Kent School of Architecture and Planning - End of Year Show Catalogue 2020

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Kent School of Architecture and Planning & KASA Catalogue 2020

KASA & KSAP Catalogue 2020

Celebrating 15 Years


Without the generosity and support of our sponsors the 2020 catalogue would not have been possible. Our thanks goes to:


del Renzio & del Renzio Architects | RIBA Chartered Practice


Full Architects Services Design & Planning Services Conservation & New Build Technical Design & Detailing Sustainable Design

del Renzio & del Renzio Architects | RIBA Chartered Practice

12-14 Cliff Street, Ramsgate, Kent, CT11 9HS | 01843 446 210 | |


‘CZWG generates something special; bringing originality, innovation and flair whilst adding extra value to every project.’ Adam West, Director

Thank you to all of our sponsors who helped fund this catalogue through this unprecedented time. To see more of our students work head on over to our online exhibition: To be in the know of all our social events and lectures join our Facebook group, or Instagram and visit KASA’s website: Facebook: KASA Kent Architectural Student Association Instagram: kasa_ukc Website:







01 INTRODUCTION inroduction head of school

kasa foreword

05 POSTGRADUATE 9 - 14 11 - 12 13 - 14

02 MARCH march

1 unit 3 unit 4 unit 5 unit

artefact pedagogy dissertation

15 - 134 21 - 46 47 - 72 73 - 98 99 - 120 121 - 124 125 - 128 129 - 134

architectural visualisation

& urban design architecture & conservation architecture & sustainable environment bio digital architecture urban planning & resilience phd in architecture architecture


case create



03 AWARDS student award winners / nominees

135 - 142

343 - 350 351 - 354 355 - 360 361 - 364 365 - 368 369 - 370 371 - 372


375 - 376 377 - 378 379 - 380 381 - 382 383 - 382

385 - 387

04 BA (HONS) ba (hons) stage


dissertation stage stage

2 1

credits 143 - 340 149 - 320 323 - 324 325 - 332 333 - 340








An extraordinary year What a year this has been, our fifteenth since the establishment of the School at the University! We began last September on an optimistic note: last summer we had gained continuing and unconditional validation from the RIBA for our Part One and Two programmes. This is no mean feat, and I thank all colleagues for the work involved in this, and all students whose work we used as evidence and who engaged in lively discussions with the Visiting Board. We also launched two new postgrad programmes: the PGDip, our Part 3 course run by Peter Wislocki, and a new MSc in BioDigital Architecture, directed by Tim Ireland. We are currently going through the process of seeking RIBA Validation and ARB Prescription for the Part 3, and hope to have our first graduates later this year. Staff news We have welcomed new colleagues to the School, as well as putting some seasoned teachers onto a firmer footing with us. We have pioneered a new ‘Practitioner’ Contract, aimed specifically at design practitioners, and have engaged Felicity Atekpe, John Letherland, Fiona Raley and Alan Powers on fractional posts. While we were sad to say goodbye to Patrick Crouch last year, we have engaged Tim Meacham as our in-house artist, working mainly in Stage One. First year students made witty and engaging interventions throughout the Marlowe Building as part of Tim’s Folio teaching. On the Admin side, we welcomed Russell Moul to the front office (many congratulations on your recent PhD success, Russ!). Last but not least, Dr Timothy Brittain-Catlin leaves us after many years as an inspiring and engaging studio and history teacher. We wish Tim every success in his new venture with the University of Cambridge. Our teaching Under Chloe Street Tarbatt’s direction, the BA has seen changes in the teaching pattern and use of space, where we now run design/technology studio in Stages Two and Three over two days. In the MArch, Michael Richards has built on the success of the programme by fostering the great diversity in approach afforded by the Unit system – about which more elsewhere in this catalogue. This year his own Unit One was ably supported by Manolo Guerci, new to teaching in our MArch, where the idea of the Gothic was explored by their students. The other Unit Leaders - Michael Holms-Coats, Tim Ireland and Matthew Woodthorpe - have continued to forge distinctive and innovative teaching and research environments.


The School’s research The School has an excellent record in research across its three centres of excellence, and is making final preparations for its submission to the UK’s Research Excellence Framework – the REF. I’d particularly like to highlight Dr Silvio Caputo’s PhD scholarship from the Global Challenges Doctorate Centre on ‘The Urban Agriculture Nexus’, and Prof. Marialena Nikolopoulou’s doctoral training programme to generate solutions for urban outdoor environments - ‘SOLOCLIM’ (Solutions for Outdoor Climate Adaptation). Our PhD programme continues to innovate, and this year we were successful in gaining scholarships for our students from the EPSRC (Engineering and Physical Sciences Research Council) scholarship in the area of Urban Public Space in the Digital Era. We have also been successful in winning a scholarship in a new venture with the Universities Consortium in Lille, so that KSAP and the Lille School of Architecture both have PhD students in a mutual ‘co-tutelle’ arrangement. Condolences I began my piece by reporting the success we had with our RIBA Validation last summer. We all experienced the care and attention given by the chair of the Panel, Martin Pearce. It was with great sadness that I had to let colleagues know of his sudden death shortly after the visit. This was a deeply felt loss to all of us who had got to know him during the days of the Visit, and of course to his family and his home School of Architecture at Portsmouth University, where he had taught for many years. Also from Portsmouth, I was sad to hear of the death of Wendy Potts. Wendy had been one of the first female Heads of a UK School of Architecture, and was a role model for those of us seeking to make our profession a more balanced one, reflective of society at large.

…and looking ahead Architecture lost a good number of prominent practitioners, such as Cesar Pelli and Paul Koralek, in addition to some architect-academics who had made such a mark in education and scholarship, such as Robert Maxwell, Michael Sorkin and David Dunster. I was particularly moved when I learned of the death of Ted Cullinan, in whose practice I had worked as a young architect. He was awarded the RIBA Gold Medal in 2008, and his work has continued to inspire architects and students to this day. His passion for a sustainable world – in all its senses – is one that I believe we can all share and is a goal to which we are striving at KSAP today. Even if the immediate future is unclear, as we prepare to function in an altered world as a result of the Coronavirus (with thanks to our colleagues in the Workshop for fabricating PPE equipment), we are committed to a better environment.




Firstly, we like to say a huge congratulations to all of the graduating and continuing students at the Kent School of Architecture and Planning (KSAP) for completing another successful year of fantastic work which is showcased in this catalogue. We would also like to thank the staff and the students who have outperformed and continued as normal despite the Corona Virus hurdle. It has been an extremely tough year and as you will be able to see in this catalogue, you would not have known that all of the students had to complete their work whilst in lockdown. So well done to you all! This year is not only a celebration of all students’ work but is also the 15th anniversary of the show and catalogue. The End of Year Show is always a celebrated event in the academic calendar but unfortunately a physical show was not possible this year but this has not stopped the efforts from students and staff to honour and showcase the work of the graduating students of KSAP. The Kent Architectural Student Association (KASA), originally founded by the Del Renzio brothers, has gained noticeable recognition in the last few years as one of the largest student societies at the University of Kent. By working closely in tandem with the Kent School of Architecture and Planning (KSAP) KASA is able to reach over 450 students annually. KASA offers a variety of academic and recreational activities, including competitions, socials and a lecture series that forms part of the Kent Open Lectures. It is important to us that there is a sense of community throughout the programme that is inclusive to all stages from 1-5 and the other courses that KSAP offers. This year the KASA committee is shared amongst all stages which we believe offers a diverse group to fully enhance the student experience whilst at KSAP. So once again, a massive congratulations to all staff and students at KSAP and a thank you to our sponsors that have made this physical catalogue possible! From all of us at KASA, we hope you enjoy the catalogue!

Chandni Patel & Stephanie Tillman KASA Presidents 2019-20

Isabel Adams & James Vincent KASA Presidents 2020-2021






In the MArch, we teach design and integrated technology, in Stage 5, through a series of parallel, ‘vertical’ teaching groups called ‘Units’ which are a mixture of Stage 4 and 5 students. Each Unit has its own theoretical and pedagogical position, dedicated design and technical teaching team, and allows students choice in their education. To create choice, and to offer continuing students something fresh, Units re-focus their evolving interests annually. This year we ran four Units (1,3,4,5) with more or less continuing teaching-teams, with Yorgos Loizos moving to Unit 4, to be replaced in Unit 1 by Manolo Guerci. Throughout the year our tutors rotate as guest critics through InterCrits, and Portfolio Reviews, to add a plurality of opinion, learn something new, and enhance the culture of the Programme. We are grateful to the University of Kent’s Faculty of Humanities International Learning Mobility Fund, who have so generously supported, in equal share, the International Fieldtrips each Unit undertook this year, three to Italy (Milan & Turin; Naples; Venice) and to Spain (Barcelona) to look at similar complex conditions as those found here, through a different cultural lens. 15

