on to inform student design projects to imagine a future role for Cody Dock as home to a new permanent community and creative hub at the heart of the regeneration of East London.

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YEAR 1

Computing & Technical Studies First Year Computing and Technical Studies provide a skill base and mental attitude that supports and feeds the work and projects undertaken in the Design Studio. Structured around a broad programme of computing classes that run throughout the year, there are a number of technical and theoretical lecture series & weekly tests, technical drawing classes, workshops and independent project briefs studying both the structural, material

and environmental issues that impact architectural practice. Students learn to document and present project work professionally using a range of software and draft meaningful CAD drawings that can be printed, laser-cut or manipulated as presentation images. After starting the year with a series of hands-on workshops run in the Engineering School concrete testing labs, this research is then applied to an ongoing

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fy.19 Syed Ahmed, Buildings in an elevated landscape, Cody Dock. fy.20 Irene Furlanetto, Sectional study of the old Watermill, Weald and Downland Museum. fy.21 Irene Furlanetto, Axonometric study of the old Watermill, Weald and Downland Museum. fy.22 Erica Da Silva Correia, people going through the new market, Cody Dock. fy.23 Nurul Asyiqin Binti Mohd Nazam, Cody Dock open air Library. YEAR 1

case study analysis document and a series of technical drawing exercises, site visits and a survey workshop at the Weald and Downland Museum in Sussex.

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DEGREE LEVEL 2&3 ARCHITECTURE Christian Groothuizen Programme Leader


The BSc Architecture programme is designed to educate students to think seriously about the world around them, to consider occupiers and users, buildings and spaces with an approach that is both critical and poetic. At the core of this education are our design units. The design unit fuses together the diverse elements of an architect’s education through an iterative design-led process that is driven by creativity, imagination and critical self-reflection. By instilling an appreciation of site and context, the art of construction, economy of structure and the nature and complexity of materials the unit produces student work that draws on a complexity of ideas, is well founded and a delight to experience. Christian Groothuizen


UNIT A

City - Cyprus rtn

CARSTEN JUNGFER, FELIX XYLANDER-SWANNELL

Unit A is interested in the morphology of the city by investigating relationships between space, programme, materiality and time. With a focus on reading spatial conditions through careful analysis of found ‘urban moments’ we set out to get a better understanding of the city as a place of transition. Unit A engages in domains between architecture and urbanism and is interested in adaptive design methodologies at architectural scale that respond to the public realm. With a focus on East London we are investigating urban fragmentation that occurs as side-effect of infrastructural development, which continues to transform London’s urban and architectural landscape. Railway corridors, viaducts and the docks were ‘carved’ out of London’s ‘geological fabric’ to accommodate the demands of global trade but also serving the local demand for mobility of goods and people between East London, Docklands and areas beyond. We are searching for traces of past activities, for cracks, gaps and fault-lines along the railway viaduct between Tower Gateway and Poplar station that defines the study area for this year. By sampling the everyday and the specific and revealing “geologies of place”, the resulting architectural proposals are based on an understanding of context and the underlying spatial dynamics of site. We understand the design process as a multi-layered discourse consisting of physical model-making, bespoke drawing techniques and reference to theory, in order to communicate readings of contextual qualities of urban/ architectural conditions. The idea of ‘junction’ was

Cologne, WUPPERTAL, Germany

explored this year as means to reconcile local and translocal scales and to test strategic design interventions with the aim to unlock new opportunities by speculating on new forms of connective architectural typologies.

“Architecture is a vital penetration into a multi-layered, mysterious, evolved, and structured reality. Its creative function is to manifest the task by which it is confronted, to integrate itself into that which already exists, to accentuate and amplify its surroundings. It always consists in the recognition of the genius loci out of which it grows.” O.M. Ungers


Visiting Crits: Emu Masuyama, Keita Tajima, Mo Wong, Nicolo Stassano, Nick Green, Raphael Lee, Robert Mull, Suzanne O’Connell, Tony Fretton Special thanks to: Hilde Bailer (UAA), Mike Davies, Roey Hunt, Step Haiselden

DEGREE Y2&3 unit A

Students: Y3: Andreas Stergios, Elias Elgueta, Klevi Farruku, Marija Stoliarava, Nicoleta Marin, Puja Singh Verma, Silas Koopmans, Olajide Ayobami Falusi, Yaprak Cetinkaya Y2: Aaron Joseph, Damola Shlami, Darlyn Norlay, Fili ppos Kasiotis, Gannaty Rahmen, Hassan Sheikh, Janquiel Anselmini, Jonan Momodu, Jose De Rego Troccoli, Karwan Hussein, Shiduo Nagano Junior, Viviane Silva De Freitas

a.1 Office building

Minories Car Park

Mansell Street

Bank DLR

Tower Gateway Station

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a.2 Cofee Shop/ Bike shop Bicycle paking

C-C Ramp connecting with first floor

Pool

Section cut at : +7000 from level 0

1st floor plan 1:200

LONG SECTION 1:500

Cross Section looking East A-A

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VISIT WWW.uel23ua.blogspot.co.uk a.4


DEGREE Y2&3 unit A

13- Lockers 14- Stairs leading towards the building 19- Entrance to he building via the existing building 20- Car repair shop 21- Plants 22- Gate to the playground 24- Platform/balcony 25- Community meetings 26- Stairs leading down to the mosque prayer space 27- Way to the fist floor from DLR 29- Entrance to second floor 30- Comic book Store 31- Access from the lift to the comic book store 32- Stairs/ seating/ social/ cinema area 33- Roof top/social gathering space 34- Glass ceiling 35- Viewing tower 40- Screen

ing is a lift that converts into a viewing tower after the second floor. The height of the viewing tower is double so that it is easier to acknowledge that there is a building there and act as an interface.

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Study area and project sites along the railway viaduct between Bank and Westferry station: a.1 Drawing documenting observations while criss-crossing the study area, Andreas Stergios. a.2 Proposal for a cycle-interchange at Tower Gateway, Nicoleta Marin. a.3 St. Anne’’s Church (Hawksmoore) with proposal for Limehouse Archive, Marija Stoliarava. a.4 Cross section through Shadwell station, Olajide Ayobami Falusi. a.5 Proposal for an extended learning facility, Puja Singh Verma. a.6 Proposal for an infrastructural/hybrid building by Shadwell DLR station reconnecting multi ple existing and new programmes including station access, sports, washing facilities, lockers, praying, open-air cinema, bookshop and viewing platform, Gannaty Rahmen. a.7 Proposal for a public performance space with reference to connectivity observations at Domplatte, Cologne, Fili ppos Kasiotis. a.8 Limehouse Archive, Marija Stoliarava. a.9 Strategy for access to play spaces at Cyril Jackson primary school through AA adaptive thresholds / entrances with proposal for a Toy-library, Viviane Silva De Freitas.

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Scale 1:200

The top view of the sketch model shows the different zones and the Landscape treatment !!!

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Scale 1:200

connection between DLR and building

space between the viaducts and the residential buildings

Space inside the building and proposal

339 Last Stop

There is a 339 bus stop and a DLR stop next to my site. My proposal will encourage connection to be made between communities by providing them with a space where they will intersect with each other. There is a difference between social majority in Leyton and in shadwell and by having a social intersecter would not only bring together the community in the area that the building is in but also other places connected to it via the public transportation.

339 Bus Route

INTERSECTION BETWEEN COMMUNITIES

339 Last Stop

DLR Route

Front of the building is very open so all the activities going on in the building is visible

ction between the proposal and nearby games

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Looking inside the building on the way from the DLR

Looking into th second floor from the lift

Space between the viaduct and the building

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el Nr. 1 Can see the screen and people going to the viewing tower.

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Getting a Comic Book

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All the activities in the building are positioned in a way that even if someone only wants to get a comic book they will be forced to interact with people of different age group and interests. Here is an example of someone getting a comic book from the store and encountering all these increased opportunities of meeting different kind of people in a very condensed space.

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JOURNEY THROUGH THE BUILDING

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Elevation

connection between DLR and building

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Watching people pass by from the DLR

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Watching people pray in the mosque.

Stairs connecting the whole building.

Set back columns to invite people in

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22 21 21 Legend: Minaret from the East Lon1-Play ground (Existing) don Mosque in Whitechap2-Comunity centre 3-DLRShadwell Platform(above) el Road. 4-Existing Stairs to the Platform There are speakers inside 5-Lift 6- Pivotal doors leading to ground floor(Entrance) it to help call locals for 7- Sliding doors 8-Mosque prayer. 9-Existing building / former entrance to mosque Tower Proposed in my build10- Washing facilities 11- Plants ing is a lift that converts into 12- Doors to access from the DLR station a viewing tower after the 13- Lockers 14- Stairs leading into the building second floor. The height of 15- Residential building the viewing tower is double 16- Playground 17- 339 Bus stop so that it is easier to ac18- Entrance to the mosque via the existing building that there is a 19- Entrance to he building knowledge via the existing building 20- Car repair garage/ tire shop building there and act as 21- Plants 22- Gate to the playgroundan interface. 23- Exit from the mosque to the other side of the DLR

mmetric extending into the viaduct from the building

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Reading comic books on the stairs and watch people pass by

Comic book store

While making these models I took inspiration from my previous sketch models and my precedents. This building is a social space which contains several social activities and they attract a variety of people to the space making it possible for people to interact with others more often. On each one of these models i tried to improve the circulation in the building so that people would be able to access i easily as well as other ways in which i could encourage more interactions; in and around the building. 15 15

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GROUND FLOOR Scale 1:200

Elevation

Connection between the proposal and nearby games court

Looking inside the building on the way from the DLR

DEVELOPMENT OF PROPOSAL

Looking into


DEGREE Y2&3 unit A a.7

Bigger Strategy

St Anne’s Church Limehouse is a Baroque church designed by Nicholas Hawksmoor in 1711. It is one of 12 churches known as the Queen Anne churches which were intended to cater for London’s rapidly expanding population (and possibly because all of the existing graveyards were full as a result of the plague of 1666). The Church yard has a lot of graves as well as memorials for the men of Limehouse who fell in the Great War 1914-1918.

The pyramid is listed Grade II with the description “Churchyard monument in the form of a pyramid. The purpose of a large four sided pyramid in the graveyard is a mystery. The four pinnacles on the main west tower are capped with pyramids of a similar shape but much smaller. Many sources write that the pyramid was originally intended to be put atop one of the short eastern towers of the church. Another possibility is the pyramid was originally intended to be positioned between the two towers. Perhaps the pyramid was intended to be on top of Hawksmoor’s original design for a tower at St Anne’s. Or maybe the pyramid was intended for a completely different development, delivered to the church from the quarry in error and not returned. The postage would have been phenomenal. Whatever the truth of the matter, something is living in that big hole burrowed under the south face of the pyramid!

Entrance

Before the days of radio it was very important for a ship to keep an accurate record of the time as this allowed the navigator to determine the ship’s position when at sea. The clock in the tower is still the highest church clock in London, had the first illuminated clock face in the country, and its elevation enabled it to be seen by the thousands of ships which moored every day in the surrounding docks. The clock used to chime four times every hour for the benefit of shipping and it is likely that the golden ball on the top of the flagpole was intended to be a facsimile of the Greenwich Time Ball and act as a kind of hallmark reassuring navigators that this was the St Anne’s clock and synchronised to Greenwich time.

Weekend: Community using the grandstand to watch activities on the sports area. Parents bring the kids and they have fun going up stairs and checking the street on the balcony.

“In memory of George Perry Birkett and others killed by enemy action beneath this bridge on 11th May 1941“ A memory plate found under the bridge of Newell Street, which used to be the Church Row.

11:00 Bay window - The last floor is a kind of little pocket to have a look on the green roof in front. It can just be accessed by the spiral stair.

10:00 The primary school uses the play area to do activities and also they can use the gradstand to like part of recreation time.

14:00 Balcony - the tight balcony is a kind of secret space where kids can play with toys and also have a look on the outside space, on the school site and see what the other kids are doing.

16:30 Stair tube - The spiral stair inside the acrilic cilider is a curious and funny place for kids. It is a exciting way to access all floors. 09:00 Parents are going with their kids to the nursery. In some days on the week the toy library is used by the nursery.

15:00 The new entrance for primary school attracts parents and kids for use the toy library. After school kids can go at the toy library and borrow some toys to take home.

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12:30 Ground floor - The storage places full of toys attract the kids. There are toys in everywhere, including the storage pockets inside the wall.

© Landmark Information Group Ltd and Crown copyright 2015. FOR EDUCATIONAL USE ONLY.

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Marija Stoliarova University of East London

1940 Two historical maps indicate how the area had changed in 70 years. The particular area had a lot of fabrics and buildings for engineering, timber, oil, iron, lead, asphalt works, furniture factory, brewery. Following the history, a lot of buildings became ruins and were demolished only to become the sites for new housing buildings, schools or open areas. © Landmark Information Group Ltd and Crown copyright 2015. FOR EDUCATIONAL USE ONLY.

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Marija Stoliarova University of East London

16:00 Bay window - The big windows on the thick brick wall is very comfy to kids sit down and have a look on outside space (square). It is also a “pocket” space where kids can take some toys and play inside the wall.

The Old Limehouse station was opened in 1840s and had upper and lower platforms. The first picture shows the lower platform with a view of the St Anne’s Tower. It was closed completely in 1926. The timber platforms were removed in 1929, but the truck tracks remained in use and in 1982 were given to the Docklands Light Railway and reopened in 1993. At present the street level buildings built into the viaduct still survive on both sides of the line and are incorporated into the primary school building complex.

The basement level of Oast Coart building with lock-up garages. The historical street The Mitre, which used to connect the Saw Mill with Three Colt Street from one side and Church Row from the other, now leads to these lock-ups which then end with the open air empty coart yard, where local people park their cars.

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Further development adaption opsions of spcaes within the journey of interchange

a.10 Hybrid building proposal for Shadwell interchange between TfL Overground and DLR, a locker facility, a capsule hotel and viewing platform, Klevi Farruku. a.11 Proposal for a Cycle Super-interchange Node with bicycle parking & workshop, cafe and pool/lido connecting into local transport networks including the new cycle superhighway, CS3 and DLR Tower Gateway station, Nicoleta Marin. a.12 A green infrastructural strategy to promote local knowledge of growing your own food as extension to the existing Cable Street Community Gardens. The proposal includes a greenhouse, public spaces, a community kitchen & dining hall and a rainwater harvesting infrastructure, Janquiel Anselmini.

DEGREE Y2&3 unit A

Proposed elevators for commuters shortened journey

Proposed connection linking a continues space

Section line

extended stay

Proposed hotel rooms with shower & toilet

Proposed guided system that runs between ground and second floor in response to luggage storage through automated elevators

programme

circulation method recreated within the capsule from development of visual sight expansion testing within the proposal

Grid line representing floor in order to separate the big capsule into small compartments

Site location plan

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View ground level / night time

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3. new connection to underground tunnel to bring people into a proposed interchange station

1. Viewing platform 2. Open area 3. Capsule hotel room 4. Corridor 5. Shawer & toilet facilities 6. Clear entrance to emergency staircase 7. Capsule hotel room 8. Capsule hotel room 10. existing storage space 11. reataurant 12. Dlr lift entrance 13. Dlr train 14. Locker storage facilities 15. Lobby 16. Oyster threshold 17. Hotel elevator 18. Dlr elevator shaft 19. Main elevator shaft 20. Overground exit 21. Overground station 22. Stairwell access 23. Underground tunnel 24. Overground train 25. Overground second exit 26. Luggage Elevator 27. Stairwell access 28. Open access route 29. Emergency stiracse 30. Resturant entrance 31. connection staircase

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1. Viewing platform 2. Open area 3. Capsule hotel room 4. Corridor 5. Shawer & toilet facilities 6. Clear entrance to emergency staircase 7. Capsule hotel room 8. Capsule hotel room 10. existing storage space 11. reataurant 12. Dlr lift entrance 13. Dlr train 14. Locker storage facilities 15. Lobby 16. Oyster threshold 17. Hotel elevator 18. Dlr elevator shaft 19. Main elevator shaft 20. Overground exit 21. Overground station 22. Stairwell access 23. Underground tunnel 24. Overground train 25. Overground second exit 26. Luggage Elevator 27. Stairwell access 28. Open access route 29. Emergency stiracse 30. Resturant entrance 31. connection staircase

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deck that will lead to a coffe shop nnect Mansell Street with the e stairways and the elevators. CS3 superhighway the groundso be a water tank for the water

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anging rooms and showers and station.The floor will also be way Station. hop and a bicycle parking. The events.

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Project sites

CITY AXONOMETRIC COMMUTERS GATEWAY AND CONTEXT CONNECTIVITY

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Cs3 Cyclist Highway from Tower Gateway to Barking DLR Tower Gateway to Beckton East West Cyclist Superhighway

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WEST TO EAST CYCLISTS SUPERHIGHWAY TOWER GATEWAY STATION

CYCLISTS SUPERHIGHWAY 3

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DEGREE Y2&3 unit A

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

Final axonometric DD’ Urban furniture - water tower/ market

Proposal - Community Grenhouse

Final axonometric

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

MAK/WRM-Museum Rudolf Schwarz Sketch model.

Fieldtrip Cologne and Wuppertal

Sketch model.

One of the projects I most liked in the fieldtrip was the MAK/WRM Museum. The observations made at this building strongly influenced the design strategy of my proposal. I found very interesting how the project interacts with the city. At the facade the building sets back, as a gesture to the city. The entrance is well demarcated by a portico, which reveals the use of the building. When I went inside, the sequence of the building caught my attention. After the hall, there is a big stair up, and also half floor down. However, if you follows a corridor, it funnels to another stair down, which leads to an internal garden, a place that seems still a continuity of the public space. As one comes back from the internal garden, it is as entering the building again, and now starting from the open galery, from where it is possible to take the stairs up and visit the other exhibitions, which are almost like individual buildings.

Before start designing, we went to Cologne, in Germany, where we visited many projects in order to have some references and inspiration. We also visited Wuppertal, where there is a different train structure. The experience was very rich, as we could experience architecture and learn about very interesting projects. What really caught my attention is the sensibility of most projects.

The timber used for the concrete cast will be used for these pannels, which will give more quality for the space

The ground will be covered with permeable pavement with grass.

The timber used for the concrete cast will be used for these pannels, which will give more quality for the space

The dotted lines indicate the new routes proposed. New accesses were created, improving the safety, and the convenience of movement.

The viaduct arches Along the viaduct, it is possible to see many different uses for its arches. Between the 2 parts of the Cable Street Community Gardens there are 5 arches, even though the Gardens go just through one of them. The rest of them have an abandoned aspect, and according to Jane, one of the gardeners, they are property of Tower Hamlets and can be rented, but it is not really cheap.

Mould Making 1:2

When we had some castings ready, we started to draw the final casting and the pieces, to show the demold process. I also chose 3 sections to explore and try to identify some qualities.

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The ground will be covered with permeable pavement with grass.

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The dotted lines indicate the new routes proposed. New accesses were created, improving the safety, and the convenience of movement.

The first arch is blocked by a wall.

The second arch is blocked by vegetation.

The third arch is partially blocked, but used as shelter for stuff, probably of some gardener.

The forth arch is blocked by soil until the top.

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The fifth arch is used to pass from one side of the garden to other, and also as a shelter for rubish. C

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DEGREE Y2&3 unit A

a.13 Building proposal for a new typology for collective living in the city for a narrow site sandwiched between two railway infrastructures in proximity to the Royal Mint, Silas Koopmans. a.14 Proposal for an adaptive exhibition space suspended above the disused viaduct-spur by Limehouse basin (inspired by the Wuppertal Schwebebahn), Andreas Stergios.

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a.14 DEGREE Y2&3 unit A


UNIT C

Applying the Borrowed CLARA KRAFT ISONO, TY TIKARI, SATOSHI ISONO

Glass Prototype The unit centers on the making of 1:1 scale building prototypes explored through digital fabrication and glass making. The aim of the unit is for students to develop a sophisticated understanding of glass as a building material from design development through to fabrication and construction on site. We begin by researching four existing buildings that use innovative architectural glass construction techniques, such as cast glass, folded glass, structural glass and printed glass. These were our case studies based on these techniques: 1. Casa de Musica, OMA _ Folded Glass 2. Maison de Verre, Pierre Chareau _ Cast Glass 3. Eberswalde Library, Herzog and De Meuron _ Printed Glass 4. Hermes Store, Renzo Piano Workshop _ Structural Glass A hands-on study that investigates these glass making methods, initiates proposals for alternative construction elements or methods that integrate digital fabrication to glass making. We test our ideas through building prototypes that are developed in a series of fabrication workshops using 3D modelling and CNC milling technology at Grymsdyke Farm. Client and Site We collaborated with a local glass manufacturer Nazeing Glass Works, based in the Upper Lea Valley. One of the oldest surviving manufacturers in the UK, it can identify

Hackney Wick, London, UK

itself in glass manufacturing history back to 1612. Students worked with Nazeing as their client and speculated on the future of manufacturing and glass making in relation to the emergence of digital technologies. In an effort to create a more sustainable manufacturing model, students visited Nazeing and investigated how they could restructure and relocate to an inner city location such Hackney Wick, once the industrial heart of the East End. Investigating both permanent and temporal conditions relevant to the site and programme, students explored how glass making could create connections with local communities and developing agendas in the area. Unit Trip The unit travelled to Venice where we visited the glass making island of Murano, in particular the factories and workshops of the Tosso Family and Zanetti Glass. While in Venice several buildings made a lasting impression on students, in particular the Nordic Pavilion by Sverre Fehn, (1962) . We also visited several projects by Carlo Scarpa including the Olivetti Showroom (1958), The Fondazione Querini Stampalia (1963) and the Brion Cemetery (1969 –1978). In addition we travelled to the Island of San Michele to see the San Michele Cemetery Extension by David Chipperfield Architects(2013) .


Visiting Crits: Ema Bonifacic, Carl Callaghan, Tak Hoshino, Pavol Knapo, Jessie Lee, Emily Norman, Callum Perry, Stephen Pollock-Hill. Sponsors: Nazeing Glass Grymsdyke Farm

DEGREE Y2&3 unit C

Students: Level 3 - John Francis Benedicto, Yulia Kriana Amaral, Rohaine Dailey, Mohammad Reza Hosseini Bagha, Dina Khaki, Quadri Uthman, Viraj Patel, Nur Mohamed, Vasilia Ioannou, Inayat Hassan Level 2 - Danissa Dizon, WafaaAl-Wali, Leonardo Vladimir Castro Paredes, Djofrely Ferreira, Ewelina Krol Alice Marwood, Valeria Ricci, Lauren Ruddick, Zachariah Igbo, Senan Shamkhi, Matheus Mendonca dos Reis, Larissa Almeida Martins, Leilane Souza Dias Sepulveda, Beatriz Lins de Oliveira

“The question is whether digital technologies can impact and therefore change architectural material practice.� Fabio Gramazio & Matthias Kohler


DEGREE Y2&3 unit C

c.1, c.2 & c.3 Curved Glass Group - Yulia Kriana Amaral, Dina Khaki, Vasilia Ioannou, WafaaAl-Wali, Matheus Mendonca dos Reis. Inspired by Casa da Musica by OMA, the prototype seeks to reproduce the same attributes seen in its use of corrugated glass: light deflection, view distortion and acoustic buffering while maintaining visibility through it. The design began as a representation of frequency undulations, it was refined to suit both the limitations of the CNC mill and the glass slumping�process. First a negative high-density foam piece was created then coated with a polyvinyl which softens out imperfections. This is then used to cast a positive out of a special plaster containing Silica. Once dry, the plaster casts are placed into the kiln with a sheet of glass resting upon them. The temperatures are set and timed to gradually increase and decrease as to prevent the glass from shattering. Annealing complete, the glass pieces, which have taken the curves of the mould, are ready to mount onto the frame.

