Kent School of Architecture - End of Year Show Catalogue 2016

KSA 2016

THE SUMMER SHOW 2016 WAS MADE POSSIBLE

BY THE GENEROUS SUPPORT OF OUR SPONSORS:

www.fosterandpartners.com

AHMM

Proud to support the Kent School of Architecture

AHMM

Allford Hall Monaghan Morris Architects Morelands, 5-23 Old Street London EC1V 9HL 0207 251 5261 www.ahmm.co.uk Facing page: 61 Oxford Street, London This page: Royal Court Theatre, Liverpool

The Student Projects Grant Scheme supports projects that further enhance the student experience and employability of Kent students.

It allows donations given by alumni and friends of the University to reach as many students as possible by enabling individuals to bid for funds to run their own projects.

In January 2016, grants totalling almost ÂŁ50,000 were made to 19 student-led projects such as the Architecture End of Year Degree Show. The Student Projects Grant Scheme is funded by the Kent Opportunity Fund, which relies on donations from our alumni and friends of the University to help our students excel academically, personally and professionally.

For more information about our projects made possible through the Kent Opportunity Fund, please visit www.kent.ac.uk/ opportunityfund.

Made possible by:

Student Projects Grant Scheme

CONGRATULATIONS TO THE GRADUATES OF THE CLASS OF 2016!

www.aww-uk.com

LANDSCAPE ARCHITECTURE . PLANNING . URBAN DESIGN Cracknell is one of the leading landscape architecture, planning and urban design practices in the world. Founded in 1987 in london with headquarters in dubai, we have delivered successful projects spanning the middle east, europe, africa and asia.

Renowned for delivering world-class, unique and practical design solutions, cracknell’s ethos is focused on quality, project delivery and commitment to our clients. Our aim is to design spaces which oer comfortable, vibrant, safe and livable places for people to enjoy.

East India Docks, London

Burj Khalifa District, Dubai

Sheraton Park, Doha

LONDON T: +44 (0) 20 7924 9900 E: london@cracknell.com 101, Langdale House, 11 Marshalsea Road, London SE1 1EN, United Kingdom

DUBAI T: +971 4 3445417 E: dubai@cracknell.com PO Box 66231, Dubai, UAE

TPA Horwath, Vienna Metal R-Clip with mirror finish

Yes, we can do it.

Armstrong’s range of metal ceiling systems provide cost effective, performance solutions to meet state-of-the-art interior project designs.

Delivering the ultimate in design flexibility.

www.armstrongceilings.co.uk www.armstrongceilings.ie

ARCHITECTURE LANDSCAPE ARCHITECTURE URBAN DESIGN + MASTERPLANNING INTERIOR DESIGN ENVIRONMENTAL CONSULTANCY ABU DHABI | BELFAST | CARDIFF | GLASGOW | JOHANNESBURG | LONDON | PLYMOUTH | SHEFFIELD

DESIGN EXCELLENCE AND CLIENT SATISFACTION ARE CRITICAL TO OUR MISSION, AND WE COULDN’T DELIVER THIS WITHOUT A CLOSE-KNIT TEAM OF DEDICATED ENQUIRING AND INSPIRING MINDS. AS A PEOPLE-FOCUSED PRACTICE, WE HAVE DEVELOPED THE

HLM ACADEMY, WHICH PROVIDES THE STRUCTURE

FOR INDIVIDUALS TO CHALLENGE THEMSELVES AND EXCEL. WE

RIGOROUSLY MEASURE AND REWARD HARD WORK, INDIVIDUAL AND TEAM ACHIEVEMENT AT EVERY LEVEL IN A WORKING

ENVIRONMENT THAT IS ENERGISING, TRANSPARENT, INCLUSIVE AND FUN.

HLM ARE COMMITTED TO NOT ONLY DELIVERING INNOVATIVE DESIGNS BUT ALSO PROVIDING A GREAT PLACE TO WORK WHERE EVERYONE HAS THE FREEDOM TO GROW AND BE THE BEST THAT THEY CAN BE.

FOR CAREER OPPORTUNITIES, PLEASE VISIT US AT

WWW.HLMARCHITECTS.COM

L a t i t u d e

Mixed use scheme . Berwick Street . Soho . London

CONTENTS Summer Show 2016 Kent School of Architecture

20 22

Head of School From the Students

MArch 24 26 42 54 70 84 98 100 102

MArch Introduction Unit 1 Unit 2 Unit 3 Unit 4 Unit 5 Artefact Dissertation Pedagogy

BA(Hons) 104 106 204 208 212 214

BA(Hons) Introduction Stage 3 Stage 2 Stage 1 Field Trips PenKraft

POSTGRADUATE 218 222 226 230 236

MA Architecture & Urban Design MSC Architecture & Conservation MSC Architecture & Sustainable Environments MA in Architectural Visualisation PhD in Architecture

INTERNATIONAL OPPORTUNITIES 240 242 244

Internationalisation Tessenow Society Venice Biennale

RESEARCH & COMMUNITY 248 250 252 254

CASE CREAte KASA Student Success

CREDITS 256 258

Acknowledgements Credits

CONTENTS

INTRODUCTION

INTRODUCTION

18

19

INTRO

HEAD OF SCHOOL The Story of the Hare...

“As I grew older, I realized that it was much better to insist on the genuine forms of nature, for simplicity is the greatest adornment of art.” Albrecht Dürer

1

Two of the students of architecture who joined Kent School of Architecture on the Canterbury campus in its inaugural year in 2005 were the del Renzio twins, Pier-Luigi and Ivan. They were two of the quad children born to the Russian aristocat emigré, Tony del Renzio, one of the last British surrealists of the classic period. Pier-Luigi and Ivan were exceptional designers who were keen to immediately establish a student society at the University, and so KASA was born - Kent Architecture Student Association. The association was extremely successful, raising funds for the end of year show, inviting daring young architects from practice to speak at the school, and inaugurating a regular series of visitor lectures and events. These lectures were advertised in the early days using a poster on a lectern in the foyer to the Marlowe Building; the lectern emerged from a small circle of grass which hosted a fluorescent pink rabbit.

The del Renzio brothers graduated in 2009 and have gone on, like so many of our graduates, to found their own practice, del Renzio & del Renzio, based in Ramsgate. KASA continued to thrive over the ensuing years, but in that period the pink rabbit went missing and has never been found.

2

3

4

During the 10th birthday celebration of Kent School of Architecture last year, I travelled to Vienna, visiting the famous Albertina Museum as I usually do. The famous watercolour and gouache drawing, Young Hare, by Albrecht Dürer was on display. It’s not often on show. After a maximum of three months, the masterpiece needs five years in dark storage with a humidity level of less than 50% for the paper to recover. It was on view briefly during my visit after a break of ten years, and will appear again for a short time in 2018, before it goes back into hiding.

To celebrate one of the appearances of the drawing in 2003, the German artist Ottmar Hörl had sculpted a three dimensional version of Young Hare, producing it in a polyester material in various sizes and garish colours. These were reproduced in a run of 7,000 hares, some of which were on show at the Albertina during my visit. A bright pink hare caught my eye, and I determined to use the hare to replace the long lost rabbit as a resurrected mascot for KASA. With the assistance of Professor Gerry Adler, one hare made the journey from Vienna to Kent, and with the permission of Ottmar Hörl’s studio, we have used the pink hare as a theme throughout our End of Year exhibition.

The hare in both iterations, water colour drawing and polyester sculpture, is a reminder that all art is artificial. Although the detail is precise, Dürer’s hare is only a quarter the size of a living wild hare, and it sits on a light background without any sense of landscape or habitat. The Hörl version is artificial in a different way: the abstraction is emphasised in the use of material, the bright pink colour and the ludicrous sizing.

Our students are always interested in the way in which art can influence and strengthen architectural propositions, and you will see the influence of art practice throughout this catalogue of student work. I hope that you enjoy it.

Professor Don Gray

20

HOS 1 2 3 4

Original KASA Poster Lecturn, 2005 Dürer Hare: Sculpture in polyester by Ottmar Hörl, Albertina Museum 2003 Young Hare: watercolour and gouache on paper by A. Dürer, Nuremberg 1502 Original KASA rabbit: found in junk shop and sprayed pink by del Renzios, 2005

21

FROM THE STUDENTS

Kent School of Architecture is attended by over 500 students studying undergraduate, masters and postgraduate courses. We have a strong community throughout the school and this has enabled students from all years to collaborate and host this year’s show.

Planning for the show began in November 2015. Students took responsibility for organising all aspects of the show including determining a budget, scheduling tasks, designing the invitations and catalogue, and dressing the exhibition spaces. Inspiration, determination and commitment from all students has resulted in an exhibition of work which is of an exceptionally high standard.

A key aspect of organising the show involves obtaining sponsorship from local, national and international practices. We are delighted to have created new relationships with practices as well as strengthened our existing connections. Without the generosity of our sponsors, the show would not have been possible.

Thanks to the following organisations for an unprecedented level of support: -

Foster + Partners

-

Allford Hall Monaghan Morris

-

Aros Architects

-

The Student Project Grant Scheme and the Kent Opportunity Fund

-

AWW Architects

-

Armstrong Ceiling Solutions

-

Cracknell

-

HLM

-

Latitude Architects

-

LSI Architects

-

CDP Architecture

The show provides students with a national platform to showcase their work, gain employment and inspire the next generation of KSA students. We hope you enjoy all of the projects on display.

James Bussey (Stage 5) & Charles Hope (Stage 4)

22

23

THE STUDENTS

MArch Master of Architecture RIBA Part 2

24

MArch The programme is configured into a series of discrete and specialised teaching groups or ‘Units’ constituted by a blended population of both Stage 4 and 5 students, for the teaching of design studio, and, for Stage 5 students, a holistically integrated Technology (Tech_5) portfolio.

The benefits are manifest, Units are directed by incentivised tutors who develop scholarly enquiry into different territories, through the focus for their respective Units each year. For some this is iterative, for others cyclic. A healthy element of completion emerges and drives the tutors and students alike, the latter being allocated to a Unit in response to their preferences, expressed through a ballot at the beginning of the academic year, following presentations by Unit teaching teams.

Last year a new unit, Unit 5 entered the fray as we held the title of Unit 3 in abeyance for a year to acknowledge the freshness of the succeeding Unit. Extremely successful, it pushed an urban agenda under the co-Leadership of two of the programme’s previous Assistant tutors, Diana Cochrane and Adam Cole. We have continued to develop leadership organically, and this year invited both co-Leaders to assume a distinct and separate Unit each, drawing in new support beside and underneath them. As such not only do we have a reissued number for a Unit this year, Unit 3, but actually two new Units, Units 3 and Unit 5 respectively.

Evolution and promotion has drawn in eight new tutors to the Units, with new co-Leaders, Design Assistants, and Technology Tutors contributing to all five Units.

Unit 1 (Michael Richards and Michael Holms Coats) Making/ReMaking Unit 2 (Ed Holloway and Peter Ayres) Hyperstition/Hyper-Speculation: Scouse Unit 3 (Adam Cole and George Thompson) Island Life: narrative adventures in Heligoland.

Unit 4 (Shaun Murray and David Shanks) - Architectural Forensics in Anonymous Monsters Unit 5 (Diana Cochrane and Kevin Haley) Civic Wonderous Outside of the design studio other modules are taught ‘flat’ to all students in either Stage 4 or 5, and this year we welcomed Charles Drozynski, and Peter Wislocki, two new Module Convenors and Lecturers to these roles developing material and teaching Stage 4 modules Cultural Context (History Theory) and Employability (Professional Practice) respectively.

Acknowledgments: 1)

2)

Dr Henrik Schoenefeldt, regrettably leaves the role of Module Convenor for three MArch Modules, AR546 Technology_4; AR600 Architectural Pedagogy; and AR647 Technology_5, for grant-funded research secondment to the Palace of Westminster, during the period of its restoration. His tireless pioneering contribution to advancing the standards of teaching and student experience has been immeasurable.

International Guest Critics: Professor Brian Carter & Professor Annette LeCuyer, University at Buffalo SUNY, USA

Michael Richards Programme Director & Unit 1 Leader

25

UNIT 1 Kent, England Michael Richards, Michael Holms Coats, Tim Carlyle

26

UNIT 1 Making/Remaking ‘History has remembered the kings and warriors, because they destroyed; Art has remembered the people, because they created.’ – William Morris This year Unit 1 focused on making/remaking as a design method from the start - and through a series of mini-projects, Work A – Work D set the framework for the development of each student’s major project, Work E. THE PEASANTS’ REVOLT - The Peasants’ Revolt was a major uprising across large parts of England in 1381 – and had various causes, from the socio-economic and political tensions generated by the Black Death (1340s) to high taxes resulting from the conflict with France during the Hundred Years’ War. Revolt flared in Kent, with incidents in Canterbury, Dartford and Maidstone before it was forcefully suppressed. The unit situated its major work for the year within individual sites across places of significance in Kent and London borders, relating to the Peasants’ Revolt and William Morris’s fictive account of its beginning. Thinking with your hands formed a key experimental method in the unit and set the framework for development of each student’s project brief development for the provision of a modern Guild. The unit sought to tease out individual ‘craft’ lessons, techniques, ways of thinking, modes of production that each student might make use of in their project development.

Unit 1 Students worked through a series of iterative projects, Work A DISASSEMBLING required them to disassemble a readymade object; Work B CONSTRUCT to commit to and assemble a series of component materials (selected from a family list). Work C INSTRUCTION MANUAL asked students to prepare a manual for our field trip to Germany, to look at a remade city, and notions of mechanisation in craft production. We travelled to Berlin, Dessau (The Bauhaus), and the Lausitz – to experience a city, Berlin made and remade, before engaging in a ‘perception workshop’ in the former DDR mining district – the largest open face coal field in the Europe. The trip was supported by UoK HUMS Faculty International Mobility and Strategic Partnership Funds. Work D MATERIALS PAVILION called for the design of a pavilion against the remnants of Canterbury’s Roman/Medieval Wall, free of any programme requirements its only brief to provide a spatial experience to the combination of materials already committed to in Work B. Work E GUILD Stage 4 projects included: A Steeple Jacks’ Bare Knuckle Boxing Club; Guild of Modern Thatchers; Guild of Medieval Ceramic Tile Restorers; Guild of Tanners; Guild of Analogue Photography.

Stage 5 projects included: Guild of Funerary Urn Potters and Columbarium; Guild of Impossible Bottle Miniaturists; Guild of Aluminium Fly Fishing Reel Makers; Patent Institute, Guild of Piano Felters; Guild of Embossed Wall Paper Markers for the Blind; Guild of Concrete Statuary; Guild of Cartographers; Guild of Wax Therapists and Apiarists.

Technical Tutors: Tim Carlyle, Tim Carlyle Architect & Anna Beckett, Webb Yates Engineers Guest Critics:

Aditya Aachi; Peter Ayres; Anna Beckett; Professor Brian Carter; Diana Cochrane; Adam Cole; Charles Drozynski; Dr Karsten Feucht; Kevin Haley; Tom van Hofelen; Ed Holloway; Professor Annette LeCuyer; Duncan McLeod;Dr Roanna Mitchell; Shaun Murray; Henrik Schoenefeldt; David Shanks; James Shaw; George Thompson; Matthew Wood; Matthew Woodthorpe.

