Kent School of Architecture - End of Year Show Catalogue 2014 by University of Kent

KENT SCHOOL OF ARCHITECTURE DEGREE CATALOGUE 2014

/01

WELCOME Head of School Foreword Prof. Don Gray

/02

006

M(ARCH)

010

MArch Introduction

012

Unit 01 Michael Richards Unit 02 Ed Holloway Unit 03 Corinna Dean Unit 04 Dr. Shaun Murray

030 046 054

071 Life at the Kent School of Architecture

BA (HONS)

/03

BA (Hons) Architecture Introduction Prof. Gerald Adler

078

Stage 03 Dr. Timothy Brittain-Catlin Stage 02 Keith Bothwell Stage 01 Chris Gardner & Rebecca Hobbs Stage 01 Statement Themba Mtwazi

080 204 210 211

214 Internationalisation programme: Virginia Tech

/04 218 220 221 228

POSTGRAD MA Architecture & Urban Design Prof. Gordana Fontana-Giusti MSc Architecture & Sustainable Environment Prof. Marialena Nikolopoulou MA Architectural Visualisation Howard Griffin PHD Research Prof. Gordana Fontana-Giusti

232 Venice Biennale 2014

/05

RESEARCH The PassivHaus Research Project Dr. Henrik Schoenefeldt CASE Prof. Marialena Nikolopoulou CREAte Prof. Gordana Fontana-Giusti KASA

238 240 242 244

246 Kent School of Architecture Lecture Series

/06 250 251

CREDITS The Editors Peter Evans & Rosie Seaman Acknowledgements

252 Degree Show 2014 Branding 254

Sponsors

/HOS

FOREWORD HEAD OF SCHOOL Prof. Don Gray

“This has been one of the busiest years so far in the development of Kent School of Architecture (KSA). The intensity of activity and the quality of our students has been recognized far beyond the school. This is true not just of student employment, where an increasing number of major architectural practices seek out our students at the End of Year Show, but in international research and our relationship with European institutions.”

PAGE 6

In our first year of engagement with the British Council, two of our students have been selected to work as Fellows of the British Council at the Venice Architecture Biennale to undertake research and to assist in the management of the ‘Clockwork Jerusalem’ exhibition at the British Pavilion. One of the reasons our students are achieving international prominence is because of the way in which we encourage them to learn. Teaching and Learning at KSA We have focused on three main areas of learning and teaching over the past year. In the BA programme, the curriculum has been overhauled to address the newly adopted professional criteria. Undergraduates have been challenged by the

continued development of regional design projects in historic urban centres. We have enhanced the Dissertation and added a number of new modules. MArch Unit investigations have extended the reach and intensity of the Part 2 programme. Unit 1 attended the 450th anniversary of the incorporation of New Romney into the confederation of the Cinque Ports. Unit 2 spent a week on the Isle of Portland, working as stone masons and worked with stone as material and architectural currency. Unit went to Istanbul to interrogate the urban characteristics of that city Unit 4 made significant proposals to transform estuarine Essex

We established new postgraduate programmes: • An MA in Architecture and Urban Design develops the themes explored in the previously titled MA Architecture and Cities. • The school has formed a collaboration with the conservators of Canterbury Cathedral to instigate a new and groundbreaking practice-based MSc in Architectural Conservation. These accomplishments have taken place within a school which continues to thrive in terms of results which must prove attractive to potential students. Last year we were pleased to see that 80% of our BA students graduated with either a first class or upper second award.

esearch at Our two research centres, CREAte and CASE, continue to develop their reputation internationally with staff speaking and researching in Europe and the USA. Since last year’s EXIT exhibition KSA staff have published widely and internationally; recent titles include Gordana Fontana Giusti’s oucault for rchitects (Routledge), David Haney’s critical edition of Leberecht Migge’s Garden ulture of the Twentieth entury (Harvard University Press) and Timothy Brittain-Catlin’s leak Houses (MIT Press), the latter particularly well reviewed in the press. Members of the CASE research centre continue to impact on thinking and practice across the world in sustainable design. nternational onferences Our presence in Venice is emblematic of our international standing, and signifies a clear direction for the school in the expansion of its transnational

esources at We have remodelled a new seat computing teaching lab with high-end workstations connected to 10 touch point screens with the Adobe Master Collection and Autodesk Building Design suites installed. We have integrated into the curriculum, teaching Revit to stages 2 &3. Additional summer workshops facilitate the teaching of Autodesk’s Building Performance Analysis Certificate (BPAC), Autodesk Vasari, Adobe InDesign and Adobe After Effects. These resources have resulted in experimentation and innovative deployment of the recently built igital rit pace. A newly appointed scanning printing technician will support the skills necessary to enhance the student/staff learning and development of Revit and Building Information Modelling (BIM) within the school. Last, but certainly not least, the school has a dedicated and professional administration team who make the ‘student experience’ their priority. An open door policy in newly refurbished centralised offices allows students to get support at all times. The team engages actively with the student representatives and student society in order to address concerns quickly. The atalogue This catalogue illustrates some of the excellent design work carried out by graduates over the past year. Students design, author, publish and print the entire document with little assistance from staff: it is their publication and I and the many members of staff who have contributed to it are immensely proud of what they have achieved. Don Gray, Head of School June 2014 KSA Staff Great Maytham Hall , Kent (Courtecy of Sir Terry Farrell)

FOREWORD

The rapid growth of the Honours rchitecture programme has meant that we have now achieved optimal numbers, with undergraduates from over 40 countries joining the first year of the Part 1 programme. The rch art programme continues to expand: this year sees the largest graduating cohort, twice the size of any previous year. The popularity of the MArch has given us the confidence to establish an additional unit – on housing - allowing successful applicants to the school to choose from among five diverse areas of enquiry for their two years of study. This broader choice is augmented by a wider group of applicants: recruitment is now open to international students who have not yet achieved Part 1 exemption.

activities. Our recent conference on AWN Pugin’s Gothic Revival Worldwide attracted speakers from 14 countries and this year’s ‘Riverine’ conference which will occur this summer, will host delegates from across the globe.

/02

M(ARCH) Units 01-04

/MA

M(ARCH) INTRODUCTION PROGRAMME DIRECTOR Michael Richards

Another milestone year for the MArch sees us whiteness the largest graduating cohort at Part 2 in the history of the programme and of the school – almost double that of any previous year. This is also the first cohort to have come entirely through the new MArch Unit system established two years ago. PAGE 10

This year the MArch Units developed a shared theme of ‘Edge Conditions’; with Unit 1 considering the politics of the ancient Cinque Ports of Kent and East Sussex, and attending the 450th celebration of the incorporation of New Romney; Unit 2 journeyed to Isle of Portland a recalcitrant yet diminishing peninsula off Dorset’s Jurassic coast, to working as stone masons. Unit 3 took an expedition to the very edge of Europe, to Topane in Istanbul, to collaborate with students at Istanbul Technical University and experience emergent urbanism; whilst on the north edge of the Thames gateway, Unit 4’s Edgeland was Southend-on-Sea’s seaside amusement park, Leigh-on-Sea’s everglade and the oil city and suburbia of Canvey Island. As characters in their own future-fiction narrative they set about terraforming Essex. Unit Leaders, Michael Richards, Ed Holloway, Corinna Dean and Shaun Murray continued to further develop their interests this year, which also saw each Unit Leader joined by a teaching partner of their choice, so that each Unit now has two design tutors, further supplemented in the spring by the resource for a dedicated Unit-specific Technology Tutor. At the discretion of the Unit this might be a polymath technologist architect, or series of specialist technical consultants. A new curriculum also commenced this year, written to address new professional graduate criteria and attributes in architectural education, but also optimised to the mode of ‘vertical’ teaching design in the Unit system. The MArch has moved home in the School of Architecture and after the expansion of recent years is now once more housed in a united studio accommodating all Units to promote a studio culture and peer-to-peer learning. Within the studio dividing walls create focuses for each Unit, but are open-ended to allow for free movement of students and ideas. The addition wall space also means the programme has the flexibility to hold spontaneous as well as scheduled review or ‘crits’ of design work in-progress. Students design work can remain on-the-wall for all to see until the next pin-up. Students are encouraged to work in the studio outside of scheduled tutorial times to develop a studio culture of their own, and we have promoted the scheduled crits to the rest of the school so students in the BA(Hons) can be inspired by the work of MArch students.

The other way this interaction occurs is through the established Teaching Assistant (TA) initiative at KSA, where MArch students volunteer to assist in the teaching of design and communications to Stage 1 students. Stage 1 students gain from the interacting with mentors that are closer in age and experience to themselves, without the hierarchy of assessment, whilst all MArch students bring the qualification a first degree and the experience of a year of professional practical experience. This almost unique initiative is to be further integrated into the learning experience at KSA from next year with the creation of a MArch ‘Pedagogy’ module that supports the practice of teaching with the consideration for the theory of teaching architecture. MArch students opting to follow this module will be uniquely prepared to assume the role of design educators in their own right as well as practioners on graduation, further enhancing their employability whilst further differentiating the MArch at Kent as a programme of choice for Pt. 2.

In response to strong demand from International Overseas Applicants – who have completed their first degree overseas, without the prescription of the ARB (UK) – we are delight to confirm that we can now accept International applicants onto the MArch Programme, and for those that have an interest will offer advice and coaching on how they might prepare themselves to approach the ARB individually to gain ARB Pt. 1. Students achieving this successfully during the duration of the programme will receive their degree with the same professional exemption from Pt. 2 as their peer group. Entrants without Pt. 1 prior to graduation will still be awarded a degree of MArch (but without Pt. 2). We hope this initiative will bring a wider diversity to the programme and its studio culture and further contribute to the already growing strong applications to the MArch at Kent that means, for 2014_15 we can announce that an additional new Unit - Unit 5 - will further add to the MArch, with Unit 5 Leader Jef Smith developing a Unit focussed on Housing. I would like to take this opportunity to thank all those who contributed to the success of the MArch this year, Unit Staff and Lecturers, Technologists, Critics, Special Advisors, Stakeholders, Kent Support Staff and Administrators and most especially the students of Stage 4 and 5 without whom nothing would be possible. We look to the future with anticipation and wish the MArch Class of 2014 all the best in their future endeavours, confident that they possess and have demonstrated the capability to thrive.

M(ARCH)

As part of our ever diversifying study abroad opportunities on the MArch, one of our Stage 5 students spent the autumn term/Fall Semester at Virginia Tech’s (VT) Graduate Washington Alexandria Architecture Center, outside Washington DC, initiating a thesis project continued here on his return. Whilst from our Erasmus partners we were delighted to receive onto the MArch students from Lille and Rome. Next year we will send two students to VT and welcome another from Rome. The MArch was selected by the British Council to invite applications for Fellowships to develop research and support the British Pavilion’s contribution to the 2014 Venice Biennale, and two of our students will spend successive months living and working in Venice this summer.

UNIT 01 Pentapolis

UNIT LEADERS

Michael Richards & Michael Holms Coats

TECHNICAL TUTORS

Tim Carlyle, Ben Godber, Giridharan Renganathan, Henrik Schoenefeldt

GUEST CRITICS

Peter Ayres, Tom Bell, Keith Bothwell, Diana Cochrane, Gordana Fontana-Giusti, Ed Holloway, Shaun Murray, Chris Seaber, Jef Smith

SPECIAL ADVISORS

Ian Russell, Registrar and Seneschal of the Cinque Ports

STAGE 05

Tosin Ajayi, Sam Ashdown, Karl Bowers, Kristina Buchtova, Tom Bucknall, Jennifer Bull, Alex Deacon, Matt Dennis, Ed Drysdale, Natasha Gandhi, Tarun Khabra, Yennee Lou, Joshua Wells

STAGE 04

Sam Alexandre, Matthew Girling, Aneesah Satriya, Charlotte Stone, Sebastian Willett PAGE 12

Unit 1’s interests continue a fascination established in the MArch programme prior to the Unit system for Kent’s ‘edge condition’ as an exercise in critical regionalism. Post-leisure, post-industrial, changed pastoral agrarian practices and environmental and cultural consequences of land reclamation have all produced fertile ground for critical engagement through architectural proposition. This year under the ensign Pentapolis Unit 1 considered that edge from the perspective of its unique political history; and attacked the Cinque Ports. These were established over time, since a time before the Norman Conquest, initially a collection of five individual settlements dispersed across the coast in proximity to our then enemies. In return for the right to selfgovernment, exemption from taxes, legal autonomy under criminal law, ownership of shipwrecks and their cargo etc., the Ports had the obligation of ‘Ships Service’ - to maintain collectively fifty seven ships and crew to ensure safe passage of the monarch across the channel, protect fishing interests, deter pirates, and fight our enemies of the time. Formalised into a confederation by Royal Charter in 1155 the Cinque Ports of Hastings, New Romney, Hythe, Sandwich and Dover, were supplemented by the Ancient Towns of (new) Winchelsea and Rye following the great storm of 1287, which precipitated the decline of Hastings and New Romney. To this day the fishing boats of Hastings – the original Head Port - are registered in Rye with the ‘RX’ prefix as a result of the failure to establish an enduring harbour at Hastings because of the prevailing seas. The Cinque Ports and Ancient Towns constructed formal corporate and informal non-corporate relationships with smaller ports or ‘Limbs’ and extended to them their rights of self-determination . Today the remaining Corporate Limbs of the various Cinque Ports are: Tenderden (Rye); Lydd (New Romney); Deal & Ramsgate (Sandwich); Folkestone, Faversham and Margate (Dover).

We speculate on what might be the contemporary equivalent to the protected status of the Cinque Ports. Might it be EU Protected Designation of Origin Status whereby unique produce or practices in EU member states are afforded legal protection? If the Cinque Port Acts were rescinded and Ports and Limbs used their liberties to promote what makes them unique, what might be the cultural, economic and architectural consequences? Unit 1 imagines a variety of futures for the Cinque Ports in the 21st Century with architectures developed to address their pasts, presents and futures. Thesis projects include: Hastings Fishers’ Parliament, Winchelsea Wine Victualing Commission, Rye Cinque Port Mint, Hope Malaria Hospital (near New Romney), Lydd Residents’ Contraband & Gliding Club, Hythe Milk Stout Brewery, Sandwich Silk Weavers’ Guild, Deal League of Gentlemen; two propositions in Ramsgate – Memorial In Memoriam, and a Folk Music Laureate; two in Dover – The Immigrant Tower, and Algae Refinery; two in Folkestone - Plastic Fish-n-Chips, and a Marine Salvage Commission, a Brick Makers’ Guild in Faversham, and two projects in old-town Margate - Seaweed Bathing Hospital, and The Margate Ice-cream Commission. Wider-a-field Jamie Hissey (Stage 5) returned from MArch Study Abroad at Virginia Tech (VT) and joined Unit 1 to continue to develop a thesis design project for a Georgetown canal-side Embassy of Tea in Washington DC. Similarly Aneesha Satyria (Stage 4) joined Unit 1 to continue a design for an Environmental Education Centre on Dartford Marshes. Unit 1 would like to thank its Technology Tutors and Guest Critics, the WAAC Faculty at VT, and especially Ian Russell, Registrar and Seneschal of the Cinque Ports, for his knowledge of the constitutional history of the Cinque Ports.

M(ARCH)

Presiding over these towns, as an intermediary to the monarch, a Lord Warden of the Cinque Ports was created, who wielded, as a result, great power and influence. The subsequent establishment of a Royal Navy, the silting and reclamation of the Rother basin and Wantsum Channel all contributed to the decline of the Cinque Ports and most of their liberties were eventually removed by the Cinque Ports Acts 1811 to 1872, though not all and those that remain tantalizingly beg the question Unit 1 now addresses.

PAGE 14

TOSIN AJAYI

Architecture is as subjective as art. Design what you love, not what others think you should.