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c.4 & c.5 Dina Khaki Plan and Section of a glass blowing school, which invites the local youth of Hackney Wick to join an apprenticeshi p program. The circular plan exposes and creates an array of visual flashes that are belted around a series of courtyards exposing the entire process of glass blowing to the public.

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DEGREE Y2&3 unit C


DEGREE Y2&3 unit C

c.6, c.7 & c.8 Cast Glass Group - John Francis Benedicto, Mohammad Reza Hosseini Bagha, Nur Mohamed, Danissa Dizon, Leonardo Vladimir Castro Paredes, Djofrely Ferreira. Based on Maison de Verre’’ Nevada glass blocks, the group focused on how light behaves when touching different surfaces. The twisted prism block has three faces to test how light can be refracted, diffused and reflected. c.9 Leonardo Vladimir Castro Paredes Section showing the cast glass block prototype used in the final building proposal. c.10 Leonardo Vladimir Castro Paredes Fabrication Sequence of cast glass block prototype. The process starts by

cutting high density foam pieces using a Computer Numeric Control (CNC). Silicon moulds are casted from the high density pieces where wax is poured to create the ideal form of the glass block. Wax casts are placed into a container mould where plaster is poured. When the plaster is dry, the wax is melted using high temperature (steamer) where the plaster is used as a mould. Glass billets are crushed and placed within the cavity of the plaster moulds where they will be put in a kiln ready to be melted. Finally, the plaster can be easily broken to take the glass block out. c.11 John Francis Benedicto Interior view of proposed fabrication and craft facilities. The proposal speculates on an alternative future for Nazeing glassworks currently located in Broxbourne. The director, Steven Pollock Hill would want to relocate and reduce the factory size from 3600m2 to 1600m2 (half or third). Hackney Craftworks is a catalyst that allows the client, to collaborate with neighbouring businesses in Fish Island. Furthermore, the proposal is under co-working scheme as part of Olympic Legacy Regeneration Plan.

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DEGREE Y2&3 unit C


DEGREE Y2&3 unit C

c.12, c.13 &c.14 Printed Glass Group - Rohaine Dailey, Quadri Uthman, Lauren Ruddick, Zachariah Igbo, Senan Shamkhi. The printed glass group was inspired by the printed concrete and glass facade of the Eberswalde Library in Berlin, Germany. The use of images and textures on glass informed initial designs that used similar techniques to control light and privacy. The glass was laser cut with designs that came from the site and the client Nazeing Glassworks.

c.17 Zachariah Igbo Interior view of the cafe along the canal of the proposed fabrication and craft facilities.

c15 Rohaine Dailey, Elevation showing the use of printed glass and concrete on the faรงcade. The proposal speculates on the future of Nazeing by combining glass techniques with emerging graphic design practices. It adopts a programme which includes printed glass along with their current applications of pressing and blowing. c.16 Rohaine Dailey, Interior View showing the glass-making workshop.

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DEGREE Y2&3 unit C


DEGREE Y2&3 unit C

c.18 c.19 & c.20 Structural Glass Group - Viraj Patel, Inayat Hassan, Ewelina Krol, Alice Marwood, Valeria Ricci. Inspired by the light qualities emanating from the Hermes Store, by Renzo Piano, the concept for the glass prototype was to create a surface that would play with light. Tests that controlled the light by using glass and water lead to the creation of a glass block that somehow slowed down the water, capturing that moment water distorts light. The inspiration for the front piece of the glass block developed after a visit to the Diana Memorial Fountain, which uses a playful formal language to guide water along its surface. The prototype is contoured in such a way that allows it connect with another piece no matter the orientation.

the proposal explores a design layout that allow for tasks to be completed effectively and efficiently. The use of glass blocks, throughout the building allows for a play on light which sets a tranquil mood. c.22 Ewelina Krol Interior view of the pool. The proposal explores the possibility of a hybrid program that includes a spa and a glass making factory. The concept consists of three main components: heat, water and glass. The glass factory generates heat, which is harvested and used to heat up the pools in the spa. They also share some key facilities such as admin offices, a cafĂŠ and a garden, creating a link between the heavy and the leisure industries.

c.21 Inayat Hassan After analysing the inefficient circulation plan of the existing glass works,

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DEGREE Y2&3 unit C


UNIT D

Sensory Space [Modernism and Materiality] Roquebrune Cap-Martin Bruce Irwin, Catherine Phillips

The work of unit D this year examines the relationship of Modernism to the Mediterranean vernacular, with considerations of density and place, passive systems and climate, materiality, landscape and topography. The core brief for the project is ‘real’ – and we took the live project as a starting point for our own work. E1027, the ‘Maison en Bord de Mer’ was designed and built by Eileen Gray with Jean Badovici at Roquebrune Cap-Martin on the Cote D’Azur, for themselves between 1926-29. Le Corbusier later painted controversial murals in the villa and built his Cabanon adjacent to it in 1951. After a long period of neglect, abandonment and vandalism the villa is at at last undergoing restoration and is opening to the public this year along with the Cabanon, to coincide with the 50th anniversary of Le Corbusier’s death in the bay at Roquebrune. A Foundation building and residency for an architecture student are planned close to the site. With the real brief as a starting point, unit D refined their own briefs for the design of an E1027 Foundation. It was our objective to select and record potential sites for the year project, and to study the sites in order to establish a clear sense of place and materiality for the work. Students documented the architecture, landscape, materials, and vegetation of the area. We examined the proposed site for the real project and speculated on possible alternatives. Chosen sites are located around the main areas of public space in the medieval village of Roquebrune and on the Cap-Martin coast in the viscinity

Roquebrune, Cote d’Azur

of E1027 and the Cabanon. This live project offered an opportunity for students to examine some icons of Modernism and to develop an understanding of some of of the material and formal origins of Modernism in the observation of the Mediterranean vernacular. In November unit D travelled travel from Bilbao to Pamplona to Barcelona, then on to Nice and finally to Roquebrune-Cap-Martin. Before setting out we documented and analysed E1027 and the Cabanon in drawings and in texts. On our way to Roquebrune we also visited two other significant Modern buildings - The Maeght Foundation, near Nice, and the Oteiza Museum near Pamplona. The three works served as key subjects for an organised group study project and informed discussions about precedent for the project and divergent understandings of use of material, space and inhabitation. The students designed and produced a set of 3 books to contain the drawn documents, analysis, and travelogue: The Oteiza Museum, Alzuza, Spain [Sáenz de Oiza] The Maeght Foundation, St Paul de Vence, France [Sert] E1027 & The Cabananon, Roquebrune-Cap-Martin, France [Gray/Badovici, Le Corbusier] The E1027 Foundation has specific spatial, programatic, site, and social requirements. Program: Temporary and permanent exhibtion space(s); lecture room; accomodation for a visiting architect or scholar; access or designed relation to E1027


and the Cabanon; information office, visitors cafe. The brief is simple but open. Individual students defined appropriate uses and spatial requirements of each element in the program. Students were encouraged to use the program, site, material and structural choices to investigate and expand their understanding of: Modernism in relation to the Mediterranean vernacular; Eileen Gray’s integrated furniture and adaptable elements, Le Corbusier’s 5 Points; the work of Lluis Sert, Francisco Sáenz de Oiza and Jorge Oteiza. Successful proposals incorporated an understanding and critique of local vernacular materials, form and density, and their relation to environmental and climatic conditions and light, and to topographically challenging sites. Students were also to consider environmental issues particular to building in close proximity to the sea and within an ancient and layered architectural context.

Visiting Crits: Simon Beames, Tim Fisher, Piers Gough, Francois Lefranc, Edward McCann, Nic Tuft Special thanks to: Michael Likierman, Marisa Sáenz Guerra

DEGREE Y2&3 unit D

Students: Y3: Kasim Ahmad, Umut Dogan, Onur Emek, Azizul Aziz, Anees Imtiaz, Aysenur Macit, Jahzel Parkinson-Actil, Andreas Shellis, Dimitrios Vasileios Chatzigiorgalis Y2: Mohamed Abdelaziz, Tamires Cassella, Phelli pe Euphrosino, Heleomar Figueiredo, Ahmadzia Hasas, Ayisat Kareem, Paul Marshall, Marina Medeiros, Ibrahim Odunsi, Bruna Orneles, Rafaella Peixoto, Roman Rassoul, Thamires Rodrigues, Paula Tinoco

d.1

“The poverty of modern architecture stems from the atrophy of sensuality. Everything is dominated by reason.... reason without instinct.” Eileen Gray


DEGREE Y2&3 unit D

d.1 E1027 axonometric projection. (Bjorn Wang) d.2 Unit D studying E1027 at Roquebrune Cap-Martin, currently undergoing restoration. d.3 Topographical model of Roquebrune Cap-Martin, laser-cut card. (Umut Dogan, Onur Emek, Andreas Shellis) d.4 Montaged view of the entrance to the E1027 Foundation on a stepped site in the medieval village of Roquebrune. The gallery spaces are below street level, allowing the roof of the proposal to enlarge the public space, with a panoramic view of the coast. (Thamires Rodrigues)

d.5 Site plan, E1027 Foundation, on a site at the entrance of the Medieval village, below the 10th century castle. The proposal bridges the dramatic changes of level on the site with a public space that cuts around existing trees, and connects to the museum on two levels. (Onur Emek) d.6 Light study for circulation space inspired by Eileen Gray’s screen designs. (Onur Emek)

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d.9 The proposal forms a series of fragmented stepped terraces forming public spaces linking different levels of the village. Large north facing rooflights create sculptural interuptions to the terraces, lighting the gallery spaces. (Umut Dogan) d.10 A reconfiguring of the main public of the village with a stepped landscape that links two levels of the Foundation. (Aysenur Macit)

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DEGREE Y2&3 unit D

d.7 Gallery interior housing the Le Corbusier murals. There is a plan to remove the murals from E1027 and house them in the new museum. The end of the gallery space is designed to reveal the surface of the rock of Roquebrune that dominates the main square of the village. A cut into the edge of the roof brings light down to this lower gallery below the public space. (Aysenur Macit) d.8 Cutaway perspective view of inhabited landscape propsal. The scheme reconfigures the main public space of the village with a stepped amphitheatre structure that forms the roof of the Foundation building. Cuts into the ground surface form lower courtyards and at the edges of the space bring light down to the galleries below. (Ahmadzia Hasas)


DEGREE Y2&3 unit D

d.11 Sectional model, E1027 Foundation on a steeply stepped village site. The south facing museum building has a deep facade with concrete louvers to give diffuse light. (Andreas Shellis) d.12 Analytical site model of Roquebrune site below the 10th century castle showing proposed site with removal of existing modern buildings. (Ahmadzia Hasas) d.13 Site model of part of the medieval village of Roquebrune with E1027 Foundation massing model in foreground, Onur Emek d.14, d.15 Axonometric and 3D study of circulation space and window of the Oteiza Foundation. (Anees Imtiaz) d.16 Design development study models conceiving the massing of the proposal as a series of stepped terraces linking levels in the village of Roquebrune. (Umut Dogan)

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d.16 DEGREE Y2&3 unit D


UNIT E

Time, Weather and Stone Isaac Cobo i Displas Claude Saint Arroman

Unit E works at the intersection between old and new, in terms of architecture and in terms of representational techniques. We therefore design through the qualities of various traditional model making and drawing materials (clay, timber, metal, etching, sketching and analogue photography…) while also analysing these qualities in the existing built fabric and environments; and at the same time we explore new build design through contemporary materials and contemporary computer techniques positioned in contrast and interface with the old (built or represented or both). In the same process, students design new architecture that connects with old buildings, within a hypothetical program that integrates past, present and future through materiality. Unit E does this on the basis of speculative proposals on sites that contain existing historic fragments or memories. The students spent the first term educating the eye into recording details and architectural effects, to understand relationships between buildings and open spaces, solidity and emptiness, light and darkness... Materiality and time are also studied from the perspective of microclimates (weather), drawing on the traditional Latin correlation which is made between time and weather, and carrying them forward into the dimensions of environmental and social sustainability. This year we are exploring this through the contrast between Palladio’s and Scarpa’s work and their differing design and representational techniques – placed in the urban context of Vicenza’s vernacular tradition and of Castelvecchio. We also spent three days at the Portland

Sculpture and Quarry Trust to understand the natures and processes of stone from the quarry to the site.

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toledo, Spain


Visiting Crits: Nenad Djordjevic, Lucy Godden, Sakiko Kohashi, Ray Emery, Maliha Haque, Maria Alessandra Segantini, Oliver Sprague, Maija Viksne

Special thanks to: Paul Crabtree and Hannah Sofaer (Portland Sculpture and Quarry Trust), Francesco Grassi (Grassi Pietre Quarry), Noora Kassinen, Francesca Leder (Department of Architecture, University of Ferrara), Jan Liebe (Architect), Barney Sandell (St George English School, Vicenza), Maria Alessandra Segantini(C+S Architects), Paula Tosas Auguet (architect) Sponsors: Gressi quarry, Percorso da Zovencedoalla Cava Cice S XVII) Portland Sculpture & Quarry Trust

“My first idea for a building is with the material. I believe architecture is about that. It’s not about paper, it’s not about forms. It’s about space and material.” Peter Zumthor, Birkhauser, 1998

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DEGREE Y2&3 unit E

Students: Y3: Gunes Bagdali, Wagner Carvalho, Anastasia Chondronikola, Mitul Chudasama, Helen Inyang, Amar Farouq Kamaruddin, Kinan Karima, Dilek Kaymanli, Katia Krackovskaja, Ilianna Logotheti, Remi Meydan, Ivon Paulo Vieira, Ryem Salim, Fili ppos Tympas Y2: Stephania Asmuz Pereira, Isabela Resende,Pedro Sepulveda Pereira, Zuha Aleeya Zubir, Yuko Endo, Saman Gamouri, Balraj Rai, Erdjan Ruci, Silvana Santos Porto, Victor Souza Franscetti


DEGREE Y2&3 unit E

e.1 Erdjan Ruci, Palladio proportion studies (Queen’s house) e.2 Gunes Bagdali proportion studies(Chiswick House) e.3 Remi Meydan, Library and Nursery at Viale Guriolo (Ex Macello) old Former Slaughter House e.4 Helen Inyang survey drawing of Parco Querini Former Monastery/Retreat e.5 Katia Krackovskaja survey drawing of Siamic Pullman Station Former Bus Station and Deport

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DEGREE Y2&3 unit E

e.6 Victor Souza Franscetti new Flower shop and Market at Muro S.Rocco (La Rocheta) Remain of Medieval Rempart e.7 Ryem Salim Shelter and Cusine school at Forazzaro Carpark e.8 Ilianna Logotheti, Archive and cinema at Siamic Pullman Station Former Bus Station and Deport e.9 Ilianna Logotheti, photograph from interior of Siamic Pullman Station Former Bus Station and Deport

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DEGREE Y2&3 unit E

e.10 e.11 Ryem Salim Shelter and Cusine school at Forazzaro Carpark e.12 Katia Krackovskaja House for the Elderly and workshop at Siamic Pullman Station Former Bus Station and Deport e.13 Ivon Paulo Vieira photograph of Giardini salvi (Porta Nova)

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DEGREE Y2&3 unit E

e.14 e.15 Helen Inyang survey drawing plan of Parco Querini Former Monastery/Retreat and the axonometric proposal for the new use e.16 Wagner Carvalho photograph of Parco Querini Former Monastery/Retreat

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UNIT F

Working culture Hull Adam Willis, Lewis Jones

Unit F is concerned with issues of re-use across a range of scales, from furniture to buildings to urban infrastructure. We work using large scale models and physical artefacts, placing the idea of making at the core of the design process, and seek to develop work that results from a diverse range of processes and materials. The unit encourages an in depth understanding of how things are constructed - interrogated through sequential drawings and physical prototypes. This year we have been focussing our attention on the work place. We live in a culture defined by work: most people spend more waking hours at work than any other place in their life, yet the architectural environments of the workplace rarely reflect this social and cultural importance. We have taken this problem as a point of departure to speculate on ways in which places of work can become more integrated with the cultural and public life of the city. The year began with a live group building project, allowing us to explore the idea of the ‘work place’ at 1:1. Through recording, dismantling, testing and constructing, students embarked on a process of re-appropriation and re-invention in order to construct a small workshop structure in timber and tile. Using a series of found materials as a starting point, the design process was led by close observation, analysis and testing, always seeking to create something extraordinary from the mundane. For the remainder of the year, the unit pursued these themes at a far greater scale, questioning the potential re-use of one of Hull’s principle former industrial fishing

Venice, Italy

docks – St Andrew’s dock. Following the loss of the shipping and fishing industries, Hull experienced a long decline that left it amongst the UK’s poorest cities, with a major shortage of employment and skills. Against this historic and social context, the city was recently awarded status as the 2017 UK Capital of Culture, prompting a great deal of attention and investment. The challenge for the year was to use this as an opportunity to create new places of work that combine employment with public cultural functions that enrich the wider life of the city. Like many industrial boomtowns, Hull’s identity is defined by its powerful, but now eroding, history of work, trade and production. The work place – a place of meeting and exchange, where people of diverse backgrounds congregate and overlap – can, in this context, be considered as a centre for culture as much as the arts centre or museum. Indeed, given the city’s historic & social context, perhaps reimagining the ‘work place’ is the most relevant and appropriate response to the ambitions of the Capital of Culture. On these terms, students were asked to develop new places of employment where work and culture overlap and coexist. The unit explored the re-use of a number of impressive industrial ruins, alongside opportunities for new build and ambitious landscape infrastructures. Students were encouraged to develop an incremental approach, amplifying the strange and unique qualities of the existing conditions, and investigating how proposals might continue to adapt in response to changes in the surrounding city over a long period of time.


Visiting Crits: Joseph Halligan, Katherine Spence, Paloma Gormley, Lettice Drake, Mark Lemanski Special thanks to: David Ring

DEGREE Y2&3 unit F

Students: Y3: Mobasher Ahmed, Yousef Bouzid Miguel Angel Caceres Suarez, Nikoliya Genova, Baker Nsimbi, Mohd Shakirin Bin Samsul Baharin, Ashfaaqali Sheiray Khoda Sumodhee, Amalina Yahya Y2: Jose Cervino, JĂşlia Chaves Nunes De Carvalho, Tamara Cortez Gri ppe , Clayton Diogo Schinkel, Joshua Heather, Ana Luisa Lauxen Scalia, Nadezda Leonova, Josephine Olagunju, Cristiana Retes Ziller, Benjamin Rogers

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f.0 St. Andrews Dock, Hull 1959 f.1 Inventory of materials f.2 Flatpack furniture from reclaimed timber DEGREE Y2&3 unit F

f.3 Handmade corrugated cement cladding tiles f.4 Photographs of construction process f.5 Axo showing construction sequence f.6 Completed interior f.7 View with doors open f.8 Night time view f.9 Front elevation with doors closed

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f.23,f.27 Amalina Athirah Yahya f.25,f.26 Nadezda Leonova f.28 Miguel Angel Caceres Suarez

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UNIT g

HOME ECOLOGIES BECONTREE, EAST LONDON Hwei Fan Liang, Christian Groothuizen

The suburbs are a place of opportunity – where cramped city dwellers move to forge new ways of life, the space has the potential to support a level of selfsufficiency in resources and biodiversity, and the locality of a neighbourhood supports a range of activities. Looking beyond a superficial or aesthetic idea of “green”, Unit G spent much of the year discussing what ecology means and could mean in the context of the places we visited and the projects under formation. Becontree was the largest interwar public housing estate, where market gardens, farms and villages were transformed by an influx of materials and residents to form a new suburban dream. Eighty years on, the London Borough of Barking & Dagenham have identified sites for future development, but several of these are too small or awkward for easy residential development – these are the sites we took on. We asked what a suburban neighbourhood is and can be beyond a commuter’s retreat. What could take place in residential neighbourhoods to give them a communal and civic life? How might proposal projects act as catalysts or enablers of a future suburb? Each student found a response to the given study sites that sought to meet an identified need, or to re-orientate the existing patterns of use and consumption to be more ‘ecological’ in the sense of people (and other occupiers) relating to each other and to their place in a meaningful way. Programmes ranged from the firmly experimental to the thoughtfully ordinary, in each case looking to actively engage with a social ecology of place and community.

BECONTREE, VENICE, SANT'ERASMO,

The tricky sites consisted of a neat lawn on the edge of the old village of Dagenham, an embankment along a main road bounding the estate, an under-used carpark in the interior of a suburban block, and a footpath that had once been municipal garden but had long since been given over to grass and layers of boundary railings. In these places students found moments to value, qualities to build upon, and opportunities for drawing together existing potential to create richness in new activity and inhabitation. Themes of proposals include neighbourhood selfsufficiency in energy or food, communality around the activity of growing and gardening, explorations of models of dwelling and provision of housing, and creation of habitats integrated with development.


Visiting Crits: Jayden Ali, Adam Bell (Foster+Partners), Trisha Chauhan, Alison Crawshaw, Raphael Lee, Olga Lucko, Gareth Morris (What if: projects), Colin O’Sullivan, Anthony Powis (muf architecture/art), Zoran Radivojevic, Ken Rorrison (Henley Halebrown Rorrison), Claude Saint-Arroman, Lucy Thomas (Tim Ronalds Architects) Special thanks to: Jon Broome, Ken Rorrison and Sarah Wigglesworth for allowing us into their homes. Marcia Kirlew and others at London Borough of Barking and Dagenham.

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VISIT www.uel-unit-g.blogspot.co.uk

DEGREE Y2&3 unit G

Students: Y3: Nan Asawathaweechokechai, Punit Babu, Yahya Bulbulia, Lauretta Doku, Tayma Escoffery, Daniel Gibre, Shaina Gurung, Athena HyltonThompson, Stephanie Joan Intsiful, Ian Knowles, Waqaar Shah Y2: Julius Augustinavicius, Dawood Drankai, Michael Kibalabala, Odaine Phi pps, Andre A. Radcliffe, Kemal Rustem, Bruno Santos Bezerra, Troy Stennett, Christos Xenophontos


DEGREE Y2&3 unit G

At the start of the year we visited three houses, guided by the architects who designed and live in them, and followed this with a study tri p to the islands of the Venetian laguna, in particular the farming island Sant’Erasmo and its relationshi p with neighbouring Venice. These studies spanned from the domestic scale and the etymological root of ecology as relating to “household”, to the provision of food and water for city populations and how the detail of flood defences and edges can affect the health of a wider ecosystem. We explored the idea of ecology as situated relationshi ps, of things belonging, enjoying and providing for each other and place.

Before visiting the houses, students made study models based on interpretations of photographs and drawings. Two Houses by Henley Halebrown Rorrison: g.2 (Julius Augustinavicius) g.3 (Waqaar Shah) g.4 (Lauretta Doku). Stock Orchard Street by Sarah Wigglesworth Architects: g.5 sandbag wall to office (Daniel Gibre). g.6 Collection of leaves from Venetian islands (Punit Babu). g.7 Sant’Erasmo field to laguna (Ian Knowles). g.8 Long exposure sketch of Campo Santa Margherita (Yahya Bulbulia). g.9 Observing Campo San Giovanni e Paolo (Punit Babu).