Collaborators:

Dr. Roanna Mitchell, UoK School of Arts; & Dr. Karsten Feucht

Michael Richards Programme Director & Unit Leader

27

STAGE 5

01. Robert Allcoat

06. Demelza Powell

02. Philippa Cheetham

07. Matt Robinson

03. Asal Hosseini

08. Nathaniel Seall

04. Matthew Orme

09. Jon Ward

05. Amelia Payton

28

STAGE 4

10. Jonny Bush

13. Jade Simm

11. Matt Harrall

14. Ben Wood

12. Charles Hope

29

01. Robert Allcoat

The Revival of Pottery at Upchurch Stage 5

The project re-establishes a studio pottery in Upchurch, north Kent. Production focuses on cinerary urns with glazes tailored to the individual’s ashes they contain; these are then placed in a columbarium niche adjacent to the village churchyard.

30

The Guild of Impossible Bottle Makers combines the craft of miniaturists; specifically model boat makers, with bottlediggers; who find and collect historic glass bottles. Forming a guild of hobbyists who make ships-in-bottles creating an Archive of Impossible Bottles charting the local maritime histories of Lower Halstow and the Medway Estuary.

31

02. Philippa Cheetham

The Guild of Impossible Bottle Makers Stage 5

03. Asal Hosseini

Academy of Milling Aluminium Fishing Reel Stage 5

The building reflects the attitude of milling an aluminium block, but is constructed out of concrete. The ribbon shaped interior with radiused wall corners comes from this milling concept. Milling is a subtractive action, whereas the building construction is an additive process; concrete has been cast using milled formwork.

32

The thesis explores the creation of spatial time relativity through material connections and archi-tectonics to manipulate the weathering of materiality and explore the notion of failed ideas.

The project re-imagines the patent process as a series of rituals and moments based upon the seven sacraments to examine intellectual property.

33

04. Matthew Orme

Patere: A Secular Ritual Stage 5

05. Amelia Payton Guild of Felt Makers Stage 5

The guild is on the Romney Marsh, adjacent to St Clement Church, and uses wool from the Romney sheep breed. The patron saint of felt makers, St Clement, discovered felt when he put wool in his shoes to stop his feet hurting, by end of his journey the friction and moisture from his feet had created felt.

34

A guild for the study and production of braille and William Morris wallpaper. A carved woodblock walkway guides the visitor through the building, allowing them to engage with the parallel processes of learning and producing braille text, and printing and embossing wallpaper, both from onsite papermaking.

35

06. Demelza Powell Mote Park Sensory Guild Stage 5

07. Matt Robinson

A Legacy of Wat Tyler, A Guild of Concrete Statue Makers Stage 5

A project about the legacy of the consumer; products; structures; materials; Maidstone’s Hermitage ragstone quarry; and the key characters of the Peasants Revolt of 1381. Bespoke concrete statues enable an accessible method to self-defining a legacy, while the sacrificial guild and gigantic monoliths begin a story of the labouring apprentice.

36

Cartography, is an expression of human control, on an otherwise unconstrained site, abstract cartographic techniques establish the conditions which generate form and control space, developing a catalogue of architectural elements which explore both the uniquities of the discovered landscape and variations in the mode and degree of control offered by the built form.

37

08. Nathaniel Seall

An Institute for the Company of Poetic Cartographers Stage 5

09. Jon Ward The Guild of Osteopathy Stage 5

The project situates itself in a rediscovered boating slipway in Chatham, with a series of architectural interventions providing therapeutic treatment spaces for osteoarthritis patients. Humans and honey bees interact, whereby the beeswax from their hives is used in a molten state as a treatment remedy for the patients.

38

10

11

10 11

39

Jonny Bush Matt Harrall

12

12

Charles Hope

40

13

14

13 14

41

Jade Simm Ben Wood

UNIT 2 Liverpool, Merseyside Ed Holloway, Peter Ayres & Matthew Wood

42

UNIT 2 Hyperstition/Hyper-Speculation: Scouse – Liverpool’s Urban Acceleration.

This year Unit continues a recurring theme of revealing unseen aspects of a city.

Scouse - a stewed dish Scouser - a liverpudlian Liverpool and its people have an unusually strong identity. A populace named for a stew have emerged from a figurative melting pot of influences. Students developed their own briefs in response to a series of themes.

HYPERSTITION: making fictional entities real. DISPLACEMENT: materials, people, culture. MAPS: historic, geographic, personal, data.

Maps are used as a tool towards interpreting locations and producing complex, site specific 3D structures.

These maps can be historic, geographic, personal, systems diagrams, data networks and more. Unit 2 learnt from existing examples, to produce drawn examples of their own, and – crucially - develop three dimensional architectural objects from them. The Unit’s early work formed a critique of the proposed development city, raising questions about the Totalising Vision implemented to the ‘benefit’ of the city.

What might be the end point of this acceleration? How can a population in its zenith calibrate its own environment?

Unit 2 undertook a fieldtrip to Liverpool and Dublin. Two halves of the same city, divided by the Irish Sea. Visiting the two cities allowed the familiar to be seen through fresh eyes. Students were encouraged to compare specific aspects of the two cities in order to expose deep insights. What happens when we explore one city using the map of its mirror twin? Mundane locations take on significance, landmarks become commonplace. The Unit’s field trip week culminated in participation in an international symposium on community intervention projects, and was supported by the University of Kent Faculty of Humanities International Mobility Fund and Strategic Partnership Fund.

Design propositions subsequently developed that were simultaneously grounded in reference to the personal experiences of the inhabitants, and synthesised through their own intensely creative and lucid imaginings. Weird ecologies emerge as dynamic relationships in space, expressed as cognitive form.

COLLABORATION 2016 witnesses the launch of the City’s highly reputed international art biennial. Unit 2 had unprecedented access to the team planning this year’s biennial. Many of the sites that the Unit investigated this year already have some context in the cultural programme just published. Unit 2 thus had the opportunity to collaborate, question and inform some of these projects on an international platform.

Technical Tutor: Matthew Wood of mwarchitects Guest Critic and Collaborator: Joe Farrag, Artist, core member of the Granby Four Streets Community Project.

Ed Holloway Unit Leader

43

STAGE 5

01. Megan Catt

03. Catherine Karsas

02. Ioanna Kareli

04. James Page

44

STAGE 4

05. Esther Brown

09. Jill Murray

06. Louise Cook

10. Meesha Patel

07. Andrea King

11. Anitha Rajendra

08. Alex Marinescu

45

01. Megan Catt Permeable Virology Stage 5

How can buildings be designed for thousands of years, not have a negative impact on land, be built and shared as an international resource and contain an unlimited archive? A proposal for an infectious disease research base for laboratory work now, and archival record for the distant future.

46

The project brief I developed proposes the construction of a tidal lagoon and a long bridge, which follows the paths of the birds through the mudflats. Structurally inspired by bird bones, the bridge will include accommodation for roaming birdwatchers, floating observatory pods and a visitor centre on the lagoon wall.

47

02. Ioanna Kareli

Of Birds and Mudmen Stage 5

03. Catherine Karsas

An Architectural Response to the Goddess of Immaculate Consumerism.

Stage 5

The proposal’s aim is to create awareness of the parallel metabolic life and death relationship between a person and a product.

Phase 1: 5 stages of grief for the lost products creating awareness to the visitor.

Phase 2: The visitor’s interaction with the revival of the lost products.

48

The Deployable Gag employs traces of wit, humour and cunning in the design of multiple architectural interventions which each express a unique social commentary in a specific location within Liverpool. Narrative tales from the docklands were used to unlock the potential for humour within design, whilst celebrating the dockland heritage of Liverpool.

49

04. James Page

The Deployable Gag Stage 5

5

6

5 6

Esther Brown Louise Cook

50

7

8

7 8

51

Andrea King Alex Marinescu

9

9

Jill Murray

52

10

11

10 11

53

Meesha Patel Anitha Rajendra

UNIT 3 Helgoland, Germany Adam Cole, George Thomson & Tom Van Hoffelen

54

UNIT 3 Island Life Unit 3 is interested in architecture’s ability to be complex and ambiguous, to be strange and to tell stories. We think architecture is first and foremost a cultural practice, capable of representing more than its own silent self. Like songs and monasteries, architecture can be a repository for the fragile stories and conditions that would otherwise be lost. The Unit alternates yearly between landscape and urban sites.

This year our site was Heligoland, a small but extraordinary island rising precipitously out of the German Blight.

Before leaving we undertook a series of speculative projects designed to help us formulate a poetic attitude to building in such a dramatic landscape. The art, architecture and literature of nineteenthcentury German Romanticism guided us away from the current anthropomorphosised view of nature as fragile and needing our care and towards an understanding of nature as sublime; a beauty that can destroy. We also explored ideas of post-scarcity - the future point at which new technologies might provide abundance for all - and what it might bring to architecture.

In Germany we visited the Hansa region in order to reconnect with our suppressed “Northern-ness”, that ill-at-ease cousin of the sea, sun, sex and glamour of the South and it’s artistic and architectural hegemony. The rude and restless architectural forms of Brick Gothic and German Expressionism helped give us the confidence to “do our own thing”.

Once on the Island we used image, film and 3D scanning to build a codex of our hopes, fears and memories. Old forms and personal narratives transposed into new materials. Human time set against geological time. Together they provided enough complexity, ambiguity and particularism to form the scaffold for our emerging architectural ideas and strategies.

Back in Canterbury we set about transcribing all we had collected and absorbed into highly bespoke architectural projects. Fourth-year students were encouraged to maintain a highly speculative approach to their work, concentrating on developing their personal architectural language and gaining confidence with new modeling and drawing techniques. Our fifth year students by contrast moved quickly moved to establish rigorous architectural proposals that had the potential to be expansive, complex and highly resolved.

Technical Tutor: Tom Van Hoffelen of Simpson & Brown Architects Adam Cole Unit Leader

55

STAGE 5

01. Charlie Brett

06. Farran Keenan

02. Matthew Bullock

07. Anish Patel

03. James Bussey

08. Roseanne Scott

04. Noah Carter

09. Simon Vipond

05. Hanisah Aimi Hamzah

56

STAGE 4

10. Payal Gandhi

13. Daniel Marple

11. Rob Joyce

14. Abbie Sobik

12. Charles Leung

15. Richard Williams

57

01. Charlie Brett Faust’s Opera Stage 5

A festival opera house on the island of Helgoland, inspired by Werner Herzog’s Fitzcarraldo and designed to host the German Opera Faust. Constructed from materials harvested from the island itself, it plays with the Wagnerian idea of Gesamkunstwerk whereby the character of Faust is subconsciously played by every patron.

58

A hospice designed to challenge common perceptions of terminal illness and death. An exploration of the power of, as well as the relationship between, landscape, architecture, and the concept of a “sublime death�. The building itself is raw, muscular, and extraordinary; inspired by the landscape, carved from the landscape, becoming a piece of the landscape.

59

02. Matthew Bullock

Helgoland Hospice Stage 5

03. James Bussey The Company Stage 5

This project imagines the impact of an exiled German revolutionary from 1848. It is inspired by Joseph Conrad’s ‘Heart of Darkness’ and explores many themes: power and control, isolation, politics, religion, social class and Potemkin villages. The architecture is experienced from the perspective of a fictional character named Elisa Hecker.

60

Leaning on Helgoland’s history as a home to shipwreckers, this project proposes a community sustained by the act of wrecking.

In a similar vein to the destructive beauty of the Sirens of Homer’s Odyssey, the community employs the techniques of anamorphic projection in order to create an illusion with the deliberate intention of luring ships onto the rocks.

61

04. Noah Carter

Destructive Beauty Stage 5

05. Hanisah Aimi Hamzah Casa Grande Stage 5

Casa Grande is a project, based on a novel by Gabriel Garcia Marques, about a family settlement that has no contact with the outside world except for gypsies, with their inventions and magic tricks. The settlement transforms into a small town over a period of 100 years.

62

Global knowledge is proliferating at an exponential rate.

The “Grimm’s Triad Vertical Library” is an accumulation of information stored on servers, which is retained on the isolated shores of Helgoland, inspired by the juxtaposition of fantasy vs reality in Rapunzel. This island will become a fortified, isolated, global knowledge bank.

63

06. Farran Keenan

Grimm’s Triad Vertical Library Stage 5

07. Anish Patel Helgoland Grand Prix Stage 5

The concepts of adaptable, kinetic and responsive architecture have been adopted for the design of the infrastructure and architecture of a new F1 venue on the island of Helgoland.

The island’s existing characteristics have been re-configured to accommodate for new infrastructure, which will benefit the island both during and after the event.

64

The Ribbon is a European Migration centre, on the island of Helgoland. From illustrative research in bird migration, the ideals of sovereignty in Snow White and seeing the migration of refugees in Hamburg. The Ribbon proposes a proactive response, as an architectural language influenced by the direct form of migration.

65

08. Roseanne Scott The Ribbon Stage 5

09. Simon Vipond Mechanical Resorts Stage 5

A fully automated sea side resort, which has the ability to fold up into a boat and migrate around the North Sea. The resort automates everything from the unfolding of deck chairs onto the beach, to the adjustment of bedroom outlooks to maximise sea views.

66

10

11

10 11

67

Payal Gandhi Robert Joyce

12

13

12 13

Charles Leung Daniel Marple

68

14

15

14 15

69

Abbie Sobik Richard Williams

UNIT 4 Isle of Dogs, London Dr Shaun Murray, David Shanks & Aditya Aachi

70

UNIT 4 Architectural Forensics in Anonymous Monsters Architecture is a crime if it does not involve environmental DNA and digital forensics to aid the design of building!

To commence the year, Unit 4 deployed as a three-week workshop on the Isle of Dogs, where students documented architectural forensic material utilising three-dimensional virtual, and physical models, with accompanying drawings. This material then constituted evidence for prologetic architectural propositions.

Architectural Forensics encompassed the seizure, forensic imaging, and analysis of digital media - through the production of precise drawings and models, and deals primarily with the recovery and analysis of latent evidence which might be used to reshape architectural propositions around new values and behaviours; accelerated by external shocks, and shaped by the emergence of a new kind of ‘human being’.

Unit 4 asserts that this is possible because of three major changes design technology has brought about in the use and application of digital tools in architecture. This concerns a shift away from representation and towards documentation and the consequences of new spatial terrains yet to be explored.

An Anonymous Monster (aka: the environment) is constructed by some unseen force, directing climactic and spatial events. How does gravity affect us? Where does weather come from? What is Thunder? Our only understanding of this monster is that it is ubiquitous, yet strangely anonymous in its complexity with regard to architecture. Unit 4 disembowelled the guts of the monster to create visceral architectural tissue that might offer a dialogue with the unknown.

Stage 4 students developed a series of networked shops and stores. These buildings are dedicated to freetime and free stuff, and aspired to encourage a change in thinking about technology, ownership, and work.

Stage 5 students focused on split-sites and developed a complex response to their physical location Acknowledgements: Technology Tutor: Aditya Aachi of Cullinan Studio.

Guest Critics: Bastian Glaessner & Simon Withers.

Dr Shaun Murray Unit Leader

71

STAGE 5

01. Noor Alalawi

05. Amy Forrest

02. Jamal Beckford

06. Chun Pao Khoo

03. Grace Cattermole

07. Jason Noble

04. Marian Cooke

72

STAGE 4

08. Tom Chappels

11. David Skillicorn

09. Joshua Murphy

12. Bradley Sowter

10. Patrick O’Keeffe

73

01. Noor Alalawi

The Granitic Community of Island Gardens Stage 5

By Envisioning Canary Wharf as a future granite quarry, the project seeks to further the rich tradition of craft within Island Gardens. Through privileging Granite in its most honest sense, the building ensures the continued development of intricate pieces, whilst proposing a new type of architecture that encourages the birth of a granitic community.

74

Canary Wharf ’s High Rise development plans has subtly compromised the districts microclimatic temperature and light exposure. The Orchid House seeks to capitalize on these nuances, exploiting all of Canary Wharf ’s resources in an effort to create an idiosyncratic architecture that inspires new types of working spaces through the prioritization of growing Orchids.