Outside the Unit system Stage 5 students choose between three parallel options to a classic Dissertation – Artefact (research though Practice – ‘making’) and Architectural Pedagogy, an initiative that differentiates KSAP’s MArch as unique amongst all UK schools of Architecture. Here participating MArch students become involved in the teaching of design and communications to Stage 1 beginning design students. You can read about these ‘Options’ and their outcomes elsewhere in this catalogue. Meanwhile Stage 4 students follow three Lecture-based modules, Employability (professional practice and management), Cultural Context (discourse in mid-20th century+ architectural theory), and in the Spring, Technology_4 (case studies of exemplar innovative technologies). We are also delighted that two of our MArch Stage 5 students – Lisa Edwards & Octavia Profumo spent their Autumn Term on MArch Term Abroad at Kogakuin University in Tokyo, Japan – and made such an impression that in the future Study Abroad in MArch will be for a whole year (between Stages 4 & 5). Now unsurprisingly postponed until 2021, Kehinde Pereira, Stage 4, was selected by the British Council to represent GB as a Venice Fellow, at the 2020 Venice Architecture Biennale. Recent months have given us all pause for thought, difficult challenges, and for some, bereavement. So it is appropriate to acknowledge the extraordinary achievements of the MArch Class of 2020, who have both produced some great work through a transition to e-learning, but also, as I think almost everyone would agree, found an even stronger sense of studio culture from their study-bedrooms, shared houses, parental homes, or Government Quarantine. The MArch feels very collegial and consolidated this year. This is certainly because of our students, but also enabled by our MArch Lecturers, and Design, and Technology, Tutors, who have embraced the opportunity and added enhanced, extraordinary levels of support to their respective Modules, Units, and students, whilst reconciling the difficulties of what for many, are complex, twin careers. As the School celebrates its 15th year, it’s also my 12th (and a half). 13 graduating cohorts, 9 years of a Unit system, with a list of past graduates that numbers around 325 (too many to list here); increasingly with graduates across all five continents, whilst many work in the region, and some of the earliest, now with established practices of their own, employ more recent graduates – and some of whom teach here! Add to that a roster of ex-design teaching partners, Nick Brown, Brendan Woods, Michael Holms Coats, Yorgos Loizos; and colleagues not currently, or no-longer, involved with the MArch - Gordana Fontana-Giusti, Alan Latham, Jef Smith, Thomas Wensing, Corinna Dean, Ed Holloway, Shaun Murray, Diana Cochrane, David Johnson, Henrik Schoenefeldt, Tim Carlyle, Peter Eyres, Kevin Haley, David Shanks, Adam Cole, George Thompson, Charles Drozinski, Annarita Papeschi, Mattia Gambardella, Vincent Nowak, Carolina Vasilikou, Lorenzo Vianello, Luciano Cardellicchio, Francesco Incelli, Alessia Mosci, Chris Jones, Sam Causer, Emmanouil Zaroukas, Matt Orme, together with Guest Critics and Dissertation Advisors too many to mention, Technical Support Staff and Administrators. Apologies if I have overlooked anyone, but not to forget our current progressing Stage 4, and Stage 5 Graduands – on the occasion of our 15th Birthday, ‘Thank You’ All, it’s been an education and a privilege!



enerate the art . The ‘city of to speculate artists produce racter at night.



Bryan Yeoh, Stage 5 ‘Grow from the desire to devise a structure that was itself migrant in nature.’ London, Archway is an area undergoing major redevelopment so the majority of migrants have moved to this area. This proposal seeks to transform the idea of a house into a dynamic concept of “Migrant housing”. For refugees and internal migrants alike, the ability to integrate goes hand in hand with the ability to imagine and build a brighter future. 8




ALICE YOUNG, Stage 4 Unit 5 worked to a narrative brief of Douglas Adam’s hitchhikers guide to the galaxy this year, in my project I took the otherwise ordinary home of Adam’s, and explored how it could expand and unfold, creating new and fantastic spaces for the occupants.






Unit 1 believes the past is never far behind us, and that understanding it is essential to designing the most compelling architecture for the future – we are less interested in repeating a historical ‘style’ as a ‘neo something’ or a ‘something revival’, nor in the restoration (as opposed to preservation) of an ‘old’ building – but hope to imbue contemporary, innovative design with complexity and nuance that has heirloom quality (it could be imagined to last, and take on its own patina), and one where technology in so intrinsic that the architecture often is what it does, and does what it is. At the beginning of this academic year, now almost forgotten in the shock of the pandemic, the events of 15 April 2019 had provoked a global outpouring of, sympathy and unprecedented pledges of financial support in response to the fire that destroyed the roof and spire of Paris’s Notre Dame Cathedral. Amid immediate declarations to rebuild within a period of five years, a wider question arose: what is 21st century ‘Gothic’, and what does it mean? This year then, Unit 1 enjoyed an interest in all interpretations of the term ‘Gothic’, and in particular, how this resonates with our own city, Canterbury. We deployed a tried and tested method of primer projects to establish a set of principles and values that would help us navigate the longer thesis 21

project that follows. These steppingstones were: Gothic Zero - Preconception in which students manifested their preconceptions of what ‘Gothic’ meant to them, as a 2D collage. In Gothic I – Observation students were asked to undertake an exercise in studied, measured, observational drawing within the Cathedral precinct, generally at the juncture of three or more directing principles – ranging from ethical, through tectonic, to phenomenological. Gothic II- Container was an antidote to the historic ‘gothic’ of the Cathedral! Here we looked closer to home - to the ‘gothic’ (read ‘eclectic’) of the everyday, that of household cleaning and personal hygiene products. Students chose a piece of packaging (bottle/box/tub etc.) and analyzed it. We were attracted to the hybrid nature of iconic brand containers, and how their context changes from the shelf-in-the-store, to the eclectic pop mash-up of the cupboard-under-the-sink, or bathroom shelf. Gothic III – Palimpsest, called for the design of a small pavilion that engaged with the ancient wall around the city of Canterbury. Its design develops the themes confronted in the preceding projects, foregrounding them into a physical context of the city’s perimeter wall. Gothic IV – Manuscript is our guidebook to the city – a series of individual chapters that addressed the history of Canterbury thematically. Published in two volumes and nearing 34 chapters, the second volume is a parallel guidebook to the destination of our autumn term fieldtrip this year – Milan and Turin in northern Italy – to see ‘Gothic’ through a different cultural lens; here ranging from Milan’s ultra-gothic Duomo, to the industrial-gothic of Turin’s Lingotto FIAT car factory. And finally to Gothic V - Thesis – when, on return, and with reference to the Manuscript, Unit 1 asked its students to critically evaluated more than 40 locations within the walls of Canterbury – many remaining empty after the Baedeker Raids of 1942, or left over spaces after the redevelopment that followed - to select just 17 sites, as the locations of their architectural propositions, and individual thesis projects, this year. This year’s thesis projects included: A Town/Gown/Clergy ‘Commons Building’, a Memorial ‘Spoken Word Story-Telling’ Centre for the decline of the High Street ‘Department Store’, a combined (Milk) Tooth Bank & Stem Cell Research Institute, a combine EV Prototype Factory and Academy for reformed Catalytic Converter Thieves, an Archeology and Lost-Building Orientation Centre, Contemporary Infirmary for the rehabilitation of unknown Relics, a ‘Stock Market’ for Fruit & Veg futures, a Charcuterie, a combined European Language School and Conservative Club, a Freemason’s Hall for rehabilitated Artisans, a surreal Winery, an Institute of Ornithology and Vegan Taxidermy, an Apothecary and Physic Garden, a combined (Gentlemen’s) Club for Celiacs & Yeast Propagation Tabernacle, an Archive of Lost Buildings, A Car Wash, and Nike Sneaker SuperEmporium. Unit 1 Students: Stage 5: Sude Akdeniz, Samar Al-Haddad, Agnes Cheng, Andy Kong, Venus Kwok, Ellisha Seagroatt, Aubin Torck, Michelle Winkler, Konstantin Zlatarov Stage 4: James Hatton, Farrah Morgan, Kehinde Pereira, Lilyana Popova, Reuben Powell, Grace-Marie Spencer, Jacob Hallam Viner, Benjamin Warner Guest Critics: Phillipa Cheetham, Clague Architects and Charles Hope, Taylor Hare Architects, Mark Coles, Benn Corrie, Ambrose Gillick, Michael Holms-Coats; Tim Ireland, Lee Jesson; Oliver Watson; Matthew Woodthorpe. A very special mention to Peter Bus (of Unit 5) who generously gave his time to join the Unit on its fieldtrip to Italy – thank you Peter! And to Patrick Crouch for his amazing tour of Canterbury Cathedral with great historical and technological insight! Guest Lecturers: Prof. Antonello Alici, University of Ancona, John Outram, John Outram Associates Technical Tutors: Philip Baston, Philip Baston Architects Ltd., Ben Godber, Godber & Co. Ltd; Patrick Osbourne, RHP. Unit Leaders: Michael Richards & Manolo Guerci.



SUDE AKDENIZ , Stage 5 The site is located on an invisible divide line that separates three communities in the same region; Boarding School, Cathedral, and the Town. To connect them library will be proposed and it demonstrates an architectural allegory that is an amalgam of reorganization and manipulation of actually existing buildings within the communities on the site which is a meeting point where a variety of social exchange and tension can occur by linking experiential journeys shared by both sides. 24


SAMAR AL HADDAD, Stage 5 The scheme represents a spoken word memory centre for department stores but also references other themes of memory. The scheme reflects on dickens’s idea of the grotesque by exposing the truth and exposing what is beneath the surface.



AGNES KA PUI CHENG, Stage 5 This project is a Reliquary of Teeth set inside the Canterbury city wall. Canterbury is well known for the Pilgrim’s Way of Thomas Becket and the design concept is based on the idea of venerating bits of the saint’s body. The thesis explores the themes of religion and science by having a sacred tower to store milk teeth and a laboratory with adaptive reuse of existing building to achieve the collectivism idea in gothic. 28


ANDY PADRAIG KONG , Stage 5 In recent social attention towards thefts of catalytic converters, constructed the stories for Canterbury Automotive Academy. This project aims at providing rehabilitation and education, which narrates the pilgrim process of cadets through learning, designing and understanding vehicle technologies. There is also a cycle of lives for young offenders in parallel to wasted cars in repairing the Roman Watling Street. 30


YUEN YING VENUS KWOK, Stage 5 A DEAD CORNER IN CANTERBURY This is a conceptual arrangement to response the site condition, almost dark mysterious and eclectic. However active nor built on the site. A memorial museum of Canterbury which showcases an artefact in a large and deep basement, also renders a hollow and empty atmosphere of what Canterbury could sometimes make people feel. 32


ELLISHA SEAGROATT, Stage 5 The project is set within the Precinct of Canterbury Cathedral against the immediate backdrop of crumbling ruins – the former monastic infirmary. As the historic use for this area was to aid the diseased, injured & aged, its new concept is to provide the same supportive notions in respect the ruins themselves and by doing so perform a secondary function which reassembles & identifies skeletons which were disrespectfully disturbed during the English reformation of the Church. 34


AUBIN TORCK , Stage 5 The market place is at the foundation of our modern civilisations as a place of trade. ‘The Source Market’ provides an outlook to the macro scale of domestic and international trade. The integrated stock market allows for a localised regulation of crop prices directly linked to its input and output. The building follows a series of hierarchical historical grids. With speeds found throughout the architectural language, reflecting hierarchy of services provided within. 36


MICHELLE WINKLER, Stage 5 The Blackfriars Charcuterie is a proposition for a meat smokery in Canterbury within the garden of the former Blackfriars Priory. The project seeks to revive the medieval practice of meat preservation. Such a display is commonly perceived as grotesque and often overwhelming, and its revival draws a deep correlation to the term, ‘gothic’.