Previous page: g.1 Unexpected habitats on Becontree proposal site (Ian Knowles). The life that exists within unintended spaces: cracks in the road, the space between bricks, the edge of mowed grassy areas. These plants are scattered on the wind to find a place to grow.

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DEGREE Y2&3 unit G


DEGREE Y2&3 unit G

Drawings are tools for both the communication and exploration of ideas. g.10 Growth and consumption on embankment site (Daniel Gibre). g.11 Old Dagenham village site plan (Nan Asawathaweechokechai). g.12 Seed vectors: Broad casting and hand sowing (Ian Knowles). g.13 Seed Emporium conceptual collage (Ian Knowles). g.14 g.15 g.21 Becontree Building Crafts Workshop development plan, model and section (Andre A. Radcliffe) g.16 Sketches for a classroom for Beam Gardens, a productive garden, cafe and classroom linked to nearby Beam Parklands (Tayma Escoffery). g.17 Mayesbrook Ecological Eden: cooperative housing for the eldery (Stephanie Joan Intsiful). g.18 Drawing a conversation: collaborative site investigation plan (Michael Kibalabala, Ian Knowles, Waqaar Shah). Historical reimaginings: g.19 Stables and smithy in Dagenham village (Lauretta Doku). g.20 Market gardens in Becontree (Kemal Rustem).

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DEGREE Y2&3 unit G

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DEGREE Y2&3 unit G

g.22 Local farm shop and restaurant (Nan Asawathacheechokechai). g.23 Mayesbrook Ecological Eden: Cooperative housing for the eldery with meadow roofscape (Stephanie Joan Intsiful). g.24 The Growing Library: Neighbourhood lending library for books, seeds, tools and greenhouse space (Shaina Gurung). g.25 The Seed Emporium: Native seed laboratory for diversifying the suburban landscape (Ian Knowles). g.26 g.27 Mayesbrook District: Self-build family homes for Becontree (Yahya Bulbulia).

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DEGREE Y2&3 unit G


UNIT h

Fragments and city Peckham, London Keita Tajima, Mo Woon Yin Wong

Unit H has been preoccupied by the notion of “fragments” as sources of imagination as well as traces of reality. We explore the city through fragments of space, details, time and their stories in relation to everyday life experiences. We use a notion of “Fragments” to initiate students to understand and explore “a part “ in relation to “a whole” or “a missing part” in relation to incomplete object in various scales and imaginations. The unit generally engages in depth with context particularly in neighbourhood scale. We are interested in the extent of domestic space within neighbourhood and its threshold condition to public realm. In the course of design exploration, we explore spatial moments and narratives through series of abstraction and translation by models, bricolages and drawings in order to test and generate individual agenda for design project. Peckham This year the unit will focus on neighbourhood of Peckham, looking at the contrast between historical fabric of the city, new development around Peckham Rye station, multi cultural existing local communities, emerging creative industry in historical industrial buildings. The project will start by sampling “in-between conditions” in Peckham. The design project will evolve around the idea of shared space as a catalyst to question an alternative strategy for the integration of existing neighbourhood within rapidly changing city where the sense of neighbourhood has been disappearing.

Sabbioneta, Verona, Venice, Italy

Castelvecchio and Sabbioneta The unit trip to Italy is to explore and observe the relationship between architecture and city in various scales. Specially focused on Castelvecchio by Carlo Scarpa which demonstrate complexity of architectural insertion to city and its historical infrastructure, and the “Ideal city” Sabbioneta to search compactness and intimate relationship between buildings and public spaces.


Visiting Crits: Pedro Castelo, Christina Gerada , Andrew Houlton, Punya Sehmi Special thanks to: Carl Callaghan , Colin O’Sullivan, Step Haiselden, Raphael Lee, Maria Segantini and many others at UEL, Peter Rhodes (Peckham Platform, Benedict O’Looney (Benedict O’Looney Architects), Dingle Price (Price & Gore Architects)

“A house must be like a small city if it’s to be real house, a city must be like a large house if it’s to be real city” Aldo Van Eyck

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DEGREE Y2&3 unit H

Students: Y3: Folayemi Adebayo, Fatih Akbudak, Victor Dairo, Ilyas Demir Benedict O’Looney ci, Abu Hussain, Ilir Kaba Dingle Price shi, Haroon Khan, Anna Kokkota, Farhia Mohamed, Sanndeo Purgass, Mohamed Shoble, Zuhayr zaki Y2: Delrich Biyoulou, Amanda Bodstein, Sinem Camur, Tawhid Chowdhury, Emiliana Costa, Troy Frazer, Natalia M Moreira, Mustak Miah, Ryosuke Minagawa, Azwin Mohamadu, Oluchukwu Judith Okonkwo, Ali Rashid


DEGREE Y2&3 unit H

h.0 Right Junction model (Ilir Kabashi) h.1 View towards Rye lane through the remaining gate of old cinema entrance. (Farhia Mohamed) h.2 Peckham reclaimed resources map. (Farhia Mohamed) h.3 Investigation of ignored spaces in Bussey building (Ryosuke Minagawa) h.4 Exploratory collage of the journey across Rye Lane and fragmented spaces (Mohamed Shoble) h.5 Exploratory collage of urban passage. (Folayemi Adebayo) h.6 Investigation on discarded cardboard on Rye lane (Ilir Kabashi) h.7 Cast and frame models for exploring the interstitial space (Ali Rashid) h.8 Exploratory model of ignored spaces (Ryosuke Minagawa) h.9 Investigation on dark spaces in relation to the roof scape at Copeland industrial estates. (Oluchukwu Judith Okonkwo) h.10 Investigation on the sequential views along the corridor in multi storey carpark (Anna Kokkota)

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DEGREE Y2&3 unit H

h.11 Light weight frame and fabric model to explore the fragmented views and pocket spaces (Anna Kokkota) h.12 Exploratory model of junction space (Ilir Kabashi) h.13 The exploratory collage of urban room/passage in dense timber blocks. (Haroon Khan) h.14 1:200 scale model to test new extension to old cinema gate. (Farhia Mohamed) h.15 The section through new allotment square, public corridor and dowelling above. (Sanndeo Purgass) h.16 The partial model exploring the relationshi p between timber frame structure and shelving spaces for community library. (Haroon Khan) h.17 The new waiting room and community art gallery space to Peckham Rye station. (Ilyas Demirci) h.18 The exploration of hidden spaces and moments in sequence. (Tawhid Chowdhury) h.19 1:50 wall model to investigate the quality of inverted interior spaces through series of openings and furnitures that address public spaces. (Farhia Mohamed) h.20 The view of a series of openings

and cuts reveal activities in proposed community art centre in Bussey building. (Oluchukwu Judith Okonkwo)

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DEGREE Y2&3 unit H

h.21 Gallery space constructed from reclaim materials founded near site in Peckham to offer local artist to exhibit their works. (Farhia Mohamed) h.22 Co-working workshops for ceramic artist behind Peckham Station. h.23 Roof top view looking at ignore space in Khan’s Market behind Peckham Rye Lane. (Ryosuke Minagawa) h.24 h.25 Gallery space for local artist in Bussey Building. Gallery extended from the rear of Khan’s Market to offer a continues experience from the high street, local shops to a sculpture exhibition in Copeland Yard.(Oluchukwu Judith Okonkwo) h.26 h.27 Main entrance to a complex of artist co-working and living spaces which composed of series of small buildings at the unused site in Copeland Yard. (Mohamed Shoble) h.28 Youth Centre behind Cinema Tower which includes library, workshops and bike shop to reconfigure unused carpark into new learning space for youth in Peckham. (Haroon Khan)

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DEGREE Y2&3 unit H


COMPUTING & REPRESENTATION IN ARCHITECTURE ISAAC COBO I DISPLAS

Autumn workshop This year Computing and Representation module started with creating two dimensional drawings in AutoCAD. These drawings were later on imported in Illustrator and Photoshop, were linear drawings were transformed into inhabited sections and plans. Winter workshop Jean Prouvé’s 1948 Ferembal House was taken as the case study for this semester. This Jean Prouvé’s Demountable House was 8m x 8m in size. All the elements were individually created in Rhino3D and then exported to Revit. It was students first attempt to use Building Information Modelling (BIM). All the elements of the house were transferred from pre-fabricated historical system to a digital component software in 2015 at UEL. The students had an opportunity to understand the technical part of the house and the simple and clever prefabrication system.

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Special thanks to: Mark Hyduk who introduced me Jean Prouve architecture Matthew Joseph expertise in Revit BIM IT department of UEL

DEGREE Y2&3 computing

Students: Y2, Y3.

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DEGREE Y2&3 computing

cr.1 Interior of ferembal demountable house cr.2 Jean Prouve Plan No 9651 cr.3 Bjorn Wang cr.4 Sinem Camur cr.5 Ali Rashid cr.6 ferembal demountable house

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DEGREE Y2&3 computing


BSc&BA ARCHITECTURAL DESIGN TECHNOLOGY Michele Roelofsma Programme Leader

INTERIOR DESIGN Rashid Ali Programme Leader

PRODUCT DESIGN Paul Lighterness Programme Leader


BSC ARCHITECTURAL DESIGN TECHNOLOGY London VENICE

MICHELE ROELOFSMA KRISTIAN GARRECHT

Architectural Design Technology is a varied and diverse occupation, leading the technological design of architecture between concept, innovation and reality. Architectural Technologists can set up their practice, provide a full architectural design service and lead projects of all shapes and sizes from start to finish from new homes and hotels to shopping centres and football stadiums. They specialise in the application of building science and technology to architectural and construction projects. They are recognised as having specialist skills enabling them to manage the design process and use their technical knowledge and expertise to provide innovative solutions. Architectural Design Technology at UEL. The programme has some commonality with our Construction Management, Civil Engineering and Surveying programmes as well as being taught alongside Architecture, which will provide you with a good grounding in built environment development and construction. The year started with series of a small introduction project. The measuring of a small container, a survey of one’s room and the preparation and visit to Venice are conducted in the first weeks of the course. The survey of Carlo Scarpa’, Venice Fondazione Stampalia hall and the question what is interesting for an ADT student in this magical city forced the students to think about their Profession and Architecture The specific wooden foundation of the city was an

introduction to Foundations discussion. Mapping of the way how people inhabit the city was a part of the survey exercise. Identifying the tension between interior and exterior by drawing or photographing was required to set up a reference requirement. The design projects for this first year are set in London and tried to work with the impressions, surveys of their Venice study trip. The Project PRI “Place under a Roof “ is set on the dockland campus. Students were asked to survey and study the AVA building and the Knowledge Dock building. Being a Steel frame building, it gave the student an introduction to steel frame construction. Although there was program requirement for the project, gallery space, a social space between the AVA – Art and Architecture School. The project functioned as question generator. Seminars and open tutorial created the possibilities for a discussion. PRII “The Box“ Proposal for studio space on the west side of the Docklands campus.


Students: Y1: Gergo Vandor, Delil Dogan, Giulio Ferragut, Haissam Nassir, Baskaran Rajendran, Alexandra Ion Visiting Crits: Anna Faisca

BSC ADT

Special thanks to: Fred Brown, Mike Hurst, Janet Insull

“Gradually people come to you to buy surprise and the thing that`s nicest about it is that when people come to buy surprise, i have no idea of what I`m going to give them either .� Peter Rice, Engineer


BSC ADT

Querini Stampalia Garden Wood Door measurements survey

Querini Stampalia Garden Wood Door Elevation

Carlo Scarpa original drawings


The idea of my paper form was inspired by a samurai helmet or armour which is designed for protection same as a shelter . The task was to investigate different shapes and forms to create a space made out of one single plywood piece with the proportions of 2:1 as the full length of the plywood sheet. We scaled down the size of the form to 2 squares of 300mm, as the plywood sheet for laser cut machine is 600 x 300mm. After the paper form was approved, we needed to prepare the laser cut file. The file was prepared first in Microstation and converted to .dxf file with specific layers for cutting the inside lines or the outsides. In the laser cut workshop the file was verified and than converted to specific file for the laser cut machine. The plywood sheet of 600 x 300

with a 1.8mm thickness was loaded in the machine and the cutting process started. Once the laser cut is complete the form is removed from the machine and is soaked for at least 4 hours in lukewarm water. Upon soaking, the plywood is bended in the desired form and is stapled and connected to the final shape if is possible. I used also clamps to force the plywood to dry and get the shape that i needed. After 10 hours the form was dry and with the required shaped.

BSC ADT

Tokyo Project Task


BSC ADT


The Task for “THE BOX”project was to write the Brief for a building similar with Kraanspoor in Amsterdam which will accommodate ACE and ADI facilities.

The Form from Tokyo Project is inserted in this study as a stair core. BSC ADT

The newly built construction is characterized by its transparent doubleskin climate façade of glass. The vast surface of glass supplies ample natural light to its interior, promoting a pleasant work environment.


The Structure main framework consists of steel profiles with an HEB 300 section for the HEB 240 posts or the main beam. The stability of the building achieved perpendicular to the hubs by tubular sections..

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The floors are formed by thin prefabricated concrete slab modules. These floors incorporate the lower wing of the steel sections into a single piece. The standard modules are 7225 mm long and 2400 mm wide, and are arranged in the longitudinal direction of the building. Supporting plywood panels between the steel profiles finish the floor. The steel beams of the slim floors are flushly welded to the main beams. The total structural height of the floor is only 398 mm (70 mm of concrete) The fan coils, the extraction networks, the pi ping, wiring, etc. Are incorporated within this floor. The thin concrete layering allows for cooling ceilings, the use of the heat inertia of the concrete floors and natural ventilation.

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BSC ADT

Places under a Roof

Alexandra Ion


BA INTERIOR DESIGN

observational and skills building rashid ali luísa alpalhão bruce irwin

In the autumn of 2014 the School of Architecture and Design welcomed the first cohort of students of the new BA (Hons) in Interior Design. The students were taught in small groups, in a studio setting by dedicated tutors and lecturers. Our aim in year One was to place a strong emphasis in skills building and development of student’s observation and analytical approach. The projects students were set and their responses sought exploratory, poetic and imaginative solutions to enhance and develop a conceptual, creative approach to designing. Design; the core module on the programme was taught together with a range of supporting studies, including representation and computing, technical studies, design history and theory & professional studies. A fundamental aspect of this process has been the crosspollination and coordination of the projects in different subject areas to allow students to cross transfer and utilise ideas and skills they have developed and were exposed to across modules. The studio design projects have sought to balance an understanding and appreciation of the histories and character of existing spaces and addressed them with poetic and innovative approaches that resulted in new uses. By doing this they have explored a diverse range of interior design briefs that enabled them to develop ideas and propositions for ‘exterior interiors’ to the intentionally ‘scenographic’, and addressed themes ranging from the bedroom, recycling materials for outdoor interventions to a performance set for traditional tales.

By building an awareness of the material and spatial qualities, timescales and life spans across the year, the students have encountered and familiarised themselves with a diverse range of ideas, techniques, skills and methodologies that have given confidence on how to develop their own unique ideas and an insight into the processes of developing and realizing projects of interior design scale and nature with clients and other professionals. The introductory project to the year, titled Species of spaces, required students to describe their room to a blind person, by taking a route across the room from inside, to the rest of the house, and to record all the characteristics and details that are experienced. An inventory of observations on space, form, objects, materials, scale, colours, texture, smell, sounds and relationship between inside and outside were analysed and developed into a sectional collage and a series of detailed models. The second project further explored the notion of observation of place, with the aim of re-designing of an existing ‘indoor’ space along a street. The students took on the role of an ethnographer and researched on a chosen space and community in close proximity to the university. These explorations were developed into a layered maps that recorded different information, which were then inform the re-design of the space through a reconfiguration of existing elements, including walls, doors, pavement, fences etc. The final project was a set design for performing a traditional tale of the student’s choice. The students


BA INTERIOR DESIGN

Students: Ebru Targan, Paulina Azakli, Charlotte Tope, Olivia Jones, Holly Deulin; Simona Stankeviciute, Irene Lora Pedro, Mark Da Silva, Anderson Perdomo’ Marzia Argiolas, Lyuboslava Illiyanova Peruhova, Shariffah Begere Visiting Crits: David Cross

analysed their tale by defining its constituent parts into a limited number of scenes. According to their material, spatial and visual qualities, the scenes were assigned an appropriate term and developed into a set through a series of drawings and models, until a clearly defined performance space was achieved.

“Abstraction is a representation of nature devoid of ‘realism’ based on mental or conceptual reduction. There is no escaping nature through abstract representation; abstraction brings one closer to physical structures within nature itself.’.” Robert Smithson


id.1 Reconfiguration of a disused suburban square id.2 Multi plicity / hovering; a study model of a tale

BA INTERIOR DESIGN

id.3 Little Red Riding Hood; a study model of cottage

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id.5, id6 Study model - Legend of Maide’n’s Tower

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id.7 Stduy model for reconfiguration of an outdoor space

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BSC PRODUCT DESIGN FINAL MAJOR PROJECTS

Paul Lighterness

The product design programme encourages designers to explore a self-initiated subject and design a solution for a problem. The chosen subject could be topical of the time, or one that the individual has witnessed, experienced or observed. Students are encouraged to explore their chosen subject on a social and environmental level. The aim is for the student to tackle issues that they can relate to their key users, and present fully resolved solutions. The objective of the Final major project is to not only present a physical product solution, but also to understand the larger influences of the supporting network and system in which the product is to operate. Students are encouraged to explore their chosen target group and to begin to understand the experiences and challenges faced by their key users through a variety of immersive, participatory and empathic methods and techniques of research. By undertaking tasks and roleplaying certain activities the students are placed in a position of experiencing their environment as the user would. Recent projects that have been undertaken by students on the programme include designing a number of sports products to provide solutions for specific sports related issues, as well as products that provide health solutions ,care, improve food preparation and dietary needs as well as products for outdoor recreational activities.

care that high class athletes need to take when looking after themselves pre and post training. Through his own experience and engaging in a discussion with a number of fellow International athletes from a variety of disciplines he observed that regular issues arose around core muscle groups during training activities. A number of cases explored resulted in International Athletes being unable to compete at key events. Kem’s aim was to design and develop a product for Professional athletes to assist with conditioning athletes core muscle groups when warming up and cooling down during and after training.

“Sports Podium” by Nkemefula Ofoegbu As an International Professional athlete Kem was well aware of the importance of the physical preparation and

“SmartStance” by Zakiya Daniel-Garwood Working with her local boxing gym, and a number of East London training centres, including Barking Amateur

“ShotShaper” by Aman Mohammad As a keen Cricketer Aman explored the development of core skills sets for young cricket professionals, specifically in relation to batting. He was keen to explore the issues relating to batting and improving young athletes posture and stance, from which he could then build on upper body shape and form and posture. Having set up a number of user groups at County and University levels Aman was able to ascertain the issues faced by the young players and explore opportunities for development. By understanding posture and placement he later added in support bands that would enable a cricketer to be constrained the correct forms when playing a shot, and therefore influence muscle memory.


Special thanks to: Sports Dock, David Cosford, John White, UEL Cricket team, Marylebone Cricket Club, Dave Sadler, Barking Amateur Boxing Club, Enfield District Scouts Group, NHS Kings College London, Bulgarian Long Jump Team, Lee Valley Athletics Centre, Tooting Bec Athletics Track and Gym, Fabpad, UEL Fabrication Lab and workshop staff

Boxing Club, Zakiya was keen to explore and improve the development of young amateur boxers, both male and female. As a boxer Zakiya observed a need for young boxers to consider the placement of their feet, to improve upper body positioning. By using video documentation and regular observational sessions predominantly at Barking Boxing Club, Zakiya identified opportunities for solutions new to the sport. Through consistent testing and iterative development the “SmartStance� product works effectively at improving a boxers foot placement and overall stance. ProChallenger by Inderjeet Singh As a key member of the Scout movement Inderjeet was keen to explore the traditional values of the scouting movement and to promote a number of key values enlisted by established scouting groups. Inderjeet was keen to design a customisable bag that would represent a new era in the marketing and branding of the scouting group, as well as explore the functionality of the product itself, for a variety of exciting activities undertaken by the scouts during camps, or weekly activities.

Design Tri p Students and Staff visiting the Rialto Bridge, Venice (March 2015)

View of the Grand Canal from the Rialto Bridge, Venice (March 2015)

Murano Glass Factory visit (March 2015)

VISIT Http://productdesignuel.wordpress.com

BSC PRODUCT DESIGN

Students: Nkemefula Ofoegbu, Aman Mohammad, Martyna Cielecka, Kevil Jacob, Mete Kamar, Sara Chaudhri, Edwin Jarrin, Ali Alnaimi, Petra Fuzek, Jarreth Smith, Yogesh Kanhye, Zakiya Daniel-Garwood, Alex Barton, Inderjeet Singh, Robertas Milinkis


BSC PRODUCT DESIGN

b.1 The Pro Challenger Scout bag explores the ability of adapting its functions to the weekly activities undertaken by the Scouts and the products user, whether it is needed for an expedition, or simply to carry items for a daily task and activity, the product is adaptable to assist the user in preparing from their planned tasks. b.2 ShotShaper: The product is easily transportable and assists young cricket professionals with perfecting their batting stance. By improving the placement of the cricketer’’s feet on the board, and constraining movement, the ShotShaper aims to build up muscle groups, and subsequently improve batting form

b.4 SmartStance (Product parts). Weighted Ankle braces (Adjustable), Knee Strap, Bungee cord, Adjustor mechanism. b.5 SportsPodium The design of the product enables professional athletes to undertake a variety of key exercises and preparatory stretching, and aid with warming up and cooling down sessions, therefore reducing the risk of injury to core muscle groups

b.3 SmartStance (Product in use). The SmartStance aims to assist young boxing athletes in improving their foot positioning, thereby improving their upper body positioning and subsequently movement and position within a boxing ring.

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DIPLOMA

LEVEL 4&5 ARCHITECTURE

Roland Karthaus Programme Leader


The Professional Diploma in Architecture emphasises the skill of design as a means to organise and manipulate technical knowledge about building, in the pursuit of Architecture. For each student, it is both an intensely personal and collective endeavour, with the unit operating interactively to extend, challenge and test each emerging architectural thesis until it is either destroyed and replaced, or finely honed. Specialist interests are explored to develop independent theoretical positions and pre-occupations for architectural testing. The skills and knowledge gained in the part 1 and through experience in practice are critically examined, extended and applied to develop new and deeply-founded positions that can support a future career in architecture. Roland Karthaus


UNIT 2

between time via appia rome christoph hadrys, uwe schmidt-hess

Unit 2 addresses urban and architectural conditions in locations undergoing critical change and over the years, has worked in North Africa, East London and other places in Europe. Through a combination of research and creative practice, we propose interventions, which respond to urban challenges and introduce elements of cultural and imaginative vigour. The Unit explores extremes of interrelated scales, from urban geographies through to building and detail qualities. In this process, strategies formulate responsiveness to global contexts, site conditions, understanding of scales, architectural sensibilities, as well as structural and material realities. We aim at creating social, spatial and time-based habitats and environments. Induction Exercise To prepare the year‘s work, we explored film stills by the Russian director Andrey Tarkovsky. Being part of a narrative, the images capture moments that reflect on elemental human conditions in space. There is a sensitivity to real and imagined places that has timeless qualities. Main Project This year, our design projects focused on the environments of two parallel roads leading into Rome, the old Via Appia Antica and the newer Via Appia Nuova. The two different roads have unique and contrasting contexts, from ancient landscapes to intense urban life. We can find agriculture, parks and car parks, derelict farm houses

rome, italy

and large institutions, vistas onto the nearby mountains and enclosed streets, monuments and voids, old and new, rich and poor. Inbetween, there are pockets of neglect, wasteland, discontinuous path ways, seemingly endless walls of separation, undefined edge conditions, topographical level changes and social frictions. The conditions of spatial separation and social inequality, opened opportunities for a more unique and synergetic urban life. The theme of this year is Between Time. This refers to the diverse research area that spans over 2300 years of history, with a potential to mediate between old and new. Furthermore, we explored architectural interventions that respond to more timeless qualities of space and social engagement. We aimed at designing architecture that is in every moment carefully present and alive. Each student chose one of the possible sites for their main design projects. The individual interventions focused on designing site specific buildings. Each student carefully developed architectural qualities, sense of place, logic of space, proportion, resourcefulness and programmatic precision as well as technical and material finesse. By invigorating existing and imagining new, we intended to create schemes that are both, sustainable and enjoyable.