75

02. Jamal Beckford

The Orchid House Stage 5

03. Grace Cattermole Wet Lab Theatre Stage 5

Upon the identification of negative environmental conditions, what was originally imagined purely as a theatrical beacon, expanded into a water purification facility with a theatrical essence at heart. Situated in Virginia, the scheme seeks to envelop classical motifs of theatre with the performance of water purification and the functional aspects of an underground spa.

76

Alice’s Adventures in Wonderland was constructed from real characters witnessed in Alice & Lewis’ boat ride along the Thames. In Canary Wharf turbulent wind speed is controlled to create spaces that aim to reveal the predicted realities of future cities, becoming a trade of ideas, a future city for writer’s speculating on the future of London.

77

04. Marian Cooke

The Precarious Writers Retreat: Visions of Future London Stage 5

05. Amy Forrest The Codemaster’s House Stage 5

The Codemaster’s House is a cyber police station protecting the banking institutes of Canary Wharf against the threat of cybercrime. The architecture is a firewall beacon influenced by the layered security thresholds of the West India Docks. Wall typologies and tidal environment control manipulate against the unauthorised access of coders, banker and internet signals.

78

I am interested in understanding the nature of animals, mainly domestic animals that live around Isle of Dogs. By finding clues around the site, I discovered the different types of animals that are present around the area, thus using the information available creating architecture that acknowledges their presence.

79

06. Chun Pao Khoo

Animal Sanctuary Stage 5

07. Jason Noble Shrine of Augmented Reality Stage 5

This facility is designed to accommodate the use of augmented reality as a means to bring together people and places in ways that are not possible through conventional methods. Visitors will have complete control over the objects displayed within the spaces, allowing them to learn more about them through interactive investigations.

80

8

8

81

Tom Chappels

9

10

9 10

Joshua Murphy Patrick O’Keeffe

82

11

12

11 12

83

David Skillicorn Bradley Sowter

UNIT 5 Old Kent Road, London Diana Cochrane, Kevin Haley & Matthew Woodthorpe

84

UNIT 5 Civic Wondrous on the Old Kent Road The Old Kent Road is the cheapest location on the Monopoly board and possibly better known for its C20th Friday night brawls and absurdly named pubs, [most now gone, including The World Turned Upside Down] than as a place to live.

Among the oldest routes in England the Old Kent Road was created by the Romans, and famously travelled by Chaucer’s pilgrims who found many friendly coaching inns and alehouses, the roadside buildings playing their part as backdrops to the main event. In Victorian times it was quite a handsome thoroughfare, a sprinkling of listed period buildings survive amid the large dull retail sheds, and today it forms the boundary between Elephant and Castle, Walworth, Peckham, Bermondsey and Lewisham.

Up until now the road to Kent has always been a route and never a destination, even the Bricklayer’s Arms Terminus failed because of passenger preference for using London Bridge Station. C20th attempts to stamp civility and amenity onto the road in the form of churches, libraries, public baths and Civic Centres are now mostly closed or permanently scarred by WW2 bombing and post-war development.

This lack of attractiveness means that there has always been space for the entrepreneur.

The Old Kent Road is now tipped for greater things. London’s mayor has promised an Opportunity Area, more than 11,000 new homes, better public transport, better shops and better neighbourhood amenities.

Following a trip to explore the Bilbao effect and working with the title ‘Civic Wonderous’, the studio set about to investigate what structures, volumes or spaces we could insert to disrupt and transform urban mediocrity, and what kinds of entrepreneur might speculate upon the potential for change. Using the principle that “reality is always stranger than fiction”, by closely observing and mapping the official and marginal life, its institutions and its sub-cultures, each unit member formed research questions about how new relationships and civic architectures could intensify the exquisite moments within the city. The challenge was to generate civic architectures as catalysts for change in the transformation of the Old Kent Road into a public city space, with new town centers of definite character that people would remember and wish to return to.

Acknowledgments: Technical Tutor: Matthew Woodthorpe of Mwai Architects Collaborators: Inma Lopez Perez, economist – Basque Government Jeremy Leach, chair – Walworth Society Elly Ward – Ordinary Architecture Tom Coward – AOC David Chambers – Aberrant Architecture Elizabeth Innemee Howard Richardson – Momentum Engineering (technical advice) Diana Cochrane Unit Leader

85

STAGE 5

01. Nicola Clarke

04. Yu Min Pua

02. Claire Hellingman

05. David Wiggett Canalda

03. Antigoni Kalomama

06. Hannah Williams

86

STAGE 4

07. Erna Abdul Rahman

11. Daniel Jacobs

08. Leonardo Ali

12. Thomas Taylor

9. Roshni Bagga

13. Oluwaseun Keshiro

10. Andreea Barbu

87

01. Nicola Clarke

The Reinvention of the Public House Stage 5

The project is the reinvention of the Public House to provide services which are relevant to modern day society on Old Kent Road, including a hops field and brewery. It is run by the adjacent almshouses, to help them stay involved in the community and to pass on their knowledge of different skills and the road.

88

This scheme creates a pedestrian focused high street one row back from Old Kent Road. Existing residents and businesses are maintained, whilst new community and work focused buildings provide for an influx of flexible workers to the area. Longer term habitation of the street is encouraged through provision of facilities that suit a flexible lifestyle and community engagement.

89

02. Claire Hellingman The New High Street Stage 5

03. Antigoni Kalomama

Homeworking Community on the Old Kent Road Stage 5

The scheme identifies the social issue of the emerging culture of “Homeworking” and proposes an architectural solution in the regeneration area of the Old Kent Road to support the community of “Homeworkers”. The proposal is designed around the specific needs of the “Homeworking” lifestyle, offering homes, workspaces and communal areas to stimulate social interaction.

90

Situated along the bustling street of Old Kent Road, three different religious buildings, namely a mosque, an Orthodox church, as well as a Pentecostal and Evangelical church provides different congregation services base on their religion, and shares the social spaces in the public courtyard which provides opportunities for different interactions.

91

04. Yu Min Pua

The Old Kent Road Multi-faith Centre Stage 5

05. David Wiggett Canalda The Last Library Stage 5

Digital information does not last forever and our generation faces loosing decades of its cultural and historical legacy. The aim of the project is to store this information using gold in a way that guarantees its preservation for centuries to come, safekeeping our legacy for the future generations of Southwark.

92

An upcycling/ recycling skills and training workshop on the Old Kent Road. Nothing goes to waste and everything has the potential to become an heirloom. Even the building is made from an old wrought iron gas holder structure and is clad in timber made from newspaper.

93

06. Hannah Williams The Heirloom Factory Stage 5

7

8

7 8

Erna Abdul Rahman Leonardo Ali

94

9

10

9 10

95

Roshni Bagga Andreea Barbu

11

12

11 12

Daniel Jacobs Thomas Taylor

96

13

13

97

Oluwaseun Keshiro

ARTEFACT Artefact is one of three parallel ‘Options’ Modules offered in the autumn of MArch Stage 5 (the others are Dissertation and Architectural Pedagogy).

There is an increasing interest in the notion of research-through-practice in academia and applied-arts vocations as a means of bridging the divide, or reflecting on the respective realms of theory and practice and how one necessarily informs the other, in a virtuous circle.

PhD programmes globally are increasingly offering research-though-practice strands or pathways and the MArch reflects this interest in Artefact. Students following this module focus their research question around making and assembling an artefact, as a piece of research-through-practice, together with a 3500 word written essay. Students develop a research question related to architecture or another field of environmental/spatial design, and are expected to develop their ability to gather and synthesize data, as well as to analyse it in a coherent and convincing manner. In addition, they are expected to situate their own investigation in the broader context of architectural history, culture, and discourse. The Artefact itself might proceed or follow a piece of critical writing, either provoking its critical review of interpreting the thesis set out in the essay. The two are interdependent and students could equally move between both modes of enquiry in parallel.

In 2015_16 six students elected to follow the Artefact Module and produced an extraordinary variety of work, which can be seen in the Exit 2016 Exhibition as well as here in the Catalogue. These projects included: Material Tectonic prototypical investigations in Glass-Fibre Reinforced Cement Concrete and it’s potential for an application it home-build DIY heirloom furniture; tangible mechanisms for critical scale-representations of Memoria that might provoke debate about the relative values society sets against the scale of casualties in both man-made and natural disasters, and the perceived inequality in this across between the third and first-world; the potential for Virtual Reality simulation to tangibly and interactively inform designers and stakeholders, empathetically rather than sympathetically, of the sensory disadvantages endured by Dementia patients in residential care; the physiological and spatial implications of our perceptions of primary and secondary reflections from architectural interventions; a series of mixed media digital/analogue installations that develop a critical lament for the paradigm shift from analogue to digital manufacture in the print industry; and notions of defensible space in nonWestern architecture developed into a critical interactive analogue installation.

Students: Charlie Brett, Matthew Bullock Matthew, James Bussey, Asal Hosseini, James Page, Amelia Payton.

Guest Critics: Gerry Adler, Tim Brittain-Catlin; Don Gray, Giridharan Renganathan, Chloe StreetTarbatt; Carolina Vasilikou.

Advisors: Chris Gardner, Howard Griffin, Michael Richards Michael Richards Module Convenor

98

1, 2

3, 4

1 2 3 4

Charlie Brett - Towards a Modern Post Industrial Craft Movement James Bussey - Dementia: Creating Empathy Through Simulation James Page - Colour in the Process, Human in the Product Matthew Bullock - The Art of Disaster

99

DISSERTATION AR602-Dissertation allows students the opportunity to explore creative opportunities for personal development and individual study. The dissertation has a dual purpose: it promotes student self-learning and independent thought enabling students to become more self-reliant and self-disciplined, and it emphasizes the development of good and effective communication and presentation skills.

Students propose a specific area of research, and throughout the academic year develop a comprehensive 8000 word essay, which positions itself within the context of existing research on the subject, and proposes new, independent and innovative arguments and discussions.

Dissertations completed this academic year cover a broad range of topics: the evolving relationship between drawing and building, an investigation of patient-wellbeing focused healthcare design, the conservation of Hampton Court Palace, and the relationship between awe, and the sublime, and Architecture.

Noah Carter: ‘It may seem paradoxical but the disassociation between the architect’s drawing and the final object (the building) of which it is an illusion, is what makes drawing so potent, and also gives it a life as an art in its own right. The void between the two allows for poetic translation, rather than prosaic transcription, of drawing into building; the widening of the void makes a space for poetry and can produce an architecture elevated beyond unaided imagination.’

Megan Catt: ‘Historically, hospitals in the UK set a good precedent; the Tuberculosis solariums and Nightingale wards of the 19th century were designed to harness the healing power of sunlight, were generously sized and had high consideration for patient comfort. The intuitive link between health and environment was observed, even implemented, but was not fully understood. With no significant evidence to explain why hospitals should be built in such a way, the design approach was soon eclipsed by technological innovation and germ theory; a trend that continued for much of the 20th century and saw functionality become the major driver for hospital architecture.’

Demelza Powell: ‘Hampton Court Palace is one of the most interesting historic palaces in English history. Due to its rich cultural and architectural history, it is regarded as a significant historic building, making it worthy of preservation for future generations to enjoy and learn from. Therefore the building is an important piece of national heritage, which much can be gained from and makes it a worthy historic building for the most stringent conservation principles to be applied to when it comes to its restoration and maintenance.’

Simon Vipond: ‘Techniques used to induce awe have been shown in paintings in the 18th and 19th centuries, where artists endeavoured to create the sublime, where the methods used were drawn from nature and exaggerated in the paintings, to create awe in the viewer. The techniques used in these paintings have also been used in architecture to induce awe in the user of the building, and have allowed buildings to be successfully used to encourage prosocial behaviour in a population.’

100

1,2

3,4

1 2 3 4

Noah Carter - The Space Between Drawing and Building Megan Catt - Design for Wellbeing Demelza Powell - The Conservation of Hampton Court Palace Simon Vipond - The Relevance of Awe and the Sublime to Architecture

101

PEDAGOGY AR600-Architectural Pedagogy is a new module that I have developed to formally embed architectural education as a pathway 1 within the MArch programme. It is one of three parallel ‘Options’ Modules undertaken by Stage 5 students (the others are Dissertation and Artefact).

The development of this module was underpinned by a research project for which I had received funding from the Higher Education Academy but it also built on the earlier, and now parallel, Tutorial Assistants (TAs) scheme initiated by Michael Richards and coordinated by Chris Gardener. The module has been running for the second time this year, following a successful first year in 2014-15. We are currently the only school of architecture in the UK that offers a taught module in architectural education, combining a formal program of lectures, tutorials and seminars with research projects and teaching placements. (Fig. 1) The taught component covers social science research methods, educational theory and philosophy. The students undertake individual research projects, engaging with a diverse range of topics. This year two student projects looked at the respective roles of universities and practices in the delivery of architectural education, and another project, involving questionnaires and interviews, examined how far employers and students themselves consider the architectural degree effective in getting architects ready for industry. Other projects addressed questions related to teaching practice, such as the use of technical drawing and model making as an educational tools, the student experience of design crits or the interaction between Architectural Pedagogy students/TAs and studio tutors.

The students teach in Stage 1 of the BA(Hons) Architecture Programme for one day a week during Autumn and Spring Term. During these teaching placements the first year tutors provide mentoring to the Architectural Pedagogy students and TAs. Following Donald Schön’s model of ‘reflective practice’, students are also required to record and review their teaching experience and observations in journals and write a critical reflection on their practice at the end of Spring Term. (Fig. 2) In these reflections MArch students engaged critically with different aspects of the current first year curriculum, and a series of formal reviews provided a forum in which the pedagogy students and the more experienced professional university tutors could jointly explore some of the challenges associated with teaching architecture at undergraduate level. The first year tutors Rebecca Hobbs, Chris Gardner and Patrick Crouch provided opportunities to critically re-examine and improve the curriculum and teaching methods.

Over the past two years the cohort actively contributed to the development of new educational practices.

This included the production of an architectural dictionary, which was handed out all new first years students arriving in September 2015, recommendations for restructuring the undergraduate technology curriculum, and the development of a new learning material for the teaching of digital design tools.

As such the module enabled the Architectural Pedagogy students to be fully embedded within the educational culture of the school, a benefit that was also highlighted by the external examiners in 2015, who had interviewed the students. One examiner wrote that the module: ‘teaches skills, in particular ‘articulation’, relevant to practice as well as teaching which would otherwise only be acquired over time and through experience’ Dr Henrik Schoenefeldt Module Convenor

102

2

3

1 2 3

Integration of research, teaching practice and reflection, (Schoenefeldt, 2015) Page from teaching journal by student Jamal Beckford, MArch, 2015-16 Crit on teaching practice held in March 2016.

103

BA (Hons) Bachelor of Arts with Honours RIBA Part 1

104

BA(Hons) Although broadly following the pattern of previous years, changes to the delivery of the BA programme this year have been guided by three enhancement themes, designed to build on what we do well, and to improve on others. Prompted by the RIBA visit in 2014 and the recommendations of our external examiners, the three themes were: making physical models, particularly investigative and development models; adopting a theoretical position and; integrating technology and environment with architectural design. Students and tutors have responded very well to the challenge and the results this year show clear improvement in all three areas. This is most visually evident in the excellent exploratory and sectional models produced by BA students this year, revealing and delighting in structure, materiality and spatial form.

Prizes are awarded at the end of the year under a number of categories, with specific awards for the best Stage 2 sketchbook, the best models, and the best integration of technology and design. As well as recognising and celebrating the highest achievements in these areas, the prizes help to motivate students to excel in these skills and abilities.