JAMES HATTON, Stage 4 This project takes an interesting stance on Gothic by creating an unconventional, yet more progressive way of helping homeless people. The site contains two sides that conflict with each other, the Freemasons and the Guildhall. The building follows the Freemasonry ideals of helping each other and applied to the homeless. The true story of the soloist was a source of inspiration that served as a basis for the help centre of this building. 39

FARRAH MORGAN, Stage 4 Gothic’s multifaceted nature was explored in first semester, looking at Gothic as a way to tell a story of the divine and grotesque through ornamentation, iconography and symbolism. These themes of the Gothic and its juxtaposing nature was taken forward in second semester on the medieval city wall of Canterbury. Here a wine making tower is proposed to encapsulate the divine and grotesque, celebrating the tragedies of Canterbury making it the city it is today. 40

KEHINDE PEREIRA, Stage 4 Today, its almost impossible to imagine a Gothic building that is not wrapped in scaffolding. Gothic is sublime in the sense of infinity, it has a unique quality which provides spaces with an uncompromising capability. The infinity character tends to fill our minds with a sort of delightful horror. My designs try to reflect this through its architectural narratives and theatrical visualisations. 41

REUBEN POWELL, Stage 4 The ‘Sublime Society of Coeliacs’ is situated within the precincts of one of the city of Canterbury’s lost churches, All Saints, and develops on the themes in my work from AR836 Design 4A. The scheme combines allusions of an historic Gentlemen’s Club for Coeliacs, with the culturing of Yeast Mothers for use in an adjacent Bakery; elevated above the former churchyard.


GRACE-MARIE SPENCER, Stage 4 The year took me on an exploration to interpret what Gothic meant. Through different tasks such as studying Canterbury Cathedral, designing a pavilion (4a) and designing an archive of lost buildings (4b), I was able to understand my interpretation through time and weathering within Canterbury. In conclusion, Gothic is built up from a variety of styles, shapes and scales which together creased layered structures that communicate a story through the building. LinkedIn: 43

JACOB VINER, Stage 4 A liturgical ablution carwash and museum for Canterbury Sited within an area of Canterbury which historically has caused mass pollution to the city and its residents. This project develops the themes in my work from AR836 Design 4A. The architectural work presents a ‘modern castle’ facade that hides a historic pathway to past pollution of the site with the aim to inform future ablution and purity. 44

BEN WARNER, Stage 4, I placed my design approach within the context of Canterbury arguably being the religious capital of the UK (with a rich history of churches, cults and cultish-ness). My proposal is a flagship Nike sneaker store that members of “The Cult of Nike” might travel to as pilgrims — much like the pilgrims of old travelled to Canterbury.





Guided by making and drawing, Unit 3 seeks to challenge modes of thinking and broaden the architectural ‘toolkit’ of each student. Our starting point this year has been ‘activity’, following on from ‘place’ and ‘construction’ in previoius years. The framing theme of ‘traces’ was introduced to materialise activity – to encourage the observation of and speculation about the marks of human action imprinted onto the environment, shaping all aspects of design. Rather than limiting ‘use’ to the dry vocabulary of ‘programme’ or ‘building type’, the aim was to observe and uncover the routines, actions and interactions of a range of people, building users, in context. ‘The user … is not an abstract body, a statistics description that can be measured and moulded irrespective of its milieu … When one thinks about how to make things, one thinks, too, about how they shall be used.’ – Irénée Scalbert, Never Modern Through a sequence of small- and medium-sized ‘works’, students uncovered clues and threads, desire lines and wear and tear to develop specific activity interests and anchor design. Initial exploration language ranged from annotation to drawn and photographic representation, evolving into drawing techniques presenting a hybrid of record and speculation, a ‘capriccio’. And this iterative process then saw students translate their findings and ideas into physical form before starting their main projects.


Locations for observation, investigation and invention broadened from Canterbury to the rapidly-changing East London districts of Stratford and Hackney Wick, bordering the Queen Elizabeth Olympic Park, and visited as a unit in October. Research was then further enriched with the Study Trip to Naples, a city whose fabric is ‘as porous as its rock’, to expand and deepen research with direct experience of this complex and vibrant southern Italian city, including the neighbouring hertiage sites of Pompeii and Herculaneum and active volcano of Vesuvius. Daily, numerous examples of continuous re-use presented themselves, sometimes changing over the day, at other times changing across hundreds of years. To support emerging architectural design, a Precedents Day was targeted at more contemporary city interventions in central south London – rounded off with a guided visit to the Oasis City Farm / architects’ office (of Feilden Fowles) in Waterloo. In addition, a series of workshops took place throughout the year, giving external guidance on evolving work, including a Fabrication Workshop in the first term and later a Structures Workshop. So, exhorted to create an ‘Exchange’ with a level of re-use or re-purposing of an element of the existing built environment and combining at least two different interacting uses, out tumbled a wide range of projects providing homes for production, for services, for arts and for caring in the community. A clutch of projects offered productive space for production itself – a fashion catwalk was combined with a clothing repair workshop, a bakery with a brewery, a paint supplier with an after-dark graffiti operation. For others the emphasis was on services provision – martial arts and meditation urban scape, ‘moon-landing’ homeless hostel and a community hub where everyday waiting was turned into valuable physical material. Yet others worked the boundary between production and provision – top-to-toe warehouse re-use created a market garden and stepping stone offices and the kiln of a tilemaker workshop provided the heart for a temple to craft manufacturing. In these strange and difficult last few months students have responded with resilience and gusto to their challenging studying conditions. At unprecedented speed and impact, the virus and lockdown changed how the course could be run, and we have all been impressed by the mature and constructive response of all of our students.

Unit 3 Students: Stage 5: Hannah Appadoo, Sojia Johnson Thomas, Salman Khan, Lauren Lau, Lola Olabisi, Banu Priya Pellur Santhosh Kuma, Ottavia Profumo, Mhari Stevenson, Dusan Sunwar Stage 4: Isabel Adams, Heidi Chan, Jordan Harris, Zu Jing Lee, Adarsh Madhewoo, Nirav Patel, Reuben Tozer, James Vincent Guest Critics: Kyriakios Katsaros (principal, Studio C102), Duncan McLeod (director, Studio McLeod), Mervyn Rodrigues (director, Rodrigues Associates), Sarah Wigglesworth (director, Sarah Wigglesworth Architects), Eric Guibert (principal, Atelier Eric Guibert), Peter Bus, Ambrose Gillick, Manolo Guerci, Tim Ireland, Yorgos Loizos, Michael Richards, Matthew Woodthorpe Technical Tutor: Oliver Watson, studio associate, Jestico + Whiles Unit Leaders: Michael Holms Coats, principal partner, TROLLEY studio & Lee Jesson, senior architect, RCKa



HANNAH MEI FUNG APPADOO, Stage 5 Hackney Wick’s Creative Hands, is a creative hub containing fashion design ateliers, creative boutiques and a catwalk event space to host private functions. The scheme is designed using the existing warehouse’s envelope that it now replaces: including re-use of foundations, steel structure, aluminium cladding, red brick and donated recycled fabric. Locally sourced coppiced timber is the only addition to the material palette and the repurposed perforated aluminium cladding is the highlight of re-use for shading.



SOJIA JOHNSON THOMAS, Stage 5 Bread and beer factory The project observes how a concept such as ‘ma’, a japanese concept of ‘space in between’, has linked to the development of bread and brewery factory and how this design overcomes the issue of present food wastage generated from nearby cafes and breweries, as well as the existing urban issues across the fish island and the site of hackney wick, london.



SALMAN KHAN , Stage 5 The entropic or ever-changing state of tangible matter always been regarded as a destructive force. The narrative for the proposal of ‘Shrine for Tiles’ was a subsequent collaboration between the notion of destruction and construction giving birth to the idea of ‘Syntropy’. Along with producing and teaching traditional handmade tiles the proposal will permeate Hackney Wick’s identity through reclaimed materials imbedded with rich artistic characteristics of the site.




LAUREN LAU, Stage 5 N LAU, Stage 5 The proposal seeks to reconstruct unknown activities to regenerate the art

posal seeks to reconstruct unknown activities regeneratehistory. the artThe ‘city of industry and to revive Hackney Wick’s to manufacturing has been formed by graffiti artists and has room and to revivecanvas’ Hackney Wick’s manufacturing history. Theleft‘city of to speculate their whereabouts hidden During theto day, graffiti artists produce has been formed by graffiti and artists andidentity. has left room speculate organic pigments with the community, to unveil their true character at night. ereabouts and hidden identity. During the day, graffiti artists produce pigments with the community, to unveil their true character at night. 56


BANU PRIYA PELLUR SANTHOSH KUMA , Stage 5 Unpacking the contrast switchover of surfaces with hidden exchange of unfolding the non-sighted activities into the senses of common man. Colearning scenario with self-defensive and concentration build-up and public participate into a blind-folded experiential journey of textures and edges, active play of light and water into contrasting mass timber and concrete spaces and way-finders with sound. 58


OTTAVIA PROFUMO, Stage 5 The Wallis Road Ichiba is a mixed-use development emerging on a waterfront site in the heart of Hackney Wick. The activities taking place aim to attract casual passers-by and curious explorers keen to find a place to learn the Japanese ways of making and cooking. The market hall brings together local creations, whilst a garden wraps around the different structures, allowing for on-site growing, outdoor eating and peaceful relaxation. 60


MHARI STEVENSON , Stage 5 Carpenters Estate A proposal to overcome engagement fatigue on the Carpenters Estate by placing needed services on site and using the waiting time, which is usually used to purchase goods, for engagement purposes instead. The scheme is designed to be temporary as the future of the Carpenters Estate is uncertain, however the architecture is deliberately generous as an offering of investment to earn back trust of residents.