Y5: Chiara Amato, Daniel Culqui, Eleni Gavrili, Jason Humbert, Amir Jafar, Justina Job, Nhu Thi Yen Le, Blaine McMahon, Panayiota Savvas, Stefania Solomos, Yi Ching Chu

Visiting Crits: Maria Segantini, Tendeseco St Francis, Leoni Brooks, Fatemeh Rostami, Rob Houmoller, Michael Denyer, Koldobika Albistegui Sojo, Stephanie Poynts, Matthew Collins, Kristina Fescenko, Kevin Widger Special thanks to: Mark Hayduk for Site and Research Area Maria Claudia Clemente and Francesco Isidori from Labics in Rome for all their Information and Support

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“All creative work strives for simplicity, for perfectly simple expression; and this means reaching down into the furthest depth of the recreation of life.� Andrey Tarkovsky, Sculpting in Time

VISIT www.march-unit2.blogspot.com

diploma Y4&5 unit 2

Students: Y4: Megan Barrett, Christopher Bishop, Barty Dulake, Akira Imai, Divyani Patel, Rachel Rowson


diploma Y4&5 unit 2

2.1 On the previous page: MArch Unit 2 on steps of the Piazza Campidoglio in Rome, after a film still from the movie Nostalgia by Andrey Tarkovsky. Photo by Divyani Patel.

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2.2 Page to the left: Rome and the research area around the Via Appia Antica and Via Appia Nuova. Drawing by Daniel Culqui. 2.3 Via Appia Antica, image by Christoph Hadrys 2.4 Figure Ground Study by Blaine McMahon 2.5 Via Appia Park, image by Uwe Schmidt-Hess

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2.6 Initial studies of depth of space and territory of perception by Panayiota Savvas. 2.7 Studies of pre-fabrication and assembly, cast by Christopher Bishop. 2.8 Design drawings of urban interventions and residential typologies by Panayiota Savvas 2.9 Plaster cast of a distorted vista building by Akira Imai 2.10 Conditions and shape of water, plaster cast by Daniel Culqui 2.11 Proposal elevation of new civic buildings and public space by Blaine McMahon

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2.12 Orchestrated steps and guided movement by Divyani Patel 2.13 Staircase study by Barty Dulake 2.14 Via Appia Antica Museum, section drawing by Eleni Gavrili 2.15 Plaster cast around 3D printed tunnels by Amir Jafar 2.16 Initial sketch study of Performing Arts School by Amir Jafar 2.17 Hall of columns, plaster cast by Jason Humbert

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UNIT 4

PLAY AND THE DESIGN OF HOUSING DINAH BORNAT, STEPHANIE SCHULTZ-WESTRUM, MICHELA PACE.

Unit 4 is interested in exploring the complex interrelationship of internal and external spaces in housing design. We are in our first year of developing a thematic approach to interpreting and visualizing the spectrum of public spaces from private to civic, this year with a bid to rethinking housing design and the public realm. Through research, driven by structured observational studies, we examined how and where adults and children use external spaces in six housing estates in Hackney to pass through, hang out, socialize and play. We focused in particular on play; ‘freely chosen, personally directed and intrinsically motivated’, and corroborated research carried out in the 90s by Rob Wheway. Students spent a total of 72 hours counting and classifying adults and children to determine what type of activity was occurring, whether necessary or optional, passing through, playing or socializing and whether children were accompanied or unaccompanied. Results were displayed in plan, section and model form. Early findings suggest that certain factors influence the success, the life of a space – position of entrances, linked shared space and a continuity of circulation. From understanding Huizinga, through Van Eyck and the Smithsons, to Jan Gehl and contemporary play philosophy, we seek to imagine new environments and systems that complement, co-exist and celebrate urban life. By starting with empirical research we have been able to tease out issues and challenge prevailing wisdoms: For example what is the value of communal space? And is connectivity always desirable?

MARSEILLE, FRANCE

Our research studies lead to an exhibition in January, where we presented our findings to a number of professionals; play specialists, planners, housing association managers and architects to gain their feedback. For the main project each student developed an individual thesis for a site in the deprived 3rd arrondissement in North Marseille, earmarked for regeneration as part of a large-scale city project. A predominantly North African suburb, the site itself is adjacent a metro station and a run down shopping street. Each programme balances another use with the housing and tackles degrees of openness, safety, cultural expression and sociability within the requirements of service provision, commercial need and climate control. Programmes chosen to fit alongside the housing provision are: - Spinal rehabilitation centre - An interpretation of the North African souk market - Digital training centre - North African cultural centre - Food market and community growing project


Y5: Marco Antinori, Ashiff Azam, Suleman Hussain, Nikolaos Isaakidis, Fabien Mitchell, Dalila Mohamed Khairi, Ourania Roumpoula

Special thanks to: Maisie Rowe: Writer and landscape architect, Rob Wheway: Children’s play advisory service, Helen Roberts: Feilden Clegg Bradley Studio, Kristina Roszynski: Cullinan Studio, Pat Woodward: Matthew Lloyd Architects, David Bass: Architect, Neil Turnbull, Architect

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VISIT www.uel-march-unit4.blogspot.co.uk

diploma Y4&5 unit 4

Students: Y4: Nabihah Abdul Haiyee, Mo Adnan, Maria Apostolopoulou, Aaron Dellaway, Preye Kpiki, Jim Rooney, Aiman Yuslam


diploma Y4&5 unit 4

4.1 Hackney. Life Ouside Housing study and exhibition. An invite-only exhibition was held in Netil House in Hackney in January 2015, and attended by over 70 people. Working together with Maisie Rowe to put togehte the exhibition, students presented their research findings into six existing estates in Hackney in the form of drawings, models and sections. Picture by Jim Rooney. 4.2-4.3 Kingsmead Estate analysis plan and model. The study looked at people outside on the estate, and split them into age categories: children aged 5 and under, children 5-12 years old, teenagers 13-20, adults, elderly. The activity was measured whilst on the estate according to whether the people were: passing through, actively playing, hanging out. The interest was also towards whether the children were accompanied or unaccompanied by adults. Through carrying desktop studies it was revealed whether the spaces were Shared, Communal, Private, Inaccesible or Vehicular used and also the location of the living spaces in relation to the outside space.

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4.4 Survery findings compating 7 housing estates in Hackeny. Both active play and hanging out were observed in and around the play areas and outside the entraces to the flats. In the estate’s playgrounds children aged 5-12 years were seen playing unaccompanied or accompanied by teenagers, while children younger than 5 years were noted to be accompanied by at least one adult. Activity by children aged 10-15 years seemed to be focused on the shared spaces between the buildings, including car parking spaces. Teenagers were seen socialising mainly at the playground, outside the shops and in surrounding streets. The adults appeared to be accompanying children; no elderly people were observed to be hanging out or socialising when the study was carried out.

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4.5 Marseille. Map showing main trasport routes to the site and cultural areas. Drawing by Nabihah Abdul Haiyee. 4.6 Marseille. View from Notre Dame. Photo by Maria Apostolopoulou 4.7-4.8-4.9 Descri ptive viw of the site, vie and 3d section. Drawing by Nabihah Abdul Haiyee.

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4.10 Ground floor plan. ‘AccomoData project’, drawing by Nikolaos Isaakidis. 4.11 East elevation and section, Rehabilitation Centre. Drawings by Suleman Hussain. 4.12 Typical flat interior, hallway. View by Nikolaos Isaakidis. 4.13-4.14 Collective workspace in the Accomodata Centre. View and section by Nikolaos Isaakidis.

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UNIT 5

Constructed Utopia new Guggenheim Museum in Venice Carlo Cappai, Maija Viksne

The specific research agenda of the studio is to investigate and address the capability of the students in looking at the relations-thresholds between the buildings of the consolidated city (historical buildings) and new soft-additions, ‘the adaptors’ in the fragile context of Venice. The research agenda focuses on thresholds as spaces and time of investigation to question the concept of building a museum in contemporary and, at the same time, to put in place a strategy of adaptation/transformation (a translation) of the city. Understanding the city as a space-time comprising social, ecological, economic and spatial constituencies mutually depending one to the other, with blurred limits between the interior and the exterior. The attention focuses on the thresholds between oppositions (interiorexterior; global-local; solid-water; private-public; privateurban). Unit 5 research agenda focuses on investigating the concept and the role of a museum in the post-industrial city and more specifically on the role of a museum in a city like Venice, which is a museum in itself. The students are looking at the relationship between the historic building of the consolidated city and new soft additions, the adaptors, in the fragile context of Venice. The students are asked to transform and expand Ca’ Venier Palace in Venice and propose a new vision/concept for the Guggenheim Collection.

Venice, Italy & Pula, Croatia


Students: Y4: Craig Bernstein, Konstantina Si peta, Lim Tze Voon, Rafael de la Hoz, Viktors Catanovs, Wajiha Dadabhoy

Visiting Crits: Phyllida Mills, Mark Power, Michael McNamara, Anna Minton, Maria Alessandra Segantini diploma Y4&5 unit 5

Y5: Al Qomah Abdul Walad, Fawwaz Zullkefle, Flavio Da Costa, Ioannis Boulougras, Jun Yee Ker, Kathleen Halloran, Kenny Obisesan, Norris Ngwamah, Shin-Jae Bahk, Wan Zulfadli Wan Abdul Samad

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“But the transformations happened so slowly that it became part of the everyday without causing any wonder� Jean Giono


diploma Y4&5 unit 5

5.1 Peggy Guggenheim Collection 5.2 Rafael de la Hoz - Main courtyard 5.3 Rafael de la Hoz - East Elevation and South Elevation 5.4 Rafael de la Hoz -1.The lighting machine 2. Ground floor 3. Underground galleries and auditorium 5.5 Rafael de la Hoz - The exhibition space

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5.6 Rafael de la Hoz - Main courtyard 5.7 Al Qomah Abdul Walad The Guggenheim Tower 5.8 Al Qomah Abdul Walad - Section and elevation 5.9 Al Qomah Abdul Walad - The Leonardesca stair system 5.10 Al Qomah Abdul Walad - Grand Canal Skyline 5.11 Kathleen Halloran - Stair to diploma Y4&5 unit 5

the galleries

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UNIT 6

Discrete & radical warsaw, poland Isaie Bloch, Gilles retsin

Unit 6 will continued the object-oriented agenda , shifting the focus this year to a research based approach looking into different fundamental architectural objects. Through hands-on design research the unit tried to fully understand the core definition and design the agency of these objects. Each student in the unit dissected the architectural significance and agency of a specific architectural element to understand where its genealogy lies, what exactly constitutes its behaviour, and how it changed since their invention and where they could go in the future. They are linked to precedent studies of cases where the objects occurred previously. Structural analysis in Rhinoceros Millipede is used to understand the objects from a material point of view. Students not only designed genotypes trough a hands on approach but also setup a recursive process of optimization to have a direct connection with the building environment Conceptually, the unit then speculated, using digital tools, on how these different objects could combine, mutate, interact and most definitely generate space and sectional conditions. There was a specific focus on the making aspect / prototyping aspect, which was integrated from the early start to have a permanent feedback in between actual fabrication and digital modelling. There was a specific interest in ideas of assemblage, discrete elements, combinations of fabrication techniques etc, especially making use of the new 3d printing and milling facilities in the school. All proposals revolve around a fabrication system with a certain proportion between

Warsaw, poznan Poland

standardised and customized elements. Customised parts are understood as building elements which involve digital fabrication or other more demanding and timeintensive construction methods. Through investigating and managing the proportion between standardised and customised building parts, students designed complex and unexpected proposals which maintain a high degree of economy and buildability. The programmatic brief of the unit asked for a space for art in Warsaw, a city with a lively art-scene . During the unit trip, students met with curators and artists which explained the complex socio-political background of art in Poland, and more specifically Warsaw. Operating on different sites, students developed research into the history of Warsaw, advanced masterplanning techniques and full museum proposals, which radically engaged the complex context and site.


Y5: Mahsa Damigah, Gavin FUng, Margarita Genyte, Nareh Ghazarian, Anthony Hu,Dimitrios Martinis, Stylianos Oikonomou, Ilias Siametis, Lester Chun Ping Yong, Zinnuraain Zainal

Visiting Crits: Manuel Jimenez-Garcia, Soomeen Hahm, Igor Pantic, Maria Alessandra Segantini, Roland Karthaus, Osman Marfo-Gyasi Special thanks to: Marcel Andino-Velez from the Museum of modern art in Warsaw, Andrzej Przywara from the Foksal Gallery foundation. Osman MarfoGyasi for his kind help with rendering tutorials

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Students: Y4: Jason Boamah, Douglas Cameron, Fernando jose Cano Larios, Michael Eleftheriou, Ina Kanazireva, Waqas Khan, Rahul Mirpuri, Bindu Nagi, Helen Richardson-Crespo


diploma Y4&5 unit 6

6.1 Mahsa Damigah: Iterative resolving and transformation of the Palace of Culture, based on Kasimir Malevich’’ ArchiSculpture series, part of a larger series of studies for the project to extend the workers palace. The study looks at different strategies to extend the Palace horizontally, while at the same time fractally dissolving the mass to a finer, more human scale. 6.2 Ina Kanazireva, Monument as museum. This museum proposal integrates a monument for the generations of suppressed artists in Poland. The momument becomes a spatial element, and acts as a circulation space in between different exhibition spaces. The ornaments on the surface of the monument relate to specific Polish paintings and sculptures from the oppressed generation of artists. The ornamental monument is envisioned to be produced with CNC -milled panels and 3D printed components as a formwork for bronze casting. 6.3 Ina Kanazireva, Monument as museum, plan of the main exhibition floor. The floorplan shows how the massing is composed of different intersecting volumes

which correspond with a specific gallery. 6.4 Dimitrios Martinis, Street Art Museum in Powisle, interior rendering. This proposal develops a museum for murals and street art in Warsaw, It consists of a large housing unit extending an existing appartment block, with a gallery on the top floors which pierced by ornamental objects which contain functions such as a cafe or lecture hall. 6.5 Michael Eleftheriou, Minimal Surfaces. This project makes use of the topological qualities of the Batwing class of minimal surfaces to extend the existing National Museum of Poland. The minimal surface organises an entry with cafe and auditorium. 6.6 Ilias Siametis, New Media Art Centre in Powisle. This project derives a rectangular volume from intersecting grid lines present in the overall masterplan for the Powisle area in Warsaw. Inspired by the geometric operations of Peter Eisenman, a volume is carved out and articulated with metal ornaments. The volume hovers over the edge of the site, framing an entry square for the museum. 6.7 Helen Richardson-Crespo,

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Staging Cultural Continuity. This project looks at a study and research centre for the heritage in Warsaw, which includes a casting hall and exhibition space. The project investigates the politics of restoration in Warsaw, which privileges the reconstruction of often fake, neo-classicist buildings over Soviet-era monuments. In front of the Palace of Culture, the project is embedded in the ground, leaving the rest of the site free for a green park.

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6.8 Anthony Hu, Project for a skyscraper in Warsaw. This project investigates the typology of the skyscraper in Warsaw, developing a new type which is understood as a cross over between the soviet skyscraper and the American one. Based on a prefabricated, concrete, interlocking module, the architectural thesis of the project develops a language of linearity, dissolving the typical un-articulated flat surface of the surrounding skyscrapers into a porous and deep construction. 6.9 Margarita Genyte, proposal for a housing tower with music centre in Powisle. The project duplicates an existing tower on the site in Powisle, and reconstructs it with a fabrication system based on rigid and soft elements. The soft elements are created with fabric form work, which hangs from rigid, polygonal columns. 6.10 Nareh Ghazarian, Space-Invader. This proposal for a new museum and free-space in front of the Palace of Culture develops a complex socio-political reaction to the site. The new museum is understood as the dialectic opposite of the palace, a low,

horizontally expanding, open building without facade, and all structure exposed - rather than a vertical, representational closed mass, which is only facade. Introducing a certain ambiguity in the proposal, the new museum obtains its floor plan from a series of manoeuvres based on the Palace its neo-classical plan composition. The building programme is flexible and essentially based on a car-park grid. The proposal recreates the condition which emerged just after the fall of the Soviet-Union, where the Plac Defilad Square became a free-space occupied by mobile shops, cars and temporary living units. 6.11 Nareh Ghazarian, Space-Invader. This renderings shows articulated, corrugated concrete floor slabs extending in multi ple directions. The largely standardised concrete strata are interrupted by customised columns with a more complex form-work. Networks of thin, metal columns support excess cantilevers in the structure. 6.12 Nareh Ghazarian, Space-Invader, Section. This fragment of a larger section through the proposal shows multi ple uses and programmes

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occurring next to each other in the building. Smaller units are rented out to individuals, a part is occupied as carpark and museum. The customised columns introduce variation within the structure; which is at the same time generic and specific.

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6.14 Mahsa Damigah: Project for the extension of the Palace of Culture. This interior view explores the spatial consequences of dissolving and transforming the palace. The floor turns into ceiling or wall as the Palace extends horizontally. The extension of the palace is made of a space frame structure clad with thin, fibre-reinforced panels which are moulds of the original palace. 6.15 Mahsa Damigah: Project for the extension of the Palace of Culture, Plan. This plan shows the horizontal extension of the palace, with parts of the facade becoming floor. Section and Plan become the same. 6.16 Mahsa Damigah: Project for the extension of the Palace of Culture, Smokers Lounge. This rendering shows the partially exposed space frame and relation to the exterior in one of the smoking lounges or bars. 6.16 Mahsa Damigah: Project for the extension of the Palace of Culture, Axonometric view of the extended Palace. This image shows the final stage after the Palace has been dissolved and extended horizontally. Through this systemic dissolving of

the hierarchy and massive scale of the palace, the project is democratised and humanised. The end-point of fractally subdividing mass is the thin line which extends from the mass.

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UNIT 8

The Sound of the Division Bell. London Alex Scott whitby, Scottwhitbystudio

This year, in what was billed as the most closely fought British general election in history; we centered our research and investigation around the Palace of Westminster. Home of the UK Parliament, a place and Palace that we all thought we knew but upon closer investigation posed more serious questions and challenges. We started the year with an individual design and advocacy project to create a soapbox to debate on at Speakers Corner, Hyde Park. Here the students tested their own political and design convictions against a public audience. Their topics ranged from ‘should technology rule the world’ to the ‘rigging of the Scottish referendum’. The debates and soapboxes drew large crowds, and sometimes hostile responses but, the students were not phased; as ambassadors for architecture they stood their ground and the result was a commission to design a permanent speakers corner in Croydon for the Speakers Corner Trust, a project that the students began and they will now deliver with the help of the schools newly formed Civic Architecture Office. We then immersed ourselves in a period of deep and detailed observation of The Palace of Westminster and in particular an uncharted area, whose origins are at the palaces very heart. The division bell area, a region of the city that is 8 minutes, walk, run, cycle and ministerial motorcade away from the division lobby doors of both the Houses of Lords and The Commons; the place to which all MP’s and Lord’s race too when a bell is rung, after a debate has finished. The bells ring out in pubs and clubs throughout Westminster and Members and Lords

Cambridge, Leicester, Nottingham, Wakefield, Newcastle, Edinburgh, Glasgow, Liverpool, Birmingham, Oxford

race to dive through the doors of the lobby before they are locked shut and the vote is cast and a law passed. Until now, this area which is so central to the workings of our democratic system remained uncharted. The Unit mapped this by foot, by bike, by car and even by boat for the very first time. The result will be delivered to the Palace of Westminster this summer as an original piece of research. The research into the sound of the division bell led each student to create their own unique thesis’. These ranged from Sayed’s discovery that the Palace of Westminster is falling down and Parliament will have to move out for no less than seven years, his proposal was to use the existing infrastructure of repair to house a new temporary parliament floating on the Thames constructed from scaffolding. Robin’s discovery (after numerous freedom of information requests) that their are areas in the city called ‘dispersal zones’ (where merely being the wrong age or even walking through could see you being arrested). His proposal was to build a new organised layer of public infrastructure, an intervention that bridged the tracks and created a new community owned space on Vauxhall’s riverbank. In between the mapping and the thesis’, the unit travelled by van around England and Scotland visiting architects, buildings, parliaments and public spaces alike. We were lucky enough to be locked inside Stirling’s Engineering Building in Leicester, climb up and around his history faculty in Cambridge. They were overawed by the Florey Building in Oxford and just for good measure


Visiting Critics: Rory Pennant-Rea, Roger Whiteman, Owen Hopkins, Chris Williamson, Osman Marfo-Gyasi, Anna Pizova, Paulina Huukari

Y5: Farihah Anwar, Sayed Sharestani, Yosuke Nakano.

Special thanks to: PellFricshman Engineers, WestonWilliamson + Partners, Element Energy,

we watched the sun rise over Lutyens castle on Holy Island. The Unit also sketched in the dark Adam Kahn’s Brockholes Visitor centre and drowned their sorrows in Sergison Bates Pub in Walsall before being kicked out of Meccano’s Library in Birmingham. In between this ‘we chewed the architectural fat’ with Tim Bailey in Newcastle, Greame Massie and Charlie Sutherland, in Edinburgh. Ronnie Murning, in Glasgow and Tim Brindley, in Oxford. Their generosity of spirit fired us on and reminded us to be bold and use these priceless opportunities to create and disseminate our new-found knowledge and to carry on, whatever the election result.