The community recourse tower seeks to aid a destitute refugee community in the heart of Dover town. With an initial intervention within the existing Burlington House concrete frame, the project is considered at a point in time when this utopian concept begins to stutter. #MARMOT

STAGE FIVE

SAM ASHDOWN

PAGE 16

KARL BOWERS

The architectural basis for the project takes inspiration from the Samuel Beckett Play, Krappâ&#x20AC;&#x2122;s Last Tape; an archive of personal history examining the human condition as well as questions of memory, perception and isolation. Based in the Kent Coastal Town of Deal, the project follows 4 charismatic historical characters while providing a series of contemporary political spaces. The user experience has been designed as a series of moments which embody the distinct characters of the forgotten past, exploring the concept of time.

Waste plastic caught in nets with the regular catch would be treated as a â&#x20AC;&#x153;new treasureâ&#x20AC;? under the modernised Jetsam and Flotsam privilege. Along with a new fish market I created a recycling centre where the plastic could be sold as part of the catch. Being processed along the way up the cliff, the two products would end in the final building, with fish being served on plastic plates and takeaway containers. The design would reconnect the urban cliff top with the Folkestone sea-side.

STAGE FIVE

KRISTINA BUCHTOVA

PAGE 18

TOM BUCKNALL

The Ice Cream Authority, Major Design Project: The setting: A theoretical future in which the Cinque Ports have re-established their autonomy; self-governance, and run the dayto-day law and taxation. Margate would become a tax-free holiday destination, rejuvenating the town. The Ice Cream Authority will act as both an economic driver for the town and as a municipal hub. Brine (from sea water) is used in the process to reduce energy cost.

Based on Winchelseaâ&#x20AC;&#x2122;s great vinotrading reputation during 13th + 14th centuries, the proposal for the Cinque Portsâ&#x20AC;&#x2122; contemporary government combines the functions of four key governing spaces with bespoke wine auction houses; sparkling debating chamber (pictured), red private committee room, white public committee room and fortified archive. These four separate buildings are driven by specific governing requirements and individual vino-characteristics, with the overriding intention to protect and enhance the medieval stone cellars and ruins that each one envelops.

STAGE FIVE

JENNIFER BULL

PAGE 20

ALEX DEACON

Todayâ&#x20AC;&#x2122;s generation cannot comprehend what occurred during war time Britain. Our understanding of what happened is purely educational, diluting the true nature of war and the emotional effects that inherently come with it. A civic representation of respect to this era is the construction of war memorials. Valuing soldiers and civilians that have fallen during times of conflict reminds society how war affect peopleâ&#x20AC;&#x2122;s lives, communities and how this era was united under one common agenda, some might argue has been lost in modern-day life-style.

House of Fishermen The Stade Hastings Creating appreciation and equality for the Fishermen of Hastings through subconscious inheritance of knowledge and responding to fishermen activity.

STAGE FIVE

MATT DENNIS

PAGE 22

ED DRYSDALE

Under the premise of the Cinque Portâ&#x20AC;&#x2122;s privileges being reinstated, this project focused upon Folkestoneâ&#x20AC;&#x2122;s entitlement to Flotsam, Jetsam and Lagan, or the right to shipwrecks. Situated within the town centre, away from the harbour and on the top of a hill, the project responds to the challenge of retrieving shipwrecks from the water and stabilising them. The project provided the facilities for research, conservation and display of wrecks, whilst also challenging the etiquette of antiquities.

The work shown here is a preview from my Sensory Experience project. Based in Margate, Kent, I wished to reinstate historical sea-bathing, with an unusual twist, to attract visitors to the once thriving seaside town. After discovering Margateâ&#x20AC;&#x2122;s unique supply of seaweed, I decided to combine it with seawater for medical treatments for patients with respiratory and skincare illness. However this treatment facility was to provide a completely abstracted experience, burying the baths completely underground with a disconnection from the outside world.

STAGE FIVE

NATASHA GANDHI

PAGE 24

JAMIE HISSEY

The Embassy for Tea Splitting my final year between studying abroad in Washington DC and Kent, I aimed to address an aspect of the current social trends of America through architecture in a way that fulfils the demands of urban design in an innovative and sustainable manner. Being put in this unique position I looked to reflect upon the rich social history of Europe and America and bridge the gap between cultural differences within the capital through the international language of tea.

Architecture. It’s been an eventful 5 years. Love the people. Did the course. Now it’s time to sleep.

STAGE FIVE

TARUN KHABRA

PAGE 26

ADAM NIGHTINGALE

The proposal looks to reinstate the remains of Hope All Saints church that sits isolated on Romney Marsh. It will heal the victims of malaria that plagues the marshland under a religious and Godly pretense but will be inhabited by a machine (the hospital) that will act as the true means of treatment. It is a counterfeit miracle that uses religious healing as a faรงade to hide the inner workings of the hospital environment

The project investigated the economical and sociological factors of the Lydd Cinque Port. Further investigations of Heraldry allowed me to develop a project which focussed upon thresholds within an airport building. The creation of a principality state of Lydd would allow for goods to be smuggled into the EU utilising the production of gliders from the main factory building.

STAGE FIVE

JOSHUA WELLS

PAGE 28 SAM ALEXANDRE; MATTHEW GIRLING

STAGE FOUR

ANEESAH SATRIYA; CHARLOTTE STONE

UNIT 02 Portland

UNIT LEADERS

Ed Holloway and Peter Ayres

TECHNICAL TUTORS

Tom Bell, Henrik Schoenefeldt

GUEST CRITICS

Oliver Broadbent Diana, Cochrane Paul Crabtree, Gordana Fontana-Giusti, Michael Holms Coats, Shaun Murray, Michael Richards, Hannah Soafer, Yorgos Loizos

SPECIAL ADVISORS

Hannah Soafer, Portland Sculpture and Quarry Trust

STAGE 05

Josh Blackledge, Nicholas Howe, Katarzyna Kwiatek, Ash Parikh, Jessica Ringrose, Jacob Robinson, Rosie Seaman, Farhan Shamshudin, Alex Vousden, Tim Waterson, Will Wickers

STAGE 04

Hannah Couper, Jasmine Davey, Christopher Gray, Jason Noble, Tim Smith, Joe Wheeler PAGE 30

The Isle of Portland in Dorset has a long history of subtractive terraforming processes, and these have left extreme physical traces in its landscape. Human impact of the mineral industry has diminished the island strategically, whilst forces of nature – primarily the sea - have eroded the coastline opportunistically. The term Portland Stone has global resonance: The purity of its colour, the product of centuries of time bound within the stone has long been recognised by monarchy, government and institutions, who have all manipulated it through the hands of stone masons to embody and enhance perceptions of their authority. It is found within some of England’s most iconic structures, including St Pauls Cathedral, the Cenotaph in Whitehall, The Bank of England and Buckingham Palace. Unit 2 began by recording fragments of Portland stone embedded in London’s iconic buildings and monuments through observation, drawing, and research. These records were then taken back to Portland to be physically repositioned in the Jurassic landscape, with each student drawing on cultural associations from both contexts to create stimulating juxtapositions. What are the physical and social implications of materials manipulated and translated from this island returning and what resonances will they carry, and possibly subvert, from the edifices of which they were once component. Will this prehistoric island be a place of refuge for these cultural fragments or will it consume them? As the year progressed, students developed individual briefs drawn from observations and study visits to both Portland and London and extended these through dialogue with diverse stakeholder groups, organisations and institutions. Students examined the interplay between global change and changes to the domestic landscape of the people of the Isle of Portland, and considered shifts in the ‘civility’ of this resource-based power structure that literally

M(ARCH)

consumes the ground that they live on. Critical reasoning has cultivated spatial and positional dialogues emerging from this understanding towards a series of architectural propositions. In doing so students have revealed the socio-political thresholds of authority as both territory and commodity, as well as the urgent need for of awareness of humanity’s position within a resource hungry ecology. Unit 2 work evolved through a rigorous developmental process as praxis. Contextual observation and speculative drawing developed into a diverse set of thesis projects which were encouraged to be grounded in technical eloquence, critical through, and resonant in poetic articulation between diverse observations of multiple pasts and speculative futures. Amongst others they include: The merging of human and insect habitats to create ecology rich symbiotic homes; a materials exchange speculating on the embodied wealth of the stone edifice, itself recapitalised through storage and transformation as ‘lagan’; a series of floating sentient ghost refuges to shelter fishermen over the sites of treacherous sea wrecks; an immigration centre poised between the ancient defences of 19th century bastionturned 21th century prison, and the intimate comforts of ‘cookie-cutter citizenship’; an epic integration of the myth of Orpheus and Persephone into an ecology of landscape, natural forces, ancient and new buildings. Unit 2 would in particular like to acknowledge the contribution of the Portland Sculpture and Quarry Trust.

PAGE 32

JOSH BLACKLEDGE

This project engages with the unique, site-specific wildlife on the isle of Portland. Through studying Myrmecology and other entomological conditions required for the survival of multiple species, an architectural masterplan was designed to provide conditions for wildlife to thrive, while also expanding the surrounding urban environment into a previously unused site. Individual houses allow wildlife to travel through, share heat and incorporate insect lifecycles within species-specific structural envelopes. New symbiotic relationships are formed, benefiting both insect and human life.

I still havenâ&#x20AC;&#x2122;t learnt not to go to the bar with Adam Nightingale.

STAGE FIVE

NICHOLAS HOWE

PAGE 34

KATARZYNA KWIATEK

When I was 5 years old, my mother always told me that happiness was the key to life. When I went to school, they asked me what I wanted to be when I grew up. I wrote down ‘happy’. They told me I didn’t understand the assignment, and I told them they didn’t understand life. John Lennon

The thesis explores an architecture of experience through a critique of the siteâ&#x20AC;&#x2122;s cultural and physical assets. The methodology of this evaluation is through the creation of 3 computational agents, Historians, Geologists and Naturalists. Acting as prospectors, they traverse the site assimilating various territories that are of interest to them while archiving material pertinent to their research. The project proposes a railway station that acts as an archival repository and the threshold for the interaction of the three prospectors.

STAGE FIVE

ASH PARIKH

PAGE 36

JESSICA RINGROSE

Inspired by my personal journey through the British immigration system, this project explores the final stages of gaining citizenshipprimarily focusing on the â&#x20AC;&#x2DC;Life in the UKâ&#x20AC;&#x2122; test each potential new citizen must pass. Set in the context of the new immigration detention centre on the Isle of Portland this project aims to challenge the ideas of social integration through the design of selected highbred spaces for the learning of key information outlined by the UK government as necessary for becoming British.

The Petrifying Baths of the Isle of Portland artificially induces a petrification process that naturally exists in Pamukkale and Knaresborough. They are created in Portland by reusing mineral rich water from industrial stone cutting. By petrifying objects, the islanders are given a chance to reclaim the stone and minerals they have lost due to intense commercial quarrying on the island. These phenomena take place inside a unique and magical bathing environment, in an architectural scheme that sits elegantly on its monumental site.

STAGE FIVE

JACOB ROBINSON

PAGE 38

ROSIE SEAMAN

Climatic Actuators: Boundaries & Warnings Shipwreck: Eleanor. R, 1939 Can one exploit the conditions that physically and perceptually shape the landscape in order to augment architecture? Anchored to shipwrecks in Lyme Bay, disparate storm refuges aim to enhance the relationship between the ocean and its boundaries: the sea floor, the land and the atmosphere. Responsive to specific weather conditions climatic actuators endeavour to protect the marine traffic; whilst markers translate the form of the wreck as ghosts; both defensive and symbolic of the disaster.

STONE. A natural material that has endured and survived for countless eons, from the day our Earth was first formed to this day in the early 21st century. Looking at stone, one is reminded of the vast span of time stretching further back than the human mind can grasp, to the birth of the Earth and to the creation of the universe. Even as the pace of technological change continues to quicken, there is no possibility of mankind or civilisation being able to extinguish stone. Takeshi Tanabe (2008)

STAGE FIVE

FARHAN SHAMSHUDIN

PAGE 40

TIM WATERSON

I’m so sad it’s over Nobody Ever

The theatre provided a narrative for investigating the fact and fictional landscapes of Portland. The project is arranged into five approaches culminating at Church Ope Cove. Taking place over one week in spring, each promenade journey will represent a scene from the myth Orpheus and the Underworld. Generating an augmented reality which blurs the boundaries between synthetic and natural landscapes whilst utilising the genius loci of the island to enhance the theatrical experience. Each intervention has a multifunctional program catering for both theatre, local and touristic uses.

STAGE FIVE

WILLIAM WICKERS

PAGE 42 HANNAH COUPER ; JASON NOBLE

STAGE FOUR

JASMINE DAVEY

PAGE 44 CHRISTOPHER GRAY

STAGE FOUR

JOSEPH WHEELER

UNIT 03

Emergent Urbanisms: Deptford & Istanbul

UNIT LEADERS

Corinna Dean & Diana Cochrane

TECHNICAL TUTORS

Tim Carlyle, Ben Godber, Giridharan Renganathan, Henrik Schoenefeldt

GUEST CRITICS

Gerry Adler, Peter Ayres, Gordana Fontana-Giusti, Sophie Goldhill, Don Gray, Anthony Gross, Ed Holloway, Michael Holms Coats, Shaun Murray, Michael Richards, Yorgos Loizos

STAGE 05

Azmah Arzmi, Ana Becheru

STAGE 04

Srimathi Aiyer, Oluwatoni Alebiosu, Aylin Hamid, Hannah Hurst, Elizabeth Innemee, Laura Lefebvre, Pier Paolo Martini, Vanessa Mingozzi, Amelia Payton, Matthew Rice-Tucker, Emmanuella Sackey, Aneeka Shah

PAGE 46

We started the year in ‘an abandoned cop shop’ in deepest Deptford providing DIY spaces for artists to show and make art. We wanted to invent ways of recording human behaviour and activity in the city, before proposing design interventions that could act as catalysts for change; inviting local residents into the artists’ spaces and vice versa. Our methods were intentionally low-tech & highly contextual, exploring appropriate scales, material and economy to the circumstance: forms of DIY and adaptive urbanism. Moving from Deptford to Tophane in Istanbul, capital of world empires for sixteen centuries, we experienced first-hand those many different pasts which have all left their traces in tangible and intangible shapes, as well as a city that is now going through many globalising developments; exploding with vast new construction projects and historic renovations. Our introduction was hosted by Istanbul Technical University where we paired with a group of architecture students for a workshop that matched our preoccupations using design as a device for speculation, together with their layered research material and strategic responses. This rapid frisson resulted in fast-talking and a range of provocative urban scale proposals. Our second site was located in the Beyoglu-district at Tophane. One of the most dynamic areas in Istanbul; an area renowned for its multi-ethnic and multi-cultural composition: Greeks, Armenians, Jews, Roma and Muslims. During the first decades of the Turkish Republic most of the non-Muslim minorities left or were forced to leave the city. The uninhabited houses in Tophane were re-inhabited by migrants, many of them from eastern Anatolia. Additionally Tophane became a transition point for people migrating from Turkey to Europe. Today Tophane is undergoing a rapid process of gentrification with many physical and social changes. Art galleries, hostels and boutiques have appeared in the neighbourhood, which is the result and at the same time the cause of ‘newcomers’, upper class people with ‘cosmopolitan’, ‘globalizing’ lifestyles pushing out lower income groups; ‘original’

M(ARCH)

inhabitants with often more ‘traditional’ lifestyles, mainly due to increasing rents. The historically turbulent environment provided the area with a variety of pasts to be studied and rich patterns and details of contemporary life to be observed and recorded. Our specific site is part of a current development that covers seven historical buildings surrounding an inner courtyard, the Italian Consulate, Palazzo Venezia and the Italian High School. Some of the group chose to migrate to the Bosphorus where Tophane meets the water, and the boundary between Europa and Asia; the site of Istanbul Modern and the proposed new cruise ship terminal. The resulting design projects speculate upon presenting alternative futures to the project that we saw actually being built. They explore the relevance of cultural regeneration in influencing urban processes and of course the tangible built environment, spaces as well as buildings. The group became preoccupied by how new public space can be created as a consequence of proposing cultural projects and programmes, often attempting to simultaneously accommodate the resident ‘local migrants’, as well as the ‘newcomers’ and international visitors. Together the projects offer alternative physical manifestations, that provide spaces of hope in which progressive forces of culture, can seek to appropriate and undermine forces of capital, rather than the other way round. The work represents a range of ‘emergent urbanisms’.