All the BA design projects have had a watery connection this year - being located on or near a river or the sea - and, for the most part, an engagement with the region. Stage 1 began the year building their own shelters and then designed beach huts in Margate. In spring term their project was for an art gallery in Barcelona, following their field trip to the city in December. Stage 2 explored the themes of food and cookery by the River Stour in Canterbury before heading north to Faversham Creek in the spring for a mixed diet of housing and other typologies.

Stage 3 have been engaged in two projects in Sheerness on the Isle of Sheppey, for the conversion of the Dockyard Church into a museum, and the design of a new aquatics centre. Both projects are closely tied to live proposals for the town, and module convenors have liaised with local activists, conservationists and politicians to develop the briefs and teach the modules. There is the possibility of an exhibition of the best schemes in Sheerness later in the year.

A large number of extra-curricular activities have been on offer including day trips to London, culminating in visits to leading architects’ offices. A series of special teaching and experiential events in Canterbury based on the EDI initiative (Equality, Diversity, Inclusivity) have been organised by Rebecca Hobbs and proved very popular. Week-long field trips to Barcelona, the Veneto and the Netherlands, loosely tied to some of the building typologies being explored, have enriched the student experience.

Computing teaching has been enhanced this year. In the summer term Stage 1 students have received AutoCAD training to provide them with the skills required in subsequent years. All Stage 2 students have been offered a four-day course in REVIT, firstly to enable them to prepare a 3D model for the Adapt and Extend project in the autumn, but mainly to equip them with the knowledge now expected of architects in practice.

A three-day course in Rhino - a CAD package that facilitates the creation and easy editing of 3D surfaces - is being trialled this summer. The software is quickly becoming the tool of choice for designers, architects and engineers. It has proved popular with students, so the course will be made more widely available next year.

A valuable experience for a number of Stage 3 students has been the mentoring scheme with local architects, organised by the RIBA region. Students visit a practice and building sites to see live projects in action, and get feedback from the professionals on their own project work.

I would like to thank all students, staff, tutors, critics and friends of the school, whose contributions have been vital to the success of the programme.

Keith Bothwell Programme Director

105

STAGE 3 Sheerness-on-Sea, Isle of Sheppey Stage Coordinator: Chloe Street Tarbatt

106

STAGE 3 Strengthening links between academia and industry, students and local stakeholder groups within the Kent region was high up our agenda for this year’s Stage 3, as we seek to develop mutually beneficial relationships, engendering poetic design responses that are underpinned by robust pragmatism and social awareness.

The design focus for the year was Sheerness-on-Sea on the Isle of Sheppey, a place of significant, but now widely-forgotten, national importance for its naval and aviation activities. This fascinating outpost, separated from the mainland, on the northern fringes of Kent, has endured successive closures of the Royal Naval Dockyard and steel industry, coinciding with its decline as a popular seaside tourist destination.

On our initial tour of the island, we were enthused to discover the thriving Blue Town Heritage Centre, located in the centre of ‘Bluetown’; a once hyper-dense area of favela-type urban intensity servicing the adjacent Naval Dockyard. This centre’s mix of archive, museum, and the partial restoration of an existing music hall (all run by its passionately Sheerness-focused owner Jenny Hurkett and team of local volunteers) enlightened us to the energetic drive for regeneration in the area, and ultimately to two ‘live’ projects taking place in Sheerness, which aligned ideally with the two design modules undertaken in Stage 3.

The first project, selected for the autumn term’s ‘Adapt and Extend’ project was the Grade 2* listed ‘Dockyard Church’, recently acquired by the renowned ‘Spitalfields Trust’ with the intention of applying for Lottery Funding to conserve and redevelop the structure. We developed a brief for converting the church into a Naval and Aviation Museum that would celebrate the rich history of the island, yet be combined with additional community programmes and commercial opportunities for its sustainable operation.

The second project of the year, ‘Urban’ convened by Jef Smith, was based on the anticipated redevelopment of the town’s main recreational areas and adjacent edge conditions where the main body of Sheerness meets the sea. The brief required students to develop a detailed design for a new-build aquatics centre, within their strategic urban propositions for site’s environs.

Throughout the year we sought engagement with various stakeholders from Swale Borough Council, local trusts, and private enterprises, and have been delighted by the generosity and enthusiasm of our guests; giving building tours, lectures, attending as guest critics, and inviting the participation of our students in the active process of project development. This will continue with the forthcoming – unusual - opportunity of presenting their work at public exhibitions in both July and September.

Stage 3 Tutors: Dr Timothy Brittain-Catlin, Dr Luciano Cardellicchio, Keith Bothwell, Andy de Carteret, Professor Don Gray, Dr Nikolaos Karydis, Dr Imogen Lesser, Hilary Nixon, Dr Giridharan Renganathan, Chris Seaber, Jef Smith, Chloe Street Tarbatt, Ashvin de Vos, Peter Wislocki Chloe Street Tarbatt Stage 3 Coordinator

107

STAGE 3

01. Jama Abdukayumov

06. Nisha Attra

02. Valentin Abend

07. Mun Wah Au Yong

03. Loic Adam

08. Kayleigh Avey

04. Prinka Anandawardhani

09. Monika Bochynska

05. Aue-Aut Angpanitcharoen

10. Osei-Tutu Bonsu

108

11. Joe Bosson

16. Jordan Crompton

12. Paulina Burzynska

17. Paul Daramola

13. Kieran Chan

18. Alice Davitt

14. James Cotton

19. Athina Fili

15. Jed Cracknell

20. Tom Grant

109

21. Matthew Greenwood

26. Francesca Hopkins

22. Jamie Griffiths

27. Tracy Hulley

23. Angela Heringer

28. Timur Iablokov

24. Lauriane Hewes

29. Makbule Karadag

25. Sam Hope

30. Panagiotis Karelis

110

31. Josh Kirk

36. Allan Machaya

32. Ryan Knight

37. Linda Malaeb

33. Karman Lam

38. Doru Manaila

34. Bola Lasisi-Agiri

39. Katherine Matthews

35. Naomi Lord

40. Katharina Metzdorff

111

41. Holly Millburn

46. Themba Mtwazi

42. Samuel Millson

47. Farah Muhamad Her

43. Vishal Mistry

48. Charntelle Murphy-York

44. Nicolas Mourot

49. Ivy Nabila

45. Gugulethu Moyo

50. Leila Naboulsi

112

51. Huyen Nguyen

56. Allan Ossa

52. Benjamin Nourse

57. Joseph Oswald

53. Hannah O’Neill

58. Llayda Ozluk

54. Nur Zirwatul Omar

59. Dafni Papadopoulou

55. Ian Omumbwa

60. Hardik Patel

113

61. Charlotte Penny

66. Lorenzo Ravaioli

62. Leonie Perrin

67. Serwan Saleme

63. Luisa Pires

68. Claire Schroeder

64. Edward Powe

69. Ellisha Seagroatt

65. Jim Rapanut

70. Manveer Sembi

114

71. Marcello Seminara

76. Edward Sutcliff

72. Matthew Spence

77. Keiran Tait

73. Juanda Sugianto

78. Lei Mei Tan

74. Brewster Surridge

79. Ryan Tannoo

75. Carlota Susino

80. Rita Tornallyay

115

81. Ho Yuen Bosco Tse

82. Michelle Tsiakkas

83. Abbie Waite

84. Andrew Warwick

85. Bi Zang

116

01. Jama Abdukayumov Stage 3

If Tetris ever taught me anything, it is that if you try to fit in you will disappear.

118

Sheerness is characterised as a place of partition and void, as a consequence of decades of defensive and industrial history.

This project takes form and arrangement in response to three absences in the seaside town: public realm, space for nature, and a relationship to the sea.

119

02. Valentin Abend Stage 3

03. Loic Adam Stage 3

My Urban project started with big masterplan moves. The train station was brought up to the sea wall for a better first impression of Sheerness and a marina was created, giving another access point to the town. The Aquatic Centre was then built to be the central point of these elements.

120

In response to the vital pipeline bursting in Sittingbourne, the new Sheerness Aquatic Centre takes you through the journey of water recycling mechanisms. By integrating the processes of reverse osmosis, rainwater collection, and sewage water treatment, Sheerness will no longer rely on the mainland for clean water.

121

04. Prinka Anandawardhani Stage 3

05. Aue-Aut Angpanitcharoen Stage 3

122

06. Nisha Attra Stage 3

123

07. Mun Wah Au Yong

Less is bore, if less works, bore is good.

Stage 3

124

Adapt and Extend started with a derelict dockyard church, which was to be repaired, extended and made into a Navy, Army and Airforce museum. These three parts of our British Forces have influenced my design through the use of references to land, sea and air.

125

08. Kayleigh Avey Stage 3

09. Monika Bochynska Stage 3

Three years of architecture at Kent were filled with hard work and coffee, but it was all worth it. It seemed so far away, but we made it!

126

10. Osei-Tutu Bonsu Stage 3

127

11. Joe Bosson Stage 3

My experience at the Kent School of Architecture has been great!

I have been able to learn and use so many new skills on a variety of interesting projects, which will hopefully put me in good stead for the future. Thanks!

128

‘Creation and love of beauty are elemental for the experience of happiness.’ Walter Gropius In the last three years I have learnt how much influence architecture can have on the world. I hope that in the future my creativity will leave a positive mark on people’s lives.

129

12. Paulina Burzynska Stage 3

13. Kieran Chan

Architecture degree? Completed it mate.

Stage 3

130

Utilising a glulam timber roof as a means of representing the structural aspect of the scheme became appealing. It spans over the original church and the added extension, forming a gridded link. Encasing the building, this structural element is visible internally and provides a visual link between the two zones.

131

14. James Cotton Stage 3

15. Jed Cracknell Stage 3

The focus of my final project was to transform the entire site into an urban proposition that assisted the flow of people from the town through the site and to the coast. I have added numerous aspects to the site such as the new commercial high street and tram route, to the beach promenade and new sea wall.

132

No one buying your book? Become a lecturer, put it on the compulsory reading list, change the price to ÂŁ200.

I would like to thank KSA for providing Studio B as my second home. Only four more years.

133

16. Jordan Crompton Stage 3

17. Paul Daramola Stage 3

Sheerness is a town that has lost its identity. The schemes are developed by analysing and breaking down the last remaining identity of Sheerness (the steel mill), into four parts: Functional, Structural, Economic and Spatial, all of which feed the schemes.

The tower and verticality represents restoration of Identity.

134

The first question I asked myself when visiting the site was ‘Where is the beach?’

At present the wall stands as a barrier preventing the public from reaching the beach. By ‘breaking’ the barrier I aimed to bring water into the site offering the public a ‘submerging’ experience.

135

18. Alice Davitt Stage 3

19. Athina Fili Stage 3

The Carpe Mare proposal has as an objective the enhancement of the relationship between the people and the sea of Sheerness.

The concept of connectivity is incorporated in all aspects of the project from urban planning and strategies, building design, etc.

136

This urban scheme emerged from the concept of MAT planning, creating zoned areas for public and private uses as well as spacial flow both vertically and horizontally. Raising the majority of the site also ensured the sea views were exploited throughout the site.

137

20. Tom Grant Stage 3

21. Matthew Greenwood Stage 3

An Aquatics space experience to serve the upcoming space tourism industry. Working in tandem to proposed medway airport, the centre combines space and low gravity simulation with community and competition facilities. Environmental principles remain at the core of the design.

138

My final design project attempts to give visitors to Sheerness a temporal connection with nature by bringing the ocean into the site, and allowing the tide to dictate the function of the urban spaces. The austere, monumental architecture is intended as a metaphorical representation of the concrete sea wall that once stood in its place.

139

22. Jamie Griffiths Stage 3

23. Angela Heringer Stage 3

As an international student I had to move far away from my family but became very close to a new one by attending Kent School of Architecture. I experienced probably the best three years of my life. Thank you for that!

140

The industrial side and rural side of the Isle of Sheppey have been the main focus for this project. Their properties have been enhanced and interchanged, developing a story from invasion to unity. Water plays an important role bringing the two elements together to construct the Sheerness Aquatics Centre.

141

24. Lauriane Hewes Stage 3

25. Sam Hope Stage 3

Using my own perception of the human body form and its movements, combined with historical philosophies of the body being a form of Architecture, Sheerness will be introduced to a scheme that considers the ergonomic movements of the body.

142

The driving force whilst creating my Urban proposition was to bring the people of Sheerness closer to the sea, as an island surrounded by water the area has little connection to it. I tackled this problem by building the landscape up to meet the Sea wall.

143

26. Francesca Hopkins Stage 3

27. Tracy Hulley Stage 3

The concept was to reinvent Sheerness as a British Seaside destination, revitalising the area for the locals and providing a central landmark for all. With rock pools as inspiration, the final result was an active and dynamic design.

144

The selected images are a representation of the proposals made for the Adapt and Extend project, striving to design a museum.

The hopes and aspirations behind these ideas sought to create questioning and inspiring forms, which would create a sense of rejuvenation and excitement.

145

28. Timur Iablokov Stage 3

29. Makbule Karadag Stage 3

The past three years of architecture at KSA has been wonderful, I have learnt so much during this experience. It has been a stressful yet incredibly creative and rewarding programme. I explored the experiential and haptic qualities of architecture by playing with form and materiality to heighten the users’ experience.

146

In the last three years at KSA, I was intrigued by architecture that expresses a coherent flow of movement. My Urban and Adapt and Extend projects both respond to this theme, developing the core of each building by tracing movement between the building’s internal functions.

147

30. Panagiotis Karelis Stage 3

31. Josh Kirk Stage 3

148

My urban proposal is based around the integration of a marina on the sea front, with boat docks branching off on the sea side and buildings extending from it on the land side. The aquatics centre takes inspiration from a cruise ship, with its boat like floor plan and symmetrical short section.

149

32. Ryan Knight Stage 3

Studying architecture has been a very interesting journey. I have learnt how to look at buildings with a new perspective and this perspective has helped me grow and develop into a more analytical person. I have made some amazing memories through this course and will always cherish this experience.

150

33. Karman Lam Stage 3

Welcome to Sheerness Aquatics & Leisure Centre where we aim to rebuild our civic identity by connecting our communities. We live by the motto: ‘Give a man a fish and you feed him for a day; teach a man to fish and you feed him for a lifetime.’ Glory-to-God.

151

34. Bola Lasisi-Agiri Stage 3

35. Naomi Lord Stage 3

Creating a sense of balance, calm and community were the key themes for my design of an aquatics centre in Sheerness.

Combining simplicity and structural rhythm to create a malleable atmosphere for the community.

152

36. Allan Machaya

Projects show the necessity of human comfort and the need for practicality as well as creativity. Above all; my time studying architecture has enlightened me to the workings of the profession I have chosen to pursue. Accordingly I present this culmination of my time and efforts to ultimately be judged by you and those who choose to view it

Stage 3

153

37. Linda Malaeb Stage 3

Urban – The use of colour and art is essential in enhancing vibrancy throughout the dull and colourless site of Beachfields both during the day and night. Adapt and Extend – The process of making Steel is a theme expressed as a learning experience throughout the journey of the Dockyard museum.

154

38. Doru Manaila Stage 3

155

39. Katherine Matthews Stage 3

The site history and context were key in developing the ex-naval rehabilitation that is housed and works alongside the Aquatics Centre. The aim of the interior, with the glulam structure and wood cladding, was to steer clear of institutional white walls and instead give a warm, organic feeling.

156

The beauty of pursuing architecture is that you partake in creating the world in which our future will take place. Over the past three years, I have been given the opportunity to design and create to my heart’s content.