DUSAN SUNWAR, Stage 5 ‘Metamorphism’ highlights the activity – ‘tipping point’ of Stratford Centre – change in the use of the shopping mall into homeless shelter overnight. The project aims to stimulate the activity of Carpenter and Dockland community centre by providing necessity for the homeless people in Stratford centre Soup, Shelter, Haircut, Shower & Psychological therapy using (improvised) upcycled materials. 64

IZZY ADAMS, Stage 4 The Listening Project My initial study this year was exploring redundant objects, and whether redundancy can be reversible. This lead to me to explore visible mending, a practice that whilst has a conversation with the initial object, places huge emphasis on the repair, and therefore outlines useless becoming useful. This developed into creating a therapy centre, with repair of objects and relationships being at the crux, in a disused industrial area of Hackney Wick, London. 65

HEIDI CHAN, Stage 4 The exchange project is developed base on enhancement of observation, speculations and testing of the refined lens - ‘signs’ and ‘connection’. Consideration of human presence is explored by hints from capriccio and fabrication. The project focuses on repurposing and re-programming of an existing structure with the intention of extending the ‘life of building frame’. While ‘give and take’ exists in interactions between users of the building. 66


Jordan Harris, Stage 4



MUST BE: and one I attempted to Autism, condition that too address Autism, A condition that too few Architects address and Aone I attempted to few Architects • BLACK AND WHITE IMAGE cater to this year. My project was to design a Goat Cafe, a space intended • SHOULDERS UP, AND cater to this year. My project was to design a Goat Cafe, a space intended as as a hub of inclusion catered to those with Autism. This used goats as well AGAINST A PLAIN WHITE a hub of inclusion catered to those with Autism. This used goats as well as BACKGROUND as the surrounding architecture to create an atmosphere that would foster a the surrounding architecture to create an atmosphere that would foster a positive space that would help those with Autism become more socially active positive space that would help those with Autism become more socially active and integrated into the surrounding neighbourhood of Hackney-wick. and integrated into the surrounding neighbourhood of Hackney wick.



ZU JING LEE, Stage 4 Introducing crowd-pleasing activities – market, foodhall and cafÊ to increase footfall of existing site and buildings. This proposal involves partial reprogramming of site which provides new programmes while re-providing spaces for existing activities that has been replaced. Additional structures and spaces are added without increasing footprint of the building, a scheme which attract the crowd to experience the arts and crafts culture already available within the site. 68

NIRAV PATEL, Stage 4 ‘The Harmonic Eclipse’ is situated on the boundary between Hackney Wick and Stratford in London. The proposal allows local residents to come together to experience amplification of sound through two activities; radio astronomy and a brass band. The building is is run by volunteers that hold performances to combine brass music with astronomy in an offer of civic interchange through a choreographical experience of events depending on the time of day. 69

REUBEN RICHARD TOZER, Stage 4 The community scale project provides a moment of limbo for the busy lifestyles lead in London. The scheme consists of a series of “portals� on a timber terrain, which create social bubbles disconnected from the busy world and connecting with other. With the use of talking tubes, there is opportunity for people to randomly engage with each other and allowing the exchange of words.


JAMES VINCENT, Stage 4 Peter Brook’s definition of ‘Rough Theatre’ states that within this type of theatre there should be an integral relationship between the actors and spectators - something the existing Theatre, on site, fails to. The proposal for this Yard Theatre explores how this relationship can be improved throughout different stages of the building, whilst also taking into consideration the ‘actors resistance’ and hierarchy the actors still have over their spectators. 71



FROM ACTIVISM TO GOVERNANCE climate change and architecture

Climate change is one of the most important issues of the Generation. This year has seen the rise of Climate Change Activism as an effective methodology and major influence on Civil Society & Government. Activism comes in many forms, ranging from the civil disobedience and disruptor tactics of ‘Extinction Rebellion’ or raising awareness of the refugee crisis through art & community engagement. If the purpose of activism is to raise awareness and effect change in policy and thinking, then successful activism creates the policy for Civil Society. In so doing, the Activist becomes the Government.


Our work as an Architect, in creating the spaces and places for human inhabitation, has an important part to play in influencing how humans will coexist with the environment. Architecture is, however, not commonly seen as a vehicle for outward activism. The Unit will explore this. We began the year by exploring the topic of climate change, the dynamic influence of climate on architecture and the way that architecture & art respond materially to adapt or work in sympathy with the environment. Specifically the work of the Unit explores notions of time based architecture (temporality), the English Picturesque Movement and an architecture that draws upon culture, climate, landscape and user as reciprocal harmonious authors. The project sites are split across two Cities – Venice and London; with lessons taken from our Venice field trip influencing our approach to architecture in the capital of the UK.

Unit 4 Students: Stage 5: Samuel Bush, Lisa Edwards, Bethany Elmer, Zarah Graham, Daniel Hoang, Darren Howell-Bray, Chandni Patel, Edward Roberts, Toby Smith, Vi Vien Teo Stage 4: Monrenikeji Animashaun, Henry Blazey, Himmang Chemjong, Reegan Howles, Ashleigh Hon Git Nip, Jeremiah Obiekwugo, Sophie Ryder Guest Critics: Manolo Guerci, Michael Richards, Peter Bus, Tim Ireland, Michael Holms Coats, Lee Jesson. Technical Tutors: Ben Corrie Unit Leaders: Matthew Woodthorpe & Yorgos Loizos



SAM BUSH, Stage 5 The project is concerned with the impact of climate change on indigenous communities in northern Scandinavia. The climate pavilion transports the Norwegian ‘Hjell’ to St James’s Park, where suspended blocks of salt are used to convey temporality and destruction. The final proposal for a culture museum, The Nordic Centre, is sited on St James’s Square opposite BP Headquarters – serving as a protest and a reminder of the culture that their business threatens. 76


Lisa Edwards, Stage 5 The proposal imagines future natural disaster in Japan, resulting in the displacement of people from eastern prefectures towards Tokyo City. As well as providing accommodation for those displaced, the proposal forms a new Bathhouse (Sento) a typology significant to Japanese culture since the Henian period. Once utilitarian in its structure, the proposal reinvents the traditional Sento using reclaimed components from Japan’s abandoned homes (Akiya) and Bamboo grown in the Tokyo Ward. 78


BETHANY ELMER, Stage 5 Recent global protests have pushed the climate emergency to the forefront of the public mind. Continuing this public engagement into the creation of legislation requires a new type of direct democracy in the shape of a National Citizens’ Assembly on Climate Change. Built on an in-depth study of power dynamics in political congregation spaces, the project creates a new home for this assembly, across the Thames from the Houses of Parliament. Email: 80


ZARAH GRAHAM , Stage 5 In the City of Westminster, children are among the most vulnerable to health complications due to the existing air pollution. The Pulmonary Rehabilitation Centre sits on the grounds of St. Thomas’ Hospital and creates a ‘Clean-Air Oasis’ for children with respiratory ailments to receive therapy. The architecture embraces biophilic elements such as the extensive use of timber and greenery to provide a healthy and welcoming atmosphere for patients and visitors, while promoting their overall well-being. 82


DANIEL HOANG, Stage 5 Water hinges itself onto climate change as a significant player through how the world’s water displays the damages caused by our detrimental emissions. This project explores how we may mitigate these consequences through architecture, using ecological sustainability that educates its inhabitants on climate action. Water hinges itself onto climate change as a significant player through how the world’s water displays the damages caused by our detrimental emissions. This project explores how we may mitigate these consequences through architecture, using ecological sustainability that educates its inhabitants on climate action.




CHANDNI PATEL, Stage 5 Despite the UK Government creating rules to limit the amount of emissions from transportation around London, no current restriction applies to boats. In response to this the Port of London Authority have intervened and re-established control over London’s waterways. Creating climate agendas for boat travel along the Thames, they have established a new electric boat dock, working together with TFL to create sustainable use of the River. Email:



EDWARD ROBERTS, Stage 5 Pedagogical Activism: Radicalising Governance through educational experience In 2020 the Global Climate crisis is becoming an issue that populations and politicians alike can no longer ignore. Using Westminster School’s prominent position as a institution that creates future world leaders, this project aims to alter the Government of the UK’s position on climate change through greater educational engagement with the problems and how we solve them. E:



TOBY SMITH, Stage 5 The extinction rebellion wants to move away from their disruptive persona. They came to the agreement with the government that they can create a series of structures on parliament square; if they are self-funded, leave 0 impact on the ground and create a series of learning and education spaces to capture the public rather than anger. An architectural language is developed that allows the structures to be individual and respond to the variety of edge conditions whilst still retaining a unified and coherent character. 90





VI VIEN TEO , Stage 5 The project is a stained glass workshop that is situated in San Michele Island, Venice that utilises a new clean air filtration system to produce cemetryware for the people of Venice. Glass blowing artists from Murano share a common work space where raw materials are transported from Murano through boat, stored in the collection display, and worked in a naturally top lit workshop where the glass blowing kiln emits clear filtered air to reduce air pollution before the final product is displayed in the mausoleum. The roof is the main architectural feature which comprises of stained glass louvres and concrete fins that control light, shadow and ventilation of the spaces while creating a poetic ambience. The collision between the old ruination of the surrounding context and new modular construction is the main driving force of the glass blowing workshop’s architectural language.


RENI AMINASHAUN, Stage 4 In Semester 1 we were tasked with designing a pavilion based in Venice that responded to a Climate Change effect. My pavilion was an algae collector, which operated with the tides over time to reduce the algae content in the canals of Venice. In Semester 2 my project was a pub-theatre for activist performers based in Westminster. The climate change contributor that I focused on was air pollution and I incorporated carbon capture algae technologies. 93

HENRY BLAZEY, Stage 4 The concept of Temporality was used to design Westminster Climate Gallery. The mud dissolves in the rain leaving behind a copper structure which also changes with time. This concept makes the present more precious as the gallery will never be in the same state again. The position of the gallery between the medieval Jewel Tower and Victoria Tower at the Houses of Parliament creates conversation between the Climate Gallery and society. 94

REEGAN HOWLES, Stage 4 Dolphin Square Lido seeks to provide a community hub for local residents to gather, swim and play. The first of its kind, the Lido is filled through a network of decentralized surface water drains, which channel rainfall into the site where it is purified and re purposed as an alternative to draining straight into the old Victorian sewage system.