PAGE 48

AZMAH ARZMI

Five years of my life in this course….and I’m still alive. The period of working is a period of recovery from university.

Project Intentions - Hypothesis Reaction Urban : activating the consular identity of Beyoglu site in Istanbul Architectural : application of technological and social research to a Governmental Building with effects on the urban sprawl in recognition of an existing identity Technological : innovative use of passive ventilation through the use of dovecotes Social : in-sourcing of available resources in the context of immigration

STAGE FIVE

ANA BECHERU

PAGE 50 SRIMATHI AIYER; OLUWATONI ALEBIOSU

STAGE FOUR

HANNAH HURST

PAGE 52 ELIZABETH INNEMEE; MATTHEW RICE-TUCKER

STAGE FOUR

AMELIA PAYTON

UNIT 04

Edgelands: On World (Earth) Archive

UNIT LEADERS

Dr Shaun Murray & Yorgos Loizos

TECHNICAL TUTORS

Adam Cole, Henrik Schoenefeldt

GUEST CRITICS

Peter Ayres, Tom Bell, Diana Cochrane, Corinna Dean, Gordana Fontana-Giusti, Scott Grady Ed Holloway, Michael Holms Coats, Michael Richards

STAGE 05

Megan Clarke, Matt Donald, Peter Evans, Thomas Haywood, Rob Owen, Edward Seaman, James Shaw, Ehren Trzebiatowski, Gem Ustaoglu

STAGE 04

Samir El-Nagieb, Asai Hosseini, Ed Pryke, Amrit Rajbans, Ben Roberts, Lawrence Sly, Oliver Treves

PAGE 54

Just outside London, we venture into the Edgelands where reclaimed islands seethes with a network of creeks, whilst nearby, now the fastest growing UK seaside resort, reminded of its fragility, still remembers when it was devastated by a North Sea Flood of 1951. Edgelands is a pioneering site for the petrochemical industry, a potentially influential cause of risk to a bludgeoning population living within its vicinity. This year Unit 4 went to Essex. We were preoccupied by Southend-on-Sea’s seaside amusement park, Leigh-onSea’s everglade and the oil city and suburbia of Canvey Island. Here Unit 4 students collectively contributed to the design of a pioneering village that will reformulate tales of technical ingenuity and extreme commitment around a single guiding idea: that the earth is a trap, and the duty of architecture is the creation of means to escape it – a heist in which the human species steals itself from the vault. Our 21st century village reveals itself in the suburbia of Canvey as a new perspective on space and settlement: footholds for a genuinely 21st century ascent into the dark. All Unit 4’s projects observe three clear stages in the design process: Stage 1: Ground/ Terra-form modeling The complexities of the ground were confronted through communicating the geological, technological and environmental constraints. Sets of drawings and consequential laser-cut models were produced at various scales to explore different architectural potentials and reveal an ecological set of relationships from satellite imagery, GPS tracking, tidal flows, topology, bathymetry, precipitation, and temperature and soil chemistry.

Building/ Village Students developed a building design through their initial findings. In the development of the village, every student designed a sequence of buildings that brought into play processes of temporalization, fragmentation, and detached parts – an architecture of sponge-like complexity. Individual student projects have an archive of the earth embedded with their architecture. The aim was to build and at the same time exhume a village and use it as a space for simulation and as a testing ground for new technologies, with the understanding that the human program is interfaced with a programme concerned with the ground. Stage 3: Technology Technology was developed with All Design as a series of delicate infrastructures and mud slides. A series of workshops in All Design Studio developed each project’s potential to amaze. Unit 4 students designed complex architectural environments with the poetic simulation of new technologies that are yet to find form. We plundered a new wave of energy resources – tar sands, fracking, and sub-salt deep-sea oil deposits, already contemporary methods to harvest energy, and anticipate future technologies of methane clathrates. The worlds on a burn, and it can’t go on (but it carries on), even though they really have to stop!

M(ARCH)

Stage 2:

PAGE 56

MEG CLARKE

Once the oil runs out, the economy boom in that area ends. Not only are the industrial oil refineries left but homes and businesses; money dries up and deprivation sets in. Canvey will see the same fate as many other oil cities if something isnâ&#x20AC;&#x2122;t done to bring other businesses to the area. The architecture is to filter the pollution created and to prepare the island for future development. Canvey will not turn into an abandoned oil city once it runs out.

Alleviating Fluctuating Fluid Territories uses flooding as the motive for a new type of architecture, an architecture that unlike the tradition of defending against flooding actively embraces it. Acting as a warning system for Canvey Island and situated across a landscape designed to discharge and retain bodies of water at different rates, the proposal includes a series of structures that mechanically express through analogue movement the variable factors that contribute to a flood.

STAGE FIVE

MATT DONALD

PAGE 58

PETER EVANS

Instances of Sonority Informed by the Maelstrom of acoustic landscapes and the degradation of musical performance in a sonically isolated environment, an acoustically adaptive concert hall responds to the fluctuating conditions of Hole Haven Point. Implementing a cause-and-effect ethos, the building vibrates, isolates and modulates according to inhabited states and remoulds itself to control the tempered acoustic scale within. A generative approach to the levels of skin informs the diffusion, reflection and absorption of sound and is demonstrated through tonal illustration

The proposed â&#x20AC;&#x2DC;Seven Veils Nightschoolâ&#x20AC;&#x2122; resides on the east coast of Canvey Island Island, specifically located on a former landfill site, now the Canvey Heights Country Park. The aim of the Nightschool is allow the Island to flourish as a community resisting the current economic and social pressures from the mainland. The title and message of the Nightschool aims to re-capture the spirit of traditional crafts within the ideologies of modern day examples, while providing more inspiring learning spaces to conduct and preserve such professions.

STAGE FIVE

THOMAS HAYWARD

PAGE 60

ROB OWEN

In writing this I’m surprised at the lack of alterations to word count, submission date and that the overall direction for the written piece hasn’t changed. As such I feel utterly clueless in what to write, so I shall leave you with the words of a man far wiser than I; ‘Not today, but one day’.

In a changing world, subject to extreme environment challenges, I have been driven to design sustainable housing solutions. This led to investigating water-basing living, culminating in the design of a full scheme for flood-proof housing. Using Canvey Island as a pilot, the scheme includes the Aqua Pods themselves - housing solutions that can be docked on land and convert to floating housing, a large structure containing a manufacturing plant to create personalised pods, as well as a integrated community hub, and a floating harbour. To compliment this new community, the power is provided by a combined wave and solar farm using the unused expanse of the sea for floating solar panels.

STAGE FIVE

EDWARD SEAMAN

PAGE 62

JAMES SHAW

Having spent both my part 1 and my part 2 at this school I have been lucky enough to see what was, and still is, a relatively young school develop into an excellent learning environment that is now producing some fantastic examples of architecture across all the years. It only seems like yesterday that we were in our first year enjoying the delights that bar sugar had to offer us in Barcelona and now we are leaving after 6/7 years of studying together. I wish all the best to my fellow graduates and look forward to seeing you all again in the future.

The design is delivered after a report released by the Food and Agriculture Organisation of the United Nations (FAO), responding to the benefits of Entomophagy – ‘the practice of eating insects’. The proposal is an agricultural centre, cultivating regional and tropical insects inside an array of enigmatic chambers that react to the local climate of Canvey Island. The selected insects that are rich in protein are reared and harvested and distributed as an alternative food source. The project focuses on educational experiences and rejuvenating biopolymer skins extracted from the exoskeleton shells that encapsulate the harvesting chambers.

STAGE FIVE

EHREN TRZEBIATOWSKI

PAGE 64

CEMAL USTAOGLU

This isnâ&#x20AC;&#x2122;t the end. This isnâ&#x20AC;&#x2122;t even the beginning of the end. However, this is the end of the beginning. Winston Churchill

STAGE FOUR

EDWARD PRYKE; AMRIT RAJBANS

PAGE 66 LAWRENCE SLY; OLIVER TREVES

STAGE FOUR

OLIVER TREVES; AMRIT RAJBANS

PAGE 68

STAGE FIVE

PAGE 70

LIFE AT KSA

/03

BA(HONS) ARCHITECTURE

/BA

BA(HONS) INTRODUCTION PROGRAMME DIRECTOR Prof. Gerald Adler

PAGE 78

The BA programme has had an exciting and eventful year. For those of us engaged in the politics of architectural education, this was the first year of running the newly-prescribed professional (ARB and RIBA) criteria and attributes. We took this opportunity to refresh the programme, with new modules in (Stage One) Ancient & Medieval Architecture; (Stage Two) Collective Dwelling and Renaissance to Neoclassicism and the enhanced 30 credit Dissertation. Stage Three Urban incorporates the previous discrete MPL teaching with students writing a ‘practice’ report based on their concurrent design project. The Programme feels much invigorated, with greater seriousness given to culture and technology, both of which inform design to a greater extent than was the case before. The Dissertation, in particular, has seen work of great sophistication and depth, examples of which can be seen in the exhibition. This has contributed to the KSA Part One graduate being a well-rounded individual, academically grounded and fully conversant with matters pertaining to architectural culture and technology, manifested in design projects which are ‘real’ but also inspiring and progressive, in terms of their cultural, environmental and technical responses to specific contexts. The effects of the University’s investment in staff have become fully apparent by now, so that a fully research-active cohort is able to bring its expertise and enthusiasms to both studio and seminar. To name but one area, the promise of the new Digital Crit Space in its first full year of use is being progressively realised through carefully targeted teaching in digital means of presentation, ranging from simple 3D representations right through to complex BIM (Building Information Modelling) techniques that have now become a construction industry standard. Gerry Adler Deputy Head and BA (Hons) Programme Director

/03

STAGE THREE BA (HONS) ARCHITECTURE

/BA

STAGE 03 INTRODUCTION PROGRAMME COORDINATOR Dr. Timothy Brittain-Catlin

PAGE 80

The theme for the autumn design project in stage 3 — Modular — was that of transition: transition from child, to pupil, to independent adult …; and transition from a carbon-hungry society to a carbon-free one. Designs for a school house, an educational building, student housing and starter homes where the vehicles for these investigations. Students explored modularity in its many forms and at many scales, from individual tesserae, to proportional systems and modular construction cassettes, up to unit planning and urban blocks. Their designs for new housing and educational facilities were located on a vacant site - currently used as a car park - in the centre of Canterbury adjoining the river Stour. Early in the term students worked in teams all day to brainstorm urban design solutions at a charrette held in in the school. At the end of the day they presented their sketch proposals to their tutors and peers. In much contemporary housing, and particularly in the UK, space is very much at a premium and there is often discussion about what makes a home of reasonable size. Developers are keen to maximise profits and purchasers or tenants often have little choice, so areas are frequently much lower than is desirable. Some are calling for a return to the Parker Morris areas of the 1970s or even higher standards. Storage space is also very important, and is often overlooked. There is a lively current debate, and a government review of housing standards is underway. The RIBA campaign, Without space and light, is arguing for space standards to be incorporated within building regulations, and for raising the standard of natural light in dwellings. Students explored all these themes as well as the perennial issues of building with commodity, firmness and delight, joined by the post-Vitruvian and preeminent imperative of our age – to build sustainably. Keith Bothwell

The site was a large one and the first task was to define a masterplan which responded to the complex urban context. All schemes were required to design a new building that fronted Rochester High Street, either alongside the surviving archway – Mr Jasper’s home in Edwin Drood – or in a gap site further to the west. At present, entry into the cathedral precinct is untraditional and informal compared to most of those in England. Students were free to leave any part of the site without buildings, or to distribute the various uses in different locations. Everyone was required however to provide a landscaping plan for the whole of the site, and pedestrian and vehicular access as well as ceremonial routes between the major public buildings. We studied the historical courtyards of Oxford and Cambridge colleges, as well as all other historic English cathedral closes. It was a priority to design a complex which projected a sense of collegiality whilst housing its various functions in a way which would enhance collaboration between artists from different disciplines – one of the most successful aspects of the school’s current studios in the historic dockyard buildings at our Medway campus. Most challenging of all was the design of a scheme which matched the grand scale and monumentality of the cathedral, castle and castle walls – and the distant views of them from the broader urban context within the town and beyond. This project is one of a sequence at KSA which investigates historic town centres in the county of Kent. Dr. Timothy Brittain-Catlin

STAGE THREE

This year’s Urban final design project was the most challenging yet. Our site lay between Rochester cathedral and castle, an area which was once part of the cathedral close immortalised in Charles Dickens’ The Mystery of Edwin Drood but has since lost nearly all its original houses. The brief was the design of a new postgraduate college building for the University of Kent’s new School of Music and Fine Art, a complex of workshops, studios, music practice and seminar rooms as well as accommodation. The brief was devised by tutors Michael Dillon and Timothy Brittain-Catlin.

PAGE 82

MARY ADETURINMO

Kent school of Architecture has been a wonderful place to study. Over these last three years the students as well as the staff have been extremely supportive, which allowed me to grow as a student.

Less is more Mies van der Rohe

STAGE THREE

SAIRA AHMED

PAGE 84

ZAEEM AHMED

I didnâ&#x20AC;&#x2122;t even want to come to UKC but they begged me. So I allowed it and gave them charity. I hope you realize that once you have seen my drawings you have already seen the highlight of the catalogue. UKC have managed to fill in the blanks. But props to the rest of you for trying. On a serious note, Itâ&#x20AC;&#x2122;s been a blessing having been able to work with such motivational people and I pray that everyone is guided to suit their talents in the future. Peace.

During the last three years in Canterbury I’ve made many new friends who have become part of my life. It didn’t matter where we came from but what mattered was the happiness we brought to one another. Although architecture showed no mercy with the amount of work we had to do, there was no better group than the 2014 graduates to do it with and they will all be missed. I don’t believe I’m saying this but Studio B will be missed too. Hopefully this isn’t goodbye and we’ll all manage to stay in touch to remind ourselves of the good times we spent together.

STAGE THREE

HASSAN AL RAISI

PAGE 86

KHADIJA ALAALI

My time here at Kent has been a roller coaster of amazingness. Thanks Kent for these 3 years, all good memories and unforgettable people that will greatly be missed. Time for another rollercoaster now..

I travelled from the north on my boat, all the way from YORK! To come to UKC to dominate the architecture scene! I saw the brief… I designed the buildings… I got the 65’s and 68’s… I have left you these drawings… My drawings… My legacy… Winter is coming… I must travel back to the forsaken home land. Remember me… Dream of me… Fare Thee Well Leonardo, (King of the North)

STAGE THREE

LEONARDO ALI

PAGE 88

ZAIN ALJAMEA

My experience at the Kent School of Architecture has been phenomenal these past three years. The amount of time put into each project has definitely paid off, and I got a chance to greatly improve my skills with different programs. I definitely wonâ&#x20AC;&#x2122;t be missing the sleepless nights that were spent in studio, but I will definitely miss the people and the family that got me through each and every day.

Keep moving forward. Cornelius Robinson

STAGE THREE

FATIMAH ALZAIN

PAGE 90

CHRISTOPHER APPLETON

Iâ&#x20AC;&#x2122;ve thoroughly enjoyed studying the many different aspects that form architecture and have developed my own style, incorporating knowledge of technical and environmental design to enhance the aesthetics. By using a highly local approach to planning and design, using contextual, historical and contemporary inspiration, I make my schemes as convincing as possible. I look forward to working on real projects and seeing buildings from my imagination constructed.