“We shape our buildings; thereafter they shape us.” Winston Churchill

diploma Y4&5 unit 8

Students: Y4: Robin Philpott, Sagal Muhumad, Stephanie Chalaktevaki, Aaron Jones, Michalis Georgiou


diploma Y4&5 unit 8

8.1 Map of Westminster showing the extent of the 8 minute division bell by Car - Robin Philpott 8.2 The Portable Speaker’s Boundary - Robin Philpott 1. The convention of a speaker’s stand was necessary to draw in a crowd. 2. Once captivated the illusion of convention is broken, the speaker steps off the box and red exterior is unfolded to reveal an inner core. 3. The inner core is unravelled quickly to form a long chain, at this point the audience is instructed to choose which side of the division they wish stand. With the speaker and partici pate in debate or remain outside in the asylum. 8.3 Trust in MPs was the topic of the performance, hence the soap box was made of clear acrylic. Using the infrastructure, the existing fences of Hyde park to support to soap box as if the soapbox is floating - Sayed Sharestani 8.4 Folding Soapbox based on stepladder designs - Yosuke Nakano 8.5 Haute Soapbox - designed for the comfort seeking tourist or eccentric preacher who occasionally mingles in the crowd and at times dabbles in one to one

debates. - Sagal Muhumad 8.6 Soapbox for listening, used to encourage conversation. - Stephanie Chalaktevaki 8.7 Portable Soapbox - Designed to fit into a backpack and unfold to be used for impromptu debates - Michalis

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8.8 Unit Tri p - History Faculty - James Stirling - Cambridge 8.9 Unit Tri p - Students talking with Tim Bailey, Xsite Architects - Newcastle 8.10 Unit Tri p - Lindisfarne Castle 8.11 Unit Tri p - Memory sketch of Lindisfarne Castle - Farihah Anwar 8.12 Constituency map of London after 2010 General election- Aaron Jones 8.13 Crime Heat map of Westminster - Yosuke Nakano 8.14 1:20 model of The Museum of Exclusion - Yosuke Nakano 8.15 Visual looking up at ramps, standing within the entrance space to the Temporary Parliament

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8.16 Spaces for Listening - Ground Floor Plan - Stephanie Chalaktevaki 8.17 Site Ground Plan showing the clubhouse by the River Thames and the Community Centre and Climbing Wall - Robin Philpott 8.18 Inhabited 1:20 Section showing external wall build-up, floor build up. - Sayed Sharestani 8.19 Spaces for Listening - Long Section - Stephanie Chalaktevaki 8.20 Carpet plan of the Palace of Westminster - Sayed Sharestani 8.21 Elevation of the Temporary Houses of Parliament - Sayed Sharestani

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UNIT 9

Sub.Zero Architecture

Harald Trapp, Robert Thum

What happens, when the ground as “an assumed architectural datum” (Eisenman, Diagram Diaries) is questioned? Does this really mean an attempt to move “from thinking to feeling, from the head to the body or to the ground”? (Eisenman, Diagram Diaries) And is it right, “that once in touch with this uncanny space, we begin to understand it as an unactualized form of architecturally produced nature that reorients the houses to the earth”? (David Gissen, Subnature) Modernisation from the 18th century on was connected to the rapid development of an infrastructure that was mainly inserted underneath the surface of the city. What started with sewers, drainage and power-transmission soon was extended to transportation. With this came a programmatic extension through the cluster of functions attached to points of high user-frequency. The public networks of vectors condensed in stations filled with control rooms, ticket-booths and small vendors for a variety of products. Additionally, the vertical expansion of the city needed deeper foundations and added new layers of subterranean spaces. Now the increasing conservation of the traditional city-scape and the growing demand for space in privileged locations adds a bizzare mutation to the urban underground: the extraordinary demands of luxury living need a vent against the restrictions of overground development. In contrast to the rhizomatic nets of service tubes, transportation tunnels and their stations, this new architecture consists of encapsulated cells that seem to re-enact the origin of human dwelling: the cave.

Berlin, Germany Catania, Palermo, Sicily

The combination of property prices, legal limitations for building on the ground and the increasing desire for privacy, exclusion and security culminates in the extension of “iceberg-houses” into the ground. This results in excessive excavations, multi-story structures completely and intentionally separated from neighbours and urban life. As the term “iceberg” suggests, these structures are not restricted to the underground, but settle underneath either existing or new buildings above the zero level. But in distinction to the traditional extension of houses into the ground, subzero-architecture inverts the ratio between above and below. What appears on the city surface is reduced to a small part of the volume that clusters around the entrance to the underground. Sub-zero architecure is a pure interior without an exterior. It is the spatial expression of an increasing interiorization of private life that reduces houses to non-urban-entities. It is a new heterotopy. “Oligarchs and overcompensated money market raiders, Premier League footballers and their agents have burrowed under Chelsea and Kensington for generations, commissioning Dr No fantasies of swimming pools and cinemas and state of the art gymnasia in which no uninvited civilian will ever set foot. These windowless sets, finessed by fashionable architects, are like parodies of facilities promised for the Queen Elizabeth Olympic Park. And nobody but the owners can get at them.”(Iain Sinclair, Into the Underworld) But “deep urbanism” is not limited to these pioneers of luxury and retreat. More and more public initiatives


in culture, recreation and education are caught between preservation, increasing densification and property prices. These pressures tend to either fold up the urban ground into high-rise-buildings, or - nowadays - push it down into the ground. The latter provides the advantage of keeping the urban surface mostly intact and open for other programs: deep urbanism is urban non-design, but intensive architecture. The programme of unit 9 is the attempt to maximise the potential of this precarious situation. “The compulsion to dive beneath the carpet of river terrace deposits, Hackney gravel, shale and mudstone, down through old workings, the slag and clinker of demolished terraces and lost theatres, is demonstrated by every stratum of society, from City Hall and the major developers, offshore speculators hidden behind front companies and proxies, to unsponsored art collectives and ‘place-hacking’ crews posing for highresolution selfies in Secret State bunkers and sewage outfalls. Underworld is the coming battleground. The epidermis of the city is so heavily policed, so fretted with random chatter, so evidently corrupted by a political assault on locality, that humans unable or unwilling to engage in a war they can’t win respond by venturing into forbidden depths.”(Iain Sinclair, Into the Underworld)

Visiting Crits: Marcus Andren, William Firebrace, Anthony Boulanger, Sam Rose, Maria Alessandra Segantini, Alan Chandler, Roland Karthaus, Eva Eylers, David Storring, Colin O’Sullivan, Anna Ludwig and Ralph Parker Special thanks to: Giuditta Martello, and many others at UEL

“When the surface of the world is so overloaded with competing narratives, with shrill boasts hung from every blue fence and plastered over buses and police cars and refuse trucks, there is an understandable impulse to go underground.” Iain Sinclair, Into the Underworld

“As for the cellar, we shall no doubt find uses for it. It will be rationalized and its conveniences enumerated. But it is first and foremost the dark entity of the house, the one that partakes of subterranean forces. When we dream there, we are in harmony with the irrationality of the depths.” Gaston Bachelard, The Poetics of Space

diploma Y4&5 unit 9

Students: Y4: Rosaleen Commettant, Marius Coste, Maria Damianidou, Raghav Dixit, Sofia Ichtiaroglou, Konstantinos Palantzidis, Oliver Taylor, Anna Zacharaki Y5: David Adjei, James Batson, Zoi Chavali, Vasco De Mello Breyner Pereira Raposo, Imaan Hanif, Wilson Lam, Hanisah Nordin, Darren Robertson, George Soiza, Ravjeet Virdee


diploma Y4&5 unit 9

Shelter for (Unaccompanied) Young Asylum Seekers & Refugees Avondale Park, London, Hanisah Nordin, Year 5 This project proposes a centre for the UASC, which provides shelter, medical treatment facilities and education opportunities within one compound. The centre creates a temporary haven for the young people, to help their transition into regular society and offer guidance for their future, as a refugee in the UK or before returning to their country. The proposal challenges the architecture of prison-like IRC, a cramped, highly-secured, inwardly contained and isolated from society. Instead, the project is located in one of the richest borough in London; the Royal Borough of Kensington and Chelsea, in a highly public part of a diverse and multi-cultural residential neighbourhood towards the north of the borough. Inspired by the ‘iceberg homes’ in the borough, of which more than 60% of the house are underground, the concept is tested in the

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design of the proposal. The idea is to balance the need for privacy and seclusion with the assimilation into the public and creating a platform for their interaction with the society. By going underground, it creates a seclusion and separation from the public life happening on the ground, but at the same time the need for daylight and to create a comfortable environment become the core elements that drive the design. 9.1 model 1:100 of sublevel 1 and sublevel 2 9.2 View of the corridor leading to private sleeping quarters illuminated by the light coming from the glass wall (the lightwell) 9.3 Section cutting through sleeping quarters, living area and the coutryard 9.4 Axonometric view of how the shelter sits within the context and its relationshi p with the park and the school

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The Serviced Substructure - Liberating Domestic Workers Through Mutual Coexistence, Egerton Gardens, London, Ravjeet Singh Virdee, Level 5 The project mediates the relationshi p between domestic worker and their employer. The project looks to improve the quality of life of the domestic workers in the Royal Borough of Kensington & Chelsea through better working standards. The proposed sub structure will house the working facilities required to service the surrounding residential properties of Egerton gardens. Spaces for them to convene also allow for social interaction and the building forms a platform for them to form a community. The project simultaneously houses additional amenity spaces for the residents themselves. A multilevel spa which slots in amongst the working facilities of the service staff. Both communities have coexisted within the borough for hundreds of years.

9.5 A model of the proposals cross section shows how the building sits within the ground. A connection into the surrounding properties allow the users to access the buildings facilities. 9.6 A view of the communal space for the service staff which illustrates the use of natural light to create an inviting environment. 9.7 The building allows tree roots to grow through which aims to retain the landscaping above ground level. The scheme caters for the various lighting requirements of the spaces within the building through the use of light wells which penetrate through the building. 9.8 Buildings composition in context.

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9.10 Surficial Rehabilitation, Islington, London, Project by James Batson, 5th year. Dinning room. The view highlights the thickness of the external facade whilst gradually revealing more about the buildings function. The perimeter lightwell can also be looked into from the dining hall in an attempt to encourage rehabilitation amongst day centre users.

enter the building. Entrance Reception found directly on your left defined by the use of Timber clad to differentiate it from the traditional white pigment washed walls of the wood bump in-situ cast concrete. Visual also highlights the use of colour as a tool to direct a patient to different venues across the building and in some cases forbid them from entering (red corridor). The Axon and Ground Floor plan in 6.5 present the division between the Resident, Core and Staff Zones of the building to show a system with an ease of orientation. Another key element shown is the use of an invisible moat boundary which is only accessible by staff but provides a system of security for those Alzheimer’s patients who wander.

9.11 Respite and Activity Centre for Alzheimer’s Residents, Royal Hospital, Chelsea, London, Project by Darren Scott Robertson, level 5. The Entrance Lobby View (on the opening introduction): depicts the typical atmosphere as you

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diploma Y4&5 unit 9

9.9 Towards Common Interests, Pembride Fine Art Hub, Pembridge, London, Project by Imaan Alia Hanif, Level 5 The section throught the builing shows the position of the lightwell as it reflects light through thebuilding. The lightwell forms the primary circulation route through the building. The user experiences thr building through the movement through paths of the proposal.


diploma Y4&5 unit 9

9.12 Life from Death - Underground Promession center, burial site and urn storage, West Brompton Cemetery, London, Project by Konstantinos Palantzidis, Level 4 Connection between funeral room, promession room offices 9.13 Atmospheric Artists, 15 Campden Hill Square, Kensington, London, Project by Oliver Taylor, Level 4. The section shows the existing elements situated at the top of the building, characteristically small in scale, contrast to the larger chapel like space below allowing the South light in from the rear garden. 9.14 Catharsis - Drug Abuse Rehabilitation Centre Kensington Graden Square, LondonMaria Damianidou, level 4. Section through accommodation in the existing terraced houses and the treatment centre in the gardens below 9.15 CWTCH - A PSYCHOLOGICAL RETREAT, Borough of Royal Chelsea and Kensington , London, Project by Raghav Dixit, Level 4. Layering of the scheme. 9.16 The Vortex, Sloane Square, LondonProject by Sofia Ichtiaroglou, level 4. The Vortex is a project that serves 3 main causes. AS A READING

RETREAT: The first and primary one is creating an underground reading retreat. AS A PASSAGE: It provides protection from the above ground world and in this case connects mystically an overcrowded site while providing a glimpse of its character. AS AN UNDERGROUND SPACE TO SLOANE SQUARE. 9.17 Museum of core samples, Scientific research programme, Science Museum, London, Project by Marius Emanuel Coste, year 4. Section 9.18 Steamulation Project, London, Project by Anna Zacharaki

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UNIT 10

a housing estate named after florence nightingale Mark Lemanski with Katherine Clarke

To house is a primordial purpose of architecture; as such our relationship with housing is not just professional, it is also personal; we have all had a home. But housing is subject to forces that are often far beyond a conventional understanding of ‘architecture,’ so as architects if we want a say in the London housing debate, we need to understand those wider forces. Unit 10 engaged with the multi-faceted conditions within which housing is created in London through the live housing regeneration project of the Nightingale Estate near Hackney Downs. The students established both a masterplan and an architectural proposition situated within the realities of the existing urban and social fabric and the political and economic conditions of impending changes, located between indoor and outdoor, rich and poor, free-market and social democracy, the old and the new. We engaged with decision makers the local authority clients, the commissioned masterplan architects, the residents and local social entrepreneurs, the design process was accompanied by a series of seminars, which made a space to reflect on the wider context of the unit work and addressed the following questions. ’Regeneration’ is an orchestrated change to a socioeconomic condition, but what are the drivers? Is ‘masterplan’ better understood as an arrangement of the figure ground, or as a set of aspirations? Is ‘estate’ a place to be afraid, or to be proud of? Is ‘housing’ a series of residential units, a series of inbetween spaces, or a series of interfaces of the two?

Housing in London and Amsterdam

Each student established a programme and rationale for a detail design project through on site observations and action research, through conversations with residents, service providers and small-scale social initiatives and through volunteering at other exemplar projects on other estates. The building programme serves as a pro-active colocation of services, as an interface between the domestic and private territory of home and the publis realm through an intensified social and/or cultural provision with the aim of ensuring a platform for social exchange and a benefit swap between existing residents and the new as yet unkonwn residents. The building proposals were located within the master plan to accommodate 425 new homes and both the masterplan, the architectural proposal and the underlying programme were tested through critical review with the existing residents. The Nightingale Estate, the people who live there and the aspirations of the client body is the lens through which we have examined the wider issues affecting housing provision in London and addressed these in an architectural proposal.


Y5: Akash Chohan, Anastasia Skalidou, Armo Akanesyans, Azrul Othman, Baptiste Laversanne, Jehoshaphat Sarfo-Duah, Kenneth Okafor, Robert Campbell, Shaheer Vira, William O’Brien

Visiting Critics: David Roberts/FugitiveImages, Martina Ferrara, Julian Williams, Simon Tucker/ Cottrell & Vermeulen Architecture, Dann Jessen/East, Lewis Jones/Assemble, Roland Karthaus, Alan Chandler, Nick Ecob/Karakusevic Carson Architects Special thanks to: Ann Frankel, Rachel Bagenal and Theresa Dugbatey/London Borough of Hackney; and the residents of the Nightingale Estate, especially Gordon, Patsy and Barbara

VISIT Nightingaleestate.wordpress.com

DIPLOMA Y4&5 unit 10

Students: Y4: Alba Daja, Darryl Nganjo, Rozhgar Muhammed


DIPLOMA Y4&5 unit 10

10.1 Initial research into the Nightingale Estate covered spatial, social and politcal characteristics among others. A staged podium discussion offered students the opportunity to rehearse and adopt different viewpoints on the housing debate, and to test them in debate with residents of the Nightingale Estate. Have a look at the webiste for the full video. 10.2 Diagram of the relationshi ps discussed at the podium discussion (Alba Daja) 10.3 Ken Okafur is having a closer look at the various ways in which food could connect a fragmented community, here collecting food waste for recycling, and 10.4 as a regular partici pant of the Nightingale cooking classes. 10.5 Students as a developer, prospective buyer, and representatives of the conservative Policy Exchange thinktank are engaged in debate. 10.6 Study of perceived boundaries within the existing urban fabric (Will O’’ôBrien)

10.7+8 On our study tri p we were able to compare British and Dutch public housing. This collage of street level interfaces juxtaposes recent designs from Amsterdam and the existing conditions on site (Will)

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10.8+9 Polemical representations of regeneration driven by financial gain, and development as an opportunity for community development through food (Ken). 10.11 Neighbourhood workshop with Nightingale residents. What are the trade-offs in a process of adding 425 residential units to the existing estate? 10.12 Section through a proposed knowledge exchange, which employs a programme based on existing local initiatives to knit the estate into its wider urban setting (Baptiste Laversanne) 10.13+14 The survey of a resident’ôs flat forms the basis for the aforementioned programme, together with a mapping of how individuals are using the open spaces of the estate (Baptiste). 10.15 This masterplan proposes a dense courtyard typology and creates a new north-south connection through the existing estate, along which communal amenities are arranged (Alba).

10.16 A series of framed spaces link the existing housing blocks into the wider setting (Baptiste) 10.17 Three large blocks create a new urban square framed by public functions (Anastasia Skalidou).

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10.18 Public uses traverse the boundaries of indoor and outdoor spaces and allow for new overlaps and interactions (Alba) 10.19 Growing, cooking and food recycling form the basis of a community offer for existing and future residents as well as the wider borough. Guest flats, workshops, training rooms, kitchens and green houses lead onto a large growing patch that forms a new entrance to the estate (Ken) 10.20 View from a balcony onto a new town square (Darryl Nganjo) 10.21 The proposed knowledge exchange allows for multi ple uses and forms varied relaitonshi ps with the adjoining open spaces (Baptiste) 10.22 The envelope of this Passivhaus design opens up to the adjacent square on mulitple levels (Robert Campbell). 10.23 The existing luncheon club and a new cafe share a kitchen that also serves as a reception, and open up towards the communal mulri-function room that can be extended towards both garden and public square. 10.24 A facility shared between the

school and the Nightingale community accomodates different uses at different times, and interlinks with the adjoining square (Will). 10.25 A nursery space enjoys different types of natural lighting, as well as a pink stri p (Baptiste) 10.26 Different types of cycling forms the starting point for a masterplan aiming to connect the estate into its wider setting. Apart from cycle training ground for children, and cycle workshops for creative professionals, a velodrome allows city workers to retain a competitive advantage (Azrul Othman).

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UNIT 11

studio vandelvelt Resistance and Compromise Jamie‒Scott Baxter, Colin o'Sullivan

Blackwater Estuary, Essex Robert Macfarlane describes the hybrid landscape of the Blackwater Estuary in Essex as “provisional land, borrowed land”. A flat alluvial landscape underlain by London clay it is comprised of arable fields and scattered woodlands and fringed at its edges by marshland, creeks, mudflats and islands. Much of the region’s low-lying coastal landscape is protected by embankments and sea walls beyond which lie large areas of salt marsh that flood at high tide and provide further protection from the encroaching sea. Expanding and receding following tidal rhythms, this estuarine topography can be understood as a shifting frontier between the land and the water that has become a complex landscape of transition, ambiguity and negotiation. Despite its relative proximity to London, the Blackwater Estuary feels distant, remote. But is no pristine wilderness. Carefully managed wetlands, agricultures, leisure facilities and ecological sites rub up against heavy industry and infrastructure and caught between these two worlds are fragile settlements strung out along roads and sea walls. It is within the contested territories of these towns and villages that this years project are set. Neighbourhoods Made, 2014 To create a social architecture in this context is to heighten the urban experience through an intensity of diverse activities. This is favoured over a singular, monolithic programme. As uses are likely to change over time so tolerance must inform the proposal to create a speculative

Val Mesolcina, Switerland

architecture, poised with a latency and potential. Activity in and around a building is intensified by its thoughtful placement in relationship to other objects such as streets, buildings and landscapes. These moves are not big gestures but small and careful which often remain quite and unnoticed. But it is in these judgements that a dialectic is created between internal and external space; a dialogue that is mediated by construction. Architectural expression then must originate from somewhere other than platitudes of function. It is from an interface with a particular locality, a locality that is as much a cultural context as a physical one that gives rise to the spirit of the building and its landscape. It is derived from the spaces within and without that allow for chance encounters to occur. This can be thought of as a concentrated urbanism, condensed into a building proposal and is relevant to all forms of settlement, whether village or city. Collective culture Our studio promotes working together collectively to produce a set of individual design projects with a shared goal. Students are not asked to draw up a ‘master plan’ but instead, ideas about collectivism are condensed into each proposal and suspended in tension between one another and their locality. This approach is not one of straight up contextualism, the resulting architectural intervention is not subservient to what exists. These focused investigations into a region provide a set of complex and rich architectural proximities that offer


Y5: Morna Currie, Sarah Ekanda, Matilda Marku, Elizabeth MitchellYankah, Fabian Betancour Daza, Ahmad Kamil Bin, Khalid Jacovos Costi, Christos Karageorgos, Zhi Yoong Law, Jalil Nayim, Eman Osman, Nousheen Rehman, Shazrin Suhaimi

Visiting Crits: George Bunkall, Carl Callaghan, Jane Clossick, James Fox, Tony Fretton, Charlotte Harris, Tim Lucas, Ryan McStay, Stuart Mills, Robert Mull, Punya Sehmi, Paul Sheapherd, Harald Trapp Special thanks to: Sophia Amend, David Hawkins, Joseph Hawkins, Almu Cano Pineiro, Rodrigues Associates, Mayland, Latchingdon and Tollesbury parish councils. Sposors: Groundplan, Baylight Properties and Research and Development Support, UEL

a polemic about the future of decentralised settlement in 21st century Britain and form part of an ongoing research agenda within the unit. This academic teaching programme runs parallel to a live research project, ‘Neighbourhoods Made’, a collaborative project between the academy, professionals and local communities which explore themes around local democratic and alternative development processes as a means of change within the region. Much of the students work has gone on to inform this project and has been well received by those involved.

diploma Y4&5 unit 11

Students: Y4: Idzamuri Ashari, Ioanna Drakaki, Megha Menon, Chandni Patel, Ebenezer Solola, Samira Vosough, Melvin Wong


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Previous spread: 11.1 Zhi Yoong Law, Mapping of otherwise invisible economic activity in Mayland, etching.; 11.2 Sarah Ekanda, Skyline in Tollesbury, etching.; 11.3 Elizabeth Mitchell-Yankah, Barebury factory atmosphere, charcoal sketch.; 11.4 Elizabeth Mitchell-Yankah, Barebury factory, In situ cast concrete roof, render.; 11.5 Elizabeth Mitchell-Yankah, Barebury factory, Long section, drawing. This spread: 11.6 Shazrin Suhaimi, Mapping of the threshold between land and water, Tollesbury, etching.; 11.7 Nousheen Rehman, Mapping of mines and quarries, Blackwater Estuary, etching.; 11.8 Matilda Marku, Elevation study for timber building, Tollesbury, 1:50 model.

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This spread: 11.9 Morna Currie, Detail timber crib construction, etching.; 11.10 Jalil Nayim, Internal view lavender factory, Mayland, collage.; 11.11 Matlida Marku, Internal view RSPB building, Tollesbury, model photograph.; 11.12 Morna Currie, internal view Reading rood, etching.; 11.13 Morna Currie, Elevation study, etching.; 11.14 Ahmad Kamil Bin Khalid, Viewing tower and resturant, Mayland, render.

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PRIZES AND EXHIBITIONS


A selection of the exhibitions UEL have contributed to and prizes won this year

RIBA President’s Medals ‘Cultural Perforation Of Madrid, Disruption Of The Defined’ SOM Foundation Award Fellowship Winner 2014 Kent Gin, Unit C, Tutors: Clara Kraft Isono & Satoshi Isono.