HON GIT ASHLEIGH NIP, Stage 4 A design concept in Design 4A; A pavilion in Venice to express a dialogue about the ruination of architecture with cultural heritage due to the sudden rise of climate. Particularly the high tides in Venice. The climate pavilion consists of a faรงade which slowly degrades over time, revealing the lightweight structure behind whilst metaphorically protecting a building within it, specifically a Venetian building with lots of cultural heritage. 96

SOPHIE RYDER, Stage 4 London has recognised the need to improve water retention across the city to reduce the effects of climate change. The Leggero Assembly aims to Capture, Use & Delay rainwater. The Leggero Assembly captures rainwater and uses it architecturally in this dark narrow site as reflection ponds to maximise the muchneeded natural light infiltrating the site. It also draws in water from the adjacent sites to retrofit and provide sustainable drainage for the listed buildings. 97




The unit takes an algorithmic approach to the generation of spatial formations, and this year combined this with the theme of the HitchHikers Guide to the Galaxy. Design 1 involved a series of three intensive design projects, designed to encourage students to think algorithmically. The aim being to think about design as the manipulation of forces, and in so doing develop a generative process of construction, to be demonstrated through analogue and digital techniques. Task Three was site based, and a chance to develop initial ideas for and to kick start your main Design 2 project. Design 2 concentrated on building a narrative through The Guide to develop an architectural proposition that responds to the constraints and qualities of chosen site and context. The sites were based in an area of North London (between junction of Tufnell Park and Holloway Road and Highgate village), given the areas relevance to the Guide’s author: Douglas Adams.


Unit 5 explores architecture as the moulding of forces to steer life in a desired direction. Thinking like a scientist-architect who is perceived to deal with forces not objects, we sought to articulate the dynamic correlations between objects, environment and human experiences, through analogue and digital methods. Students were encouraged to think algorithmically about the generation of shape and form, and to set up an opportunity to think computationally about interaction, and life dynamics. We did this by exploring how language can act as a basis for defining a generative process of construction; developing a spatial logic through which you can generate interesting and appealing volumetric assemblies. This was approached within a theme, to provide a narrative and basis from which to build architectural scenarios. The theme being The Hitchikers Guide to the Galaxy. The emphasis of the studio is EMPHATIC SPACE : the expressed, expressive, striking, sharp/clear in form, contour or profile, distinct, energetic, unequivocal, significant, striking and pronounced. The unit trip to Barcelona was key to positioning and developing the interests and focus of Unit 5, providing opportunity to experience a variety of significant architectural works up close. Host to numerous architectural treasures spanning 2000-plus years (from its ancient city walls and subterranean stone corridors of the Roman-era Barcino, to Gothic cathedrals, Modernism masterpieces by Antoni Gaudi and current contemporary buildings) Unit 5 students were prompted to consider the implication of forces informing these exemplar projects. Thinking in terms of the dynamic correlations between objects, environment and human experiences the work of Antoni Gaudi was of particular interest. His infamous project Sagrada Familia, stood out providing first-hand knowledge of the actualisation and method of directing physical forces in a desired direction. Another significant project visited, Parc Güell, provided a lens through which to extrapolate not only how Gaudi moulded physical forces to inform architecture, but social forces too, to inform and direct people’s behaviour.

Unit 5 Students: Stage 5: Niyazi Aker, Zohaib Ashfaq, Yi Feng Lee (Frankie), Charlotte McEwan, David Norman, Emilia Osho-Williams, Stephanie Tillman, Xiang An Yeoh (Bryan) Stage 4: Alice Young, Karen Pelin Astley, Nathan Liu, Chun Yin Ng Jonas, Ser Justine Agon, Tze Chun Andy CHIU Guest Critics: Melanie Perkins (partner at PDP:London), Emmanouil Zaroukas (Bartlett and private practise), Richard Gill (Director Paul Archer Design) James Cotton (Graduate of Unit 5), Ed Sutcliff (Graduate of Unit 5) Michael Richards, Manolo Guerci, Michael Holms Coats, Lee Jesson, Matthew Woodthorpe, Yorgos Loizos. Technical Tutors: Mark Coles Unit Leaders: Timothy Ireland & Peter Bus



Niyazi Aker, Stage 5 The Orchid - Architect building is an exploration into the world of the Orchidist Benjamin Williams. His fascination with the ever evolving orchid plant together with his methods of categorising his findings are elevated through the introduction of Hitchikers guide to the Galaxy. With a rooftop greenhouse and a flowershop on the bottom floor, the building creates its own ecosystem, allowing the community to come together and continue Beljamin’s works.



Site Axonometric

Site Section


Deep Thought Archive view

Starship Heart of Science mezzanine view

The Douglas Adams Cenotaph view

Deep Thought Archive detail section

Starship Heart of Science teaching space

ZOHAIB ASHFAQ , Stage 5 The Douglas Adams Space Centre The London Borough of Islington hasn’t had the greatest of reputations in terms of things to do and places to see, specifically in Holloway where it’s renowned for the prison and in Highgate for the cemetery, the borough as a whole is highly looked past. The Douglas Adams Space Centre soughts to embellish a new character for Islington where schools and the wider public can interact, learn and enjoy the new space facilities but also delve into Douglas Adams’ character with the cenotaph created for him and a public archive of educational books and his personal work.




FRANK LEE , Stage 5 Holloway Road Performing Art Centre is an extension of National Youth Theatre. The concept of this project is to revitalize the existing cinema by separating the building into two and creating an in-between gathering space for public usage. Besides, it will also allow them to experience the history of the place through the new intervention.




CHARLOTTE MCEWAN, Stage 5 GARDENS IN THE SKY: CREATING A CIRCULAR ECONOMY This project is proposed as part of a larger 2050 farming initiative within the borough of Islington. The site utilises the adjacent hospital to create a circular economy where the site & community feeds the hospital & vice versa. The scheme proposes the creation of a ‘fantastical’ world full of nature that juxtaposes the industrial hospital environment. E: 108


DAVID JOSEPH NORMAN , Stage 5 The Douglas Adams Centre brings everyone from artists to research scientists under its roof. The resulting eclectic social mix benefits from countless ‘collision zones’ throughout the site: nodes that facilitate the interaction of different people types and the cross pollination of ideas. The architectural language is derived from the site’s original derelict Victorian building whose regimented front arched elevation offered only hints of the incidental and greatly altered rear.



STEPHANIE TILLMAN, Stage 5 The perception of interpretation. The relationship of interpreting the same sets of data differently has inspired the design and thought process of this project. This building expands and enhances the facilities of the existing Highgate Literacy and Scientific Institute and re-purposes a disused WW2 telecommunications mast into a viewing tower. With this new extension, the site has been transformed into a tourist attraction whilst also promoting the importance of science within the community. 112


BRYAN 5 Bryan Yeoh,YEOH, Stage Stage 5 ‘Grow the desire to devise a structure was itself migrantininnature.’ nature.’ ‘Grow fromfrom the desire to devise a structure thatthat was itself migrant London, Archway an area undergoing major redevelopmentsosothe themajority majority London, Archway is anis area undergoing major redevelopment of migrants moved to this area. This proposalseeks seekstototransform transformthe the of migrants havehave moved to this area. This proposal a house a dynamic concept of “Migrant housing”.For Forrefugees refugeesand and ideaidea of a of house intointo a dynamic concept of “Migrant housing”. internal migrants alike, ability to integrate goes hand handwith withthe theability ability internal migrants alike, the the ability to integrate goes hand in in hand to imagine and build a brighter future. to imagine and build a brighter future. 114


SER JUSTINE AGON, Stage 4 Islington has one of the highest number of Rough Sleepers in the UK. As part of my design project, I design a Rough Sleeper’s Support Centre which is designed to aid rough sleepers in a number of ways including various services to help with their physical and mental well-being, as well as accommodation until they find a place to live.


KAREN PELIN ASTLEY, Stage 4 A house for Vroomfondel and Majikthise,who are the two philosophers from the Hitchiker’s Guide to the Galaxy,has been designed in this project. The relationship between them can be described as the two philosophers constantly correcting each other, their communication is based on statements and questions/demands which have been chosen as the initial primitives of this project. Their dialogue and relationship have formed their house. 116

TZE CHUN ANDY CHIU, Stage 4 This project aims to encourage public conversation through debate and exhibition to solve local planning issues and global climate crisis. Form of the building is inspired by environmental impacts of heat, wind and pollution which led to a generative system of spatial arrangement. The building stands at a prominent corner site at the Archway junction which acts as a landmark and a protest towards climate problems. 117

NATHAN LIU, Stage 4 The brief of this project was to design as house for the fictional character Arthur Dent from HitchHiker’s Guide to the Galaxy in London. The house form was created using a method of aggregation alluding to Arthur Dent’s journey, as well as his personality. The project is an experimentation with the character’s narrative, celebrating his journey throughout the book, whilst complimenting his personality traits to create a modern house filled with character. 118

CHUN YIN NG JONAS, Stage 4 The project renews the existing community center at Highgate, London owned by St Joseph Roman Catholic Church and enhances Highgate religious community initiative through connecting religious relationship built between the church and its primary school. Design strategy investigates in generating spatial system using biological organization of spider web and tree branch to aggregate self-supporting structural system and use the spatial configuration of generated pattern to develop habitation and circulation assemblies. 119



Unit 5 worked to a narrative brief of Douglas Adam’s hitch-hikers guide to Unit 5 worked to a narrative brief of Douglas Adam’s hitchhikers guide to the the galaxy this year, in my final project I took the otherwise ordinary home galaxy this year, in my project I took the otherwise ordinary home of Adam’s, of Adam’s, and explored how it could expand and unfold, creating new and and explored howspaces it could and unfold, creating new and fantastic fantastic forexpand the occupants. spaces for the occupants.






Artefact is one of three parallel ‘Options’ Modules offered in the autumn of MArch Stage 5 (the others being Dissertation and Architectural Pedagogy). Globally there is an increasing interest in the notion of research-through-practice, or led-practice, in academia, as a means of bridging the divide between theory and practice, and how one necessarily informs the other. This year, as in the recent past, a small number of students, four from the cohort of 35, elected to follow the Artefact option. This perhaps reflects strong interest in the alternative ‘Options’, academic writing of Dissertation, or the opportunity to learn-through-teaching that makes Architectural Pedagogy, and KSAP’s MArch Programme, unique amongst all UK Schools of Architecture. This year’s four Artefactarians have produced some truly heroic and obsessive propositions that, in their very different ways, all confront the art and craft of making and perception, across a range of scales and technologies. You can read about them on the following pages – where you will find Andy Kong’s A Virtual Step into Endless: Speculation on the Interior Space of Fredrick Kiesler’s Endless House – Andy developed a critical analysis of alternative and complimentary software to identify the platform in which to build a VR accessible model of the ‘Endless House’, conflating inferences from drawings of his Sisler House, Kiesler Foundation archival research, and reference to the massing model held by MOMA. Yi Feng Lee’s Interactive Virtual Reality: Exploring Architecture through Play creatively appropriates gaming software for pedagogical ends, to create virtual integrative experiences of seminal examples of (modern) architecture – VR users are able to reconfigure essential elements to develop their critical abilities as aspirant designers. Emilia Osho-Williams’s The Role of Fractal Architecture in Facilitation Movement and Meaningful Experiences in Virtual Environments creates a virtual world of fractal morphology as a test bed to speculate on our phenomenological experiences of moving through virtual space. Finally Dusan Sunwar, Urban Metamophasism : A Social Force of Time –is an incredibly well researched, and therefore perhaps necessarily eclectic study of all the contexts that surround the issue of public urination – a very suitable subject for this module, encouraging as it does investigations that are tangential to the major themes of architectural education, yet being in some way related. Dusan’s forensic research created a public education programme, that signposts the complex legal, social, political, cultural and biological parameters at play with great veracity, tact, and a small amount of toilet humour.