Landscape Overview Urban Site Section Urban Concerthall

STAGE THREE

AI HWA BAH

PAGE 92

ALEXANDER BALDWINCOLE During these three years I have developed and refined what specifically interest me in terms of design. The final design module of Urban was one of many ups and downs, as although I was initially against the scale of the project I did design everything that was required to a standard that fulfilled my own ambition. The best part about this project was the diversity in designs presented on the assesment day, this was one of the first modules where we as students got to dictate what we felt we needed to present.

Dedication + coffee + sleepless nights + clone stamp tool + amazing friends = 3 years at KSA

STAGE THREE

ANDREEA BARBU

PAGE 94

LINDA BARNSLEY

3 years studying architecture has brought me new friends and helped me develop many skills. From technical drawing to Photoshop and AutoCAD. Walking into a building I can appreciate spaces on a new level, and urban spaces seem more complex and exciting.

Site Plan Rainy Perspective

STAGE THREE

ANNA BARON

PAGE 96

MANVIR BHANGRA

Be Brave. Take Risks. Nothing can substitute experience. Paulo Coelho

This quote pretty much sums up my time at KSA. The bolder you are and the bigger risks you take with your designs, the better they pay off â&#x20AC;&#x201C; not only in the feedback you receive but also the experience you gain!

The few words that got me through my last 3 years are ones of Frank Gehry: Your best work is your expression of yourself. Now, you may not be the greatest at it, but when you do it, youâ&#x20AC;&#x2122;re the only expert. It encouraged me to be happy with my own work and my own style.

STAGE THREE

ESTHER BROWN

PAGE 98

TOM CHAPPELS

After enduring those 3 years I better be rich when Iâ&#x20AC;&#x2122;m older.

As a student of Architecture, I believe an integrated concept and an honest material palette is paramount. By embedding components and materials that are intrinsically honest at the very heart of my schemes, such as shipping containers in Modular, and post-tensioned concrete and corten steel in Urban, I strive to provide an evocative and textured foundation upon which to challenge the perceptions of modern architecture.

STAGE THREE

MATTHEW CHATER

PAGE 100

JESSICA CHIU

It was a fun chapter in life; filled with many memories, sleepless nights and a few tears but was well spent with some very good company.

I aim to communicate a personal, nostalgic and emotive style of architectural rending through my hand drawings without solely depending upon the medium to explain my schemes. My time at KSA has highlighted the importance of communicative stand-alone orthographic drawings, hence throughout my final year projects I dedicated my time to the detailing of these images. Both of the final schemes were planned around strong concepts. My modular student accommodation project was based upon the idea of a vertical flat arrangement, with roof top kitchens looking out over Canterbury. Whereas the urban project for me personally, was about creating a concise Masterplan of follies, taking precedent from Parc de la Villette in Paris.

STAGE THREE

LOUISE COOK

PAGE 102

EDWINA COWARD

Nearly half way.

I have learnt many new skills during my three years at KSA, but my favourite has to be hand drawing. When I am handed a project brief I go straight to my design book and sketch out ideas, I find by hand drawing, it allows me to see how each room works it terms of space and light. It also heightens my sense of achievement. I am not only proud of the building I have designed, but also of the images produced to describe it.

STAGE THREE

AMANDA COX

PAGE 104

ALEXANDER CRAIG-THOMPSON We shape our buildings; thereafter they shape us. (W. Churchill) â&#x20AC;Śand our degree shapes us too. Three great years at Kent have taught me a lot - now a chance to sample real-life for a year, before duly returning to the studio once more.

Work. Hard.

STAGE THREE

WILLIAM DAVIDSON

PAGE 106

BEN DAVIS

Dare to know. Dare to act. Dare to fail.

During the three years of architecture, spending the nights in the studio, I have learnt a lot about myself. It has been a wonderful three years and I will look back with pleasure.

STAGE THREE

NILUKSHI DAYANANDA

PAGE 108

ANNABEL DREWETT

Be it model railways or dollhouses, models have played a part in all of our lives. We can all relate to miniatures. Gary Tomkins, Art Director, Models

Through the course of my time at KSA I have developed a multitude of skills in design and have spent much of my final year focusing on three dimensional physical representation of spaces. Through model making at varying scales I have conveyed designs under the Modular and Urban assessment briefs. I have particularly enjoyed my time at Kent and the freedom to use varying softwareâ&#x20AC;&#x2122;s to convey my designs. Sketching and photography have been passions that I have developed in my time here and have used to enrich my presentation skills.

STAGE THREE

CHARLOTTE EARNSHAW

PAGE 110

BONITA EBUEHI

Studying architecture here at Kent for the past three years has been a great experience. I have learnt a lot about myself whilst developing a broad range of skills, whilst meeting some amazing people along the way. Although the end of this course has been bitter sweet, Iâ&#x20AC;&#x2122;m excited to begin the next chapter and wish everybody the best of luck!!

So may tears and so little sleep, but somehow I still can’t think of anything I’d rather do than be an architect…

STAGE THREE

TIRION ENGLISH

PAGE 112

ARSLAN FARRUKH

A long awaited end came way too early. I have achieved a lot more that just a degree in 3 years. Best of luck and love to all the survivors.

The Urban project in hand explores how a sculptural form can be used effectively in an urban infill, moulding itself to the contours of the site and making parasitic connections to the existing context to create unconventional and stimulating public spaces . The project goes on to explore the interior juxtaposition of rigid orthogonal forms contrasting against the undulating form of the shell to create spaces that users can dwell in and be inspired by.

STAGE THREE

SEBASTIAN FERRAO

PAGE 114

SAM FLEMING

For my Urban scheme, I focussed on creating an arrangement of buildings around a central square and concentrating on creating interesting spaces between the buildings. For my Modular scheme, I put a lot of attention into the modular planning of the flats which involved the repetition of 3 different flat variations which were rotated around an L-shaped building. The most habitable rooms have glazing orientated south-east/ south-west to benefit from sunlight and solar gain, whereas rooms such as kitchens, bathrooms and circulation spaces are north facing.

Canterbury will be one of the most memorable parts of my life, as I have gained lifetime skills during my three years at University of Kent. I have been privileged to be taught my final design module Urban (stage 3) by one of the most amazing, caring and supportive tutor, Timothy Brittain-Catlin. I am really glad that I chose University of Kent to study Architecture, as I have had an amazing social and educational experience.

STAGE THREE

PAYAL GANDHI

PAGE 116

VICTORIA GINOSKI

I am very glad I chose the University of Kent, as the school has met my expectations and I really enjoyed my three years on the architecture course. I improved my drawing skills, learned a lot of new computer programs and gained an understanding of how buildings work. This may not be a final goodbye from me to Kent, as I am considering returning for my masters.

Investigation into the military history of Rochester, the location for the new School of Music and Fine Art; Chatham, the location of the old, allowed experimentation with forms of functionalist architecture primarily associated with war and decay. Combining with a personal interest in brutalism, a form emerges that finds compatibility with the Norman castle that dominates Rochester, and the site is punctured with a series of concrete follies, to be explored within the depths of a forest. Ta da.

STAGE THREE

THOMAS GORRINGE

PAGE 118

EMILY ROSE HARRIS

My time at Kent has been thoroughly enriching; not only have I developed my designing abilities, but I have become increasingly aware of my passion for the wider elements and impacts of Architecture, whether it is historical, cultural, or social. I have written for the culture section of the InQuire, including various architectural pieces, and I aim to continue writing about architecture and design in the future, potentially undertaking a masterâ&#x20AC;&#x2122;s degree in Architectural History and Theory commencing in Autumn 2015.

From my three years here at KSA I have enjoyed and learnt how to develop my skills as a designer, ultimately completing tasks that I never thought I could accomplish if I looked into the future as a first year student. The Urban project manages to harness the interesting relationship between the castle and the cathedral in Rochester, with my design attempting to complement its surroundings by paying particular attention to not only the scale and proportion, but also in the creation of urban spaces, bridging this existing gap between the castle and cathedral.

STAGE THREE

EMILY SARAH HARRIS

PAGE 120

THOMAS HART

The Medway area has a population of 280,000 yet lacks any real great civic space. The scheme looks to address this by creating a new public square on the site that links the castle, cathedral, Rochester town centre and the new College of Music and Fine Arts. The college itself takes its form from the composition of artwork and cinematography to enhance the relationship between the two dominant landmarks of the castle and cathedral crafting a series vistas on the site.

I have learnt a lot at Kent and each project has progressed becoming a new challenge for me to overcome. The design projects have been something I can throw myself into with sketches and research and is countered by other modules allowing me to practice my writing skills and learn about working in practice. Modular allowed me to explore an increasingly popular building method, as well as designing without a standardised result. Modular had the widest project scope yet.

STAGE THREE

SHANNEN HAWKES

PAGE 122

LIAM HEWITT

Adaptability,teamwork, independent working, and responding to criticism are just a few of the transferable skills I have augmented during my studies. My work has evolved from a passion for enhancing peoplesâ&#x20AC;&#x2122; experience through psychological understanding, alongside that of pure 3D form. Demonstrated in my Dissertation, I researched the effect of childhood experiences of space, and their effect on adult spatial preferences. My degree has opened up to me the diverse amount of career opportunities available to an Architecture graduate.

My time studying Architecture at the University of Kent has been most instructive and rewarding. It has confirmed the passion I have for architectural design and reinforced my desire to pursue a career in concept driven and sustainable architectural design. Thanks to all of those who have made my university experience enjoyable and the long hours in the studio bearable. I will miss you all.

STAGE THREE

CORDELIA HILL

PAGE 124

EMMA HILTON-GRANGE

Both my Modular and Urban projects hold the user at the heart of the design, focussing on their wellbeing and experience in every aspect of the building. My time at KSA along with my dissertation has allowed me to explore how to create architecture that produces the best experience for those connected to it, something I want to continue to develop in industry. Itâ&#x20AC;&#x2122;s been a challenge but a lot of fun thanks KSA!

Whatever you do, don’t work too hard… and just think; it’ll all be over soon. Well thanks Grandma, but there are another 2 parts yet.

STAGE THREE

NATASHA HO

PAGE 126

CHARLES HOPE

URBAN: Experiencing the industrial informed building begins with a wild meadow in which sculptures are placed; as one of few open spaces in Rochester it was necessary to maintain a vibrant ecosystem. Visitors enter the building via an amphitheatre for spontaneous, informal performances. The gallery is part of a journey that ascends towards a viewpoint of the River Medway before interacting with the origin of the artwork: the workshop and studio. A symbolic house form shelters the student common room.

Urban: Creating an axis of acoustics between Rochester Castle and Cathedral, creating a monumental crescendo in the form of a new concert hall. Modular: Student flats created through modular living. KSA has greatly improved my skills as an architect and designer, helping to refine my style to something which is unique to me and I hope to develop this in the future.

STAGE THREE

ALEX HYETT

PAGE 128

DANIEL JACKSON

Thanks to everyone Iâ&#x20AC;&#x2122;ve had the pleasure to meet over the past three years.

It has been a great three years, I can’t believe how quickly it has gone. Thanks to everyone who has helped me out along the way. I guess it’s time to move out of the studio if you know what I mean.

STAGE THREE

ROBERT JOYCE

PAGE 130

ANDREA KING

Iâ&#x20AC;&#x2122;ve had a memorable time at Kent School of Architecture, one which I will never forget. What I have learnt here has created solid foundations to enable me to progress and further my knowledge of architecture. Iâ&#x20AC;&#x2122;ve especially enjoyed how we have always been encouraged to develop our own styles; mine personally being focused around freehand drawing and sketching. I hope I will continue to develop these skills and I look forward to what the future will bring.

You employ stone, wood and concrete, and with these materials you build houses and palaces. That is construction. Ingenuity is at work. But suddenly you touch my heart, you do me good, I am happy and I say: â&#x20AC;&#x2DC;This is beautiful. That is Architecture. Art enters in. Le Corbusier, 1927, Towards A New Architecture, 165.

STAGE THREE

WILLIAM KING

PAGE 132

MAUREEN KINYUA

This journey has been worth it

It has been a challenging three-year experience for me. I created my own style and learnt a lot of architectural theories and skills. I will cherish the friendship with my course mates and those sleepless nights with them!

STAGE THREE

JASMINE LAI

PAGE 134

ALBERTE LAURIDSEN

My final project consists of an art school located in sculptural origami towers, accessed via a series of radial tunnels. Skylights formed of undulating tubes draw people through the tunnels towards the base of the pods, where the user then winds their way up through the core. The proposal focuses heavily on the need for privacy for students, the respect for Rochester Castle and Cathedral, and maintaining and vitalising the valuable urban green space.

Architecture is a discipline that takes time and patience. If one spends enough years writing complex novels one might be able, someday, to construct a respectable haiku. Thom Mayne

STAGE THREE

EMILY LAW

PAGE 136

JOSHUA LEAROYD

All of us now know what we let ourselves in for by entering into an architecture degree. How we all deserve to be certified with a scroll by Kent School of Architecture for our efforts. Best of luck to all in the future.

BA Architecture at Kent has allowed me to develop not only as a designer but a person. A diverse range of modules has provided a sample of many topics, from which I have developed a keen artistic interest in philosophy and architecture. Thanks to all who have inspired and helped me throughout these 3 years, and best of luck for the future!

STAGE THREE

LAVINA JAK KING LEE

PAGE 138

LOK WAI CHARLES LEUNG

In the first design project of my final year, I experimented with the idea of a reduction in unnecessary circulation space found in many student accommodation buildings. This resulted in a cluster format of planning that is efficient, and better promotes student interaction. The final project explained at its fundamental level involved the â&#x20AC;&#x153;humanisationâ&#x20AC;? of the dominating remains of a castle wall, and through which encourage human engagement with this otherwise seemingly unapproachable piece of history.

Daring ideas are like chessmen moved forward. They may be beaten, but they may start a winning game. Johann Wolfgang von Goethe

STAGE THREE

MARIA-MARILIA LEZOU

PAGE 140

MAN YEE LI

Ahhh you guyyss!

All done.

STAGE THREE

TIMOTHY LINCE

PAGE 142

PETER LOADER

Now that architecture is enjoying a golden age, the question of what all these dazzling structures signify for society seems more urgent than ever… form needs to be tailored to things that engage and affect us. Herman Hertzberger This I read in my first week at Kent, and now nearly three years later I see how everything I have learned can be boiled back down to this. I feel ready to go out and join this ‘golden age’.

STAGE THREE

JACK LUSCOMBE

PAGE 144

JESSICA LYDIATE

My lovers, the past three years have been amazing and I will miss everyone who has gone through this journey with me. The studio sleepovers have created memories I will never forget. I have learnt invaluable skills at Kent University that I will take into my architectural career. Itâ&#x20AC;&#x2122;s been FAB!

I have enjoyed my time at the University of Kent. Over the last three years I have learnt so much from the history of architecture to coming up with an idea of how to design buildings for the future. Today architecture is all about designing buildings using the right materials and justifying it. Designing environmental and sustainable friendly buildings which work efficient and are architecturally pleasing.

STAGE THREE

LEONARD MUBVIRWI MAKONI

PAGE 146

ANNA AGNIESZKA MALICKA What an amazing 3 years! I feel like I’ve learnt so much and it’s so hard to believe that it’s only the beginning of my architectural journey. However, I looking forward to embark into the new unknown. I will never forget the people I’ve met, thank you for making this degree even more fascinating!

Three years full of caffeine and allnighters but still three amazing years! In fact, through the whole course I never had enough free time to see my friends and relax at home. However the KSA students became my friends and Marlowe my home. Through my journey as a student in KSA I realized that Architecture course is fuuuuuullll of ups and downs, good and bad feedbacks. I will miss EVERYONE in Marlowe!!! My classmates, my tutors, the employees and of course the ladies in Create!!!! :D <3

STAGE THREE

EVRYDIKI MARKAKI

PAGE 148

DANIEL MARPLE

Thoroughly enjoyed my time at Kent and looking forward to what the future holds.