157

40. Katharina Metzdorff

Stage 3

41. Holly Millburn Stage 3

I believe a building should be first and foremost an experience. I viewed the site as a rock formation out of which I could determine what functions took place in the fissures. The behaviour of water in nature is something I became thoroughly involved with and consequently guided many of the design decisions I made.

158

Architecture is not just about the shaping of places around us, but with passion and ambition architecture can be used to enhance human relationships, encourage economies to thrive, and generate an intimate relationship between place, culture and identity.

159

42. Samuel Millson Stage 3

43. Vishal Mistry Stage 3

The past three years have been an absolute rollercoaster ride. I’d like to thank Essentials for not only stealing all of my money but for also providing me with enough caffeine to survive the numerous all-nighters. It’s been a pleasure.

160

Our modern urbanism under flood conditions creates an accidental context which challenge our vision of urban spaces.

The project is a ‘mise en abîme’ of the flooded city allowing the visitor to meander around the different activities.

161

44. Nicolas Mourot

Stage 3

45. Gugulethu Moyo Stage 3

162

Plagued by a growing culture of youth unemployment, alcohol and drug abuse, vandalism and sporadic street art; the old naval and aviation town of Sheerness has become the epitome of neglect and the divided city.

163

46. Themba Mtwazi Stage 3

47. Farah Muhamad-Her Stage 3

Just let the passion flow into you, even if you’re lost never give up and find the way again.

164

Sheerness Aquatics, Climbing and Sports Centre – A range of multi-functional spaces creating a climbing haven through the use of chimneys, a focal climbing tower, boulders and the sea wall. Sheerness Aviation & Naval Museum – Glass connections join the old and new in this contemporary extension to Sheerness Dockyard Church.

165

48. Charntelle Murphy-York Stage 3

49. Ivy Nabila Stage 3

The building possesses a main axis from town, all the way to the forts found on sea which is meant to create a fascinating journey for a user regardless of whether they go to the gym, pool, cafĂŠ, spa forts or to the proposed elements on the rest of the site.

166

This project is about encouraging the population to become healthier through a journey of recovery through the building.

Two case studies: a woman in her thirties recovering from athletic injuries and a man in his seventies with joint problems were used to demonstrate different kinds of physical recovery.

167

50. Leila Naboulsi Stage 3

51. Huyen Nguyen

‘Everything you can imagine is real’ - P.Picasso

Stage 3

168

52. Benjamin Nourse Stage 3

169

53. Hannah O’Neill Stage 3

Creating a sense of community was the pivotal idea which drove my design decisions for the urban project. There is a lot of glazing throughout the building and a walkway which crosses over the pools. Elements such as these are intended to encourage interconnectivity and create a welcoming environment.

170

In the world of architecture, we are bound to face obstacles and barriers in design. Embracing this was a challenge at the time.

The final design revolved around the concept of a “journey� up the seawall through the use of stairs and ramps. Thank you KSA for 3 rollercoaster years.

171

54. Nur Zirwatul Omar Stage 3

55. Ian Omumbwa Stage 3

I sought to propose a scheme that explored the product as a social good rather than a satisfactory “return to investment�.

Thereby, through rejecting a concept, the process is amplified to produce spaces habitable by the people of Sheerness - thus highlighting an equilibrium of longevity through revitalization.

172

In the world of architecture, we are bound to face obstacles and barriers in design. Embracing this was a challenge at the time.

The final design revolved around the concept of a “journey� up the seawall through the use of stairs and ramps. Thank you KSA for 3 rollercoaster years.

173

56. Allan Ossa Stage 3

57. Joseph Oswald Stage 3

Sheerness Aquatics Centre designed to help reconnect the area back to the sea by emulating the fort forms of old which once stood in Sheerness.

“The thing about perfection is that its unknowable. It’s impossible, but it’s also right in front of us all the time.”

174

‘’I believe that architecture today needs to reflect on the task and possibilities which are inherently its own. Architecture is not a vehicle or a symbol for things that do not belong to its essence.

In a society that celebrates the inessential, architecture can put up a resistance.’’ Peter Zumthor

175

58. Llayda Ozluk Stage 3

59. Dafni Papadopoulou Stage 3

The idea of ‘theatricality’ evolved around my aquatics centre for Sheerness. A main feature in the building is the transition, guiding users to enter into the dark and narrow changing room area, and then unexpectedly exit into a triple height swimming pool area where they become the ‘actors’.

176

“Sometimes it’s the journey that teaches you a lot about your destination.” -Aubrey Drake Graham How a long 3 years have gone by so quickly, yet another 4 to go.

Hope everyone the best of luck on there roads to success. Keep grinding.

177

60. Hardik Patel Stage 3

61. Charlotte Penny Stage 3

These images show a brief overview of the last year of projects from the Adapt and Extend to Urban. Within both projects, simple and elegant designs have been chosen to intervene with the existing spaces.

178

My proposed scheme for a community leisure facility aimed to tangibly connect the town centre of Sheerness to the sea. In the Aquatics Centre I focussed on the ramp design that allowed for level changes throughout. Level changes mean the observer is able to see both town and the sea from multiple vantage points.

179

62. Leonie Perrin Stage 3

63. Luisa Pires Stage 3

To blend two worlds together is to prophesy about the future, proving that we are less apart than what we seem to be. We are our Architecture and we take with us part of others. My bachelor’s degree has started a process of transformation where work is light, and contemplation is sound.

180

Animal Farm, an Architectural Fairy Story: A story of revolution, deceit and control. Rather than responding to the social context of the site with the traditional ‘problem informs solution’ methodology, this hypothetical project instead suggests an alternative perspective from which the existing social/political dynamics of the site can be viewed.

181

64. Edward Powe Stage 3

65. Jim Rapanut Stage 3

Following the proportion and rhythm of the church onto the extension. This was used as a guideline in order to rebirth the church that once represented Bluetown. The extension copies the same formation of the church. Aisles and naves, aisles providing the main axial circulation.

182

We were tasked with the design of a new aquatic recreational.

It was crucial in my design to create a structure that would reintroduce to the seaside town the concept of complete accessibility, while respecting and reestablishing the link between the town itself and its seaside landscape, long hidden behind a literal wall.

183

66. Lorenzo Ravaioli Stage 3

67. Serwan Saleme Stage 3

“The sun never knew how great it was until it hit the side of a building.� L.K.

184

Adaptable retail space underneath the Marlowe Crit-Space.

Adapt and Extend. Extension of an existing church, to be used as a maritime and aviation museum.

Urban. Replacement of aquatic and leisure centre in Sheerness.

185

68. Claire Schroeder Stage 3

69. Ellisha Seagroatt Stage 3

Although I have found certain aspects of the course challenging, I have enjoyed my time at KSA. The continued support from staff and tutors has allowed me to explore many different aspects of architecture, gaining a wealth of transferrable skills and a valuable and broad understanding of the subject.

186

The aquatics centre proposal made was to act as a gateway to link the island with the surrounding context. This would make The Isle of Sheppey an island Swale should be proud of.

I would like to thank everyone at KSA and my course mates for a great three years!

187

70. Manveer Sembi Stage 3

71. Marcello Seminara Stage 3

“Funnily, what I enjoyed the most, is probably what had little to do with architecture as design projects. Studying the analogies between architecture and filmmaking, I was able to create an epic world, made of complex shapes and avant-garde designs.

That world is called Mega-London.�

188

The project would upgrade Sheerness sea wall into an active sea defence with plenty of opportunity for water activities and sustainable energy. The lagoon educates the public about climate change and the need for a better sea defence, whilst also becoming a place ‘to see’ to increase tourism for the local area.

189

72. Matthew Spence Stage 3

73. Juanda Sugianto Stage 3

There are 2 things that Architecture course has given me; pain and suffering. On a serious note, 3 things I learnt from architectural course; the pragmatism of ideas and its immediate context, the creation of complex instead of complicated design and delivering ideas within 10 slides.

190

My proposal looked to divide the site by lengthening the axes of the beaches groins to format a masterplan. Re-stitching the built environment to the natural in this way attempts to reconnect Sheerness to its most prized possession, framing views which extend out into the boundlessness of the North Sea.

191

74. Brewster Surridge Stage 3

75. Carlota Susino Stage 3

The church converts to a food commercial, with food huts from various countries and a farmers’ market above. The market stalls will be rented, bringing further income. Its location invites tourists to make their way across town, as well as providing local and dockyard workers with a bite to eat.

192

Aquatics centre, Sheerness on Sea. Heavily influenced by environmental factors and site attributes, such as the wind, sun and proximity to the ocean, the resulting building is highly responsive and integrated.

193

76. Edward Sutcliff

Stage 3

77. Kieran Tait Stage 3

Contemporary culture has grown and diversified exponentially within the last decade. The re-development of beach fields fundamentally recognises this in its augmentation through the reflection of contemporary culture, giving rise to an interconnected development.

194

78. Li Mei Tan

Stage 3

195

79. Ryan Tannoo Stage 3

Using the historical defensive structure of the moat as the main form for the concept design, a series of iconic buildings was created along a redefined sea wall. Every development on site share a single binding form. It is an attempt to create a new identity for Sheerness and the Isle of Sheppey through architecture.

196

The concept of the Urban scheme is to link Sherness’ town centre to the proposed site of the Aquatics Centre. This is accomplished through making the journey to the site exaggerated. Moreover, creating terminals to these paths physically and visually connects the visitor to the otherwise ‘unknown’ sea.

197

80. Rita Tornallyay

Stage 3

81. Ho Yuen Bosco Tse Stage 3

198

Following the concept of interconnectivity, the proposed aquatic centre aims to reconnect the currently divided town of Sheerness. Through the the direct connection of the centre with the sea wall, the previous ‘back’ of Sheerness is revitalized so that locals and visitors can enjoy new facilities.

199

82. Michelle Tsiakkas

Stage 3

83. Abbi Waite Stage 3

Beachfields Aquatics and Leisure Centre – The aim was to create a scheme that would enhance Sheerness and put the town on the map as a place of educational and sporting excellence.

200

Well done for making it this far; don’t worry, the end is in sight.

84. Andrew Warwick

Stage 3

Hopefully, it’s all been worth it.

201

85. Bi Zang Stage 3

A community for the residents is essential as it represents the interactions from one to another. It should be provided a communal space to enhance this interaction. At same time, it is not just a communal place, but also attract the visitors from other places to gain more economic benefits.

202

STAGE 2 Canterbury and Faversham, Kent Stage Coordinator: Keith Bothwell

204

STAGE 2 We returned to some favourite locations for our two design projects this year, each centred on a river with strong historical contexts rich in industrial archaeology.

For the Architecture and Landscape project in the autumn, located on the River Stour in Canterbury, students designed a cookery school and productive landscape. Abbots Mill at its associated mill races and sluice gates was at the centre of the site, which had rural elements - a woodland - as well as parkland and urban characteristics.

Climate, which is now even more closely focussed and tightly coupled to the concurrent landscape project, was the vehicle for students’ explorations of passive environmental control strategies, both within the cookery school and in the microclimate around it.

Collective Dwelling returned to Faversham, as last year, because it proved so popular with students and tutors alike. The maritime and industrial heritage on the riverside site, including a brewery and gunpowder works, coupled with the town’s current economic decline, sparked the students’ imaginations.

The brief was based on a live proposal for reinvigorating the area - the Faversham Creek Neighbourhood Plan - which citizens will vote on in a local referendum this autumn.

The cultural context module each term - Renaissance to Neo Classicism in the autumn, and 19th Century Architecture in the spring - helps to ground the contemporary investigations within a longer time frame; the latter module is particularly aligned with the contexts found in both design projects.

Form and Structure included the design for an extension to the Marlowe building on the University campus for the School of Anthropology, comprising a 20m two-way spanning roof over a proposed new atrium. Intricate and imaginative models have been produced to give form to the structural speculations.

At the end of Stage 2, advance teaching on the Dissertation module has been intensified in the summer term, with additional lectures and tutorials, so that the final deadline the following spring can be brought forward a few weeks. This is designed to give students more time to focus on their major thesis project Urban, when in Stage 3.

Stage 2 tutors: Bahar Badiee, Keith Bothwell, Tim Brittain-Catlin, Luciano Cardellicchio, Giacomo Chiarini, Jasmine Davey, Ashvin de Vos, Tim Fox Godden, Rebecca Hobbs, Soha Hirbod, Yorgos Loizos, David Moore, Giovanna Piga, Michael Richards, James Shaw, Bradley Starkey, Leonidas Tsichritzis, Carolina Vasilikou, Lorenzo Vianello, Richard Watkins, and Peter Wislocki.

Keith Bothwell BA(Hons) Programme Director and Stage 2 Coordinator

205

1

2

1 2

Carol Lee Aubin Torck

206

3

4

3 4

207

Meera Badran Phoebe Yuen

STAGE 1 Margate, Kent and Montjuic, Barcelona Stage Coordinator: Chris Gardner

208

STAGE 1 The theme for the autumn term is shelter, and students were asked during the summer before to identify and record three shelters local to their home towns. With students from all over the world, this provides a wide variety of examples with which to begin our conversations.

Form Finding was the first major design module. Students were introduced to the discipline of site analysis, site survey and design. The first assignment, Shelter, required students to design an individual shelter, suitable for three people to sleep in. Groups of three students then developed one of their designs, firstly making a model and finally a full size shelter, spending the night in their own designs! Friendships for life can be formed during this project.

The Beach Hut followed, with a master plan for an ‘estate’ of beach huts a for sea-front site in Margate and then the detailed design one of the huts.

Light and Structure runs in tandem with the design assignment. Students first designed and built a structure, using only cocktail sticks and cotton, to span 450mm, to support a house brick. They later investigated the nature of daylight by modelling a space to exhibit an art piece, which informed their next design module.

Modern House studies seminal houses of the 20th century, and students are required to make a model of their chosen house and write an essay analysing it within its historical context.

The task of the Building Design module was to design a small art gallery on Montjuic in Barcelona. The field trip to the city before Christmas gave students the opportunity to carry out a site analysis and make relevant observations.

The final cultural context module investigates Ancient and Medieval Architecture and is also the subject of an examination in the summer term.

Alongside other modules in Stage 1, students are taught all aspects of visual communication in Folio. This runs for the whole year and involves understanding of architectural drawing conventions, orthographic drawing, chiaroscuro, perspective, isometric, sketching, life drawing, modelling, collage, sculpture, AutoCAD, computer modelling, and portfolio presentation.

I would like to thank all members of staff and teaching assistants who have contributed to this year’s success: Chris Gardner, Rebecca Hobbs, Henry Sparks, Chris Seaber, Jef Smith, David Moore, Felicity Atekpe, Patrick Crouch, Howard Griffin, Richard Watkins, Ben Godber, Carolina Vasilikou, Gerry Adler, Nikolaos Karydis, Gian Luca Amadei, Tim Fox-Godden, Jamie Jacobs, Imogen Lesser.

Finally, I am sure the entire Stage 1 staff would like to join with me and congratulate Felicity Atekpe on the arrival of her beautiful son.

Chris Gardner Stage 1 Coordinator

209

1

2

1 2

Andra Oprea Gabriela Chojnowska

210

3, 4, 5

6, 7, 8

3 4 5

Andra Oprea Andra Oprea, Gabriela Chojnowska, Andreas Kyraiakou & Florence Wong Gabriela Chojnowska

211

6 7 8

Andra Oprea Aisyah Daniel Gabriela Chojnowska

FIELD TRIPS

Two alternative field trips were offered for Stages 2 and 3 during week 18, one to the Veneto and the other to the Netherlands.