What will museums be like in the future? As more and more public space is privatized, the project proposes the museum as a place that is accessible and civically responsible. By finding new ways in which the museum can thrive, using challenges as opportunities to test new business and en­ gagement models, the project discovers new forms of engagement both architecturally and pro­ grammatically. It creates a more sustainable model where live and work co-exists alongside the mu­seum activities. The project is set within the existing building of the Palace of Conde Duque, one of the largest buildings in Madrid, which from the 17th century until the beginning of the 20th century a Royal Guards Corps barracks. It was only in 1983 that the Conde Duque was reborn as the cultural cent­er it is today. It remains as one of the most important buildings of Madrid and is working hard to

retain a presence in the city’s cultural scene. However the intimidating former military facilities have failed to create a vibrant cultural community and re-organisation of the centre is long overdue. Following conversations with Pablo Berastegui, the Cultural Director of the Centre I developed a de­sign and program strategy that would invigorate the site and allow it to realise its full potential. The proposal consists of a mixed use live and work community named La Villa Del Conde Duque. The introduction of live and work spaces allows young creatives in the Universidad district to coexist in the social cultural centre. Becoming a hub for the thriving arts, cultural and entertainments scene, creating affordable homes and job opportunities for locals in an area where unemployment is at its highest ever.

Above and opposite page (bottom): Kent Gin - RIBA President’s Medals SOM Foundation Award Fellowship Winner. Opposite page (top): Liverpool. Assemble studio.

PRIZES AND EXHIBITIONS

Turner Prize shortlist Assemble, an architecture collective based in east london, have been nominated for the 2015 Turner Prize. Four members of Assemble teach at UEL, two in first year and two leading the  undergraduate Unit F. The work of Unit F in 2014 on the Little Klondyke estate in Liverpool formed  part of the wider research that underpins the Turner Prize nomination. The unit surveyed and made  proposals for the radical re-use of the many thousands of empty terraced houses in Liverpool and  other cities in the UK following the damaging effects of the Government’s Housing Market Renewal Initiative.


PRIZES AND EXHIBITIONS

Led by climatic conditions traditional domestic spaces in Spain have used light screens along­ side the fenestrations of the building to provide shade and privacy. Researching existing residen­ tial projects from three different Spanish architects; Ricardo Bofill, Rafael Moneo and Jose Antonio Coderch provided key design criteria in developing the residential units. The project reinterprets their designs and modifies them through implementation of concrete light screens, creating semi-private outdoor working spaces for the residents. Futures in the making The Unit 2 student Tom Green exhibited his Diploma 5th Year work at Feilden Glegg Bradley Studios in Soho, in November 2014. The exhibition was organised by the Architecture Foundation and was titled ‘Futures in the Making’. This prestigious London exhibition showcases the best postgraduate work in the capital. Tom Green was invited to display his project on redesigning London’s Bishopsgate Goods Yard. The exhibition, organised by the Architecture Foundation, is entitled ‘Futures in the Making’ and displays the best drawings, models and research from the final projects of postgraduate students from across London’s architecture schools.

Tom Green, Unit 2 - Bishopsgate Goods Yard

New London Architecture Unit 8 has contributed its Nolli Map of the City of London to the New London Architecture (NLA) Public Space exhibition entitled ‘Public London: 10 years of transforming spaces’ which opened in April and runs until 11th July 2015. The map of the City of London was drawn after Giambattista Nolli’s map of Rome, was selected to form the major back drop of the NLA’s 10th anniversary exhibition showcasing the best examples of public space design in London. The map is a forensic and rigours piece of original research and is now being used by the City of London Corporation to actively assess its approach to porosity and active street frontages within the square mile. Unit members were present at the opening of the exhibition to explain the process of collecting the data and realisation of the drawing. Life Outside Housing An invite-only exhibition was held in Netil House in Hackney in January 2015, and attended by over 70 people. Working together with Maisie Rowe to put togehte the exhibition, students presented their research findings into six existing estates in Hackney in the form of drawings, models and sections. Architects, planners, housing association managers, local councilors and play specialists discussed issues associated with play and the use people make of the spaces outside

their homes. Students revealed to them that the relationship between the layout of the internal and external spaces across the estates seem to have an impact on the number of children playing outside. Since the exhibition further work and discussion has been had with, amongst others, the Homes and Communities Agency and Playing Out in Bristol to develop a collaborative programme of research in this area. Social Condenser Unit 10 were commissioned by PEER gallery and Fugitive Images to design and construct a piece of outdoor furniture as part of the exhibition Real Estates. The piece resembles a facade mockup and is modelled on the New Era housing estate, located not far from the gallery, which had recently served as a focal point for the London housing debate. By entering a gap in-between its inside and outside faces, visitors were placed in-between two viewpoints on public housing: the view from the outside (estates as a blight or a societal aspiration?); and the view from the inside (London as a communal home or an encroaching threat?). This place of discussion acted as an extension to the exhibition and an invite to the passer-by, and built on on the unit’s work on the relationship of indoor/outdoor, lived/built and personal/communal spaces.


Nolli Map of London at New London Architecture, Unit 8

Social Condenser at PEER gallery, Unit 10

Life Outside Housing at Netil House, Unit 4


Minton A. (2015) What art can tell us about Britain's housing problems. The Guardian [Online]. Available at: http://www.theguardian.com/commentisfree/2015/ may/17/turner-prize-teach-town-planners-liverpooll [accessed: 09 July 2015]


WORKSHOPS AND CONFERENCES

Top: Memoirs from beyond the grave, photo by Baptiste Laversanne Bottom: Palazzo Venier dei Leoni, Venice. Constructed Utopia Symposium chaired by Carlo Cappai, C+S Architects


The Production of Heritage Alan Chandler lectures at the19th Architecture biennale in Valparaiso, Chile. The lecture, discussing heritage in terms of social justice will lead to collaboration between UEL and the Catholic University of Santiago around an MA in Architectural Heritage, a programme which both institutions have recently set up to start in 2015/6. The Catholic University is the leading architecture school in South America. Heritage can be understood as a filter through which the significance of past events is passed – as now

becomes then, and the everyday becomes memory, what do we retain and read, or what is left to decay and lose? We propose that Heritage is not a disinterested, apolitical phenomena but a socially conscious act of remembering or forgetting. When history is defined as an image, it fails to express heritage as an historic continuity but becomes an expression of discontinuity, becoming a redundant curiosity and a break between the past and our contemporary lives. With modern materiality able to imitate the traditional but use less time and cost,

the image of history is becoming a reality, a form of utopia - the closure of human history through achieving a constant existential state without fear of decay or decline, liberated from labour, achieving complete knowledge without paradox. It is perhaps time to conclude that buildings are not artefacts to be preserved as a denial of decay and time passing; not the creation of a utopia out of history; not highly preserved shells of lost cultural activity, but simply spatial tools that achieve their significance through the wear and tear of use, repair and careful adjustment through the

Staged podium discussion. Engagement activity with Nightingale residents. Unit 10.

WORKSHOPS AND CONFERENCES

A selection of the international workshops and conferences attended by our staff and students


19th Architecture biennale in Valparaiso, Chile. Lecture by Alan Chandler.

Posters for Venice Start (U/APP)


labour of their inhabitants and users. Capital breaks the cultural bonds of labour by designating historic buildings as artefacts beyond use – heritage as spectacle rather than heritage as active production by the people who sustain it.

Expo Pavilion Reloaded

EXPO Pavilion Reloaded Re-designing the temporary wooden structures of the pavilions of the Expo 2015, the summer school investigates the possibility of disassemble the structures in pieces with the aim of reassembling them in different places and ways, manipulating their spaces, parts and details.

Re-designing the temporary wooden structures of the pavilions of the Expo 2015, the summer school investigates the possibility of disassemble the structures in pieces with the aim of reassembling them in different places and ways, manipulating their spaces, parts and details. The political aim of the workshop is achieved through offering a series of local authoties within the neighbourhoods of Milan the real possibility of inheriting a redesigned structure to act as a free space for public use.

Questioning the impact effects and values of global events in making cities, the political aim of the workshop is achieved through offering a series of local authoties within the neighbourhoods of Milan the real possibility of inheriting a redesigned structure to act as a free space for public use.

Location

Curators

Partner Universities

Maria Alessandra Segantini, UEL, School of Architecture, London, UK Luisa Collini, Manuela Grecchi and Matteo Ruta, Politecnico of Milan, Italy

UEL, School of Architecture, London, UK Politecnico of Milan, Department ABC, Architecture, Built environment and Construction engineering and Industrial Design Universiteit Hasselt, Faculteit Architectuur en kunst Universidad Francisco Marroquìn, Facultad de Arquitectura

Lecco Campus integrates the beautiful landscape of the Lecco Lake with the high tech campus of the Politecnico of Milan. The Expo event location can be reached with a two hours bike. The students will be offered accomodation in the newly built student housing.

Dates

Information

June 29 July 10

Matteo Ruta matteo.ruta@polimi.it

Constructed Utopia Symposium Following the recent renovation of a series of cultural structures in what is thedifined the ‘kilometer of art’ in the area of the Salute, the Symposium investigates the role of museums in Venice and their impact in the interior transformation of the city. The Production of Place “The immediate instruments are two: the motionless camera and the printed word. The governing instrument – which is also one of the centers of the subject – is individual, anti-authoritative human consciousness.” J. Agee, with W. Evans, Let Us Now Praise Famous Men, 1941 Alongside the written essay for the Master in Sustainability and Design, students were asked to explore through photography the ‘production of place’ in Docklands and according to five main themes: finance district; ‘re-place’ of estates/ housing; privatisation of public space; security and surveillance and transport and infrastructure. The

Expo Pavilion Reloaded Summer School. Maria Alessandra Segantini curator for UEL.­


explorations produced high quality visual documents, and are seen in continuity with the Construction Week Workshop ‘Re-Place’. The stories are also informing the larger platform of materials related to the Master of Research ‘Reading the Neoliberal City’ launching in September 2015 and involving a number of journalist, academics and artists.

WORKSHOPS AND CONFERENCES

Staged Podium Discussion Engagement Activity With Nightingale Residents Unit 10 students engaged with residents of the Nightingale Estate during a theatrical podium discussion at the Nightingale Luncheon Social Club on Monday the 10th of November. The students researched and assumed roles and points of views that were not necessarily their own but that are representative of the conflicting interests in the debate on housing. They included that of private developers, of a Community Land Trust advocate, of a social democrat, and of a prospective buyer. The discussion, which was filmed, was the first of a series of events with the Nightingale Tenants and Residents Association, which also included a design workshop and presentations. The Unit had the opportunity to get to know the residents and their views on the regeneration debate, and make use of their first-hand knowledge of the estate to test emerging design proposals. Construction Week Between September and October 90 level 4 students engaged in the annual Architecture ritual of ‘Construction Week’: originally only a week long project, the event has grown to become a pedagogic and research event with far reaching consequences for students and the community alike. Collaborative team building across the study Units bring students within the material culture of UEL Architecture at the start of their Diploma studies. Construction

Week provides a platform for skills acquisition, social interaction, teamworking and staff diagnostics to gauge the abilities and commitment of the students themselves. Since 2004 Alan Chandler determined that the student teams would engage with real clients, real sites and real budgets, giving the teams the freedom and constraint of client expectation and the need to be inventive within an economy of means. The ability that we have as Architects is not simply to provide grand visions, but to generate inventive and insightful work that makes something from nothing - it is this ability to bring space and events into being that is the hardest and most rewarding aspects of practice. Find out more at www.constructionweek2014. wordpress.com

CW Springfield House Springfield House was designed by facilitator Wilf Meynell of Studio Bark in 2013 and has been on-site since March 2014. It was featured on Channel 4’s Grand Designs programme on October 8th 2014. Springfield House has been designed with a rigorous focus on low energy environmental design and will be the first code level 6, paragraph 55 building in the UK. The Bio-Garage had to be omitted from the original tender due to cost and time-scale and was built with the help of UEL students during construction week. More information: http://www. studiobark.co.uk. Location: Springfield House, Norfolk Client: Studio Bark for Natasha Cargill Facilitators: Wilf Meynell (Studio Bark), Danny Sagan (Norwich University, USA)

St John’s Green ‘Newham London’ has been undertaking an on-going improvement and regeneration project in the public spaces they oversee within their borough. This process is very much about engaging the local residents and finding out what they would like their public spaces to be like and what would encourage them to make better use of their open spaces. The site of St John’s green is adjacent to the Royal Docks Learning & Activity Centre that has a year round role as a multi-purpose, voluntary sector organisation, firmly rooted in the local community. The workshop designed and built a pavilion that provided space for community functions and facilitated events on the site. Location: St. Johns Green on Albert Road E16 Client/Funders: Local residents and park users / Newham London (LBN) Facilitators:  Thomas Randall-Page, Alex Scott-Whitby Competition Workshop Sometimes competitions are the events where architects can radicalize their conceptual approaches. Taking as a starting point the Brief for the Milan Information Pavilion, the workshop will explore design methodologies for developing a specific competition, in the aim of maintaining the strength of the design concept. As a group the workshop explored some of the 6


temporary physical interventions. Location: Frederick Bremer School, E17 and Wood Street Plaza, E17 Client / funders: Architects E17 / Wood St First / WF Council / RIBA Facilitators: Roland Karthaus + Soledad Diaz De La Fuente + Architects E17

key points involved in the process of design: Shape, Topography, Structure, Construction, Program, Process. The workshop was specifically focused on the structure as the main topic for the pavilion and the starting point of the design exercise. Location: UEL workshops and studios Client: AC-CA Milan Information Pavilion Competition Facilitators: Alberto Moletto (MoVe Architects, Chile) + Maria Alessandra Segantini (C+S Architects, IT)

Wood Street Plaza Wood Street, to the east of Walthamstow is a historic shopping street, with a unique character and unusual features such as a Georgian indoor market. The area is the subject of a Waltham Forest Council regeneration programme and the future of the square is unclear. AE17 were keen that local people should be positively engaged in the future of the area and wanted to demonstrate how this could be facilitated. The workshop intervention occurred gradually during the week, culminating in an ’event’ on the final Saturday. The purpose was to change the perception of the square through

Plaster Masterclasses Following an introduction to the material, a series of techniques in mould making and casting delivered a single, pristine plaster piece from each participant. The pieces were derived from a careful study of an element of an existing building; the editing of the project into a single plaster element requires judgement and skill. Location: UEL studio and plaster workshop Facilitators: Philippa Battye (Witherford Watson Mann Architects)

Acoustics Acoustics shape the architectural environment, but cannot be drawn. Acoustic attenuation is a manifestation of the shape of sound, and our ability to alter it to suit our

purpose. Working with Tim Scott of Paul Gilleron Acoustics, the principles of acoustic behaviour in spaces were discussed and demonstrated, effective techniques for addressing reverberation explored, and a set of design parameters determined for the team to work through to implementation. A number of ideas/ acoustic cnc milled panels were developed. Outcomes included a full bay of studios to receive acoustic attenuation, with follow up tests to monitor performance. Location: UEL workshops and studios Client: Staff and students of Architecture at UEL Facilitators: Gilles Retsin, Isaie Bloch, Tim Scott (Paul Gilleron Acoustics)

Re-Place Robin Hood Gardens stands as an example of the brutalist architecture theories and how designers have tried to put them in practice. The aim is to reason over the reconfiguration of London and the demolition of housing estates, replaced by luxury housing. More widely, the aim is to question how the quality and physicality of places stand within the fundamental condition of modernity, transformation and political context. Students produced a series of short movies focusing on capturing material qualities of the sites through experimental approaches. Location: UEL AVA, Robin Hood Gardens estate, Poplar Facilitators: Michela Pace, Jane Cheadle and Anna Minton


OPEN JURY

Open Jury 2014


Our unique opportunity for visitors and fellow staff and students to see work in progress and share the diversity of architecture at UEL

The Open Jury was again a unique opportunity to see work in progress and to share the diversity of architecture at UEL. The event was organised in such a way that each Unit or Group presented their ongoing work to an invited panel of guests in their own studio space. As such, it was both, a two day ‘mid-term exhibition’ with work in progress and a vital platform for discussion about academic work in architecture. Furthermore, invited guest lecturers gave a series of lunchtime and evening lectures. On Thursday 5th February 2015, Wilf Meynell talked about a holistic

approach to design and sustainability. He illustrated this with the design and construction of Springfield House. It gained planning permission through Paragraph 55 (National Planning Policy Framework), which relates to building in rural areas where only designs of ‘exceptional quality’ are approved. The lecture explored the project from conception to completion, highlighting the design ambitions and technical challenges of a truly environmental home. In the evening, UEL Visiting Professor Maria Segantini and Carlo Cappai talked about ‘Translation Architecture’. Architects are translators of contexts. Their practice work is constantly navigating between cultural materiality and innovative techniques, codes and challenging interpretations, budget constraints and community expectations, clients’ desires and the making of form. Carlo Cappai and Maria Segantini discussed this through some of their

architecture work in the form of a dialogue. On Friday 6th February 2015, Simon Tucker talked about ‘Making Buildings’. He opened a discussion on the process of generating buildings from ideas of context, identity and social interaction. He did this through an examination of four school projects by Cottrell and Vermeulen Architecture. In the evening, UEL Visiting Professor Tony Fretton talked about ‘Távora and Siza’. He examined the ways in which Fernando Távora (the mentor) and Alvaro Siza (his pupil) influenced each other in their search for an architecture without pre-established language, in which form would be neither an arbitrary inheritance nor an arbitrary system of forms, but would grow directly out of our needs. Christoph Hadrys, Curator

OPEN JURY

Like every year, we had the Open Jury and Lectures in the AVA Building, in the beginning of February. The two day event welcomed invited guests, all students, members of staff and people who were interested in our architectural studies.


OPEN JURY


Open Jury Members 2015 Marcus Andren Carmody Groarke Silvio Carta University of Herfordshire HackLab Harry Charrington Westminster University Amy Frearson Dezeen Kate Goodwin Royal Academy Owen Hopkins Royal Academy Asif Kahn Asif Kahn Ltd Torange Khonsari Public Works Group Joe Morris Dungan Morris Architects Sarah Morrisson Freeland Rees Roberts Architects Robert Mull London Metropolitan University Henry Pelly Max Fordham Christopher Penrich Maccreanor Lavington Nick Phillips Metropolitan Workshop Nic Pople South Bank University Julian Williams Westminster University Mark Whitby Davies Maguire + Whitby


LECTURE SERIES


Our lecture series presents a wide range of architects and related professionals and is enjoyed by visitors, students and staff alike

04.12.14 Christopher Hartiss Michael Squire

09.10.14 Peter Barber Peter Barber Associates

11.12.14 David Graham Move it Products Ltd

13.10.14 Daniel Sagan Norwich University School of Architecture and Art (USA)

15.01.15 Neven Sidor Grimshaw Architects

23.10.14 Floriano Ferreira Laing O’Rourke (BIM) 30.10.14 Katherine Clarke muf 06.11.14 Steve McAdam Fluid (Design) Ltd 13.11.14 Alex Scott-Whitby ScottWhitbySTUDIO

22.01.15 Steve Jones Hopkins Architects 29.01.15 Steve Webb Webb and Yates Engineering 05.02.15 Open Jury Lecture Wilf Meyell Studio Bark Maria Alessandra Segantini & Carlo Cappai C+S Architects

06.02.15 Open Jury Lecture Simon Tucker Cottrell & Vermeulen Architecture Tony Fretton Tony Fretton Architects 19.02.15 Tim Pitman Pitman Tozer Architects Limited 26.02.15 Alun Jones Dow Jones Architects 05.03.15 Anna Minton Journalist and Researcher 19.03.15 Kathryn Firth London Legacy Development Coporation The 2015 lecture series was curated by Claude Saint Arroman.

LECTURE SERIES

02.10.14 Alberto Moletto Chile Universidad Catolico


LECTURE SERIES


CIVIC ARCHITECTURE OFFICE


A new architectural practice supporting the employment and training of graduates and students of the University of East London

cafe and a public realm project. In 2015/16 we will run a MArch (Part 2) teaching unit in conjunction with First Base; developers of a £3.5bn mixed-use project at Silvertown Quays. The unit will work together with the developer’s architects including Feilden Clegg Studios, West 8 and Fletcher Priest to test and explore alternative futures for the existing outline planning consent.

Our purpose is to develop a practicebased teaching model that can engage with significant, real projects in a way that benefits both the student experience and the project itself. Our knowledge and sensitivity to the existing communities, landscapes and infrastructures of east London provides a unique condition to achieve this. Roland Karthaus, CAO Director

Wood Street plaza with Architects E17

CIVIC ARCHITECTURE OFFICE

The Civic Architecture Office at UEL launched in January 2015 as an RIBA chartered practice. Owned by the University, our goals are: to improve the practical training and employability of our own students and graduates; and to engage through civic projects in our local area and beyond. We are already working on a number of exciting projects: a nursery building, a retail conversion, a park


CIVIC ARCHITECTURE OFFICE

St John’s community cafe We are working with Newham Council and a local community group to deliver a new outdoor room in a community garden. Four options are being developed with local people to choose a scheme as the basis for a planning application. Each scheme has an initial phase based on a very tight budget that can be incrementally converted to an interior space over the next few years as more funding becomes available. The project will be delivered through partnership with locally active contractors and our own students constructing parts of the building.

The Spinney The Spinney is a small nursery on the edge of Clapham Common with a particular emphasis on Special Educational Needs. Its ambition is to become a ‘Nature Thinkers’ resource and education centre for the local community and to expand its nursery care provision. CAO are appointed by Lambeth Council as Architects leading a design team including Max Fordham, Price and Myers and Ian Sayer & Co. to upgrade and extend the existing building. We are working with the highly dedicated parents, staff and local groups to turn this ambition into a reality.

Croydon speakers’ corner The Civic Architecture Office and the students of Studio 8 at the University of East London are working with the Speakers’ Corner Trust and the Croydon Speakers’ Corner Committee to develop a new speakers’ corner for Croydon. The proposal is designed for the North End shopping street currently under consideration as part of an area masterplan. The concept envisages a ‘thread’ of linked public spaces which seek to draw pedestrians along North End by providing platforms for activities including performances, play, art, engagement with nature and of course, at the Speakers’ Corner itself, free expression. The platforms will be designed as public ‘activators’, by overlapping the physical public space of the street, with the idea of the public realm as a space for citizenship, debate, discussion and non-commercial human interaction. The concept allows the street to continue to function as a retail space, but encourages new and undefined programmes that are unrelated and possibly even challenging to this original function. The goal is to establish a new model for public space that incorporates the conditions for public debate, enables a shared sense of public ownership and allows the full range of public actions and activities that make for a socially healthy city.

Wood Street Plaza Wood Street plaza with Architects E17 and the University of East London. Wood Street is a traditional shopping street in Walthamstow, east London with many independent shops and a lively community, but undergoing rapid changes due to gentrification and a large-scale regeneration project. We worked with local Architects group AE17 and local community groups including Frederick Bremer school to stage a one-day event to showcase the ideas and to promote public engagement with the future of the area. A temporary pavilion was designed and constructed over a week and erected for the day in the square. The project was largely funded by the RIBA.

Neighbourhoods Profile An Open Framework for Sustainable Neighbourhoods: research in action with UEL Initial research work carried out at the University of East London on the Masters in Architecture and Sustainable Design, in collaboration with the US Green Building Council led to a successful grant funding bid for this project in 2008. The objective was to develop a tool and a method for quickly capturing the needs and desires of people in an area in order to support a Neighbourhood Plan.


Working with Paddington Development Trust, Westminster Council and Bermondsey Neighbourhood Forum, CAO director Roland led a team of researchers to design and test an online tool that plots local priorities against actual provision, and using GIS, maps the data geographically. As well as enabling Neighbourhood planning, the tool is continually updated to measure how well a plan is responding to people’s needs on the ground.