My Modular and Urban projects explored the concept and aspects of metabolic architecture in terms of design and function. Studying architecture in the University of Kent has been an inspiring experience, enabling me to develop maturity and perseverance. Wishing the best to all. Fear not for the future, weep not for the past. Percy Bysshe Shelley

STAGE THREE

ULAN MATON

PAGE 150

CHRISTOS MATSIAS

My time at KSA, offered me a very well-rounded education in architecture. Besides the architectural skills I acquired through design projects, I had the chance to be trained in several CAD programs as well as refine my model-making skills

The last 3 years have been amazing and I will forever appreciate sleep so much more! Good luck everyone!

STAGE THREE

CHLOE MAUNDER

PAGE 152

ELLEN MCBRIDE

My time spent at Kent studying Architecture has been wonderful. I’ve really enjoyed the opportunity to design a wide range of spaces from art galleries to health centres, on a fantastic set of sites all located in Kent. It’s been an amazing three years and to quote Frank Gehry, it’s time to: bumble forward into the unknown.

My Urban project focussed on learning from and reinterpreting the vernacular architecture in the surrounding area of Rochester. As my final degree project, this was a culmination of the ideas that I had been exploring from over the past couple of years. Iâ&#x20AC;&#x2122;ve had a great three years at Kent School of Architecture, thanks to my tutors and friends for making it so good!

STAGE THREE

DANIEL MCBRIDE

PAGE 154

JOSEPH MCKIBBEN

My response was to bring new connectivity to the castle grounds through sequences of engaging public spaces, including a sculpture enclosure that creates direct access from the north of the site to the newly formed public square. Wide spaces were designed for public areas while narrow spaces for private areas of the site. The buildings were orientated to align with the main view into the site from the high street, the most public building forms the foreground while the more private fills the background.

Kent is an amazing place to live and study. Throughout the years of studying in Canterbury I had the opportunity to meet people and make friends from all over the world, learn new cultures and a way of living. The course I attended was interesting mostly because of the various architecture topics that we explored during these years and the amazing experiences received from the trips we made both inside the UK and abroad. Architecture is a course that needs passion, imagination and courage. I am proud that I can see buildings not only as a building but as a piece of art and a great engineering innovation.

STAGE THREE

STYLIANI MICHAEL

PAGE 156

MARIJA MILOSEVIC

I am incredibly blessed to have shared my joy, happiness and my struggles with these amazing people that I can call my friends. Iâ&#x20AC;&#x2122;ll remember and cherish every moment spent in the studio with our big architecture family. This journey has been amazing thanks to you!

Don’t cry because it’s over, smile because it happened. Dr. Seuss The last three years have indeed left a massive dent in my wallet… However I do not regret a single second of it. It has been an incredible experience that I will never forget. Countless hours spent in the studio tearing the architecture scene upstress free! We have all come so far and it’s now time to look forward to the future. Peace out!

STAGE THREE

JOSHUA MURPHY

PAGE 158

EVAGELIA NELLA

Studying architecture at the University of Kent was an inspiring and eye-opening experience. It has made me a more complete person on a professional, personal and cultural level.

Thank God for Photoshop, coffee and noise cancelling headphones.

STAGE THREE

PATRICK Oâ&#x20AC;&#x2122;KEEFE

PAGE 160

TOMIWA ABAYOMI JOSEPH OLAUDE My time at KSA has been fantastic, I have been able to grow and develop as an architecture student and designer. My design skills have developed greatly since first year and I am so proud of how far I have come. My project work shown have been selected from our last two modules Modular and Urban, mainly perspectives showing different spaces in each project, some colour renders and some black and white renders to show the depth of spaces.

Music is liquid architecture; Architecture is frozen music. Johann Wolfgang von Goethe And he couldnâ&#x20AC;&#x2122;t have been more right.

STAGE THREE

GULCE ONGANER

PAGE 162

KATARZYNA OSKROBA

I studied architecture for three years and all I got was this lousy caption.

if nature has shaped the canvas, it is human endeavour that has guided the quill. Dedication, determination and diligence have ultimately governed my work ethic and it has been through the passion of design that has motivated and driven my academic studies. The Kent School of Architecture has provided me with the best three years of academic and extra-curricular opportunities possible and I look forward to embarking upon my career path as an Architect.

STAGE THREE

MEESHA PATEL

PAGE 164

JEREMY PATON

As an international student who has immigrated to the UK, it may be the friends and contacts Iâ&#x20AC;&#x2122;ve made during my time at Kent, which prove to be the most valuable outcome Iâ&#x20AC;&#x2122;ve gained.

I have so many great memories from my time studying at Kent including being involved in Article 25 and becoming President in my final year, but architecture wise I have hugely enjoyed my time here. There are of course those times just before a crit when you cannot see yourself getting everything done in time but then there are the moments when you find out you did better than you expected. One example was when I was certain I was going to do badly in Landscape before having my best crit and subsequently getting a first for what was probably my favourite project.

STAGE THREE

RUARAIDH PECK

PAGE 166

MIGUEL PELUFFO NAVARRO Three years of architecture done and in the pocket and I find myself very grateful for all the amazing people I have met at university. Just want to wish everyone the best and good luck in your future endeavours. Stay in touch people!

This course taught me to appreciate tasty home-made food, breezes of fresh air and a good nightâ&#x20AC;&#x2122;s sleep - especially on my own bed. After surviving the most stressful of times before deadlines, I think I can proudly say that nothing ever is going to be as challenging and demand as much beauty-sleep as I had to sacrifice! I want to thank everyone who helped me through the crazy times but also the ones who enjoyed the fun times at my side!

STAGE THREE

XENIA POPOVA

PAGE 168

BILLY RADFORD

3 years at Kent has gone so fast. Iâ&#x20AC;&#x2122;ve learnt a lot but there is still a lot more that I want to learn. My time here has been as enjoyable as it has been challenging.

This course has given confidence and experience on a range of software. Iâ&#x20AC;&#x2122;m really glad I did this course as it has taught the reality of what true architecture is and what it involves.

STAGE THREE

ANITHA RAJENDRA

PAGE 170

HANNAH ROZENBERG

First year was a challenge and the discovery of a new life experience. Second year was difficult yet amazing. Third year was a nightmare but a wonderful one. Architecture is a difficult course but I would not have wanted it any other way! I have enjoyed all of the stress, the hard work, the feeling of accomplishment and most importantly, sharing this experience with people who will be my life-long friends.

A great three years, having learnt a lot! It always seemed impossible until it was done.

STAGE THREE

GEORGE SAMBROOK

PAGE 172

ANDREW SCOLES

Arriving at Kent, I was unsure of what to expect. It has not been an easy journey, but the experience has taught me to explore and develop passions in fields that were once alien to me. I enjoy working with models and am fascinated with circulation and light. Aside from learning new skills, my time here has taught me much about myself and I now feel confident and well equipped for my future career.

These past 3 years have been challenging to say the least. Good luck, I wish you all the best!

STAGE THREE

HOLLY SEAGER

PAGE 174

VICTORIA SELLWOOD

My time in the School of Architecture has helped me develop my design skills as well as improve my confidence in presenting my ideas to large groups. The best part of the 3 years has been the dissertation module, in which I could study a subject area of my choice; I chose legislation surrounding Zero Carbon Housing.

Being an architect is knowing something about everything, not everything about one thing. M. Frederick

STAGE THREE

ELIZABETH SHERLOCK

PAGE 176

NAZANEAN SHIRANI

There is no great genius without a mixture of madness. Aristotle

Itâ&#x20AC;&#x2122;s been a pleasure

STAGE THREE

JADE SIMM

PAGE 178

ANDREW SINGER

Itâ&#x20AC;&#x2122;s been a long three years, but we got there in the end! Lost a lot of my hair but gained a lot of great friends, thanks for all the memories guys, itâ&#x20AC;&#x2122;s been amazing!

The past three years have proven to be exciting, engaging and enjoyable. The projects that we have undertaken, alongside the knowledge and skills that we have gained throughout our degree have prepared us well for the journey ahead. Our tutor, Timothy Brittain-Catlin, provided us with a humorous and memorable piece of advice: â&#x20AC;&#x2DC;plastic is not a building materialâ&#x20AC;&#x2122;.

STAGE THREE

DAVID SKILLICORN

PAGE 180

OLIVER SMAIL

Life moves pretty fast. If you donâ&#x20AC;&#x2122;t stop and look around once in a while, you could miss it. Ferris Bueller The past three years have taught me that the best way to experience architecture is to live it! The problem is not the problem, the problem is your attitude to the problem. Iâ&#x20AC;&#x2122;ve made beautiful friends and memories that will stay with me for the rest of my life, good luck everybody!! Smail, out.

While studying architecture, my way of thinking and perceiving the surroundings has been significantly altered. I developed love for designing spaces that I intend to nurture forever as an architect, production or theatre designer. Creating architecture within a film setting resembles, in my opinion, conducting an orchestra. It requires working with two other dimensions - sound and time and when all the ingredients are successfully intertwined, they create a complex whole, a symphony in its own right.

STAGE THREE

ZUZANA SOJKOVA

PAGE 182

ALEXANDER SOMERVILLE

It always seems impossible until its done.

The first thing that an architect must do is to sense that every building you build is a world of its own, and that this world of its own serves an institution. Louis Kahn

STAGE THREE

BRADLEY SOWTER

PAGE 184

NATHAN SPINNER

I had a real good laugh. That is all. Thank you very much.

I had a great final year studying at Kent, especially enjoyed Modular - working on a site close to the city centre - and on my dissertation! Thank you to all the hard work, valuable advice and lessons from my tutors along the way.

STAGE THREE

THOMAS TAYLOR

PAGE 186

ORHAN KEMAL UNLU

I have greatly enjoyed studying architecture at the University Of Kent. Growing over the three years with each final crit, and becoming a more confident professional and a distinguished designer. The studio environment is thriving and you gain new skills with each conversation. I’ve engaged with an array of projects giving an insight into the vast possibilities that are now waiting to be seized. It’s been a challenging and fulfilling three years, and I’m excited to see what the future reveals.

An amazing three years filled with challenges, sleepless nights, 4am hysterical laughter and far too much caffeine, but most of all incredible people and unforgettable memories!

STAGE THREE

KERRY WEAVER

PAGE 188

ALEXANDRA WHARFE

The past three years at Kent School of Architecture have been both crazy and challenging, but nothing worth doing in life comes easily to you, apparently. Despite the late nights, early mornings and gruelling critiques, I would not wish to be doing anything else but studying architecture and would not have wanted to do it anywhere but in the beautiful city of Canterbury.

The past 3 years have been the most challenging but fulfilling of my life, shared with some of the best, most inspiring people I’ve ever met. No doubt you will all be successful in whatever you take on. If any of you need a job in a few years’ time, you will be welcome at Whittington & co.

STAGE THREE

CHARLIE WHITTINGTON

PAGE 190

MAISIE WILLS

Creativity: the more you use, the more you have.

My personal interest in theatre in combination with my architectural studies, has led me to observations on how the articulation -or architecture- of the stage could be reflected on the plot and vice versa in the western theatre of the 20th century, to result in todayâ&#x20AC;&#x2122;s physical theatre performances that engage the interplay of these two realms.

STAGE THREE

PETROULA XYNIDOU

PAGE 192

REEM YASSIN

Hello Habebees!!!!!! I have lived in Marlowe for the last 3 years… In fact I am trapped here… HELP!! IF YOU’RE READING THIS HELP!!

In my time at KSA, modelling has been the predominant way of communicating my projects as the skill that has allowed me to develop my ideas the most. In my final project, I took a sensory approach to the spaces with ideas of place of retreat, peace, imagination, creation, expression and interaction and turned these concepts into 3D objects before playing with the models to progress, visualise and test the spaces I created.

STAGE THREE

JASMINE YOUNG

PAGE 194

KWOK SUN YUNG

I have enjoyed my three years at KSA. It has been a great experience. My ability and understanding have gained and improved a lot during the course. Looking forward to the year out and part 2.

STAGE THREE

PAGE 196

STAGE THREE

PAGE 198

STAGE THREE

PAGE 200

STAGE THREE

/03

STAGE TWO BA (HONS) ARCHITECTURE

/BA

STAGE 02 INTRODUCTION PROGRAMME COORDINATOR Keith Bothwell

PAGE 204

Stage 2 students began the year with the Architecture and landscape design module, considering a building within topographical, cultural, and ecological contexts. In 2013-2014 the project was titled: The Garden Walk, The Tunnel Cafe, and Gardeners’ Hall. The site consisted of a pathway beginning in front of the Gulbenkian Theatre on campus, leading northward to the entrance to the disused Crab & Winkle railway tunnel, further including an adjacent green field. In the first phase of the project, students concentrated on designs for a garden walk and a café at the tunnel entrance. For the second phase, they designed a building and series of gardens as both a training centre for professional gardeners, and as a facility for those using gardening as a form of therapy. The main building, or Gardeners’ Hall, consisted of a central space or hall, with a series of related spaces, including a greenhouse and plant sales facilities. Throughout the project, students developed their own conceptual approaches based on their poetic interpretation of the site and the user groups. Alongside Architecture and landscape, the Climate module taught and tested skills in designing effective solar shading devices and buildings that create comfortable environmental conditions with the minimum of external energy input, embodying the core principles of sustainable design. In the spring term the attention switched to an urban site in central Canterbury. Students worked first in teams on Collective dwelling to produce a master-plan for a mix of housing typologies on the most historic part of the old tannery site, which lies between the river Stour and Stour Street. Here they began to probe some of the key themes of urbanism — considering the sequence of views as one navigates a city, and prioritising the qualities of urban space over the design of individual buildings. The fixed design constraints of river, neighbouring buildings and existing industrial archaeology gave little room for manoeuvre, which concentrated minds on the design task in hand. Students explored a humanistic approach, as exemplified by Aalto, Hertzberger and Holl, that privileges those eternal characteristics of good architectural design — those building characteristics that make life easier, more pleasant, and more delightful — over those that are concerned with form, superficial style or passing fashion. In phase two of the project students worked on their own to design in detail one of the individual blocks comprising apartments, maisonettes or student flats. Parallel with Collective dwelling on an adjacent site the students worked on the structural design of a large-span steel roof — to cover specialist markets selling local crafts as well as irregular seasonal fairs gathering produce from further afield. Running through both autumn and spring terms the cultural context modules of Renaissance to neoclassicism and Nineteenth century architecture gave students a grounding in architectural history extending from the fourteenth to the dawn of the twentieth century. These desk-based academic activities were supplemented by field trips in the spring to Amsterdam and Rome, viewing, studying, and sketching the real thing.

STAGE TWO

MAHAM NEHA ANDALEEB ANSARI; EDWIN YU

PAGE 206 ELLIOT BISHOP

STAGE TWO

MILES HEATH

/03

STAGE ONE BA (HONS) ARCHITECTURE

/BA

STAGE 01 INTRODUCTION PROGRAMME COORDINATOR Chris Gardner

As an introduction to “Shelter”, the theme for the autumn term, students were asked during the summer before attending KSA, to identify and record three shelters local to their home towns. With students from all over the world, this can provide a wide variety of examples with which to begin our conversation regarding the nature of Shelter.The first design module, ‘’Shelter’’ required students to design a shelter suitable for three people to sleep in. In groups of three students were asked to develop one of their designs, physically make the shelter, then spend the night in their own design! Friendships for life can be formed in this project.‘’Form Finding’’ was the first major design project. The students were introduced to the discipline of site analysis, site survey and design. The under croft of the Crit space formed the site for which the students designed a number of kiosks and a café creating a ‘market’ place with integrated landscape.