Students: Andy Kong, Yi Feng Lee, Emilia Osho-Williams, Dusan Sunwar Advisors: Howard Griffin, Tim Ireland and Michael Richards Guest Critics: Felicity Atekpe, Tim Brittain-Catlin, Gerry Adler

MICHAEL RICHARDS module convenor


ANDY KONG Endless House This paper speculates the interior qualities of the Endless House designed by Frederick J. Kiesler. The Endless House reveals the central manifesto of Correalism, which was Kiesler’s approach to continuous human lives by connecting men and the environment. The seminal project, Endless House (1958) was the prototype that the interior spaces or arrangements were never realised. However, Kiesler further developed the design with detail drawings or sections and furniture in the Sisler House (1961). The Sisler House was considered as the most direct establishment of the Endless House which was prepared for the client Mary Sisler. Considerable research has highlighted the exterior form of the Endless House, however, the interior space and qualities of the was surprisingly neglected. Furthermore, since Kiesler had never designed or modelled the interior space of the Endless House until his death, this paper opens a new chapter of this highly unknown subject, the speculation of interior space of the Endless House. Specifically, this study cross references the drawings, publications and exhibits of two of Kiesler’s important projects, Endless House (1958) and the latter Sisler House (1961). The extensive materials by Kiesler provided crucial information in proceeding the methodology in retro-fitting the interior space of the Sisler House into the seminal Endless House. The outcome of the research is a digital 3D model of the interior space, which will visualise the internal design of Kiesler’s Endless House by a virtual reality experience from Oculus Go.


FRANK LEE Interactive Virtual Reality Exploring Architecture Through Play Virtual reality and video games have great possibilities for both researches and experimentations through the creation of a different approach in architecture. The paper will be carried out by analysing the artefact project, which is a prototype of interactive virtual reality created using the Unreal Engine. Besides, it is inspired by the interactivity in video games. Archivid project is an artefact that investigates the combination of video games and virtual reality. The final artefact idea is a product developed through a series of prototypes, which has slowly refined the objective of my research. As stated earlier, the ArchiVid project is to create a virtual environment and create an interactable virtual reality game, which is in fact, inspired by the interactivity of Minecraft. In ArchiViD, the user could explore the spatial arrangement within the virtual reality environment through the concept of game, of which you are allowed to move and change different components freely by using the grab feature with the VR controller. This enables the user to engage with the real-time examples of how space feels after the rearrangement and reconstruction of the architecture. The aim of this research is to investigate the result of interaction in virtual reality experience. The study is to focus on experiencing real-time transformation in the immersive experience through virtual reality technology and the interactivity in video games enhance the way we explore architecture. As an architect, we usually start our design through physical and digital modelling or sketches. With the innovation of technology, we could now implement the element of games and engaging experience to experiment architecture. As I have demonstrated in the artefact, interactive virtual reality experience does open a new unimaginable horizon for architecture. Through this research, I have noticed that this project does not only bring benefits to architects but could also be adopted as a pedagogy tool for university to allow students to understand architecture by experiencing it rather than imagining it. In conclusion, this artefact has a wide range of possibilities and rooms for improvements to create an even more interactive virtual reality, which has to be overcome in the constraints of Unreal Engine. Hence, this is not an ending point but rather a starting point, which has high potentials to be used as a crucial technique for designers and architects in the future to test endless possibilities by experimenting in the virtual reality experience.


DUSAN SUNWAR Urban Metamorphism This research aimed to explore Public urination (Urban Metamorphism), influenced by the social forces resulting in the design of an artefact that contributes to this issue. Canterbury City Centre was chosen as the primary site to focus on this issue. Observation around the high street led to the various urinated spaced. Two fundamental reasons were identified, lack of public toilet and drinking culture. The existing solution exhibited in the similar context was investigated – Open-air urinal for more facility, Guerrilla approach for flexible facility, Hostile approach to repel the offenders, Law enforcement to apprehend the offenders, Gender neutral scheme and Community toilet scheme. The possible design solution was explored through sketches and physical model. An interview with Kent Law School and Canterbury City Council helped me evaluate the consequences of the public urination. To find out the difference between gender on public urination, an anonymous survey was done in the Marlow building. Final Artefact is an educational exhibition which will try to raise social awareness to the public and the authority to make an impact on this issue. My conclusion is that there is no correct solution to this issue. However, there are few actions which we can take to minimise this issue - Changing the law of compulsory toilet facility to the, Introduce Community toilet scheme to minimise the cost and maximise facility, Amend the design guidance for toilet facility in EDA premises and start a campaign to raise awareness on Binge drinking.



This module aims to provide a formal programme in the teaching of architectural design and communication in Higher Education. Fifth year students develop an understanding of the general principles of architectural pedagogy through practical experience of teaching on the Stage One undergraduate programme, alongside tutors, and through personal research into a specific area of enquiry. The focus is on historical and contemporary teaching and learning models that are specific to architecture, including studio-based tutorials, seminars and design crits. The teaching and assessment of this module is divided into two components; ‘Theory of Architectural Education’, which takes the form of an academic essay, and ‘Teaching Practice’, which requires students to develop and implement a teaching innovation connected to the their research topic, and to evaluate its outcomes. Through the combination of pedagogical theory and research alongside direct teaching experience, the module seeks to promote its students as active agents for change in the Kent School of Architecture and Planning. We actively disseminate new methods and strategies developed by our students through the school, and often incorporate the teaching innovations presented to students and staff at the module’s crit sessions into school practice. Our pedagogy students this year were a delightful and animated group and we enjoyed animated and dynamic discussions at our fortnightly seminars. Our fifth year students brought knowledge, enthusiasm and experience to the Stage One tutorials and their dedication and engagement has been invaluable to both students and tutors alike. Their wide range of workshops covered the following territory; adaptive architecture, models for vertical learning and embedding studio habitus, form vs function in design teaching, defining architectural concepts, new methods for technical teaching, preparing for practice, ecological site studies, full-scale model-making, evidence informed daylight design and rapid model-making to overcome fear. The dissertations produced were of an incredibly high standard, while the innovations developed were inspiring, topical, and of great value to the School going forward.

Students: Bethany Elmer, Darren Howell-Bray, Soija Johnson Thomas, Santhosh Kuma, Charlotte McEwan, Banu Priya Pellur, Chandni Patel, Edward Roberts, Mhari Stevenson, Vi Vien Teo, Aubin Torck Advisors: Rebecca Hobbs and Chloe Street Tarbatt Guest Critics: Felicity Atekpe, Ambrose Gillick, Tim Meacham, Mike Richards



AUBIN TORCK An Investigation into the Integration of guided Professional Practical Experience (PPE) within Architectural Education. In recent years, through the RIBA Education Review (RER) initiative demanding flexibility and innovation, universities and practices have begun exploring the creation of alternative curriculum structures. This, coupled with Government incentives and political drive, triggered the creation of the newly introduced Level 6 and 7 Apprenticeship programmes, with many other UK-based curriculum structures following lead. An increasingly common trend is the integration of more guided Professional Practical Experience (PPE), essentially a work-based learning integrated curriculum approach which can be applied in various forms, from simple workshops to guided placements in practice. This report analyses examples of worldwide and UK based architecture curriculums with support of pedagogical theory and student feedback to develop an understanding of the strengths and limitations of each curriculum. These findings are then used to identify proposed innovations within the KSAP curriculum structure. More importantly determining when, how and to what extent additional PPE can be integrated. 3 Illustrated innovations are proposed: (1) First Year, (2) Third Year and (3) Year Out. In response to innovation (1) a workshop was designed as a proposed intervention. It provided first year students with some information about architectural practice. Initially, identifying tasks carried out in practice, then linking them to skills acquired in University education. Students responded overwhelmingly positively to the benefits of the workshop in improving their understanding and confidence toward their education and the profession.

MHARI STEVENSON Improving the Efficiency of Research and Evidence Informed Design in Stage One Education: A Case Study Investigating Daylight in Sustainable Design The study explores how the efficiency of research and evidence informed design can be improved in stage one architectural education, using daylight in sustainable design as a case study. It is a common consensus that research is not suited to first year students, who lack academic maturity. This theory is assessed, through a literature review and teaching intervention which aims to improve the efficiency of research and evidence informed design in stage one education by attempting to apply a research-based teaching method. The findings suggest that whilst research-based teaching, which allows student-led and inquiry-based research, may be a valuable tool to teach a holistic approach to sustainable design, this study achieved, instead, student-oriented teaching. Student-oriented teaching engenders a research ethos by focusing on the research process. This research suggests that through research-oriented teaching students can gain transferable skills such as critical evaluation of evidence which can better prepare students for research-based students later in their education once a knowledge base has been established in their first year of studies.



Something Is Better Than Nothing As secondary education in the UK trains students to be risk averse in pursuit of good grades, architectural education faces a challenge to help students rediscover their ability to learn through experimentation. Using Vygotsky’s theory on the Zone of Proximal Development as a structure to understand the realities of taking risks within education, the paper examines existing teaching methods in studio learning and the effectiveness of these in helping students to overcome a ‘fear to start’. The teaching intervention integrated with the AR319 brief for the design of an art gallery in Canterbury. Students were tasked with rapidly prototyping 3 ideas for a bridge that connected this site to a public footpath using only paper and card. Engaging students in fast paced making used a ‘beginning backwards’ approach, where solutions are produced before any in-depth analysis is carried out, to overcome their ‘fear to start’. This encouraged students to ask questions of their work rather than of themselves, in turn lowering the perceived risk of engaging with the task. Examining students’ responses to the task revealed multiple contributors that can lead to an increased perception of risk, including previous experience, confidence with model making activities and materials provided, and the extent to which tutors engaged in the task. It was concluded that integrating this type of rapid model making scaffold into studio teaching has the potential to encourage all students to actively engage with the design process during tutorials and critically reflect on work without entering the ‘panic zone’.