Huludao Ecocity Professional urbanism workshop on the design of a new ecocity district in Huludao, China In 2008 CAO director Roland participated in a Les Ateliers international design workshop in Huludao, China to design a new ecocity. 18 professional experts were selected from around the world and organised into 3 inter-disciplinary teams together with local participants. The teams worked for 10 days and presented proposals to a Jury who in turn made recommendations to the local authority for implementation.

The Production of Place The Production of Place, an international conference and workshops at the University of East London We organised an international conference and workshops at UEL, titled the Production of Place in 2012. 40 academic papers from all five continents were presented under three themes, with chaired discussions at the end of each sessions. Keynote speeches were given by Chilean Architect Alberto Molletto, British Architect Tony Fretton, the Vice President of Research at the USGBC, Chris Pyke and the bestselling author, Iain Sinclair. In parallel, construction workshops in fabric formwork concrete, sound installations and sculpture were led by Tejo Remy, Christina Pollak and Richard Wilson. An edited selection of the papers will be published in a forthcoming book.

Outdoor spaces for L&Q Designing outdoor spaces on mixed tenure developments: What works? We recently worked with Social Life to produce a report for London and Quadrant (L&Q) housing association assessing the social value of the shared courtyard and garden spaces on their mixed tenure schemes. Many existing L&Q housing schemes have shared courtyard spaces for residents of different tenures. We focused on four housing schemes to use as case studies – Acton Gardens (Ealing), Eltham Baths (Greenwich), Creekside West Greenwich (Greenwich), and Silwood Estate (Lewisham). Insights were gathered from residents of these developments to find out what works, and what doesn’t. Key areas we explored include the current use of the outdoor spaces on the developments; why these spaces are used in certain ways; how spaces enhance or diminish neighbourly relations, feelings of safety, sense of belonging, and wellbeing; how management approaches can affect the use of spaces; and the preferred type of activities and uses for these spaces, when they should happen, and who should be allowed to participate. A series of design recommendations were produced for future schemes. Find out more at: www.civicarchitecture.org


MA&MSc MASTERS


computing&design

Hi Resolution Architecture

Gilles Retsin

The MSc Computing and Design focuses on developing generative and computational design strategies for architecture. The programme provides students with advanced digital skills and introduces at the same time a research into how architecture has absorbed the digital revolution. Set within an Object-Oriented framework, the MSc Computing and Design investigates computational design strategies for an architecture of increased heterogeneity. In contrast to holistic, organic and parametric fields, the course is interested in local object-oriented forms of assemblage. Where computational research in architecture initially started out with a deep interest for curvature, continuity and gradual change, new research understands computation as fundamentally related to the concept of the discrete and distinct. This shift from the continuous field to the distinct object is profoundly linked with the nature of computation and information, which can in the end be broken down to the calculation of a single bit or unit. The first workshop investigated the possibility of resolving architectural mega-objects such as volumes, strata, grids or vortexes into small scale discrete elements with a structural or tectonic agency. Proposals explored the qualities of these increased resolution objects, and tried to understand issues of hierarchy, heterogeneity, part-to-whole relationship, composition, readibility etc. One of the core issues is the feedback between mass or figure and the small-scale discrete elements. The workshop resisted the idea of emergence and tries

to author every design decision; however in computing a large amount of elements, there is always to a certain extend a form of unpredictability and fuzzy or noisy control. Students were encourageed to take a position and develop a unique designed charactaer from simple, discrete algorithmic operations. A second workshop asked students to work closer with structrual optimisation algorithms, developing material organisations which are interacting with stress and force maps. The Theory component this year focused on the different seminal theories over the last 20 years of computing in architecture: the archeology of the digital. Organised in different topics, students read and discussed texts by Greg Lynn and Stan Allan, Jeffrey Kipniss, Jesse Reiser. We tocuhed on more philisophical concepts relating to materialism and object-oriented philisophy, looking at Manuel De Landa, Gilles Deleuze, Timothy Morton and Levi Bryant. Contemporary discourses such as Parametricism were critically reflected upon through texts by Mario Carpo and Neil Leach.


Visiting Crits: Isaie Bloch, Manuel Jimenez-Garcia

MASTERS computing&design

Students: MSc: Chris Petropanagiotakis , Isaac Cobo-Displas, Maria Eliza Papaioannou , Gerry Grainger Y4: Bindu Nagi, Rahul Mirpuri, Helen Richards, Michael Eleftherioum, Waqas Khan, Rozhgar Muhammed, Ebenezer Solola, Vosough Samira. Y5: Mahsa Damigah, Zinnuraain Zainal Abidin, Nareh Ghazarian, Armo Akanesyans, Matilda Marku, Douglas Cameron, Margarita Genyte, Sarah Ekanda, Shin Bahk, Morna Currie, Stylianos Oikonomou, Chun Ping Yong, Ilias Siametis, Anthony Hu, Gavin Fung

mcd.1


MASTERS computng&design

mcd.1 Ilias Siametis, study for a fibrous object. A polygonal basemesh is translated into a highly-articulated, fibrous mass with different levels of hierarchy. mcd.2 Margarita Genyte, fibrous object displaying different behaviours. Agent-based model distributed different types of discrete elements over a base mesh. mcd.3 Justina Job, study for a bridge. A bridge is generated from a flat surface which folds in relation to deflection levels to create a stronger base shape. The curved shape is then reconstructed with discrete pieces which are aligned on directions of stress. The section is variable according to the amount of stress present in model, so for example the support points have a thicker section. mcd.4 Maria Eliza Papaioannou, Fibrous network of princi pal stress directions. This drawing is generated from a structural analysis of a mass, the fibrous elements are following the direction of force through the mass. mcd.5 Armo Akanesyans, Vault study with variable thickness. This experiment looks at different loading conditions for

a basic vault shape, the section is variable and adapts to local stress levels in the surface. mcd.6 Mahsa Damigah, Malevichian sculpture. A polygonal base-mass inspired by constructivist sculptures from Malevich and Tatlin is re-organised in a higher resolution. Computational objects or agents distribute a network of interconnected straight lines which follow the base directions of the sculpture. Some parts are translated as bigger tiles which also pick up the same directions.

mcd.2

mcd.3

mcd.4

mcd.5


mcd.6 MASTERS computing&design


sustainability&design CRITICAL APPLICATION

Alan Chandler, Anna Minton, Michela Pace, Alfonso Senatore

Urban Ecology module Gentrification; the death of social housing; the privatisation of public space and the limiting of protest: these are some of the key themes tackled by MAASD Urban Ecology: The Production of Place. This year a key aim for the Masters in Architecture and Sustainable Design (MAASD) was to pilot material for ‘Reading the Neoliberal City’, our new MRes course, launching in September. We kicked off the year with a two week film making workshop, led by Michela Pace and film maker Jane Cheadle. Focusing initially on Robin Hood Gardens, the council estate designed by Alison and Peter Smithson in the late 1960s and now slated for demolition, students produced their own short films, from storyboard to finished product. Screenings, visits from guest lecturers and intensive tutoring from the three of us ensured a stimulating and rewarding start to the course. ‘The Production of Place’ was the module for Term 1, taking as a starting point Lefebvre’s writing on space and place as a social product. We began with a walk through the fractured landscape of Docklands and the Isle of Dogs and as course leader for Term 1, I taught seminars on the key themes in my book, Ground Control, alongside essay writing skills. In parallel Michela led seminars on photography and tutored students in how to produce a visual essay, which together with the 5,000 word essay formed part of the assessed component of the course. At the end of October we joined forces with the Guardian Cities website and students took part in judging entries

for their World Cities Day competition. Throughout the year I have contributed pieces on the topics covered to The Guardian and The Observer which have been shared with and discussed with students. Together with Alan Chandler, the course leader for Term 2 and the programme leader for the new MRes, we adopted a more practical focus. While the first term explored a critique of notions such as sustainability in relation to privately controlled spaces in the city, unpicking them through written analysis and reflection, the goal in the second term was to make actual interventions in the city to challenge the inequitable dogma of urban development, which is so easily obscured by the language of regeneration processes. Alan and I worked with students to identify spaces to ‘test’, identifying a subversive potential that could be exploited through a material construction. The design and development of a proposal for an ‘urban ecology prototype’ formed the basis of a 5,000 word report produced by students, on a wide range of topics including the creation of urban playgrounds, public toilets, a musical cigarette dispenser and the use of underground heating vents as homeless shelters.


RETROFIT MODULE: Simon Andreas Hansen, Kehinde Obisesan, Flavio Da Costa, Fayrooz Awad, George Soiza, Alex Visintini

URBAN PROTOTYPE: Aaron Dellaway, Maria Adebowale, Marius Coste, Melvin Wong, Michalis Georgiou, Muhammad Atrash Adnan, Rachel Rowson, Suleman Hussain, Simon Hansen, Alex Visintini, Idzamuri Ashari.

Retrofit module Can a historically significant building of traditional construction achieve carbon neutrality, and if so, how? How does enhanced technical efficiency affect historic significance, and how is this prioritised? Hands-on investigations, aimed to identify and quantify enhancement retrofit measures and types of interventions that can have a significant positive effect on the energy performance of buildings, are the core of the module. Historical dwellings, either listed or lie within designated ‘Conservation Areas’ within the Borough of Camden are used as case studies to test the impact of proposed alterations. Specialist software such as Ecotect, IES VEPro and SAP are deployed to generate in-depth analysis aimed to assess a wide range of enhancement measures in terms of energy performance, daylighting, lighting and power demands, solar passive, thermal comfort, carbon footprint, water consumption. Essential to the proposed transformation is not only environmental impact quantification but also a discussion of the environmental benefits in relation to aesthetic and conservation implications, requiring a philosophical as well as technical value judgement.

msd.1

VISIT maasdurbanecology2014.wordpress.com

MASTERS sustainability&design

Students: URBAN ECOLOGY: Ahmad Kamil Bin Khalid, Wilson Lam, Hanisah Nordin, Kenneth Awele Okafor, Eleni Gravilis, Baptiste Laversanne, Fabien Mitchell, James Batson, Sayed Mojtabe Shahrestani, Zhi Yoong Law, Christos Karageorgos, Jason Humbert, Alex Visintini, Akash Chohan, Fayrooz Awad, Shaheer Vira, Maria Adebowale, Simon Hansen, Jehosepahad Safro-Duah, Jacovos Andreas Costi, Robert Campbell


MASTERS sustainability&design

msd.1 Urban Prototype: Heated seats, Marius Coste. msd.2 Remembering Robin Hood Gardens, photo by Kenneth Awele Okafor msd.3 Privatization, photo by Jason Humbert

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msd.6 Daylighting

MASTERS sustainability&design

msd.5 Carbon enhancement measures, Michelle Price analysis, Ben James

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LANDSCAPE ARCHITECTURE

THE DECEPTION OF THE EYE South Bank, London Dr. David BUCK

The MA Landscape Architecture is the design intensive masters for this field in the School of Architecture Computing and Engineering at the University of East London. The course is growing out of the School’s longstanding preoccupation with urban and landscape intervention. It is set up to develop both intellectual and practical skills for architects and others interested in the broad field of topics that constitute landscape architecture. Through interrelated design and theory projects, we search for new solutions to the increasingly complexity of our urban landscapes where the social, political and environmental pressures are most intense. This year we investigate time, place and memory, simultaneously defining an area of personal interest in landscape. First we watch with care the 1962 film-novel ‘La Jetee’ by Chris Marker which starts sometime before the outbreak of World War III at Orly, Paris Airport. The protagonist, evocative of aspects of landscape space and experience, exists not in a singular temporal dimension but concurrently occupies a range of times. From this we continue by examining Vauxhall Pleasure Gardens as a landscape space with a 350 year history in which social, economic and environmental aspects of landscape fluctutate. This study is progressed through the prism of new and alternative modes of landscape representation, drawing upon Pietro Accolti’s text ‘The Deception of the Eye’, which we take both literally and figuratively. We seek to extend the discourse on landscape

from a single monocular viewpoint first through the use of film, while also challenging expectations that the field of landscape must reside only in vision. Next we investigate our site specific interests through developing new representational tools for landscape. Conscious of Nelson Goodman’s assertion that allographic arts such as architecture and landscape ‘gain their emanicpation not by proclamation but by notation’ we develop new notations for landscape that allow us to draw the simultaneity of space, time and material and develop a mode of prescient practice in which the ephemeral as well as the tactile can be considered. In exploring alternative modes and notions of landscape we bring ourselves closer both to new ideas for landscape and simultaneously to its beginnings in as Jospeh Addison noted in the summer of 1712, the ‘ pleasures of imagination’.


Students: MASTERS: Emily Haysom, Olugbenga Adewale Adetona; Anet Gharanghanian Siraki, Riaz Patel, Penny Maragkoudaki, Toby Massawe

Visiting Crits: Christoph Hadrys, Michele Roelofsma, Alex Blum, John Pegg, Clay Baylor, Neil Davidson, Natalia Trossero

MASTERS landscape

Y4: Oliver Taylor, Robin Philpott, Maria Damianidou,Sofia Ichtiaroglou Y5: Craif Bernstein, Imaan Alia, Eman Abdu Osman, Nousheen Rehman, Panayiota Savvas, Zoe Chavali, Sarah Mpolo Ekanda, Konstantintos Palantzidis, Shazrin Aiman Suhaimi, Al Qomah Abdul Walad, Ourania Roumpoula, Ioannis Boulougras, Jun Yee Ker, Fabian Betancour Daza

“a man in a dungeon is capable of entertaining himself with scenes and landscapes more beautiful than any that can be found in the whole compass of nature” Joseph Addison ‘Pleasures of Imagination’ (June 25th, 1712).

VISIT www.ma-la.blogspot.co.uk


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MASTERS landscape

L.1 Emily Haysom. Pencil on tracing paper. Sketch development of ‘negotiated territory for Vauxhall Pleasure Gardens L.2 Anet Gharankhanian Siraki. Pencil on paper, mixed media. Planting design detail for sound pixels L.3 Anet Gharankhanian Siraki. Plywood and acylic paint. Model of sound installations for Vauxhall Pleasure Gardens. L.4 Olungbenga Adetona. Axonometric drawing of ‘5th ecology’. L.5 Olungbenga Adetona. Model of alternative network infrastructure of the city. L.6 Emily Hayson. Model timber and free stitchwork.

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MASTERS landscape


urban design OPEN STUDIO

Christoph Hadrys

The MA Urban Design is the design intensive masters for alternative urbanisms at the University of East London. The course is growing out of the School’s longstanding preoccupation with urban and landscape intervention. It is set up to develop both intellectual and practical skills for urban designers and architects. Through interrelated design and theory projects, we search for alternative solutions to complex urban conditions. The course sets out to explore and develop new forms of urban practice in cities undergoing critical change, where conventional thinking struggles to respond to uncertainties and the necessity for imaginative thinking. It aims to prepare students to work with different geographical settings, urban agendas and economies through design projects. We engage directly with communities, sites and contexts, to be able to develop both practical and innovative urban designs, from the scale of regions and cities, all the way through to neighbourhoods and building scales. This approach is informed by local and international urban practice, but also emphasizes students‘ individual interests, abilities and intuition, to explore and develop new forms of urbanism. Asking questions, like who is building cities and how to build cities, allows us to open our understanding about finer visible and invisible forces. We research diverse methodologies, like the use of tolerances and time-lines, to enable more dynamic and generative urban processes, allowing a much wider range of people to take part in building cities.

Berlin, Germany

The course provides a platform for the individual student to develop an expertise and an approach to sustainable urban design through the development of urban design strategies and research. As more and more emphasis is put on the importance of sustainable developments by governments and professional bodies, such knowledge and skills will be of increasing usefulness to the students in their professional lives. The programme prepares for work in the public as well as in the private sector. The masters course has two fully integrated parts: The design intensive studio and the theory component comprising Masters and Professional MArch (ARB/RIBA Part2) students. The MA Urban Design welcomes students as fellow innovators in a programme that is both visionary and hands on in seeking to develop urban futures that are sustainable, distinctive and enjoyable.


Visiting Crits: Phyllida Mills, Mark Power, Michael McNamara, Anna Minton, Maria Alessandra Segantini Special thanks to: Renee Tobe, David Buck, Anurag Verma Special Theory Lecture for the MA Urban Design Architecture and Urbanism in India - Anurag Verma has presented a range of thinking concepts about perception and interpretation. He used these concepts to illustrate urban and architectural history in India.

“The neatness of architecture is its seduction; it defines, excludes, limits separates from the ‘rest‘ - but it also consumes. It exploits and exhausts the potentials that can be generated finally only by urbanism, and that only the specific imagination of urbanism can invent and renew.” Rem Koolhaas, Whatever Happened to Urbanism, SMLXL

VISIT

WWW.MA-UD.BLOGSPOT.COM

MASTERS urban design

Students: EMA Urban Design: Lucy Fineberg, Zuo Bin Go, Tom Green, Su Vin Lau, Matthew Rust, Liam Woods M Architecture: Dhiren Appadoo, Sara Salim Karama Y4: Megan Barratt, Christopher Bishop, Stefania Chalakatevaki, Rosaleen Commettant, Ioanna Drakaki, Akira Imai, Megha Menon, Sagal Muhumed, Lim Tze Vonn Y5: David Adjei, Chiara Amato, Jason Boamah, Yi Ching Chu, Vasco De Mello Raposo, Stefania Solomos, Amir, Jafar, Nhu Thi Yen Le, Blaine McMahon, William O’Brian, Darren Scott Robertson, Ravjeet Virdee, Yankah Mitchell


MASTERS urban design

Urban Design Studio The design component aims to prepare students to work with different urban situations and agendas. In the beginning of each academic year, students engage in a five week induction project, to familiarise themselves with the teaching and learning environment of the course. During that time, we develop design tools and principles, by testing and refining them in various locations. For the main design project, individual students focus on one site of their choice, for the rest of the academic year. This focus allows very deep explorations of a range of scales and involved urban design issues. Students formulate objectives, briefs, programmes and spatial aspirations of their design work. Throughout the course, we engage in workshops, presentations and tutorials. Open Studio This academic year, students select the location and topic of their design, theory and research project themselves. In this Open Studio, students work on projects for example in London, Croatia and China. The course offers a rich platform for students’ visions for cities. We formulated strategies that respond to global and site conditions, understanding of scales, architectural sensibilities and local communities, to create social, spatial and time-based habitats and environments. Urban Theory Component The theory component welcomes Masters students and also 4th and 5th year Diploma students. The course is ‘hands on‘ and it works in close collaboration with the design component. A lot of urban issues are difficult to explore purely on a visual basis. This has to do with the abstract level of scale and complexity. For example, we can do models of buildings and they will partly tell us

spatial and social relationships. In urban design that is different. We can do models of a city, but it is not that easy to understand the underlying forces, that are shaping cities. Concerning issues like migration or globalization, physical models might tell us very little. We have to read, write and talk, to gain a more holistic understanding of urban issues. Students attend weekly lectures on distinct urban topics, followed by seminars. The fields of studies range from urban history, theory, interpretation and practice to science. Invited guests from different backgrounds enrich the course with diverse talks. We explore complexities of cities through discussions, writings, readings, lectures, drawings, student presentations, movies and excursions. The theory component is assessed through ongoing course work and an 4000 - 5000 word essay on an urban topic that the students select and research themselves. The studies in urban theory are set up to help articulate a critical context and vision for students’ design and thesis work.


MASTERS urban design

ud.1 Perspectives of Water Filtration Community in the Lea Valley in East London by Zuo Bin Go, Urban Design Thesis.

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ARCHITECTURE: DESIGN KING'S CROSS, The Coal Drops, London Michele Roelofsma, Renee Tobe

The MA Architecture: Design programme aims to reestablish the creative development of the student, through looking for ways of harnessing practice techniques and experience to find poetic readings and make a more architectural response. The programme is unusual in its creative response to student previous experience in practice and is organised on the Studio system for design work with options in supporting subjects. Students are taught alongside postgraduate Diploma students for design and technology and alongside Masters Students for the theory components of their studies. The MA Architecture: Design sets out to develop a broadly informed framework within which to study architecture. Such a framework is intended to provide a critical and personal approach to architecture that can appreciatively engage with the complexities of a given site. The MA Architecture: Design encourages a freethinking stance from its students, and asks that they approach their work as an open-ended challenge. Over the years, we have been working in intercity conditions discussing the regeneration possibilities from within the urban fabric. The challenge to insert in the often precious urban fabric with 21st-century “thoughts” should be seen as Craft. The discussion of last year’s architectural project, “Cebado Madrid” was generated by the community organising the urban space and claiming territories for their social activities. During this study we used key topics that became the feeding ground for an architecture discussion: The making of a form that contains an interior; Personal references; The personal,

Madrid, Spain

domestic site and its relation to the outside world; The neighborhood and the social event. This year’s Kings Cross site is a large “inner city” site in London, with the skeleton remains of the 19th century slowly allocated to 21st century programmes in an historic setting. The former “coal” centre has a rich infrastructure with roads, rail and canal. After having assessed the Master Plan for King Cross (coal drops) and formulated their critique, students were asked to become propositional: - How does the critique generate an architectural discussion? - How can we accommodate our in earlier projects found Architectural discussion in the Kings Cross site? “Room for reference” – The things we like appreciate become important in the formulation of our world. The buildings, paintings, music and philosophy that we like will become ”unspoken” criteria. The Duke Federico studio room, cabinet for contemplation in the Ducal Palace reflects the Duke’s devotion to classical and humanistic studies. How would we construct a room for contemplation of our references, a collage of our appreciation of the world around us? The collection of Sir John Soane’s Museum that varies from drawings, paintings and objects or the much smaller “library” of Aldo van Eyck’s collection of artifacts from woven painted textile from all over the world will remind us of the importance of being creative Visiting these “places” helps us to rethink.


Students: Dhiren Appadoo, Sara Salim Karama, Ananthapadmanabhan

Special Thanks to: Willem de Brujin

We can call it a touchstone, reminder and recharge for the rest of our lives, A Sonsbeek Pavilion (Aldo van Eyck) or The Cabanon (LC) “Form” and “Accommodating Architecture.” Developing a three-dimensional form that discusses the tension between interior and exterior. This theme reoccurs in any architectural discussion. What are the rules for making the form? Next step in this exercise can this form house a programme. Housing the references. The exercise generates some questions that will be the “Prototype.” - writing seminars by Willem de Bruijn are preparing the students to generate ideas and ways how to enrich their intuitive writing skills.