PAGE 210

For the Technology module ‘’Light and Structure’’ assignment 1, students investigate the nature of daylight by modelling a space to exhibit an art piece. By forming openings in the model students investigate the levels of light required to show the art piece in the best light conditions. This formed the basis of the next design module. Students were introduced to the ‘’Building Design’’ project; to design an art gallery on the edge of the harbour in Barcelona. This year the field trip to Barcelona took place just before Christmas. We were lucky with the balmy weather and both students and staff savoured the vibrant city with its extraordinary examples of architecture across the ages. It gave the students the opportunity to carry out a site analysis and make relevant observations relating to their proposals. In addition the students were given the task of taking a photograph each day, this would form the first theoretical temporary exhibition in their proposed gallery alongside six chosen paintings and a series of enlarged ‘household objects’ which were to form the sculpture garden. The second part of this project was to integrate a café into the gallery altering their original scheme. The students were also required to consider the structure of their design technical module and show principle construction details. The ‘’Stick and Bricks’’ module challenged the students to design and make a model structure spanning 450mm and carrying a house brick. Some bridges were more successful than others and whatever the outcome, students then wrote a structural report on its performance. The final History module “Modern House” studies seminal houses of the 20th century. Students are required to make a model of their chosen house making an analysis of it within its historical context. Alongside all modules in stage 1, students are taught aspects of visual communication in the module “Folio”. This module runs for the whole year and involves understanding of architectural drawing conventions, orthographic drawing, chiaroscuro, perspective, isometric, sketching, life drawing, modelling, collage, sculpture, computer modelling, portfolio presentation, and the final show presentation. In conclusion I would like to thank all members of staff and teaching assistants who have contributed to this year’s success. Design: Rebecca Hobbs, Henry Sparks and David Moore; Communication: Chloe Street, Patrick Crouch, Howard Griffin; Technology: Richard Watkins, Ben Godber; History and Theory: Gerry Adler, Nikolaos Karydis, Gian Luca Amadei, Tordis Berstrand, Tim Fox-Godden, Jamie Jacobs, Imogen Lesser. Finally, I would like to congratulate Chloe Street on the arrival of Thomas Edward Tarbatt who arrived on the 20th May. Rebecca Hobbs

STAGE ONE STATEMENT STAGE ONE

Themba Mtwazi

“From the moment Marlowe opened its doors to let us in, the sudden realisation of what we were about to embark on became apparent.”

It was not only the school that was foreign to us; we, amongst ourselves were individuals from different places, countries and backgrounds; but this familiarity was about to disappear under the ingenious purpose of the Summer Project we had been allocated. We were each in possession of a shoe box that was decorated to show our characters and filled with personal memorabilia collected consciously and subconsciously over our lifetimes: in the form of impromptu presentations we all unlocked the secrets hidden in these treasure chests. In no time laughs and sentiments brought us together and we were one. Lecture rooms soon became the fire where we gathered around to listen to our elders, with knowledge dispensed hourly, it’s not surprising how much we grew.

“Written word can never fully express the magnitude of our experience, only the documented timeline zipped in our portfolios holds a true account of what this year has meant for each and every one of us.” With that said, we bow to The Kent School of Architecture and The University of Kent. Thank you, from the first year class of Kent School of Architecture 2013-2014. Themba B. Mtwazi June 2014

STAGE ONE

Welcomed by surreal polychromatic worlds embedded in sketchbooks and sculptural forms that line the buildings foyer; we instantly knew that our creativity was about to be tested. Magnificent design models created by our predecessors towered over white plinths as remnant samples of the quality of yesteryear’s end of year show. With this daunting inception we entered our layer, our haven, the studio where we would spend many sleepless nights in a quest to achieve the art and design that so graced our eyes.

Design tutorials and architectural history seminars held in small groups were where we were separately questioned, advised, tried and tested until the best schemes were manifested from within us. Like ancient gladiators in Greek coliseums armed only with our minds, voices and portfolios, we fought for our designs in final critiques. One brief after the other we developed new skills and the world opened to us, we found ourselves in Catalunya. The trip to Barcelona gave us an insight into the responsibilities that we as aspiring architects have on our shoulders. The need to be diverse and appreciative of different cultures; the importance of the client, their budget, the site and the knowledge of structure, form and even targets were all to be part of an architect’s mental arsenal.

PAGE 212 FORM FINDING & SHELTER PROJECT

STAGE ONE

FORM FINDING & BUILDING DESIGN

INTERNATIONALISATION PROGRAMME: VIRGINIA TECH PROGRAMME DIRECTOR Dr. Manolo Guerci

STAGE FIVE Jamie Hissey

The Kent School of Architecture has, in recent years, broadened international opportunities via active research mobility for staff and Erasmus exchanges for students with links both within Europe and other parts of the globe. With Dr. Manolo Guerci as the Director of Internationalisation, new links are being established each year, thus the international programme is certainly growing. At present, the school has partaken in European exchanges with the ‘Ecole Nationale Superieure d’Architecture et du Paysage de Lille’ (Lille, France), the University of Roma ‘Tor Vergata’ Faculty of Engineering-Architecture (Rome, Italy) and Istanbul Technical University (Istanbul, Turkey). The connection between KSA and Rome was established in 2012, while the connection with Lille has been running for five years now. There are ambitions to build up relations with Japan and possibly China, following the visit of a delegation earlier this year, which in turn preceded a visit from KSA staff and PhD students. Students from Lille and Rome have, in return, come to study in KSA. This year, one French and two Italian students were enrolled to study their 4th Year of the MArch course at Kent, while one of KSA’s own MArch students, Natalia Senior, went to study in Rome during the Spring term. In addition, KSA shall host a professor from Istanbul this June. Another international university that has maintained a link with KSA for its fifth year is Virginia Polytechnic & State University (known more commonly as Virginia Tech) in the United States of America. Next academic year 2014-15, two MArch students, Christopher Gray and Srimathi Aiyer, will be going to Virginia Tech for the Autumn semester. Jamie Hissey, who has just completed his 5th Year, spent the Autumn term of this year at Virginia Tech, before continuing the rest of his MArch course back at Kent.

Here is a reflection of Jamie’s time spent as an exchange student: “If a university education is not only to achieve a qualification but to broaden your life experience then an opportunity to study abroad must be one of the best ways of helping to attain both of these goals.” Having been a loyal architecture student at the University of Kent for both undergraduate and postgraduate, I wanted the opportunity to experience new teaching styles that would help me build on the solid educational foundation that Kent had already provided. When I heard about the possibility of studying abroad at the Washington Alexandria Architecture School (WAAC), Virginia Tech, I jumped at this opportunity. I submitted my portfolio to the department and was fortunate enough to be selected to represent Kent at the Virginia Tech Architecture School. I was also successful in gaining a Study Abroad Scholarship from Santander. On arriving in Washington DC I was welcomed into the school with open arms. Since 1985, the WAAC has served to house a consortium of architecture schools from all over the globe.

“Currently, 13 universities are part of the consortium. This structure provides exposure to a diverse student and faculty perspectives and promotes and encourages a unique design dialogue.”

Once I had enrolled, I was met with many other students from all corners of the world under one roof. This was an amazing chance to live and work with other students from all across the world and learn from their experiences, design methods and teaching. Virginia Tech’s classes are chosen on a credit system with further opportunities to audit other classes that interest you. With the variety of classes taught at the school I chose to study ‘The Theory of Urban Form’ and ‘Advanced Computer Aided Design’ alongside my thesis project entitled ‘The Embassy for Tea; A Didactic Landscape’.

“This final year project was started at the WAAC with the aim of returning to Kent to further develop the proposal using a combination of skills acquired both at Virginia Tech and Kent.”

IP/ VT

I selected 3 tutors to serve as my committee members who each specialised in different fields of Architecture to tutor me throughout the term. The newly refurbished studio space and individual work station further encouraged me to make full use of my tutors and time at the school. Virginia Tech Student Trips

As a school we also had the amazing opportunity to visit Frank Lloyd Wrights ‘Falling Water’ and ‘Kentuck Knob’ in Virginia. Other highlights for me included playing a season of rugby for Washington DC, experiencing a real American family thanksgiving and making a number of friends for life.

“I really feel as though my time studying aboard has greatly benefited me as an architecture student.” Virginia Tech - Studio Presentations

The university accommodation was a complex of apartments in a converted church that made it easy to meet new people and socialise. During the time abroad I had the opportunity to visit many of the architecturally significant cities on the east coast including New York, Philadelphia, and of course Washington DC.

Being granted the opportunity to study abroad for the first term but return to Kent for the remainder of the year has enabled me, with the help of my tutors, to take what skills I gained at the WAAC, refine and combine them within the Kent program which will hopefully mould me into a better architect. Jamie Hissey May 2014

/04

POSTGRAD MA, MSC & PHD

/MA

MA ARCHITECTURE & CITIES1 PROGRAMME DIRECTOR

Prof. Gordana Fontana-Guisti

CURRENT STUDENTS

Ke Chen, Jennifer O. Ethagbe, Alina Neagoe, Oluwatamilore Oni, Daban Salam, Wentao Xiong

2013 GRADUATES

Aufa Abd-Rahman, Elaine Page, Thandi Zulu

PROGRAMME STAFF

Gerald Adler, Timothy Brittain-Catlin, Corinna Dean and Gordana Fontana-Giusti

PAGE 218

The MA in Architecture and Cities is an internationally based programme that gives a cross-cultural and interdisciplinary perspective on contemporary urban design understood as a crucial connection between architecture and urban planning. It has been running for its third year and it hosted students from the UK, Europe, Asia and Africa. The students were offered tuition and understanding of contemporary urban design and its relation to other disciplines such as cultural studies, design practices and arts. Through analysis, design and research of various conditions of urban life, programme considered the ways in which both the heritage buildings and new design proposals can facilitate sustainable development of cities. The programme offers academic rigour combined with practical design application and professional orientation. Programme acquired an international perspective as it started to operate in University of Kent Paris campus, while the Urban Landscape design project concentrated on the urban sites in Istanbul and London. This gave students a more cross-cultural perspective on urban design and a chance to become involved with the urban regeneration in major world cities. Course content • Urban Landscape – Design project • From the Idea of a City to Contemporary Urban Design • Architecture and Cities of the 19th and 20th Centuries • Research Methods and Analysis • Dissertation This programme will now change its name into MA in Architecture and Urban Design

POSTGRAD

MA ARCHITECTURE & CITIES

/MSC

MSC ARCHITECTURE & SUSTAINABLE ENVIRONMENT PROGRAMME DIRECTOR

Prof. Marialena Nikolopoulou

Our newest Masterâ&#x20AC;&#x2122;s programme, the MSc on Architecture and Sustainable Environment commenced in October 2012. The course 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. PAGE 220

The MSc, which can be studied full-time or part-time, offers an academically rigorous and intellectually challenging learning environment, which aims to enhance career development within the field for professionals and academics. The over-arching aim of the programme is to provide participants with a systematic understanding of core and advanced areas of sustainable design through a combination of taught courses, research assignments and project work. Students are asked to conduct rigorous technical and historical research and to explore the practical application of their findings in the context of design and technology. Our newest Masterâ&#x20AC;&#x2122;s programme, the MSc on Architecture and Sustainable Environment commenced in October 2012. The course 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. The MSc, which can be studied full-time or part-time, offers an academically rigorous and intellectually challenging learning environment, which aims to enhance career development within the field for professionals and academics. The over-arching aim of the programme is to provide participants with a systematic understanding of core and advanced areas of sustainable design through a combination of taught courses, research assignments and project work. Students are asked to conduct rigorous technical and historical research and to explore the practical application of their findings in the context of design and technology.

/MA

MA ARCHITECTURAL VISUALISATION PROGRAMME DIRECTOR Howard Griffin

2013-14 saw a number of advances for the MA Architectural Visualisation programme. The programme, which is co-taught jointly with the School of Engineering and Digital Arts, has an expanded cohort of students this year from a variety of background disciplines.

The Virtual Cities module explores the re-creation of real environments in the digital realm. In collaboration with English Heritage, the students this year digitally rebuilt the ruined St. Augustine’s Abbey in Canterbury, an important relic to the re-birth of Christianity in England. This important heritage site was interpreted and modelled with the help of Rowena Willard-Wright and Roy Porter of English Heritage. The work, which will allow visitors to explore the historic site in 1538, prior to the deconstruction of the Abbey on the direction of King Henry VIII, will go on show at the St. Augustine’s Abbey Museum. This year also saw the programme forge further links with the industry, with a number of students gaining internships at leading Architectural Visualisation practices. The MA Architectural Visualisation programme requires students to work together as a team. The work with English Heritage highlights the importance of this. This year, the team ethic has been exceptional. I would to thank the ‘team’ for a great year; Ruben Chitu, Ose Etomi, Adam Gibney, Basak Karaduman, Chun-Ling Ko, Alexandros Koilias, Joseph Ling Chuan Sheng, Zina Nazemi, Jo San Ong, Jing Qian, Tore Sollid and Melvis Uzoka. Howard Griffin Co-Programme Director MA Architectural Visualisation

MA AV

A number of innovations and developments were made to the teaching programme to take account of the changing requirements of industry. More focus was placed on the production of static imagery in Digital Architecture Setup, with students applying modelling, texturing and lighting skills to buildings that were, that are and that have never been, enabling the students to apply their skills to heritage, contemporary architecture and imaginary design.

PAGE 222 ADAM GIBNEY; ALEXANDROS KOILIAS

MA AV

BASAK KARADUMAN; CHUN LING-KO

PAGE 224 JING QIAN; JO SAN ONG

MA AV

LING-CHAUN-SHENG; MELVIS UZOKA

PAGE 226 OSE ETOMI; RUBEN CHITU

MA AV

TORE SOLLID; ZINA NAZEMI

/PHD

PHD IN ARCHITECTURE PROGRAMME DIRECTOR

Prof. Gordana Fontana-Guisti

Kent School of Architecture PhD programme has been in its seventh year running. In the past year the programme has acquired eight new students, out of which two are on University scholarship. Two students are currently under examination, while one - Itab Shuayb has completed the process thus becoming the first Doctor at Kent School of Architecture.

PAGE 228

The programme has 24 PhD students at various stages of their studies whose research topics span across different aspects of architecture, its history and theory, urban design, regeneration, passive design, studies in thermal comfort and many other aspects of architectural physics important for research in energy and environmentally conscious architecture. During the past year the students have attended weekly research seminars where they presented their work to peers and supervisory staff. The students have also taken part in University of Kent skills workshops and the PG research festival. KSA doctoral candidates participated at conferences outside university nationally and internationally. In collaboration with the School of English and the School of Social Sciences, KSA PhD candidate Christina Chatzipoulka has taken part in organising an international interdisciplinary conference on Homelessness. The students have taken part in many other activities including teaching the undergraduates and participating in their crits and juries. Some of the research done by KSA research candidates has already been disseminated and put in use such as the research on access and inclusive design for the University of Kent campus which was undertaken by our first graduate. In October 2013 students and staff have welcomed the Chinese delegation from six Beijing Universities, who returned the visit as part of the official UK-Chinese collaboration in Architecture and Urban Design organised by the Architectural Society of China, Tsinghua University Beijing and the British Council. PhD Supervisors: Professor Gerald Adler, Dr Timothy Brittain-Catlin, Professor Mark Connolly, Dr Manolo Guerci, Dr David Haney, Dr Vince Miller, Dr Lavinia Minton, Dr Giridharan Renganathan, Ann Sawyer, Dr Henrik Schoenefeldt, Dr Richard Watkins. Chairs of Supervision: Professor Marialena Nikolopoulou (CASE) and Professor Gordana FontanaGiusti (CREAte, PhD Programme Director).