Veneto Vicenza, steeped in Palladian culture with a street - the Corso Andrea Palladio - and several buildings named after the great man, provided the ideal base for our visit to the Veneto in February. From there we made forays by train or coach out into the countryside and towns of the region: Verona, Mantua and Venice itself.

We visited over a dozen of Palladio’s buildings, including his Teatro Olimpico, Palazzos Chiericati and Barbarano in Vicenza, and churches Il Redentore and San Giorgio Maggiore in Venice. Opinions were divided on which was the best … with the Basilica Palladiana and the Villas Emo and Barbaro vying for top position.

Scarpa was the other star we had come to study, exploring his exquisite and exemplary exercise in adapting and extending an existing building at the Castellvecchio in Verona, and the magisterial Brion Cemetery in the Veneto Campagna. The Canova Museum in Posagno was as remarkable for Canova’s ‘original’ sculptures (the originals being made in plaster before being copied in marble) as for Scarpa’s extension.

In Mantua - thankfully little discovered by tourists - we sampled the delights of Mantegna’s Camera degli Sposi, Alberti’s church of Sant’Andrea and Giulio Romano’s mannerist Palazzo del Te with its risqué frescos.

Our visit culminated with a walk out of Vicenza to see that most famous and influential of all monuments to Palladio - the villa variously named Rotonda/Capra/Almerico - located just outside the city.

Keith Bothwell Programme Director: BA(Hons) Architecture

212

1

2

1 2

213

At the Villa Rotunda Students Wearing Coordinated Uniforms

PENKRAFT

The latent or unseen “idea” is the driving force behind the conception of architecture. The non-tangible “idea” of a scheme existing in one’s mind, is the catalyst to that which becomes the final creation.

However, despite this now obvious realisation, this dormant force (the idea) can easily be ignored if not externally manifested; and it’s within the first stages of this manifestation that PenKraft was created.

Initially aimed at using the expressive method of creative writing, PenKraft quickly evolved to encompass the different approaches used by students to realise the hidden “idea”. From the sketches and drawings drafted on a piece of paper; to diagrammatic scripts outlining the storyline to a utopian animation; to tracing the steps of an individual working to shelter desperate migrants; PenKraft uses the art of word to express these “ideas”.

The PenKraft society then bridges the gap between extracurricular and academia through specialised workshops where students are free to discuss their ideas for proposals, articles, dissertations. The different approaches to research, documentation and writing practiced by the society are transferred amongst peers therefore creating a constructive environment. The articles produced do not stay within the confines of the group but instead the message of creative writing in architecture is spread to the whole school and other circles in the design world. Through the KSA Blog and our recent affiliation with ONISM Design Magazine, Jordan and RIBA Blogs, our articles are in the process of becoming a global contribution where architecture students of all cultures can get involved and inspired.

As we mark the end of our first academic year as a society, we would like to show our gratitude to the following Krafters for their unwavering efforts, dedication and contribution: Members: Rebecca Hobbs, Sharmini Mahendrasingam, Oluwaseyi Sobogun, Aue-Aut Angpanitcharoen, Joy Georgi, Luisa Pires, Marcello Seminara, Josh Obichere.

To the old and the new; see you all in the next academic year.

Themba Ben Mtwazi Stage 3

214

1

2

1 2

215

First Penkraft Meeting - February 2016 Group Meeting for Summer Term

POSTGRADUATE MA Architecture and Urban Design MSC Architecture and Conservation MSC Architecture and Sustainable Environments MA Architectural Visualisation PHD in Architecture

216

217

POSTGRAD

MA ARCHITECTURE & URBAN DESIGN Programme Director:

Professor Gerald Adler (Acting)

218

MAUD The MA in Architecture and Urban Design (MAUD) is now in its fifth year, and has seen its graduates develop into thoughtful practitioners, with some progressing into doctoral studies. In the autumn term the work is split between research methodologies and an urban design project, in the spring term it is based on the history and theory of urban design. Summer term is devoted to the student-led dissertation.

In the autumn we were based in Folkestone, and the architect John Letherland (from Farrells) led an open-ended investigation into strategies and possibilities on the harbour arm, extending out into the English Channel, where the old town and the (post) industrial port landscape meet. We are grateful to the Folkestone Fringe Arts Group, and most particularly to Diane Dever, for facilitating this work.

In the spring we were joined by leading academic and writer Alan Powers who led the urban theory module. We visited London on a number of occasions, and are planning on re-engaging next year with France, with a sharper distinction between our spring-term programmes in Canterbury and Paris.

Course content: • Urban Landscape (design project) • Research Methods and Analysis • From the Idea of the City to Contemporary Urban Design • Architecture and Cities of the 19th and 20th Centuries • Dissertation Current Students Hyunjung Bae (Jay), Yen Chun Chou, Chen Xiang, Zeye Xiang (Edward), Xia Yan (Summer), Jennifer Ethagbe 2015 Graduates (with dissertation titles) Mohamed Badawy Sayed Bakhaty - Densifying Cairo’s Satellite Cities Marta Castelli – Critical Evaluation of the Selected Contemporary Pedestrian Culture Planning along the Banks of the River Seine in the 21st Century Davila Morales – The Inflexion Point: a change in the vision of urban planning in Canterbury’s commercial centre Giulia Ecclesia – La Défense Towards the Future: from the first utopian project to the 2020 Strategic Masterplan for a Parisian urban renewal Meem Makama – The Abuja City Masterplan: deviation from the original masterplan and the insufficient provision of public spaces Alina Neagoe – A Critical Evaluation of the University of Kent’s Concept Masterplan – by Farrell’s Yuto Ohshiro – A Creative City: ‘ a movement of creative clusters’ Programme Staff: Gerald Adler, Timothy Brittain-Catlin, John Letherland Guests: Diane Dever, Head of the Folkestone Fringe Arts Group, and Steve Smith of Urban Narrative.

External Examiner: Marina Lathouri Professor Gerald Adler Programme Director

219

1

2

1 2

Hyunjung Bae: Switchback-Switchforward Yen Chun Chou: Rear Pier

220

3

4

5

3 4 5

221

Xia Yan: Time Machine Chen Xiang: Waiting Surprise Zeye Xiang: Foxus Town

MSC ARCHITECTURE & CONSERVATION Programme Director:

Dr Nikolaos Karydis

222

MACE Based in the historic town of Canterbury, the programme combines the study of conservation theory and philosophy with an exploration of the technical aspects of repair and reconstruction. The city’s stunning cathedral itself provides students with an education resource, giving them the opportunity to learn from the conservation of a World Heritage Site. Ideal for those with an interest in architectural heritage, the course represents a gateway to a career in demanding professional fields such as conservation and heritage management. As the future leaders in these fields, the course’s graduates are expected to play a central role in disciplines that lie at the centre of current economic, environmental and social agendas.

The varied curriculum of the course reflects the multi-disciplinary nature of conservation. Students gain a critical understanding of historic buildings through an introduction to conservation philosophy and policies. This is followed by the study of practical survey and preservation techniques. Case studies and workshops, carried out in collaboration with Canterbury Cathedral introduce the students to the properties of historic building materials and the techniques employed in the repair of historic buildings.

Towards the end of the programme, our students undertake a conservation project in which they design an intervention at an existing historic site in the centre of Canterbury. This year, the students worked on the restoration of the 19th-century Dockyard church at Sheerness-on-Sea. In the beginning of this project, they carried out archival research which revealed a previously unknown phase of the building.

The project was completed with the preparation of a complete restoration proposal, which will be submitted to the Sheerness preservation Trust. Having completed this project students started work on their dissertations, a module that enables them to study an aspect of the conservation cycle of their choice.

Dr Nikolaos Karydis Programme Director

223

1

224

2

3

Sheerness Dockyard Church, Restoration Proposal Students: X. Dai, D. Erol, B. Lowe, H. Wang, Supervisor: Dr N. Karydis 1 2 3 225

East Elevation Perspective View North Elevation

MSC ARCHITECTURE & SUSTAINABLE ENVIRONMENTS Programme Director:

Professor Marialena Nikolopoulou

226

MASE Our Master’s programme has been running now for four years and promotes a cross-disciplinary approach to research in the field of sustainability in the built environment, bridging the traditional boundaries between the arts and the sciences, research and practice. The course content ranges from the development of the design skills and the technical and scientific understanding required to develop sustainable solutions for new and existing buildings, the analysis of historic buildings and past environment technologies, to a critical exploration of the historical and cultural context of sustainability and environmental design.

In the Winter term the students are focusing on understanding historic buildings and past environmental technologies, the principles and methodologies of environmental design, along with the importance of high tech system in low energy buildings. However, to avoid a purely technical view of sustainability the subject is also addressed from cultural, social, ecological and economic perspectives, which is unique in the country. The latter includes references to the construction and environmental design principles in contemporary and historic buildings.

In the Spring term they are introduced to the relevant research methods and analysis for environmental measurements and advanced simulation techniques for the environmental performance of buildings.

The module is drawing examples from a range of prestigious projects the staff has been involved with, nationally and internationally, for different types of buildings before the students embark on the investigation and analysis of their own case study building, monitoring and modelling its environmental and energy performance. The students are also doing a design project where the main task is to prepare environmental design strategies and design proposals for a low-energy building to meet the highest sustainable design standards, before moving on to the dissertation over the summer term.

This year’s cohort analysed in detail different buildings on campus and beyond. Case studies monitored and modelled through dynamic thermal simulations included the new Library Extension, the Digital Crit Space, the Marlowe Building, Eliot College, Keynes College, as well as domestic buildings and restaurants in town.

The design project consisted of a mixed use development located in the Creek area of Faversham, which is currently the subject of a draft development plan and should thus be guided by the Faversham Creek Neighbourhood Plan.

Programme staff: Prof. Marialena Nikolopoulou, Keith Bothwell, Dr Giridharan Renganathan, Dr Henrik Schoenefeldt, Dr Richard Watkins Professor Marialena Nikolopolou Programme Director

227

1

2

3

228

4

5

FAVERSHAM: sustainable design project Maria Köhler | AR830

7

5

72 665 665 10 10 72 10

layer

thickness

roof

di

thermal resistance Ri = di / λi

[m]

[W/mK]

[m²K/W]

[K]

Rsi

0,13

0,34

0,025

0,13

0,19

0,51

temperature difference ∆Ti = Ri ⋅ q

temperature in layer Ti = Ti-1 - ∆Ti

2

wooden board vapour barrier

0,0002

0,35

0,00

no.

layers

thickness

wall

[°C] 20,00

heat transfer resistance inside 1

wall

calculation of U valueof wall U-value with wooden panels as cladding calculation walls thermal conductivity λi

di

thermal resistance Ri = di / λi

temperature difference ∆Ti = Ri ⋅ q

[m]

[W/mK]

[m²K/W]

[K]

0,10

0,29

Rsi

heat transfer resistance inside

insulation

0,200

0,04

5,00

13,24

4

underlayment

0,0004

0,17

0,00

0,01

5

air cavity

0,050

0,17

0,29

0,78

6

battens

0,050

0,13

0,38

1,02

7

clay tiles

0,054

-

-

0,00

1

plaster

0,010

0,70

0,01

0,04

2

brick

0,240

0,79

0,30

0,88

19,15

3

sealing

0,005

0,17

0,03

0,08

4

insulation

0,160

0,035

4,57

13,19

temperature difference ∆Ti = Ri ⋅ q

[m]

[W/mK]

[m²K/W]

[K]

Rsi

0,10

0,29

air cavity

0,050

0,17

0,29

0,85

wooden board

0,025

0,13

0,19

0,55

Rse

0,04

0,12

plaster

0,010

0,70

0,01

0,04

brick

0,240

0,79

0,30

0,88

3

sealing

0,005

0,17

0,03

0,08

0,11 4,00

outside temperature

5,41

[m²K/W]

5,55

[m²K/W]

4

insulation

0,160

0,035

4,57

13,19

0,380 [m] thermal insulation resistance R = Σ Ri =

5,87

[m²K/W]

UK building

heat transmission coeffcient RT = Rsi + Σ Ri + Rse =

6,04

[m²K/W]

regulations 2010

sum of U-value of roof U = 1 / RT =

0,18 [W/m²K] 16,00 Temperaturdifferenz ∆T = Σ ∆Ti = 2,89 heat flow q = U ⋅ ∆T =

0,18 [K] [W/m²]

18,71

air cavity

0,050

0,17

0,29

0,85

wooden board

0,025

0,13

0,19

0,55

Rse

0,04

0,12

0,00

4,00

no.

layers

thickness

wall

temperature difference ∆Ti = Ri ⋅ q

di

thermal conductivity λi

thermal resistance Ri = di / λi

[m]

[W/mK]

[m²K/W]

[K]

Rsi

0,10

0,29

0,70

0,01

0,04

5,41

[m²K/W]

heat transmission coeffcient RT = Rsi + Σ Ri + Rse =

5,55

[m²K/W]

0,18 [W/m²K] 16,00 Temperaturdifferenz ∆T = Σ ∆Ti = 2,89 heat flow q = U ⋅ ∆T =

0,00

temperature in layer Ti = Ti-1 - ∆Ti

plaster

0,010

no.

layers

thickness

temperature difference ∆Ti = Ri ⋅ q

di

thermal conductivity λi

thermal resistance Ri = di / λi

[m]

[W/mK]

[m²K/W]

[K]

Rsi

0,10

0,29

1

plaster

0,010

0,70

0,01

0,04

2

brick

0,240

0,79

0,30

0,88

wall inside temperature

0,240

brick

0,79

0,30

sealing

0,005

0,17

0,03

0,08

insulation

0,160

0,035

4,57

13,19

5

air cavity

6

brick

0,17

0,29

0,96

0,12

Rse

0,04

3

sealing

0,005

0,17

0,03

0,08

4

insulation

0,160

0,035

4,57

13,19

5

air cavity

6

brick

0,050

0,17

0,29

0,115

0,96

0,12

Rse

0,04

0,85 4,67 0,35

sum of U-value of wall U = 1 / RT =

0,18

[W/m²K] 16,00 2,92

[K] [W/m²]

Temperaturdifferenz ∆T = Σ ∆Ti = heat flow q = U ⋅ ∆T =

Seite 1

0,12 4,00

outside temperature thickness of construction d = Σ di =

UK building 0,26

inside temperature

4,32 heat transfer resistance outside

regulations 2010

12

5

TOTAL HEAT GAINS: 19,91 kW

[°C] inside temperature

HEAT LOSS: - fabric heat loss: PF= 1,906 kW - ventilation heat loss: Pv= cv x N x V x ΔT /3600 -> 1300 J x 1,5 x 836,605 m³ x 16 / (3600 x m³ K) = 7,25 kW

0,20

0,04

5,00 0,00

19,06

0,500

15,06

4,00

0,00 outside temperature

[m]

thermal insulation resistance R = Σ Ri =

5,14

[m²K/W]

UK building

heat transmission coeffcient RT = Rsi + Σ Ri + Rse =

5,31

[m²K/W]

regulations 2010

0,19 [W/m²K] 16,00 temperature difference ∆T = Σ ∆Ti = 3,01 heat flow q = U ⋅ ∆T =

TOTAL HEAT LOSS: - 9,16 kW

0,22 [K] [W/m²]

0,00

ΔHEAT= HEAT GAIN + HEAT LOSS = 19,91 kW - 9,16 kW = 10,75 kW

[°C]

4,67

[m²K/W] [m²K/W]

0,14

temperature in layer Ti = Ti-1 - ∆Ti

4,32 4,00

0,00

5,52

0,85

0,12

5,33 5,47

insulation

2,10

Seite 1

18,71

0,35

0,580 [m] thermal insulation resistance R = Σ Ri =

heat transmission coeffcient RT = Rsi + Σ Ri + Rse =

5

0,30

sum of U-value of floor U = 1 / RT =

0,26 [K] [W/m²]

5,52 0,050 0,115

thickness of construction d = Σ di =

concrete

18,79

18,71

heat transfer resistance outside

0,43

temperature in layer Ti = Ti-1 - ∆Ti

HEAT GAINS: - solar gains: 72W/m² through glazing -> 72 W/m² x 170, 188 m² (area of glazing) -> 12,25 W x 0,55 (transmission) = 6,74 kW - heat gains occupants: adult person seated at rest: 90 W x 31 people = 2,79 kW - lighting heat gains (assumed 20 W/m² floor area at 400 lux): -> 20 W/m² x 239 m² (floor area) = 4,78 kW - equipment heat gains: desktop computer: 150 W x 31 -> 4,65 kW photocopier: 800 W fridge/ freezer: 150W

19,71

18,79 3

0,51

Heat gains/losses (office):

19,67

0,88

4

[K]

0,17

4,00

UK building

20,00 heat transfer resistance inside

19,67 2

[m²K/W]

– roof: meets target of UK building regulation standard – target: 0,18 W/m²K, design: 0,13W/m²K – wall: meets target of UK building regulation standard – target: 0,26 W/m²K, design: 0,17 W/m²K – floor: meets target of UK building regulation standard – target: 0,22 W/m²K, design: 0,19 W/m²K – window: meets target of UK building regulation standard – target: 1,6 W/m²K, design: 0,7 W/m²K

calculation of U value wall with brick as cladding

[°C]

19,71 1

1

thickness of construction d = Σ di = outside temperature

regulations 2010

sum of U-value of wall U = 1 / RT =

0,26

20,00 heat transfer resistance inside

0,490 [m] thermal insulation resistance R = Σ Ri =

UK building

U-value triple glazing with shading inbetween: 0,7 W/m²K calculation of U value wall with brick as cladding Transmission: 0,55 and 5% less because of dirt etc.