ENGAGING IN THE DETAIL: Assessing Effective Methods of Technical Teaching for First Year Students Architectural education in the UK has spent years trying to respond to the RIBA’s call for improved technical teaching. However, many architecture schools continue to encourage students to master design while learning technology as an afterthought. Using pedagogical theories on self-directed learning and Kolb’s learning stages the paper examines KSAPs existing technical teaching in the design studio, and proposes ways for technology to be taught at an earlier stage in a student’s architectural education. Stage one students participated in two activities: active highlighting of precedent studies and storyboarding the construction of their Tiny House designs. Both tasks were created to engage students with architectural technology and encourage them to integrate this knowledge into their design process. Active highlighting, already being used in stage 3 teaching, proved effective in both years to impart technical understanding, while the storyboarding allowed students to directly apply learnt principles into their own projects. The tools integrate key elements of differentiated learning by being adaptable for students of all stages; the steps the students follow are identical, but the tasks can be made more or less complex to respond to differing student abilities. Integrating these tools within all three stages at KSAP self-directed learning would be encouraged and students would consider technology at an earlier stage of the design process.



The Dissertation is one of three parallel ‘Options’ Modules offered in the autumn of MArch Stage 5 (the others are Artefact and Architectural Pedagogy). Dissertation offers an opportunity for students to undertake independent research on a topic of their choice within the field of architecture and allied subjects. Dissertation is a classic piece of academic writing, with a word-count of 8,000 words, it promotes independent thought, enabling students to become more self-reliant and self-disciplined, and it emphasizes the development of good and effective communication and presentation skills. Students are encouraged to establish a research question, develop their argument and lend authority to their work by reference to the work of others. The module is co-taught with the parallel BA(Hons) Dissertation Module, in synergetic vertical groups based on the best alignment of student interests and Advisor specialisms. Options modules are introduced in the preceding academic year, so that students can consider their choice of option, develop their proposal, meet with their Advisor and seminar peer-group before adjourning for the summer recess where they can use the opportunity to review literature already published in their chosen field, see out primary sources undertake fieldwork or develop prototypes.

Students: Sude Akdeniz, Niyazi Aker, Samar Al-Haddad, Hannah Appadoo, Zohaib Ashfaq, Sam Bush, Agnes Cheng, Zarah Graham, Daniel Hoang, Salman Khan, Venus Kwok, Lauren Lau, David Norman, Lola Olabisi, Ellisha Seagroatt, Toby Smith, Stephanie Tillman, Michaelle Winkler, Xiang An Yeoh, Konstantin Zlatarov Advisors: Gerry Adler, Timothy Brittain-Catlin, Silvio Caputo, Gordana Fontana-Giusti, Ambrose Gillick, Howard Griffin, Manolo Guerci, Rebecca Hobbs, Alan Powers, Marialena Nikolopoulou, Giridharan Renganathan, Chloe Street Tarbatt, Richard Watkins

MICHAEL RICHARDS module convenor


SAM BUSH The ‘Englishness’ of English Domestic Architecture This dissertation is concerned with the evolution of English domestic architecture, and thus, the English identity, in the centuries that followed the Middle Ages. Whilst the concept of domestic architecture has existed for millennia, it was not until after the Middle Ages in England that it began to mirror the growing complexity in social hierarchy. Alongside the evolution of the idea of what a house should be, and, consequently, should represent, the English character also underwent significant changes. It is indeed the aim of this dissertation to examine how qualities of ‘Englishness’ are manifested in English domestic architecture. Perhaps ever so timely, such questions have been asked by scholars, interestingly mostly foreign born, namely Nikolaus Pevsner with his famous Englishness of English Art. Matters of Englishness have also coloured a great deal of literature, which covers aspects such as what distinguishes classes and social hierarchy – something this country is fixated with but does not like to admit. Building on a wealth of writings on English houses, in combination with foreign and domestic accounts of the English people, this dissertation affirms the close relationship between the English house and identity. Starting with the formation of the Country House, the paper establishes how the English Aristocracy created the model for what English life should be, before discussing how its importation into the town enabled it to be commodified by the English Middle Classes. The conclusion argues that the Englishness of the English house stems from the fact that it is both the creation of the Aristocracy and the product of Middle Class social mobility through a dialogue between town and country.


ZARA GRAHAM Resilient Bamboo Construction for the Caribbean The use of bamboo for rural housing construction has been demonstrated historically in many parts of Latin America. In areas prone to seismic activity, traditional bamboo structures were notably more resilient during seismic events, while inadequately reinforced conventional structures often failed (Witte, 2019). This dissertation explored the resilient performance of bamboo construction against natural calamities and its application as an affordable housing solution in the Caribbean. Relevant literature and other sourced data was reviewed and collated to form a holistic reference of information and principles upon which an analysis would be built. This included a review of the physical and mechanical properties of bamboo in its raw form and in structural applications. It also highlighted the sustainable benefits of bamboo as a locally-sourced natural building material and conversely its challenges and drawbacks. Both traditional methods and modern adaptations of bamboo construction were explored from treatment and processing phases to design and construction. Three comparable low-cost housing typologies in South and Central America were selected as case studies for an analysis of bamboo construction practices that addressed the environmental risks associated with their respective locations. The main findings informed a discussion on the adaptation of bamboo construction in the context of the Southern Caribbean islands of Trinidad and Tobago. The research revealed that key factors affecting the feasibility for adaptation were climate conditions, the availability of an appropriate bamboo resource, relevant processing infrastructure, the availability of technical skills and knowledge, and the significance of socio-cultural factors.


DAVID NORMAN A Historical Study of the Tension between Architectural Design and Acoustics in Concert Halls ‘Architecture is frozen music’ - Johann Wolfgang von Goethe This dissertation addressed an issue that has long been a stumbling block for architects: Why is it so difficult for a concert hall to be both beautiful and acoustically successful? Concert hall designers must balance countless aspects such as beauty, functionality, and cost, with an element that is often an afterthought in many buildings, the acoustics. The structure of this dissertation reflected this fine balance, weighing up a wide range of both acoustical and architectural aspects. Whilst the investigation touched upon the external architecture and the wider context of concert buildings, the focus was on the main auditoria where performances happen. By way of analysing a broad range of instances from the first dedicated ‘shoebox’ concert halls of the Victorian era to the high-tech ‘vineyard’ auditoria of the present day, the technical, aesthetic and social aspects of concert hall design were considered. The investigation established that although there are several established and generally successful concert hall formats, achieving the ‘perfect’ balance between architecture and acoustics is never quantifiable. This is a positive thing, giving each individual hall its own character. The decision on whether the architectural or acoustical design should slightly tip the scales will always be open to debate. However, the author concluded that since resident orchestras ‘grow into’ their halls and the way we listen to, prefer and experience music will always change, that architecture, which speaks of its place and time, should come first.

Figure 1. The Colyer - Fergusson Hall at the University of Kent


STEPHANIE TILLMAN Architects and the Homeless: An investigation into the evolving role of the architect in combating the growing levels of homelessness in London. The research paper sought to understand the crisis of homelessness in London, whilst discovering how the role of architects can adapt to help combat this crisis. The investigation aimed to identify what makes a person homeless, their needs and the current position of the architect. Statistics were utilised to discover how architects can support and attenuate more with the issue of homelessness. These statistics were combined with the thoughts and opinions of professionals within the homelessness sector, determining the true responsibility and potential that architects have to reduce the numbers of rough sleepers and homeless people in London. The paper speculated how the role of the architect can evolve to contribute more to societal issues within London more significantly. There have been effective solutions created by architects to house the homeless but the majority of projects are one-off pieces that get publicity and awards rather than focusing on the needs of the homeless. To have an impact on dramatically reducing the numbers, one role of the architect needs to be an activist and this role will be easier to achieve with a combination of all skills and knowledge of homelessness to provide the most cost effective and sustainable solutions. The paper suggests the next steps that need to be taken is to identify what types of accommodation are needed for different types of homeless people whilst ensuring that new housing is affordable and of high quality for young people and families, who are most at risk of becoming homeless.

Figure 2. Southwark Wagamama August 2019


Figure 3. Southwark Wagamama October 2019, after a public outcry

MICHELLE WINKLER Reconstructing the Architectural Narrative: A comparative analysis of theories and practices applied in the reconstruction of Knossos and the decipherment of Linear B. The reconstruction of architecture has always been a matter of great contention in the field of conservation and archaeology. While reconstruction works on historical buildings and archaeological sites are now better informed with the emergence of new advances and technologies in the field, architectural history itself remains a relatively young discipline. The underlying objective to preserve the original characteristics in archaeological practices is often at odds with the role played by interpretation in architectural design. Given certain propositions that architecture is a form of language in its own right, this dissertation juxtaposes the theories and practices applied in the reconstruction of the Palace of Minos in Knossos, Greece, and the decipherment of Linear B, a syllabic script in Mycenaean Greek. It argues that architects involved in reconstruction works should deviate from the conventional linear process, with a view to draw lessons from the iterative process often executed in linguistics. A critical analysis of Arthur Evans’ influences and processes in reconstructing Knossos and building his ‘Minoan’ narrative was undertaken against a backdrop of personal preference, modern assumptions and value judgments. The concept of authenticity in architectural reconstruction was also explored. The architecture-language analogy was unpacked to distinguish common characteristics between the two. The linguistic framework for ‘reconstruction’ – including exhaustive analysis, experimental substitution and decisive check – was evaluated to determine whether it has a place in the wider scheme of architecture. Ultimately, this dissertation sets 0the stage for further analysis of reconstruction and decipherment practices and proposes how we might adopt them to better understand reconstruction of artefacts – such as historical buildings – and, perhaps, open up the possibility of developing such interdisciplinary practices into a comprehensive methodology which can produce greater integrity in contemporary reconstruction practice.