PHD CANDIDATES Michael Adaji Thermal comfort through passive cooling in residential buildings in Abuja, Nigeria Timothy Adekunle Oluseun Building Information Modelling in the Delivery of Low-Carbon Prefab Homes Gian Luca Amade The Evolving Paradigm of the Victorian Necropolis.It’s Origins and Contributions to London’s Urban and Socio-Cultural Fabric: From the Early Nineteenth Century to Modernity Tordis Berstrand Splitting and Doubling: The Dialectics of Contemporary Dwelling in Works by Kurt Schwitters, Gordon Matta-Clark, and Gregor Schneide Keith Bothwell The Architecture of the Passively Tempered Environment (Focus: Office Buildings in the UK)

Giacomo Chiarani The Development of Architectural Interactive Facades in Twentieth-Century Italy and Germany Dorota Drewniak- Kaczmarczyk Reuse of Church Buildings in Kent Enobong Equere Cultural Adaptation Towards Sustainable Housing Development: A Case Study of Southern Nigeria Tim Fox-Godden A Greater Memorial - a study of the junior architects of the Imperial War Graves Commission and their impact on interwar British Architecture Victoria Gana Can Passive Design and Soft landings exclusively advance the standard of sustainability in the Housing Sector Howard Griffin Moving the Immovable: Architectural Projection Mapping and Immersive Technologies: Their cognitive benefits to spatial design communication and teaching

Alkis Kotopouleas Thermal and Visual Conditions in Airport Terminal Buildings Nil Kutlar Urban Park of Istanbul as a democratic space for action and communication Imogen Lesser Literary Architecture: The Spaces of the Imagination Mohamed Mahdy Applying Architectural Simulation Tools to Assess Building Sustainable Design Emmanuel Odugboye The effects of ventilation strategies on the performance and occupancy wellbeing in healthcare buildings in Nigeria Giovanna Piga Sustainable Waterfront Development in Small Tourist Towns on the Sardinian coastline Khaled Sedki Damascus: An Autobiographical Account of a Besieged City Itab Shuayb Enabling the built environment for individuals with disabilities through inclusive design in selected Universities in the UK and Lebanon Carolina Vasilikou Environmental Diversity of Irregular Urban Spaces in Temperate Climates: The Case of Traditional Settlements and Historic Centres Tim Weinberg The Elusive Path Lindy Weston Architecture and the Sacred – The Chartres Cathedral

PHD

Christina Chatzipoulka The Role of the Void in the Architectural and Urban Environment Design. A New Environmental Design Approach.

Jamie Jacobs AWN Pugin’s Relationship to Industrial Production

ITAB SHUAYB Enabling the built environment for individuals with disabilities through inclusive design in selected Universities in the UK and Lebanon

The purpose of this research was to investigate whether adopting an inclusive approach at University of Kent and the American University of Beirut was preferable to just meeting building legislative requirements.

PAGE 230

The aim was to examine to what extent have these two universities anticipated wide spectrum of usersâ&#x20AC;&#x2122; needs in enhancing accessibility. To achieve this, mixed methods of data collection were used resulting in collecting qualitative and quantitative data. The first method for data gathering - an online survey, was followed by access audits carried out on six selected buildings at each university. The audit investigated the compliances of selected buildings to a building regulation standard laid out in the British Building Regulations (Part M). Consultation with students and staff with disabilities and sharing their experiences was essential part of the study, which also carried out interviews with commissioned architects at the two universities in order to investigate their understanding of the needs of disabled people during the design and implementation phase. Similarly, personal interviews were carried out with the university education providers to determine their compliance to the legislation to remove physical barriers and promote equality and diversity. Data analysis of the research showed that the built environment in both case studies did not cater for all users. Observations from access audits and feedback from consultations with users suggest that the physical environment on campuses and inside buildings did not fully provide inclusivity, as levels of accessibility differed greatly within and between buildings. In many instances wheelchair users were served more effectively than individuals with visual, hearing and cognitive impairments. Moreover, feedback from consultations with individuals with disabilities and education providers highlighted the importance of reviewing the management procedures with staff, so as to improve facilities and attract more disabled applicants. Insufficient training in disability awareness was one of the key reasons for staff members and architects failings. These findings suggested that the two universities should change in order to make their building designs more inclusive and user friendly. A key finding from consultation with users was that inclusive design approach is preferable to simple compliance with the regulations. The results highlighted the demand for both universities to base their planning on the inclusive design strategy. By recognising the diversity of their usersâ&#x20AC;&#x2122; needs, universities can remove the physical and mental barriers and achieve inclusivity.

TORDIS BERSTRAND Splitting and Doubling: The Dialectics of Contemporary Dwelling in Works by Kurt Schwitters, Gordon Matta-Clark, and Gregor Schneide

PHD

The thesis addresses the question of dwelling as a challenge and concern in the twenty-first century. It does so on the basis of three works of art, all exercising radical spatial reconfigurations of existing residential buildings. The thesis argues that these works, created in the twentieth century, bring strategies forward for a contemporary living space of interest today. Furthermore, that the agency of the artistic gesture exceeds the scope of the architectural work when confronting the subject of home and house in critical ways. The importance of this engagement lies in an incompatibility observed between ideas about dwelling and the experience of the contemporary age. When a prevalent desire for the permanently settled and stable living space is at odds with increasingly transient and nomadic present-day lifestyles, the thesis asks how this concept without application endures. Literary works, concerned with the process of modernisation in the twentieth century, are called upon to qualify this problem of dwelling in our time. While these provide insight into the dialectics driving the modern, the chosen works of art unfold three living spaces settled in the distinct moments of their making. Kurt Schwittersâ&#x20AC;&#x2122; Merzbau (1927-37), Gordon Matta-Clarkâ&#x20AC;&#x2122;s Splitting (1974) and Gregor Schneiderâ&#x20AC;&#x2122;s HAUS u r (1985-today) thereby give clues to the notion of a contemporary dwelling pursued by the thesis. They do so in the response to specific circumstances through which form is given when answering the immediate setting with an environment for living beyond conventional building practices. On the basis of these studies, the thesis articulates a framework for living that does not require a whole house to be held in place nor rely on walls for spatial differentiation. It challenges the contemporary architect with the task of conceiving a framework for this dwelling that not only accommodates the artist but also the dweller, who will remain unsettled for time to come.

VENICE BIENNALE 2014 STAGE FOUR

Jasmine Davey

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

Jasmine shares her thoughts and experiences of the Venice Biennale so far:

Jasmine Davey (4th Year) and Jessica Ringrose (5th Year) will each spend a month in the beautiful city of Venice and right in the heart of the 2014 Biennale, directed by Dutch architect, Rem Koolhaas. This year’s theme is ‘Absorbing Modernity: 1914 – 2014’, which will be subject to much debate, discussion and create a fresh understanding of the world’s take on the development of Modernist ideas. The British Pavilion will host ‘A Clockwork Jerusalem’: how international influences of Modernism have mixed with long-standing British sensibilities. From around the UK and beyond, a total of 50 students from 12 architecture schools and institutions will each be supported by a financial grant to take on this work-study opportunity in the world’s most important architectural festival that will run from June to November this year.

PE&RS: Could you tell us about your experiences of the Induction School, staying in the Balfron Tower and meeting the other stewards selected from various universities?

Jasmine (who will be in Venice in September) and Jessica (who will be going in June) 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 task of overseeing the day-to-day running of the pavilion and, in essence, become the public faces of the exhibition. In addition, Jasmine and Jessica will spend three days a week undertaking a research project focusing on ‘Absorbing Modernity’ and can stretch their investigations to cover a number of core sub-themes and evolving ideas. They will ultimately be producing a written piece that centres on individual conclusions, which will then be published. From the 9th - 11th of April Venice Fellows were required to attend an Induction School in London in order to learn more about the Biennale, the tasks required of a steward and what exactly FAT Architecture had been creating for this years pavilion. Whilst in London, they stayed in the Balfron Tower in Poplar (Erno Goldfinger, 1963), which is currently home to in-house artists and organised by Bow Arts.

JD: We spent three jam packed days in London attending; invigilator training, curatorial and study presentations, architectural tours and site visits, film screening and discussion groups - all organised and ran by Alastair Donald and Hannah Burgess of ADF (the British Council).

“It was an exciting opportunity to meet the other stewards who would also be working in Venice in September. Participants in the programme cover an assortment of design faculties including architecture, history of art, furniture design and photography making the group an eclectic mix of interests and ideas - from a range of schools across the UK and also china.” Day one: On the first day, we met at the Barbican Centre, where we had our initial briefings into the organisation of the Biennale; covering the 3 sites and what would be happening at each. I particularly enjoyed the history of the Giardini. The site which came about in C19 due to Napoleon coming to Venice with the desire to revive and revitalise the area in the time of enlightenment, thus he created this park in order to host international exhibitions. The British pavilion in fact used to be a tea room until converted in 1909 by Edwin Alfred Rickards and Frank Brangwyn. We also

had talks from a previous invigilator on her experiences and the head steward who will be in Venice for the full 6 months this year. David Heathcote presented to us his research on the Barbican centre development throughout its construction; which initiated the first of our introductions to iconic projects in London that will feature within the Venice Biennale exhibition. Day two: We started the morning off by meeting the group in the community centre for breakfast and getting a brief history of the Balfron Tower by Alistair Donald, looking into its social political and spatial context. The tower is a grade II listed building and waiting to be refurbished in order for the flats to be sold on privately. I really enjoyed my stay here, the views of London from the 24th floor (on which we stayed), for a building which externally is so ‘brutal’ the interior spaces are very delicate in their attention to the human scale of comfort. We walked to Emery Hill where we had a series of discussions and talks followed by walking tours from Sam Jacob (FAT Architecture) and Ralf Ward and Michael Owens (London Urban Visits). Sam Jacob’s presentation was based around this year’s pavilion, which will house the story of British

Induction School Presentations - London

Modernism. Sam argues that this for Britain took place long before 1914 and because of this has very different roots. The pavilion exhibition is going to be so diverse covering so many aspects of British culture. I can’t wait!

PE&RS: What does being selected to represent the KSA at the Venice Biennale mean to you? JD: I’m proud to be a member of KSA and I’m grateful that KSA has made this a possibility.

“It is a rare, fortunate opportunity to get a chance to be a part of the Biennale and learn so much more about the ‘fundamentals’ of architecture and design.” I hope to then bring this knowledge back with me to share with the school and its students.

Balfron Tower - Ero Goldfinger, 1963

PE&RS: The theme this year is ‘Fundamentals’. What element of the Biennale will be a personal highlight and what do you hope to bring back to your stage 5 studies at KSA?

VENICE BIENNALE

Day three: Our final day was spent at CASS (commercial road campus) where we watched presentations on aspects of Modernity, in order to encourage us to start considering our own topic and lines of research to undertake when in Venice. the three day training was fantastic, it has made the whole experience feel that little bit more real and I am looking forward to spending time this summer before September planning my research topic!

JD: Within the national pavilions, the theme set is ‘Absorbing Modernity: 1914-2014’. Rem Koolhaas has suggested that after 1914, there was a level of change in society, that resulted in a break from the past, with the provocation that this is the year that globalisation had an impact. “Prior to 1914, a country was architecturally seen to have an identifiable national character. Now in 2014, there is a single global typology. The different nationalities have been asked to respond to this notion. I am interested to see the nationalities’ reactions via their individual exhibitions.” In the central pavilion, the sub-theme ‘Elements’ is to be covered to discuss the core elements that together create architecture. For example, the intricacy of the staircase or a window frame. I think this would be really beneficial in learning about the craftsmanship of the past, as well as the innovative products of today. This level of detail will be useful to consider within the context of my own design project work. PE&RS: How will your impression of the Biennale reflect in your research project you will undertake? JD: The application had quite specific questions that got you thinking about the theme for the Biennale this year, so it will be interesting to see how the study I take on will develop from the interests I have about architectural developments from 1914-2014.

“At the moment I am very keen to look at preservation and modernisation - perhaps taking a specific area in Venice and researching what has been preserved and why, looking into the cultural situations (for example the 60’s environment movement in Italy and the communist party post war). I see preservation as something that only became important after 1914 and is interesting to look at alongside the modernisation of design.” Modernisation is often juxtaposed to preservation and I wonder if this is so, especially in a situation such a Venice.

Head of School, Professor Don Gray, British Council Fellow Jessica Ringrose and Dr Manolo Guerci on the British Pavilion ‘mound’, June 2014

PE&RS: How do you hope to experience the architecture and culture during your time spent in Venice? JD: The British Council are leaving us to our devices with regards to transport and accommodation – this allows us the freedom to find and discover Venice for ourselves. Whilst in Venice I will be living with a few girls who are also working at the Biennale. We have three own study days a week (off of steward duties) in order to explore the city and the Biennale.

“I think the only way to appreciate this experience is to truly get involved and see as much as possible.” Jasmine Davey April 2014 http://jasminesvenicefellowship.tumblr.com/

VENICE BIENNALE

/05

RESEARCH PROJECTS & LECTURE SERIES

THE PASSIVHAUS RESREACH PROJECT PROJECT COORDINATOR Dr. Henrik Schoenefeldt.

PROJECT TITLE

Interrogating the technical, economic and cultural challenges of delivering the PassivHaus standard in the UK

RESEARCH TEAM

Stage Five: Adam Nightingale, Jessica Ringrose, Rosie Seaman, Sam Ashdown, Karl Bowers, Natasha Gandhi, Tim Waterson, Katarzyna Kwiatek, Thomas Hayward Stage Three: Miguel Peluffo-Navarro, Cordelia Hill and Sam Fleming

PAGE 238

Since joining the Kent School of Architecture as a lecturer in sustainable architecture I have been developing and piloting news approaches to teaching sustainability in architecture through design-led as well as research-led projects. This was underpinned by new research into how the sustainability agenda is driving architectural practices and schools of architecture to adapt to new forms of practice.

delivering PassivHaus standard buildings in the UK is still limited compared to Germany and Austria, where extensive knowledge and experience had been accumulated over the past 25 years. The first house in the UK was only certified in 2009 and the pioneering buildings completed over the past five years provide critical insights into the process by which the standard is gradually been adapted to the UK context.

â&#x20AC;&#x153;This research has also led to the development of the pedagogical concept behind a new collaborative research project, looking into the technical, economic and cultural challenges of delivery the German PassivHaus standard within the context of the UK.â&#x20AC;?

In this research project a team of nine students from the MArch (stage 5) and three students of the BArch (stage 3) investigated how architectural practices and the building industry as a whole are adapting to successfully delivery buildings of this standard. Using multi-methodology research, this project investigated the learning process underlying the delivery of twelve buildings completed between 2009 and 2013. Through the study of the original project documents (e.g. drawings, sketches, planning documents and construction photographs) and semistructured interviews with clients, architects, town planners, contractors and manufacturers, these case studies have illuminated the more immediate technical as well as the broader cultural barriers, such as currents approaches to vocational and technical education. Moreover, the interviews facilitated students in engaging with the various professions that had been

The objective was to involve students directly in primary research through a larger collaborative research project. Acting as an alternative to the traditional dissertation, the project offered students to participate in one large study, including twelve in-depth casestudies. PassivHaus is an energy efficiency standard for buildings, which was established in Germany in the early 1990s but has only recently been introduced to the UK. As a result experience with designing and

suffer from too much separation. As such the project has demonstrated different ways in which universitybased education and research can directly contribute to addressing the practical challenges of introducing models of low energy design into architectural practice. The diagram shows how the project, apart from enabling students to develop a critical understanding of the process underlying the delivery of PassivHaus projects, directly engaged with industry in three different ways.

The research team at the launch workshop held in Boughton Monchelsea, near Maidstone on 5 June 2013. The workshop was also attended by Tanisha Raffiuddin from the Passivhaus Trust and the architects Doug Smith (left), Richard Hawkes and James Anwyl.

Over the twelve month period of the project I have provided weekly supervisions, but students also received feedback from a panel of industry partners during various project workshops and reviews. Practitioners involved in the project included Richard Hawkes, James Anwyl (Director of Eurobuild), Doug Smith (Principal Director Tp Bennett), Patrick Osborne (Lee Evans Partnership), Bertie Dixon (Maxfordham), Philipp Proffit (Director of Princedale Homes), Tanisha Raffiuddin (RDA) and members from the PassivHaus Trust.