Seite 1

[W/mK]

heat transfer resistance outside Rse

4,67 4,12 outside temperature

regulations 2010 [K] [W/m²]

[m]

5,52 5 6

heat transfer resistance outside

sum of U-value of wall U = 1 / RT =

thickness of construction d = Σ di =

temperature difference ∆Ti = Ri ⋅ q

19,49

thickness of construction d = Σ di =

heat transmission coeffcient RT = Rsi + Σ Ri + Rse =

thermal resistance Ri = di / λi

20,00

18,79

4,67

4,00

di

thermal conductivity λi

heat transfer resistance inside Rsi

19,67

thickness of construction d = Σ di =

0,490 [m] thermal insulation resistance R = Σ Ri =

floor

inside temperature

thickness

19,71 1 2

4,12 heat transfer resistance outside

layers

[°C] 20,00

inside temperature

no.

temperature in layer Ti = Ti-1 - ∆Ti

5,52 5 6

4,11

GSEducationalVersion

di

thermal resistance Ri = di / λi

heat transfer resistance inside

4,11

0,17 [W/m²K] 16,00 temperature difference ∆T = Σ ∆Ti = 2,65 heat flow q = U ⋅ ∆T =

wall

[°C]

thermal conductivity λi

18,71

5,12

0,04

thickness

18,79

5,90

Rse

layers

19,67

5,91

heat transfer resistance outside

no.

19,71

19,66 19,15 0,00

3

temperature in layer Ti = Ti-1 - ∆Ti 20,00

inside temperature

calculation of U value floor

calculation of U-value floor

calculation of U value wall with wooden panels as cladding

thermal conductivity λi

12

10 11 12 13 14

floor

no.

13

1:100 wall

calculation of U value roof calculation of U-value roof

14

Reference: <http://www.yourho me.gov.au/passive -design/thermalmass> [accessed: 27.04.2016]

8,50

roof

5

1:200

Thermal mass shows advantage in terms of delaying and stretching the comfort zone.

5,67

x 17

1

Principle of thermal mass response for day and night with different structures.

green roof (cooling effect)

14,585

16 x 26

2

Insulation: requirements for U-values:

S-W

green roof (cooling effect)

3

162

151

11

3

(glazed roof) heat loss through radiation due to cold fresh air from outside

S-W

5

6

4

13

night - summer - cooling

10

3 162

151

11

5

14

Natural ventilation and thermal mass

10

6

second floor

1:100 Natural ventilation and thermal mass

7

- at night the thermal mass releases the heat and with the help of natural cross ventilation and the warmed up air is being exchanged with cooler air from outside - the same happens with rooms that have one sided ventilation, the air exchange rate is thus lower - in the stair cases to the offices, stack ventilation is used to ventilate and cool the building through pressure differences and buoyancy

radiant heat from thermal mass

day - summer

9 8

5

natural cross-ventilation + one sided ventilation

natural crossventilation

5 17 26 x

thermal envelope

4

8

9

4

8 9

16 x

S-W (prevailing wind)

7

S-W (prevailing wind)

6

solar radiation

- during the day, the sun heats up the building through glazed areas - natural cross ventilation ensures sufficient exchange of air per hour per person and cool the building during summer through night cooling - the thermal mass captures the heat during the day

15

night - summer - cooling

16

Natural ventilation and thermal mass

day - summer

17

Natural ventilation and thermal mass

18

6

0,580 [m] thermal insulation resistance R = Σ Ri =

5,33

[m²K/W]

heat transmission coeffcient RT = Rsi + Σ Ri + Rse =

5,47

[m²K/W]

regulations 2010

sum of U-value of wall U = 1 / RT =

0,18

[W/m²K] 16,00 2,92

[K] [W/m²]

Temperaturdifferenz ∆T = Σ ∆Ti = heat flow q = U ⋅ ∆T =

Seite 1

229

UK building 0,26

outside temperature

1-5 6

Alexandros Konstantinidis Maria Kohler

MA IN ARCHITECTURAL VISUALISATION Programme Director:

Howard Griffin

230

MAAV Having celebrated 5 years of operation in 2015, the MA Architectural Visualisation programme has seen a number of changes to the course structure and provision, with the introduction of new modules and enhanced ‘architectural focus’. Crucially, a new module in architectural photography has been introduced, acquainting students to the theories and concepts of the image of architecture. Using both traditional darkroom and digital methodologies, students studied the principles of composition, light and exposure. Learning from the works of photographers, such as Schulman, Bann and Stoller, the work culminated in an exhibition of their work hosted by the Gulbenkian. A smaller exhibition of this work can also be seen in the end of year show.

The multidisciplinary nature of architectural visualisation continued with students engaged in the practice of projection mapping in the module Virtual Cities. Producing work for two live events, ThinkNation and the Festival of Projections, the students gained experience in two live scenarios; one interior and one exterior, one three-dimensional and one simply using axes X and Y! The ThinkNation stage show required the students to use a scale model to test and develop their ideas, with their final work being used for the main event, animating the stage set. Glory Box was part of the Festival of Projections, the inaugural projections festival hosted at the University of Kent. Students used the façade of the School of Architecture’s Digital Crit Space as a canvas for their projected work. This enabled the group to understand the complexities of projecting moving image onto a moving façade, a feature not typically experienced with architectural projection mapping.

As well as engaging with the creation of realistic rendering of architectural space, the course this year continued research into the use of Virtual Reality in the field of Digital Heritage collaborating with English Heritage on the creation of a virtual St. Augustine’s Abbey in Canterbury. This work, when completed, will become part of the museum display at the archaeological site of the abbey in 2017.

Much of the work produced by this year’s MAAVers can be seen in the end of year show, but, of course, this is not the end of the year for Masters students. Currently, the cohort is working on their final major module. During this module student elect to produce a substantial body of work, a dissertation or undertake a work placement in industry gaining hands-on experience of the profession.

This year students have been offered positions at a number of companies, such as Miller Hare, Factory Fifteen, Glass Canvas and AVR London.

Howard Griffin Programme Director

231

1

1

Park Hin Yeung - Digital Heriage Rendering of the Forbidden City

232

2

3

2 3

Manouk Nijland - Architectural Rendering Angela Mantilla - Digital Heritage Rendering of the Crystal Palace

233

4

5

6, 7

4 5 6 7

Archis Achrekar - Architectural Render of World Trade Centre Theodora Karsiki - Render of Rio Antirio Bridge Zain Tanweer - Render of Abusamra House Thea Marshall-Behrendt - Render of Building by Joeb Moore

234

8

9

8 9

Tom Marston - Digital Heritage Render of Holy Temple Aliz Kopenetz - Render of Hitchcockâ&#x20AC;&#x2122;s North by NorthWest Set

235

PHD IN ARCHITECTURE Director of Graduate Studies: Dr Timothy Brittain-Catlin

236

PHD Our PhD students play an important role in research life at the School. All are members of one of our two research centres, and many are engaged in teaching and other activities that bring them into touch not just with everyday life here but also our special occasions and events. Our students complete their research with a reputation for delivering papers at conferences and symposia and with in-depth knowledge of their chosen field. Students themselves organise regular sessions in which they can deliver papers and benefit from peer review within their own environment, and they also work with the research centres to deliver thematic events and talks.

We seek new research students to join us in fields that are closely related to the work of our staff, and offer the opportunity to become active in our own professional and academic networks. Students can join their supervisors at international conferences and in the national amenity societies in which they are themselves involved. Our researchers are particularly involved on the one hand in thermal comfort, urban environments and housing sustainability, and on the other in the histories of landscapes, vernacular and historic buildings, and post-First and Second World War planning and design. All PhD students are invited to attend the annual conferences organised by the research centres, and these are often major international events.

Since last year’s exhibition, four students have completed their doctoral dissertations: our congratulations to Alkis Kotopouleas, Carolina Vasilikou, Gian Luca Amadei and Timothy Adekunle. This year’s completers include Alison Charles, whose work on the origins of the ‘Dutch’ houses of East Kent is already causing a great deal of interest in professional circles; and our prize-winning student Tim FoxGodden, who is researching the architecture and landscape of the Great War cemeteries. Other students completing during 2015-16 are Imogen Lesser, on the spaces of the imagination in the work of Mervyn Peake, and Christina Chatzipoulka on synergies and conflicts between environmental objectives in urban design.

At the start of the academic year we awarded two University scholarships, and two more will join us in September. This year’s scholars were Michael Hall, on the modern conservation planning legacy of the Great Estates; and Leonidas Tsichritzi, on the role of geometry in pedestrian comfort and natural ventilation. We are delighted also to be joined by Gimin Lee, researching the link between conservation legislation and gentrification; Maria Dimitriou and Sanaa Khokher.

Dr Timothy Brittain-Catlin Director of Graduate Studies

237

INTERNATIONAL OPPORTUNITIES

238

239

INTERNATIONAL

INTERNATIONALISATION

The University of Kent is renowned for its active links with Europe and for an excellent internationalisation programme. Kent School of Architecture has been developing partnerships at the pace of one new link per year, and the trend is growing. Currently, the school has research and/or Erasmus exchanges with the Ecole Nationale Superieure dâ&#x20AC;&#x2122;Architecture et du Paysage de Lille, the University of Roma 2 Tor Vergata, Faculty of Engineering-Architecture at ITU (Istanbul Technical University) in Turkey, and IUAV (Istituto Universitario Architettura Venezia) in Venice. We are also developing our relationship with the School of Architecture at Kogakuin University in Tokyo, and their students have been working with KSA on joint projects during their UK visits. KSA also operates a regular MArch exchange programme with the University of Virginia Tech, USA. Students and staff have greatly benefitted from those exchanges out of which a number of interesting partnerships have developed, Tokyo being the most recent. The school continues to be successful with the Venice Architecture Biennale Fellowship, whereby two students from KSA have been selected by the British Council to work and research within the British Pavillion in Venice during the Biennale.

The KSA Director of Internationalisation is the first port of call for students interested in Erasmus and non-Erasmus programmes. He liaises with the University International Office and deals with requests from other institutions to ensure that agreements in place progress at the right pace. He also deals with requests from colleagues related to travelling and research, such as the Venice Biennale Programme.

Professor Don Gray Head of School and Acting Director of Internationalisation

240

1

1

241

Venice Department of Urbanism

TESSENOW SOCIETY

This year the Heinrich Tessenow Society, based in Hamburg, offered two scholarships to KSA students to participate in its annual meeting. Louise Cook (Stage 4) and Tim Fox-Godden (PhD) accompanied Professor Gerald Adler to Berlin, and spoke about their work to the Society. The group was were based in Karlshorst, in the east of the city, and visited numerous housing estates such as Falkenberg (with Bruno Taut), in addition to other more recent housing projects in East Berlin. A particular highlight was to be joined by the Berlin architect Winfried Brenne, recipient of the Tessenow Medal in 2014, to the ground-breaking Trades Union School designed by Hannes Meyer and Hans Wittwer at Bernau, to the north of Berlin. Brenne was conservation architect for the buildings, and relished in unpacking the successive additions to the scheme from the Nazi period through to the postwar DDR era. In the end participants were able to see a true ‘Bauhaus’ building (Meyer was director in the late 1920s) which many agree surpasses what the one in Dessau has to offer, in terms of its richness and variety of detail, and to its relationship to the landscape.

The stay in Berlin began with the presentation of this year’s medal to the French architects JeanPhilippe Vassal and Anne Lacaton. The medal committee, including Professor Adler, judged their spare and human-centred work to accord with Heinrich Tessenow’s principles, the criterion of the award.

The laudation was given by the British architect Jonathan Sergison (of Sergison Bates, winners of the Tessenow medal in 2006) and Vassal and Lacaton talk enthusiastically about their work.

Professor Don Gray Head of School and Acting Director of Internationalisation

242

1

1

Glass-brick wall from Meyer Wittwerâ&#x20AC;&#x2122;s Trades Union School, Bernau (1930)

243

VENICE BIENNALE

Kent School of Architecture is pleased to announce that two of its MArch Part II students have been selected for a work-study fellowship with the British Council at this year’s Venice Biennale.

Matthew Bullock (Stage 5) and Louise Cook (Stage 4) will each spend a month in the beautiful city of Venice and right in the heart of the 2016 Biennale, directed by Chilean architect, Alejandro Aravena.

This year’s theme is ‘Reporting From The Front’, which will be interpreted, investigated and engaged with differently by all pavilions. The British Pavilion will host ‘Home Economics’ curated by Shumi Bose, Jack Self and Finn Williams presenting five new models for domestic life and a new brief for the home in response to the front line debate about the British Home and the housing crisis.

Matthew (who will be in Venice in August) and Louise (who will be in Venice in October) will spend four days a week invigilating the exhibition in the British Pavilion. Both have proved through the application process that they are reliable, organised and competent for the tasks of stewarding the pavilion and being the faces of the exhibit. In addition, Matthew and Louise will spend three days a week, undertaking a research project of their own point of interest in relation to the British Pavilion theme, Home Economics.

On the 22nd April all Venice Fellows were required to attend an Induction Day in London. The day began with presentations from, Alastair Donald, Architecture Programme Manager and Vicky Richardson, Commissioner both of the British Council about the history of The British Pavilion and the Venice Biennale. The Head Steward, Francesco Raccanelli then provided an overview of the roles and responsibilities of stewarding and some very valuable information regarding moving and living in Venice.

This was followed with a presentation from curators Jack Self and Finn Williams about their approach, theory and production of the British Pavillion and the collaborations involved.

To help understand the curatorial approach and ideas raised in Home Economics all fellows went on a street tour to experience the concept of the architecture and space we inhabit being based on time.

Following the Induction Day Matthew and Louise now eagerly await moving to Venice to begin their work-study fellowships and have their research proposals published on returning.