MASTERS architecture

Visiting Crits: David Buck, Kristian Garrecht, Anna Faisca, Yassar Shah

Whatever space and time mean,place and occasion mean more, since space in the image of man is place and time in the image of man is occasion Aldo van Eyck

VISIT www.acedip7.com


MASTERS architecture

IN Close Proximity The Current Kings Cross project is close to the halfway mark of completion.It will bring offices, homes, shops, leisure and community facilities and much more to the existing neighborhood. It has been estimated over 45,000 people a day would benefit from the development. Upon visiting the Site my initial response was to reach out to the Camley Nature Park across the regents canal, with intensions to visit the park. The Park is a hidden haven to wildlife and a place to as well as working with the neighboring boating community. By understanding the proposed master plan of King’s Cross my proposition attempts to relate with the existing coal drop building and provide a similar mental connection to that found within my room and that of the Jacket within the object of two-thirds. The reopening of the Existing Canal Archers would allow an imagination of the past atmosphere of the coal drop

as canal boats re-enter the site. The idea of a journey also comes into play as a place to pause before continuing on a journey. The proposed boathouse introduces a place of rest after a traveler reconnect with the land within the proposed basin and explores King’s cross. The proposed semi transparent Building creates a shopping space to match that of the master plan, without obstructing the view of the Nature Park. The continuation of the canal towpath transitions into the building. One is introduced with an option to take a pause by the canal from the busy life of kings cross or to admire the showroom shopping units before continuing their journey.


ma.1 Cairo, the neighborhood where I initially grew up, A sketch that summarizes and pictures home in my memory. The most interesting space into my house is the kitchen because it is the place where we eat, sit, gather, work, talk and sometimes argue. Most events take place over the kitchen and that is why I call it the “HUB” of the house. When different activities take place the whole setting changes especially, due to the light conditions. The same concept derived into the object project ma.2. Light goes around the cube, the idea is still about motion and light, and the cube is meant to accommodate light in different directions, reflections and proportions reacting with the interior. Soane’s museum was the prefect representation of importance of light through movement

ma.3 Looking at King’s Cross as a site, and deprived from my kitchen, the idea of a city on a dining table grew ma.4 King’s cross, the heart of a live city like London, unfortunately is a dead area when it comes to Granary Square. The level of movement over the site is too minimal to what its supposed to be. This area has potentials to be a good social hub to the city. The concept is to create a metropolis of the city inspired by the kitchen of the house, but on an urban/ city level. Like the idea behind the stalker movie, motion through the cities is meant to revive them and re-create the lives again in them. Furthermore, looking at the site, the most interesting part as well is the contrast between the tensions among the buildings all over the site to the granary square. In addition to the various levels of the site starting from the momentum of the canal cutting the urban fabric of the site to the higher level of the granary square plaza.

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MASTERS architecture

Creating Boundaries


interpretation & theory Dr Renée Tobe

MA Interpretation and Theory 1 Politics and Social Justice This year we investigated architecture’s relation with global politics and social justice through a series of seminars and workshops. We discussed factors influencing the development of critical judgement, what criticality is and how it influences discourse. This offers a basis for understanding how politics and social justice develop in parallel with architecture and cities. In particular it examines how the technological developments influence urban thinking and building. As a result students understand the processes by which practitioners use theoretical investigations as a means to advance architectural thinking and urban design. There has never been greater urbanisation and more people live in cities than ever before. The nature of society has changed and continues to change. Western precepts do not apply to non-Western situations, yet Western thinking prevails. We question how and why this is, look directly at alternative voices and narratives.

MA Interpretation and Theory 2 Interpreting Architecture: Representing Architecture Inspired by Aby Warburg’s Bilderatlas we ran a series of seminars and workshops that developed our intuitive response to architecture’s representational capacity. We discussed factors influencing the development of critical judgement, what criticality is and how it influences discourse. Visits were to the Warburg Institute and a seminar by Dalibor Vesely at Eric Parry’s Office set the tone for the investigation. Readings included Arnheim’s Visual Thinking, Evans’ The Projective Cast, Breton’s Nadja, Perec’s Life a Users Manual, Frascari’s Tell-theTale Detail, Debord’s Society of the Spectacle, Hejduk’s Mask of Medusa, and Calvino’s Invisible Cities.


I+T 2: Farihah Anwar, Daniel Culqui, Azrul Haqimi Othman, Nikolaos Isaakidis, Jalil Nayim, Fawwaz Zullkefle

Special thanks to: Guest Lecturer Anurag Verma and Guest Critic Christoph Hadrys; Lord Noon Patel for the visit to the House of Lords, Willem de Bruijn who led the collage workshops and greatest heartfelt tribute to Dalibor Vesely

House of Lords and Warburg Collage

MASTERS interpretation&theory

Students: I+T 1: Wajiha Dadabhoy, Nabihah Haiyee, Aaron Jones, Preye Kpiki, Chandni Patel


PROJECT X

INDEPENDENT MA RESEARCH

Dr Renee Tobe, Claude Saint-Arroman

Project X is a UEL tradition which goes back to Peter Salters’ days of running the school. It is an independent research project on a subject of students’ choice outside the main MA topics. This covers a broad range of very specific interests, which can be pragmatic and technical as much as they can be intellectual or of personal interest, so long as they contribute to architectural knowledge. Joseph Hawkins last year, whose essay was entitled The Merzbarn: The Architectural Imagination of Kurt Schwitters, received a distinction and was subsequently published in the Journal of Landscape Research. This year our students are researching: - The Meaning of a Bulgarian chalet - Politics of Shelter: Underground London - Mandvi (Kutch) and London: Photographic Interfaces - Gentrification and Displacement: an Investigation through The Heygate Estate - Measuring the beauty of Architecture: Musical Harmony and Architectural Proportions - Situationism by Car: Notes on a Repetitive Journey

The research is carried out over three academic terms and its structure is dependent on topic and resources. Many students start by collecting evidence and primary sources and then critically analyse their findings. Other students start with a theoretical question and investigate from this premise.


Special thanks to: Christoph Hadrys, Willem de Bruijn

MASTERS project X

Students: Alba Daja, Raghav Dixit, Divyani Patel, Jim Rooney, Aiman Shafris Yuslam, Ina Yordanova Kanazireva

Divyani’s Great grand dad


ARCHITECTURE & URBANISM NEW MASTERS 2015 ALAN CHANDLER

An international MA for built environment professionals and recently graduated students of architecture wishing to pursue a built environment specialism to Masters level, with clear relevance to both future practice or future doctoral study. By providing a choice of extended ‘practice’ modules in combination with theory options the student may select a distinct specialism – Computational Architecture, Urban Design, Sustainable Architecture, Architecture for International Development or Architecture and Heritage, or choose to blend practice and theory across disciplines by selecting either critical theory or Landscape studies. Computational Architecture builds on our legacy of world leading form generation through the work of Paul Coates, using parametric and object oriented design methodologies seamlessly with rapid manufacturing and visualisation techniques available within the School. Urban Design is a strength of our architecture teaching, understanding context and history as fundamental to locating the architecture of buildings within the architecture of the evolving city. Sustainable Architecture teaches the metrics based techniques for building performance, but unlike other courses on sustainability we locate technical sustainability within a social context, debating exactly what it is we are trying to sustain when making architecture. Following the ‘Architecture for International Development’ and ‘Architecture and Heritage’ options allows students to study, research and work with internationally renowned practices - Article 25 and

C+S Architects respectively, with an opportunity to engage in international practice workshops as part of the programme. MA Architecture and Urbanism offers a choice of thesis submission formats depending upon the specialist modules chosen and the students own interests and goals – either a written dissertation, design portfolio or active participation in and critical reflection on a live ‘design and build’ project at a school which is an international leader in live project pedagogy


MA ARCHITECTURE AND HERITAGE

Programme Leader: Maria Alessandra Segantini, C+S Architects Considering that heritage represents 70% of the profession’s workload, we understand cultural heritage, transformation and restoration as integral components of the design practice. Interest focuses in the cultural, sitespecific and material aspects of contexts and more broadly in socio-political, economic and climatic influences. The historical dimension is for us a challenging and inspiring resource, driving a sharpening, sophisticated and potential effect on contemporary design in architecture. Both the theory and practice module aim to provide students with a methodology and a set of knowledge to map the context, enabling them to understand and communicate the relationships between the physical features as well as the social, economic, political forces and policies acting in one specific urban case-study and the responsibility of the design actions to activate processes of ‘urban regeneration’ in the respect of the identity of the places. Through the development of this design-based studio, students will be able to understand, evaluate and question the whole design process, through the development of a series of design strategies at different scales in complex, stratified urban landscapes. They will understand methodologies to create and suggest of needs, programs, as well as of possible clients though the propositions of ideas.

They will consider the potential of each site with a strong interdisciplinary mapping of the proposed contextsclimate, budget and economic perspectives (engaging with communities in bottom-up experiments and approaches), physical features (materiality, topography, strata), physical history, the history of its economy and techniques and socio-political expectations- and acquire an open-ended perspective towards the design output, appreciating the non-finished and anticipatory proposal to anticipate future growth and development. Finally students will be asked to develop an attitude of philosophical sensitivity towards historic fabric and townscape, together with enterprising inventiveness and creativity towards their restoration and transformation.

top: Palacio Pereira. Muro Muestra n.05, C.Puga, P.Velasco, A.Moletto, A.Chandler above: Torre Massimiliana, Venice. C+S Architects. Photo: Marco Zanta


ARCHITECTURE MA COMPUTATIONAL AND HERITAGE ARCHITECTURE

Programme Leader: Gilles Retsin Set within an Object-Oriented framework, the MSc Computing and Design investigates computational design strategies for an architecture of increased heterogeneity. In contrast to holistic, systemic and parametric fields, the studio investigates messy, local object-oriented forms of bricolage and assemblage. Computationally, the focus is on developing generative, but object-focused design methodologies, looking mainly at ideas of agency and physics. Students will research methodologies to embed physical constraints into heterogeneous and essentially autonomous “agential objects� as a kind of typologies. The year is structured in a series of projects and experiments exploring computational design methodologies in a context of information density and heterogeneity. Exponentially increasing possibilities of new manufacturing technologies like 3D-Printing allow to register previously unseen amounts of heterogeneity and information in matter. Inspired by concepts from information science and object-oriented ontology (OOO), diverse concepts such as OOO, resolution, heterogeneity are connected to the idea of increased information-density. Computational design methodologies focus on concepts like assemblage and discreteness, rather than organism and continuity. These processes are set in a messy and discrete work flow, not as a single meta-computational process, but more as a plethora of methods and objects. Through establishing a rigorous connection between object-oriented ontology, computation, and informationdensity, the course attempts to create a framework for

understanding computational design and architecture in a manufacturing context with the potential for extreme resolution and information density.

top: HexStrata, Gilles Retsin above: Cutlery Set, Eragatory


MA ARCHITECTURE URBAN DESIGN ANDOPEN HERITAGE STUDIO

Programme Leader: Christoph Hadrys The MA Urban Design is the design intensive masters for alternative urbanisms at the University of East London. The course is growing out of the School’s longstanding preoccupation with urban and landscape intervention. It is set up to develop both intellectual and practical skills for urban designers and architects. Through interrelated design and theory projects, we search for alternative solutions to complex urban conditions. The course sets out to explore and develop new forms of urban practice in cities undergoing critical change, where conventional thinking struggles to respond to uncertainties and the necessity for imaginative thinking. It aims to prepare students to work with different geographical settings, urban agendas and economies through design projects. We engage directly with communities, sites and contexts, to be able to develop both practical and innovative urban designs, from the scale of regions and cities, all the way through to neighbourhoods and building scales.

above: Yemin Yin. Perspective

This approach is informed by local and international urban practice, but also emphasizes students‘ individual interests, abilities and intuition, to explore and develop new forms of urbanism. Asking questions, like who is building cities and how to build cities, allows us to open our understanding about finer visible and invisible forces. We research diverse methodologies, like the use of tolerances and time-lines, to enable more dynamic and generative urban processes, allowing a much wider range of people to take part in building cities. The course provides a platform for the individual student to develop an expertise and an approach to sustainable urban design through the development of urban design strategies and research. As more and more emphasis is put on the importance of sustainable developments by governments and professional bodies, such knowledge and skills will be of increasing usefulness to the students in their professional lives. The programme prepares for work in the public as well as in the private sector.


MA INTERNATIONAL DEVELOPMENT

Programme Leader: Robin Cross, Article 25 The 2010 earthquake in Haiti killed more than 300,000 people in a matter of minutes. The same year, a higher-magnitude earthquake near Christchurch in New Zealand killed 0. The difference between the two countries was the quality of the built environment, and this clearly illustrates that it is not earthquakes alone that kill people, but poorly constructed and inappropriately designed buildings. Appropriate architectural design can save lives, especially in countries where resources and expertise is scarce. This Masters Course Module explores the role and impact of architecture in international development. Led by Robin Cross, Managing Director of Article 25, the UK’s leading architectural charity, the course will include case studies from Mr. Cross’ vast fieldwork experience in diverse cultural contexts and challenging climates across the world. The course will be very hands on, and students will be forced to rethink their approach to design in order to develop an appropriate solution to a real world problem. Students will explore how they can use their skills to make the greatest social impact; how architectural design can protect the environment, promote improved health and provide education. Take this module if you want to use building design skills to make the biggest difference to the communities that need them most.

all pictures: cortesy of Article 25


MA SUSTAINABLE ARCHITECTURE PERFORMANCE-DRIVEN DESIGN

Programme Leader: Alfonso Senatore The MA Architecture and Urbanism Sustainable Architecture programme is highly critical of energyand carbon-based debates on sustainability. You will be actively equipped with philosophical, intellectual and qualitative tools to balance the quantitative, and to allow for informed critique of the nebulous and poorly defined ‘greenwash’ that characterises much thinking in this area. The programme addresses the “what’s”, “why’s” and “how’s” of environmental design, at both the architectural and urban scales. It explores the relationship between environmental and formal design, and the effect of that developing relationship on the future of sustainable architectural practice. It does this through three taught modules followed by the thesis, which may be a sustainable design portfolio, dissertation, illustrated report or participation in a live build low carbon project with a critical reflective text. The programme is located in the new School of Architecture, Computing and Engineering in Docklands, the biggest redevelopment area in Europe. It takes advantage of the University’s London location with visits to architectural sites as well as lectures and visits linking with the culture of the city. Its teachers are abreast of current developments in the field and currently working on publications, conferences and other projects.

top: ZGF architects. Photo by Benjamin Benschneider


MA ARCHITECTURE AND PRACTICE

Programme Leader: Roland Karthaus

The overall objective of the module is to enable students to work with complex, spatial and contextual design tasks that are developed through a critical approach to theoretical positions about architecture. Specific design and theoretical agendas formulated within the studio aim to provide a choice of architectural itineraries to support and facilitate students in this process through an explorative approach to design. In 2015 students will engage with the Developers of Silvertown in London’s Docklands to shadow, critique and redefine the emerging economic and spatial propositions for the site and its new population. Architecture is the main topic of study, whilst related topics such as landscape, fine art, drawing, photography and model making as modes of representation, sculpture, social and environmental contexts, performance and qualities of materials are studied in support of the overall topic. Within this typical framework for the study of architecture, there is a particular emphasis on the nature of materials and the physical act of making buildings through a variety of scales, from the specific detail to the territories in which buildings are constructed. Architectural and related urban, social and philosophical theories are examined as sources from which to develop critically contextualised positions for the practice of architecture.

top: Docklands, site area.


MRES ARCHITECTURE READING THE NEOLIBERAL CITY

Programme Leaders: Anna Minton Dr. Douglas Spencer ‘London - Reading the Neoliberal City’, a new Masters in Research course (MRes) investigating and critiquing the development of London, is being launched by the Architecture School at the University of East London. The programme will critically examine neoliberal policies over the last 30 years and their effect on urban layout, property markets, architectural form and social justice. Topics for study include the privatisation, financialisation and polarisation of cities and the impact on fear, trust and citizenship. The course is aimed at the wide range of professionals and students from around the world engaged in the built environment, from architects and planners to developers and activists. A number of scholarships will be offered. Architecture at UEL is based in London’s Docklands, which pioneered this neoliberal model of development of development and is a key area of investigation for the course. While London is the focus the global impact of the processes underpinning this model are relevant across the world. Each year the course will include an international workshop, based in a different European city. The use of visual media, including film and photography, is an important component, encouraging students to engage directly with place. Students participate in a film making workshop and complete a photographic essay. Anna Minton, author of Ground Control and Douglas Spencer, architectural theorist, will be the course leaders. Katherine Clarke, director at MUF, Maria Alessandra

Segantini, director of C+S and Tony Fretton, Emeritus Professor at TU Delft and director of Tony Fretton Architects will be supervisors. The course is full or part time and will begin in September.Successful completion of the course will be equivalent to the first year of a phd and it is envisaged that some students may wish to continue onto a phd. List of staff: Anna Minton, Douglas Spencer, Tony Fretton, Katherine Clarke, Maria Alessandra Segantini, Alan Chandler, Michela Pace. Past and curernt collaborators: Jane Cheadle, Lewis Bush


MASTER THESIS WRITTEN DISSERTATION/DESIGN PORTFOLIO/DESIGN AND BUILD

Module Leader: Alan Chandler MA Architecture and Urbanism offers a choice of thesis submission formats – written dissertation, design portfolio or design and build depending upon the specialist modules chosen and the students own interests and goals.

and ‘hands-on’ with a real building project. The whole build is sponsored by BSW who are supplying us with UK sourced carcassing timber and lending their film crew to document the whole workshop. The film will premier at the Timber Expo later in the year.

Bark Live-Build is an example of the design and build option. There is currently an enormous chasm between architectural education and the on-site application of architecture, where students can graduate from university with very little understanding of construction terminology, materials, or technical detailing. BARK LIVE-BUILD 2015 provides students the chance to acquire these skills on a real construction site, enhancing their technical understanding to take forward into their architectural careers. This workshop requires students to combine designtalent with management, construction and fine-carpentry skills, to ensure that the building is delivered on-time and to the highest possible standards. The workshop is organised, managed and facilitated by Studio Bark Director and UEL Technical Studies Tutor, Wilf Meynell, in conjunction with TRADA’s University Liaison Manager, Liz Turner. It’s a fantastic opportunity for the students to get away from their computer screens For more information on Bark Live Build visit http://www.studiobark.co.uk/2015/05/bark-live-build-2015-apply


Alex Pedersen MA Thesis


TS+PS TECHNICAL & PROFESSIONAL STUDIES


ts ps techincal and professional studies Alan Chandler

Research based architecture “Education constrains variety, because (although it may open new vistas) it leads us to reduce the alternatives that we are prepared to entertain” (Stafford Beer ‘Designing Freedom’) ......So, why do a live project? Professional studies, sustainability, social science, cultural studies, technology and design are all facets of the same experience we call architecture. This conglomerate nature is recognised in the way the subject is organised as an architectural education in the UK, encompassed by the phrase “comprehensive design project”. This is our pedagogic Holy Grail, yet the means by which we guide future architects through the development of this holistic endeavour and recognise its achievement is ironically through numerous criteria and sub-clauses, each to be disaggregated and placed under scrutiny, mapped, re-mapped and appraised against subject area QA benchmarks often developed for other academic disciplines, and ratified accordingly. Thus synthesis and segregation are uneasy bedfellows, indicative of the inherent architectural schitzophrenia of being art and science, creativity and management. Even leaving aside the less quantifiable issues of ‘art and creativity’, we are still confronted with a duality - science masters nature wheras management masters events. Even the most un-artistic architect must therefore attempt to ride at least two of these four horses simultaneously, so it is little surprise that risk avoidance is inherent in our profession, but also that avoidance of risk is futile.

As an architectural profession we have to concede that risk management also encompasses all aspects of our architectural education - ‘success’ delivery is behind this, indeed is behind all aspects of our modern lives. Our criteria for ‘approval’ is prescribed to counter the risk of later professional failure, and this risk attenuation is understood and distributed through the structures of teaching. However, true to our unreconciled profession, the educational strategy so often employed to attenute risk is to dream up subjective sites, programmes and atmospheres, then invent complicated assessment criteria to counterbalance it with objectivity. The risk of a “lack of success” (also known as ‘failure’), provides the impulse for personalised vision projects that provide too little detail to be proven wrong, and assessment mechanisms that provide criteria that when ticked off determine that everything is right. I would argue that neither part of this process actually engages with the interweaving of all aspects of our profession. RIBA Part 3 measures competence in risk avoidance, but I would suggest that the inevitability of risk requires that we are weaned onto such solids during our design education so we know what needs avoiding and why. This brings us to the question: How far is a risk managed education a preparation for managing risk? Understanding Stafford Beer’s concept of ‘variety’ reveals how risk is attenuated, and helps us determine where in the experience of architectural education risk needs to happen. Strategically the classic ‘studio taught’


TS+PS technical and professional

self selection project invents both brief and risk through tutorial and discussion, and the proposition establishes a number of key themes that are self fulfilled. Stafford Beer would argue that this simplification - an aggregation of variety and risk to allow the studio tutorial model to operate within the School “kills that subtelty of information that requisite variety demands”*. So when students say “people”, we ought to be asking “who, exactly?”, when they say “site”, we might enquire who owns it, when they say ‘climate’ and refer to a single photograph from the study trip when it rained, we know that the requisite variety of experience needed to elaborate a meaningful architectural project is lacking. Not only is the subjective design project often thin on relevance, but such an approach leads to a reliance on metaphor to fill the meaning gap - “urban flows” and “interstitial spaces” are surrogate realities that stand in for the users and the place, and worse hampers the ability of the student or the tutor to judge how the interraction between them can be enhanced through the elaboration of the project. The question appropriate to defining risk in architectural education is ‘where to attenuate variety’? Clearly architecture is complex and requires management, but how is that management realised? Let us edited out excess variety at the commencement of the project: limiting the range of variables at the outset will therefore deliver a greater the chance of synthesis. This model is popular because a greater number of participants are able to achieve a product which can be cross referenced back to the attenuated requirements.

The process of development is simplified, the number of needs contained, the democratic potential harnessed. Quality Assurance requirements are satisfied. The student ‘passes’. If this is not acceptable, and variety is not attenuated at the start of the project, how then is complexity managed? If the process of developing the project works through a constant feedback of action and reaction, the ability of the project to contain complexity is enlarged, however the final shape of the ‘product’ may emerge only at completion - and if truly successful will never actually be complete as its participants would effectively continue the process themselves. The potential for ‘failure’ is enhanced, but only through this method of dynamic variety management could a project be said to achieve the integration desired by the profession, because it is what the profession does. Within the RIBA Part 2 I suggest that we should therefore actively familiarise the student with the risks that require avoiding in a controlled and positive manner. So we are to take the high road? What tools are therefore required to put into practice the ambition of teaching an integrated and democratic design process?

VISIT www.constructionweek2014.wordpress.org


TS+PS technical and professional

 images Sonstruction Week outputs including ‘Cement Free’, Urban Rural, One Tree, Peer Road projects. More information on Live Projects and Construction week can be found at the address: www.constructionweek2014.wordpress.org www.constructionweek2013wordpress.org www.constructionweek2012.wordpress.org etc.

The structural limitation of the studio culture also maintains some strong positives, so strong in fact that I would suggest it needs support, rather than replacement. That support, for me is via the engagement with users and place that occurs with the delivery of a “live project”, where the users become participants and the students become professionals. Through engaging with the issues of risk and variety, Architecture at UEL has effectively removed the segregation of sustainability, professional studies and technology from design within Part 2, and uses the ‘live project’ as our Diploma student’s first educational experience within the School to exemplify this integrated attitude. The experience of professional engagement sets up an expectation that alters the relationship the student maintains with their subjective Unit work, the desire to invent becoming directed outwards towards the intended users of the project, rather than inward as personal fulfilment.

At its best the Live Project is not simply a team of students making effectively a 1:1 model, but is the opportunity to engage with the requisite variety and risk that clients and users bring. Our Social agenda runs throughout our school, whether building directly for the community, or understanding and responding to users needs within portfolio design work. UEL produces directed, responsible and socially aware graduates that understand architecture as a beautiful, radical tool to make ‘place’.


TS+PS technical and professional


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