â&#x20AC;&#x153;The objective behind the involvement of practioners was to bridge the gap between academic research, architectural practice (and the industry more widely) and university-based teaching through a collaboration between academics, students and practitioners.â&#x20AC;? This issue has been raised in recent reports by the Royal Institute of British Architects and the Standing Conference of Heads of Schools of Architecture, which highlight that teaching; research and practice

The three fold engagement with industry achieved through the PassivHaus Research project, including opportunities for dialogues between students, academics and practitioners

The research has yielded a peer-reviewed e-Book, which will be launched on 27 June 2014 during a conference held to mark the end of the project. The conference, which is organized jointly between KSA and the European Union funded Environmental Innovation Network, will be used to disseminate the findings of the research project but also to involve academics, policy makers and practitioners in discussions about the potential application of the research in practice. The value of building stronger teaching and research partnership between industry and academia will also be explored. The research has also already led to a new collaboration with the RDA architects in London. The new project comprises a two-year environmental performance evaluation of a recently completed Passivhaus property in Camberwell. Since February 2014 I have been working with students from the MSc in Architecture and Sustainable Environment in setting up the monitoring equipment and in running a pilot study based on measured data, interviews and user surveys. Dr. Henrik Schoenefeldt

PASSIVHAUS RESEARCH

directly involved in the design, delivery and postoccupancy evaluation of each building. Through this students not only developed an understanding of the process from point of the architectural profession but also from a broader cross-industry perspective. This was particular critical as all of the cases covered in this studied involved an exceptional level of cross-industry collaboration. As such it yielded close insights into the impact of sustainability on architectural practice and its relationship to the wider industry.

CASE CENTRE FOR RESEARCH IN EUROPEAN ARCHITECTURE Prof. Marialena Nikolopoulou

CASE MEMBERS

Staff: Prof. Marialena Nikolopoulou, Keith Bothwell, Dr Giridharan Renganathan, Dr Henrik Schoenefeldt, Jef Smith, Dr Richard Watkins Research Associate: Karen Martin PhD Students: Timothy Adekunle, Michael Adaji, Christina Chatzipoulka, Giacomo Chiarani Victoria Gana, Alkis Kotopouleas, Mohamed Mahdy, Emmanuel Odugboye, Carolina Vasilikou

PAGE 240

CASE organised and participated in a range of projects and activities of the past year. Our members delivered various talks nationally and internationally, including Italy, China and Colombia. We also had some distinguished guests for our Open Lecture Series. In November, Doug King FREng HonFRIBA gave a lecture “Building on Evolution”, discussing some of the hidden physics that has influenced buildings across history. In February, Professor Kevin Lomas from Loughborough University gave a fascinating talk on “Energy demands and energy efficiency in UK homes: potential, practicalities and people” which led to a lively discussion. The last of our lectures, by Professor Joseph Giacomin from Brunel University focused on “Human Centred Design: a business paradigm for 21st century enterprise” Overall, it was a busy year, having a suite of successes with new exciting projects, while taking to completion existing ones. The Building Performance Evaluation of the Jarman Building funded by the Technology Strategy Board, led by Prof. Marialena Nikolopoulou successfully reached the end , with a workshop with the University Estates, Hawkins/Brown Architects and Arups M&E engineers. The Building Performance Evaluation of the Pines Calyx in St Margaret’s Bay also funded by the TSB and led by Keith Bothwell and Richard Watkins was given an extension till autumn. The work of the EPSRC-funded Network on “Digital Economy: Communities and Culture” also led by Marialena has funded a range of projects across the country, while along with her team they were successful recipient for a scoping study “Mapping the lived

experience of food bank clients and volunteers”. This work is complemented by a secondment for Karen Martin, research associate, to work on Community mapping and visualisation at ‘Mapping for change’ UCL. A very exciting new initiative sees Dr Henrik Schoenefeldt acting as consultant on the Houses of Parliament’s historic ventilation system, which resulted from his ongoing research into the Palace of Westminster’s ventilation system. The project has attracted a lot of attention from the scientific community and Henrik has delivered various talks on the topic. Professor Raphaël Compagnon from the Ecole d’ingénieurs et d’architectes de Fribourg, expert on lighting and solar modelling of urban environments visited CASE in May to collaborate with Christina Chatzipoulka, PhD student, and Prof. Marialena Nikolopoulou on the analysis of solar penetration in different urban textures in central London. The visit was funded by the Kent Institute of Advanced Studies in the Humanities. Finally, Henrik’s project ‘Interrogating the technical, economic and cultural challenges of delivering the PassivHaus standard in the UK’ has also reached completion, celebrated with a one-day conference in June aimed at industry practitioners, planners, policy researchers and academics. “Delivering the PassivHaus Standard in the UK, and meeting its technical, economic and cultural challenges” is jointly organised by CASE and the University’s Environmental Innovation Network. Prof. Marialena Nikolopoulou Director of CASE

CASE

CREATE CENTRE FOR RESEARCH IN EUROPEAN ARCHITECTURE Prof. Gordana Fontana-Guisti

CREAte is Kent School of Architecture first research centre that underpins the research of many KSA staff members. The centre explores the following areas of research: urban design and regeneration, contemporary architectural theory, history of modernism in Europe, history landscape design, Byzantine architecture, architectural conservation, architecture of the fifteenth, sixteenth and seventeenth century, and history of structural systems. The centre aims at an integration of critical knowledge and creative design work.

PAGE 242

The visiting lecturers at the CREAte evening lectures series this year have included: Todd LongstaffeGowan, on ‘The Perfect World of the London Square’, Andre Viljoen on ‘Second Nature Urban Agriculture: Designing productive cities’, Harry Charrington on ‘We don’t need to be so Dogmatic’, Judy Wong on ‘Marking a landscape with Memory - Constructing belonging beyond Displacement’ and Prof. Nicholas Temple on ‘Rome and the Orient: Speculations in Language and Landscape’. This year has seen many activities by CREAte members who have been involved in lecturing and giving papers at conferences nationally and internationally. Dr Manolo Guerci has lectured at the Institute of Historical Research, University of London, Dr Nikolaos Karydis has given a paper at the conference organised by the Byzantine Institute of the University of Munich, Dr David Haney has lectured at Dumbarton Oaks, USA and Benettton Foundation Italy, and Prof Gordana Fontana-Giusti has talked at the debate on Public Art at Turner Contemporary and has given paper at the AHRA Transgression International Conference in Bristol. Prof. Gerald Adler and Dr Manolo Guerci have organised a KSA conference entitled ‘Riverine’ that is due to be held in Canterbury in June 2014. The keynote speakers include: Professor Deborah Howard (U. Cambridge), Professor Alex de Rijke (RCA) and

architect Peter Beard (London). In regards to scholarly research outputs, Dr Timothy Brittain-Catlin has published a book Bleak Houses (MIT Press); Dr David Haney has translated and edited Migge’s Garden Culture of the Twentieth Century (Harvard UP) and has published a chapter in the book Chicagoisms (Chicago UP); Dr Nikolaos Karydis published a chapter ‘Learning from the Vernacular Building Systems of the East Aegean’ Durability in Construction, (Papadakis Publishing); Prof. Gordana Fontana-Giusti has published a chapter on Bogdan Bogdanović in Architecture and the Paradox of Dissidence, book in Critique series (Routledge). In collaboration with the School of English and School of Social Science KSA PhD candidate Christina Chatzipoulka has organised an international conference on Homelessness (June 2014) with the keynote speakers Dr Marianne Amar, Musée de l’Immigration (Paris) and Prof. Gordana Fontana-Giusti. The centre continues to nurture the internal collaboration with the School of Arts, School of English, School of European Culture and Languages and the School of Social Sciences amongst others, as well as collaboration with the practices Farrells (London) and local stakeholders such as Thanet District Council and Turner Contemporary. Members actively collaborate with the professional bodies such as RIBA, AHRA, Society of Architectural Historians, and and the Twentieth Century Society. Internationally we have collaborated with the Beijing Schools of Architecture including Tsinghua School of Architecture and Beijing University of Civil Engineering and Architecture, whose representatives have been returning us the visit in October 2013. Prof. Gordana Fontana-Guisti

Director of CREAte

CREATE

KASA KENT ARCHITECTURAL STUDENT ASSOCIATION Christopher Gray & Oliver Treves

In 2013/14 the KASA team was headed by Oliver Treves and Chris Gray of Stage 4, with the association continuing to build upon the success of previous years by offering the chance for students to engage in a variety of different events outside of ‘the studio’. The success of the association relies entirely on the hard work and commitment of the elected student committee, composed of students from both Undergraduate and M.Arch programmes.

PAGE 244

The ever popular Tuesday night lecture series began in the Autumn term with Luke Chandresinghe of Undercover Architecture, charting their firm’s design process for their Wright Brothers Oyster Bar in Spitalfields Market. This was followed by Sebastien Ricard from Wilkinson Eyre, presenting their ‘Crystal’ building, an independent global hub for the debate on sustainable urban living and development. The series culminated with Andy Pryce, Associate Partner of Rogers, Sitrk Harbour, presenting the pratices’ recently completed Leadenhall building situated in the City of London. The lecture series, as always, was well attended by both staff and students, with Q&A sessions promoting lively discussion and debate. Next year the team hopes to continue to expand upon the success of the KASA lecture series and draw in a rich and varied collection of speakers. KASA socials ran throughout the year encouraged mixing between year groups in an informal environment. Alongside other social events, the academic year concluded with a charity Summer Ball, run jointly with Article 25, which again proved popular with students. Money raised here helped to secure the funding of KASA for the foreseeable future, and also supported Article25 in their ongoing fundraising efforts.

KASA would like to extend its thanks to all KSA staff for their ongoing support of the association, and our guest lectures who provided thought provoking and inspiring presentations. Oliver Treves & Chris Gray KASA Presidents

KASA

KENT SCHOOL OF ARCHITECTURE LECTURE SERIES

LECTURE SERIES

KENT SCHOOL OF ARCHITECTURE LECTURE SERIES

/06

CREDITS DEGREE CATALOGUE 2014

/ED.

THE EDITORS DEGREE SHOW COORDINATORS Peter Evans & Rosie Seaman

CATALOGUE TEAM

Matt Donald, Jen Bull, Sam Ashdown, Meg Clarke, Christopher Gray, Oliver Treves

DIGITAL EXHIBITION

Alex Craig-Thompson, Fatimah Alzain, Jasmine Young,, Marija Milosevic

PAGE 250

â&#x20AC;&#x153;For the second year running the students have taken control of the Kent School of Architecture Degree Show. Tasked with designing both the exhibition and the degree catalogue, we see the students and staff working collaboratively and on a level playing field, in order to celebrate the diverse architectural expression which manifests itself through various mediums. Our commitment to the Degree Show programme has seen it grow to fruition, from the design of the invitations and graphical identity of the school, to the collation and display of over 200 artefacts of student work. This culminates in a bespoke and extensive catalogue that illustrates the all-encompassing ethos of the school. We hope these efforts will take Kent School of Architecture a step further into the architectural community and wish for a significant turnout to witness the schools progression.â&#x20AC;? We would like to give special thanks to Matt Donald, Ellie Graham, Brian Wood, Neil Evans and Christopher Jones for their invaluable assistance and guidance which made this catalogue possible. Rosie Seaman & Peter Evans MArch Stage Five

During the final weeks of term, students work together as a team to curate and create both the degree show catalogue and the exhibition for the Kent School of Architecture. Following the successes of the previous year, the degree show 2014 aims to further the accomplishments of the Stage Three digital exhibition; whilst MArch continue to captivate the viewers with a collection of drawings, imagery and models. Divided into the four individual units, students work alongside the tutors in order to form an exhibition unique to each unit.

Initiated through the design of the invitations, the degree show adopted the idea of a dynamic theme in order to create an interactive and intriguing outcome. Based on an isometric grid the graphic branding of the show aspires to combine art, architecture and design as one. Text becomes architectural imagery, representative of the school, whilst also providing clear and decisive information. The three dimensional element has been used to evolve the interface of the digital exhibition, developed by a team of Stage Three students, which collates the year as a whole.

ACKNOWLEDGEMENTS ACADEMIC STAFF Prof. Don Gray Head of School Director of Recruitment & Communications Prof. Gerald Adler Deputy Head of School Programme Director: BA (Hons) Architecture Director of Academic Staffing Chair of Disciplinary Committee Keith Bothwell Chief Examiner Senior Lecturer Dr Timothy Brittain-Catlin Director of Graduate Studies Senior Lecturer Dr Luciano Cardellicchio Lecturer KASA Liaison

Chris Gardner Admissions Officer Lecturer Howard Griffin Programme Director: MA Architectural Visualisation Lecturer Dr Manolo Guerci Director of Internationalisation Senior Lecturer Dr David Haney Director of Learning & Teaching Senior Lecturer Rebecca Hobbs Outreach Officer Design Tutor

Prof. Marialena Nikolopoulou Director of Research Director of CASE Research Centre Programme Director: MSc Sustainable Architecture & Environment Professor of Sustainable Architecture Dr Giridharan Renganathan Lecturer Library Liaison Officer Michael Richards Programme Director: MArch Senior Lecturer Dr Henrik Schoenefeldt Lecturer of Sustainable Architecture Equal Opportunities Representative Jef Smith Lecturer Chloe Street Lecturer Dr Richard Watkins Lecturer Senior Tutor

Andrew De Carteret Design Tutor

Fiona Raley Design Tutor

Christina Chatzipoulka Graduate Teaching Assistant

Henry Sparks Design Tutor

Giacomo Chiarani Design Tutor

Tom Sweet Design Tutor

Diana Cochrane Design Tutor

Andrew Tull Management Practice & Law Tutor

Patrick Crouch Design Tutor

PROFESSIONAL ADMINISTRATION

Corinna Dean Design Tutor Michael Dillon Design Tutor Tim Fox-Godden Graduate Teaching Assistant Ben Godber Technology & Environment Tutor Ed Holloway Design Tutor Michael Holms Coats Design Tutor Jamie Jacobs Graduate Teaching Assistant Clare Kennedy Design Tutor

Alice Hamilton Clerical Assistant Victoria Friedman Postgraduate Coordinator Ellie Graham Recruitment and Communications Administrator Ben Martin Undergraduate Coordinator Student Support Administrator Jan Moriarty Student Office Manager Stef Portelli Finance Officer Jeanne Straight School Administration Manager TECHNICAL TEAM

ASSOCIATE AND ASSISTANT LECTURERS

Imogen Lesser Graduate Teaching Assistant

Colin Cresser Workshop Technician

Timothy Adekunle Design Tutor

Yorgos Loizos Design Tutor

Neil Evans Studio Technician

Gian Luca Amadei Graduate Teaching Assistant

David Moore Design Tutor

Christopher Jones I.T. Technician

Peter Ayres Design Tutor

Shaun Murray Design Tutor

Kevin Smith Workshop Manager

Tom Bell Design Tutor

Hilary Nixon Design Tutor

Julien Soosaipillai 3D CAD Technician

Tordis Berstrand Graduate Teaching Assistant

Patrick Osborne Design Tutor

Brian Wood Technical Resources Manager

Timothy Carlyle Professional Studies Advisor Management Practice & Law Tutor

Giovanna Piga Graduate Teaching Assistant

CREDITS

Prof. Gordana Fontana-Giusti Programme Director: PhD Programme Director: MA Architecture and Cities Director of CREAte Research Centre Professor of Urban Regeneration

Dr Nikolaos Karydis Lecturer Programme Director: MSc Architectural Conservation

DEGREE SHOW INVITATIONS

CREDITS

DEGREE SHOW INVITATIONS

KENT SCHOOL OF ARCHITECTURE DEGREE CATALOGUE 2014

KENT SCHOOL OF ARCHITECTURE MARLOWE BUILDING CANTERBURY KENT CT2 7NR +44 (0)1227 824689 WWW.KENT.AC.UK/ARCHITECTURE ARCHITECTURE@KENT.AC.UK PRINTED IN CAMBRIDGE BY EXWHYZED WWW.EXWHYZED.CO.UK HELLO@EXWHYZED.CO.UK COPYRIGHT KENT SCHOOL OF ARCHITECTURE 2014 ALL RIGHTS RESERVED ISBN 978-0-9558802-8-5