244

1

2

1 2

Walking Tour with the Curator - Study Fellows Day 2016 (Image Courtesy of the British Council) Group Photo - Study Fellows Day 2016 (Image Courtesy of the British Council)

245

RESEARCH & COMMUNITY

246

R&C 247

CASE THE CENTRE FOR ARCHITECTURE AND SUSTAINABLE ENVIRONMENT

This has been a landmark year for CASE with a range of new exciting projects and activities, with various stakeholders, from Canterbury Cathedral to the Palace of Westminster, open lectures, talks and conferences nationally and internationally.

Our Open Lecture Series, commenced with Professor Derek Clements-Croome from Reading University enquiring “Can Intelligent Buildings provide alternative approaches to heating, ventilating and airconditioning of buildings?”, while Professor Kevin Nute from University of Oregon explored “Vital: Using the weather to bring buildings and sustainability to life”. Spring kicked off with Professor Koen Steemers from the University of Cambridge discussing “Well-being and Health in Domestic Design” and we concluded with Professor Sandy Halliday, the Principal from Gaia Group who recently completed the Sustainability Guide to the RIBA Plan of Work 2013, discussing “A Short History of Good Ideas”.

The work of the EPSRC-funded Network on “Digital Economy: Communities and Culture” led by Professor Marialena Nikolopoulou funded various projects with local stakeholders, from “Architectural Digital Activism: the coastal front of Margate and Cliftonville” with Carlos Maria Romero and Sam Causer from Studio Sam Causer, along with Dr Carolina Vasilikou to “Space, movement and Alice in Wonderland: digital technologies and understanding of imaginary and real space” with Rebecca Hobbs, Howard Griffiths, Dr Carolina Vasilikou and the School of Arts working closely with Canterbury High School.

The year, however, was marked by noticeable successes with externally funded research projects initiating important partnerships, some of which are mentioned below. Dr Richard Watkins received funding from the Canterbury Cathedral to investigate the air movement in the huge spaces above the nave and choir; while he will reveal to the pubic the air movement in these areas using balloons as part of the the “Questions of Space”, a unique festival of ideas revealing previously unknown, unexplored or secret spaces and aspects of the Cathedral.

Another successful project was the AHRC-funded “Sensory Navigation in the Canterbury Journey” led Professor Marialena Nikolopoulou with Dr Carolina Vasilikou. A series of sensory walks propose to introduce a novel way of experiencing the Cathedral precincts and its connection to the city, through the senses and the visual, thermal, acoustic, haptic and olfactory environment, which will also be further explored in the “Questions of Space” festival.

A final flagship initiative is Dr Henrik Schoenefeldt’s new AHRC project “Restoring the Palace of Westminster’s nineteenth century ventilation system - Between Sustainability and Heritage”. The research will provide new critical insight required to investigate how the historic ventilation system can be reemployed for a more sustainable approach to ventilation, working along with the Palace of Westminster Restoration and Renewal Programme and other organisations, consultants and governmental bodies involved in the restoration and will contribute towards the restoration of the Palace of Westminster.

Professor Marialena Nikolopoulou Director of CASE

248

249

Staff:

Prof. Marialena Nikolopoulou Keith Bothwell Dr Giridharan Renganathan Dr Henrik Schoenefeldt Dr Richard Watkins

Research Associate:

Dr Carolina Vasilikou

PhD students:

Michael Adaji Bahar Badiee Christina Chatzipoulka Giacomo Chiarani Victoria Gana Soha Hirbod Alkis Kotopouleas Angeliki Sivitanidou Leonidas Tsichritzis

Partners:

Canterbury Cathedral Canterbury Society CIBSE CIBSE Heritage Group Deadalus Carlos Maria Romero and Studio Sam Causer Kent County Council Lee Evans architects RIBA Thanet District Council

CREAte THE CENTRE FOR RESEARCH IN EUROPEAN ARCHITECTURE

This year CREAte organised several evening events for our students and academic staff. We have chosen to invite European researchers who investigate popular topics but from a unique and different prospective.

The aim of these events has been to improve the debate around the research narrative of CREAte and to strengthen it with our partner institutions which now include Historic England, the University of Newcastle and the University of Rome. At the beginning of the academic year, CREAte invited all the academic members from both of KSA’s research centres to present themselves and their research interests to the new cohort of undergraduate and postgraduate students. The event was powered by Pecha Kutcha and a series of dynamic and engaging presentations was very much appreciated by the audience.

An energetic presentation by Dr Elain Harwood, Senior Architectural Investigator at Historic England, enlightened us on her most recent book, Space, Hope and Brutalism: English architecture 1945-1975.

We were the among the first audiences immediately after its publication to hear Elain lead us along a fascinating and detailed journey through the development and flowering of post-War architecture in England.

From the University of Rome, Dr Lorenzo Ciccarelli explained how Renzo Piano became Renzo Piano. His research has investigated what happened in the formative years of the Italian architect, and how London, and Piano’s teaching appointment at the Architectural Association there, provided the foundations of his design research; it was this work that soon led him to experiment with various unknown construction systems before he embarked on the adventure of the Centre Pompidou which he designed with Richard Rogers.

In his presentation, Dr Joseph Maria Garcia-Fuentes from the University of Newcastle proved how Antoni Gaudi was not an Art Nouveau architect and why we cannot fully appreciate his work without understanding the nationalistic and separatist messages delivered through his architecture. Joseph Maria also talked about the gradual demystification of Gaudi’s work that occurred as a result of various publicity campaigns in which his severe, rigorous and catholic poetics were impoverished in order to portray a friendlier persona for touristic purposes.

This July CREAte will, in collaboration with the School of English and the Architectural Review, host its fourth major international conference. Entitled ‘Writing Buildings’, this will be an unprecedented and ambitious interdisciplinary event that aims to brings together researchers from the full range of academic and professional disciplines that deal with buildings. Details about the conference can be found at https://www.kent.ac.uk/architecture/conference/2016/writingbuildings/index.html Dr Luciano Cardellicchio and Dr Timothy Brittain-Catlin Acting co-directors of CREAte 2015-2016.

250

251

KASA KENT ARCHITECTURE STUDENT ASSOCIATION

An education at the Kent School of Architecture is arguably one of the most sociable and interactive degrees to pursue; it is essential that a student led group promotes inclusive engagement across all stages, from foundation to postgraduate. The school’s population has grown rapidly over its short history and we are blessed with a huge diversity of student backgrounds. I write with great enthusiasm on behalf of The Kent Architectural Student Association (KASA) as president for the year 2015/2016, joined by a small committee of talented volunteers across a number of year groups.

To mark the beginning of a new decade at the school KASA revived an old association mascot, the Pink Hare. In November, we were joined by KASA’s founding presidents, Ivan and Pier-Luigi del Renzio for an entertaining school review - which included design and construction of Create Café. The del Renzio’s ultimate achievement was the introduction of an ambitious extra-curricular lecture series which continues to prosper today. KASA’s Pink Hare was tragically stolen during the association’s formative years; with nostalgia the Pink Hare was resurrected this year to mark a new decade of KASA. The autumn term kicked off with a lecture given by Charles Holland, formerly of FAT architecture, on a collaborative project with Grayson Perry ‘A House for Essex’. Holland’s lecture followed a Channel 4 documentary ‘Grayson Perry’s Dream House’ which made for a very well attended audience. Equally interesting guests this year include Studio Octopi, Theis & Khan, Gerry Judah, Pad Studio, Allies & Morrison and Proctor & Matthews. Q&A sessions follow the lectures, providing useful insight into a range of practices and skill requirements of forthcoming graduates. The lectures are free to attend and provide the largest whole school assembly within the Marlowe Building.

This year’s catalogue cover was the winning design from a series of whole school entries - amongst the tough competition the design was chosen for its vibrancy and contrast with its desaturated predecessors.

The winner was announced at our Corbusier themed social, where accompanying laser cut spectacles were a popular evening accessory. Another incredibly successful event was the Architect’s Football Tournament 2016, which brought together approximately 200 students. One lucky team were adorned in bespoke pink KASA Hi-Vis bibs and the winners received a 3D printed KASA world cup trophy. Our events props are only made possible with the help of the school’s technical staff, to whom we are truly thankful. Further thanks to all staff who continue to endorse and encourage our activities from year to year.

President: Charles Hope Finance Officer: Jill Murray Lecture Team: Valentin Abend, Linda Malaeb, Ian Omumbwa, Meesha Patel Events Team: Monika Bocynska, Jade Simm, Calum Snape Media Team: Joshua Anderson, Ivy Nabila, Serwan Saleme Charles Hope KASA President 2015/16

252

253

STUDENT SUCCESS EQUALITY, DIVERSITY AND INCLUSIVITY This summer sees the culmination of the Student Success (EDI) Project at Kent School of Architecture.

KSA was one of the first pilot schools for the Student Success Project in September 2014. As part of the initiative, we have provided extra support and opportunities for all undergraduate students.

Welcome Week 2015/16 To celebrate the start of the second year of the project, we arranged a fun-filled week and welcome pack for our new Stage 1 students which included a copy of the ‘A is for Architecture’ book written and illustrated by Jasmine Davey (Former Stage 5 MArch student) and James Shaw (current PhD student).

Drop In Fridays / Monday Twilight Sessions ‘Drop In Fridays’ for stage 1 & 2 were introduced in the Autumn Term of 14/15 led by AAL Henry Sparks and 5th Year MArch student, Matthew Bullock. Owing to the success and popularity of the sessions, we introduced Monday Twilight sessions in 2015/16 for stages 2 &3 led by AAL David Moore with the rotating assistance of three 5th Year MArch students, Antigoni Kalomama, Catherine Karsas and Ioanna Kareli. It is hoped that the ‘Drop in’ sessions will become an ongoing part of KSA culture. These session have been complemented by Patrick Crouch’s drawing sessions on a Friday.

Outreach The outreach programme is now in its 4th year. With the support of the Partnership Development Office, we launched an inter-school competition entitled, ‘DROP IT! Students from five participating schools; St Anselm’s Roman Catholic School, Canterbury High School, Community college Whitstable, Folkestone Academy and Brompton Academy were asked to design a box that could be dropped into war zones or areas of natural disaster.

The boxes would contain materials and equipment to be assembled into a clinic, a dwelling for a family or an orphanage for 10 children. The whole initiative was led by a fantastic group of both 2nd and 4th year student ambassadors. Teams went into each school for 6 sessions supporting and encouraging school students to come up with ideas which were developed into models. The workshops culminated in an afternoon at KSA Field trip funding 2015/16 The overseas trip for first years forms an important camaraderie amongst new students and is crucial to the development of ‘studio culture’. The Student Success (EDI) Project provided means-tested support fund for Stage 1 to Barcelona and Stage 2 field trips to the Netherlands and Italy.

Summer Workshops We are closing our two year initiative with a summer workshops series. The workshops have included: Time Management, Construction, Making 1:1, Bridging a Landscape, Phi: Why Geometry Counts, Spatial Translations, a Sensory Walk, Stone Carving , and a PenKraft workshop The aim has been to encourage students to exercise their creativity and enhance their design skills in an assessment-free environment.

Rebecca Hobbs EDI and Outreach Project Officer

254

1

2

1 2

KSA Student Success (EDI) Project ‘Drawing with Patrick Crouch’ weekly workshop Model of Final Project from ‘Drop It!’ Outreach Inter-School competition

255

ACKNOWLEDGMENTS Academic Staff Professor Don Gray Head of School Professor Gerald Adler Deputy Head of School Programme Director: MA Architecture & Urban Design Keith Bothwell Programme Director: BA (Hons) Architecture Dr Timothy Brittain-Catlin Director of Graduate Studies Senior Lecturer Dr Luciano Cardellicchio Lecturer KASA Liaison Professor Gordana Fontana-Giusti Humanities Associate Dean Professor of Architecture & Urban Regeneration Chris Gardner Stage 1 Coordinator Howard Griffin Programme Director: MA Architectural Visualisation Director of Recruitment & Admissions Dr David Haney Director of CREAte Research Centre Senior Lecturer Rebecca Hobbs EDI & Outreach Project Officer Lecturer and Design Tutor Dr Nikolaos Karydis Programme Director: MSc Architectural Conservation Chair of Humanities Faculty Ethics Committee Professor Marialena Nikolopolou Programme Director: MSc Sustainable Architecture & Environment, Director of CASE Research Centre Dr Giridharan Renganathan Director of Learning and Teaching Lecturer

Michael Richards Programme Director: MArch MArch Unit Leader & Design Tutor Dr Henrik Schoenefeldt Lecturer of Sustainable Architecture Jef Smith Lecturer Chloe Street Stage 3 Coordinator Lecturer Dr Richard Watkins Lecturer Senior Tutor

Associate & Assistant Lecturers Felicity Atekpe Design Tutor Peter Ayres Design Tutor Tom Bell Design Tutor Andrew de Carteret Design Tutor Ashvin de Vos Design Tutor Christina Chatzipoulka Graduate Teaching Assistant Giacomo Chiarani Design Tutor Diana Cochrane MArch Unit Leader & Design Tutor Adam Cole MArch Unit Leader & Design Tutor Patrick Crouch Design Tutor Michael Dillon Design Tutor

256

Ed Holloway MArch Unit Leader & Design Tutor Michael Holms Coats Design Tutor Clare Kennedy Design Tutor John Letherland Design Tutor Georgios Loizos Design Tutor Katherine Maclean Design Tutor Martin McKay Design Tutor David Moore Design Tutor Shaun Murray MArch Unit Leader & Design Tutor Hilary Nixon Design Tutor Fiona Raley Design Tutor Chris Seaber Design Tutor Henry Sparks Design Tutor Adam Summerfield Design Tutor Tom Sweet Design Tutor George Thomson Design Tutor

Professional Administration Brigid Carroll Student Office Manager Sharmini Mahendrasingam Recruitment Communications & Outreach Officer Ellie Mascall Recruitment Communications & Outreach Officer Ben Martin Academic Support Officer Claire Perara Postgraduate Coordinator Stuart Flower Finance Officer Jeanne Straight School Administration Manager Rebecca Wilkinson Administration Assistant Stacey Johnson Clerical Assistant

Technical Team Colin Cresser Workshop Technician Neil Evans Studio Technician Christopher Jones I.T. Technician Kevin Smith Workshop Manager Julien Soosaipillai 3D CAD Technician Brian Wood Technical Resources Manager

Carolina Vasilikou Design Tutor

257

KSA STAFF

Ben Godber Technology & Environment Tutor

CREDITS

258

CREDITS Catalogue Team

MArch Unit Coordinators

James Bussey

Unit 1: Matthew Orme

Charles Hope

Unit 2: James Page

Noah Carter

Unit 3: Matthew Bullock

Matthew Orme

Unit 4: Jamal Beckford

Philippa Cheetham

Unit 5: Claire Hellingman

Charlie Brett Matthew Bullock Simon Vipond Grace Cattermole

Stage 3 Exhibition Team Prinka Anandawardhani

Luisa Pires

Monika Bocynska

Serwan Saleme

Angela Heringer

Rita Tornallyay

Linda Malaeb

Catalogue Cover Design: Serwan Saleme

259

Kent School of Architecture Marlowe Building Canterbury Kent CT2 7NR +44 01227 824689 www.kent.ac.uk/architecture architecture@kent.ac.uk

Printed by Ex Why Zed +44 01206 766647 www.exwhyzed.co.uk hello@exwhyzed.co.uk

Copyright Kent School of Architecture 2016 All Rights Reserved ISBN, 978-1-902671-99-4 ISBN 9781902671994

9 781902 671994

90000 >

KENT SCHOOL OF ARCHITECTURE SUMMER SHOW 2016 WWW.KENT.AC.UK/ARCHITECTURE