RIBA President’s Medal Part 1 - Bronze Medal Nominations: Nominations: Adam Ferguson Salman Casimally Rory Carnell Kieran Hayes

Erland Birkeland Georgia Steele Angelica Scorgie Charlotte Vint

Winner: Angelica Scorgie & Erland Birkeland

Part 2 - Silver Medal for Design Portfolio Nominations: Andy Kong Lisa Edwards

Mhari Stevenson David Norman

Winner: Lisa Edwards & David Norman

President Medal for Dissertation Winner: Sam Bush: “The ‘Englishness’ of Englishness Domestic Architecture’ 135

RIBA Part 1 / BA - Awards RIBA West Kent Branch Prize Nominations: Amy Palmer Georgia Steele Bianca Zucchelli Canan Iscan

Rory Carnell Angelica Scorgie Kieran Hayes Marta Pietrowska

Winner: Amy Palmer

Bond Bryan Prize Nominations: Adam Ferguson Harry Cooper

Georgia Steele Sara Gioiella

First Prize: Adam Ferguson Second Prize: Georgia Steele

Eliot College Model Prize Nominations (Stage 3): Chris Caballero Erlend Birkeland

Harry Cooper

Nominations (Stage 2): George Bamford Josie Kassapian

Kayley Gibbons

Winner: Harry Cooper


Women in Property Nomination: Rebecca Jilks (Stage 2)

Dissertation Prize Winner: Shannon Wade: “Tutor manifestations in Suffolk, England: 1919 - 1939�

Sustainability Prize Winner: Charlotte Vint

Stage Three Architecture Portfolio Prize Nominations: Adam Ferguson Salman Casimally Rory Carnell Kieran Hayes

Erland Birkeland Georgia Steele Angelica Scorgie Charlotte Vint

Winner: Erland Birkeland

Stage 3 AJ Part 1 Prize Nominations: Georgia Steele Erland Birkeland Salman Cassimally Adam Ferguson Charlotte Vint Ali Tapya Winner: Charlotte Vint


RIBA Part 2 / MArch - Awards Purcell Prize Nominations: Ellisha Seagroatt Stephanie Tillman

Michelle Winkler Henry Blazey (Stage 4)

Winner: Ellisha Seagroatt

RIBA West Kent Branch Prize Nominations: Aubin Torck Mhari Stevenson Bethany Elmer David Norman Winner: Mhari Stevenson

Writing Prize Winner: Ben Warner: “Architectural Scar Tissue: Postwar Modernism in Europe”

Pedagogy Prize Winner: Bethany Elmer: “Something is better than nothing - Using rapid model making as a tool to overcome fear to start designing in first year students”.


Design Portfolio Prize Nominations: Aubin Torck Mhari Stevenson Lisa Edwards Stephanie Tillman

Winner: Lisa Edwards

Technology Prize Nominations: Agnes Cheng Ottavia Profumo Bethany Elmer David Norman

Winner: Ottavia Profumo

Making Prize Awarded to a stage 4 or 5 student not just for design portfolio, but looks at making across the whole spectrum of the complete academic portfolio. Nominations: Andy Kong Dusan Sunwar Henry Blazey Stephanie Tillman Winner: Dusan Sunwar


Drawing Prize Awarded to a stage 4 or 5 student for an abstract drawing not directly communicating the design of a finished project. Nominations: Andy Kong: Design 5B Portfolio pp 52-53 Aubin Torck: Design 5B Portfolio p6 Ottavia Profumo: Design 5B Portfolio 5B p20 Sojia Johnson Thomas: Design 5B Portfolio 5B p6 Winner: Sojia Johnson Thomas

AJ Part 2 Prize Nominations: Aubin Torck Mhari Stevenson Lisa Edwards David Norman Winner: Aubin Torck

AJ Sustainability Nomination Nominations: Michelle Winkler Ottavia Profumo Bethany Elmer Charlotte McEwan Winner: Charlotte McEwan


3D Reid Prize Nominations: Andy Kong Sojia Johnson Thomas Chandni Patel Bryan Yeoh Winner: Chandni Patel

Head of School Prize Winner: Chandni Patel and Stephanie Tillman







Our lively KSAP undergraduate programme is based at the Marlowe building, located in the centre of the Canterbury campus, on a green hillside overlooking the historic city. KSAP enjoys an energetic and social atmosphere, attracting students from an unusually diverse range of backgrounds and locations. Our school prides itself in its multicultural, flexible and outward looking approach, wherein difference is celebrated and experimentation is encouraged; the variety of styles and approaches to design evident in our student’s work is testament to the broad international and social mix we represent here at KSAP. Our simple ‘horizontal’ approach to design teaching design - whereby each cohort is set the same design brief across the year group - allows students the agency to develop their own personally distinctive ethos in relation to the brief, un-tethered from any notion of a ‘studio diktat’. We are especially proud of the cultural context programme on our BA, on which our world class researchers provide our students with a rich and dense theoretical core of architectural history and design teaching. Our theory and dissertation modules actively combine haptic practices with academic pursuits, encouraging drawing and modelling as an important tool for observation, analysis and understanding. 143

We continue to build on our strong regional approach for design projects, with Kent and Medway operating as a live test-bed for placing our notional, or live, interventions. This south-eastern corner of the UK offers a socially, economically and historically rich environment for developing a strong understanding of context on a variety of levels. Stage One took a fresh direction this year under the authorship of its Stage Coordinator, Rebecca Hobbs. The design projects were based locally in Margate and Canterbury, and utilised the strong creative culture of the region to devise a set of linked briefs designing spaces for the local artistic community. Stage Two was under new authorship, with Felicity Atekpe taking the helm. Felicity’s stewardship saw the Autumn term ‘Architecture and Landscape’ design module take an open approach, with students asked to develop their own briefs around the theme of ‘artisanal production’. The Spring term design project, ‘Collective Dwelling’, convened by Dr Timothy Brittain-Catlin, continued its scholarly and inquisitive analysis and recording of local vernacular domestic architecture, based in the historic town of Dover. Stage Three took Margate as its focus once again, riding on the wave of regeneration being stimulated by coastal funding opportunities. The adaption and extension of the Theatre Royal in Autumn term, convened by Fiona Raley, was based on a ‘live’ brief prepared in collaboration with Thanet Council, who were keen to harness our student’s creativity to help inspire future funding opportunities. Students were then tasked with further demographic research during the Spring term to develop their own proposals for a ‘Wellness Centre’ on the site of the abandoned Lido, convened by Ambrose Gillick. This set off with a series of organised visits to a range of local public and charitable enterprises and centres – a truly eye-opening experience for many! The School’s academic community was further stimulated by the weekly Open Lecture series run by KASA, CREAte and CASE, with a virtuosic range of speakers including: CJ Lim, Jamie Fobert, Adam Richards, Tilo Guenther of Niall McLaughlin Architects, Pablo Zamorano of Heatherwick Studio among others, and also by our organised field trips to Paris (Stage One), Brussels & Ghent (Stages Two and Three), plus local visits to London and on ‘ChalkUp 21’ – an architectural ramble along the white cliffs of Dover. The final months of the year took a dramatic turn, but thanks to the extraordinary powers of digital technology and the enormous dedication of our teaching team, we were able to continue to steer our students towards their final assessment hurdles. This outcome represents a feat of the technological advances we have seen over the past decade, and of the determination and talents of all the staff and students involved. If harnessed progressively - and with due social awareness - the inroads we have made into the potential of digital platforms afford real opportunities for the way we educate.

Lecturers and PhD’s: Haval Abdulkareem, Prof Gerald Adler, Felicity Atekpe, Anske Bax, Dr

Timothy Brittain-Catlin, Dr Peter Bus, Dr Silvio Caputo, Benedetta Castagna, Giacomo Damiani, Prof Gordana Fontana-Giusti, Dr Ambrose Gillick, Howard Griffin, Dr Manolo Guerci, Rebecca Hobbs, Francesco Incelli, Dr Timothy Ireland, Dr Nikolaos Karydis, Tim Meacham, Parin Mohajerani, Prof Marialena Nikolopoulou, Prof Alan Powers, Fiona Raley, Sukanya Ravi, Dr Giridharan Renganathan, Michael Richards, Jef Smith, Chloe Street Tarbatt, Dr Richard Watkins, Peter Wislocki, Ronald Yee.

Practitioners: Maria Araya, Hocine Bougdah, Andy De Carteret, Tara de-Linde, Ivan Del Renzio, Mattia Fanin, Dr Tanya Kalinina, Dr James McAdam, Jo Merry, Rebecca Muirhead, Patrick O’Keeffe, Julia Ratcliffe, Nathaniel Seall, Paul Simms, Tom Sweet, Hooman Talebi, Jonathan Tarbatt, Benjamin Wood.






age 3

ays the urban development of Cecil square, to adapt and redesign public spaces around the on a free-standing pavilion - acting as a new hub on through market stalls, performances and shelter. s an exploded axonometric of the Theatre Royal. ject was to develop a modern circulation system. 3


renders are studies from my Theatre Royal in Margate. I created accessible, well lit spaces with ion to the original Theatre. The section above and he left shows my work on the Cliftonville Lido, aimed ing integration between Margate’s most vulnerable






The final year of our BA (Hons) degree has been unlike any other, and for so many reasons. To begin, there was all the new learning, with new module convenors delivering new content in new ways. Two design projects explored complex issues of sustainability, urbanism, architecture and social growth, all set in the derelicté hipster wonderland of Margate. Design work was, as ever, supported by diverse but focused offerings in professional practice and twentieth century architectural history, whilst students also got to develop their own learning through the dissertation module. Always challenging, Stage 3 is that wonderful final stage in students’ education, before they step out into the wide and wild world of professional architecture; it’s intense, flat-out preparation and fine-tuning with bigger projects, more complex ideas and greater responsibility. And as with previous years, students have once again engaged with impressive dedication and no little skill. Stage Three’s approach – now perhaps something of a tradition - is to focus on one settlement for both the year’s design projects, to enable students to develop a clear and keen understanding of a 149

place, not only of a site. In spending time in a place for a whole year, students are encouraged to get to know it as a whole, moving beyond a superficial, aesthetic engagement towards a genuine understanding of the socio-cultural and environmental life of the place. Our autumn term module, Urban Intervention, led by Fiona Raley, gave students the chance to work with the Theatre Royal, an existing building, exploring how it might be developed to sustain new purposes whilst strengthening existing ones, reinvigorating the urban realm and breathing new life into the town centre. Requiring sensitive adaptation and thoughtful intervention the project called for attention at all scales, from the urban to construction detailing. Architectural Design followed after Christmas, with a brief that required students to engage with social enterprises and charities in Cliftonville. One of the poorest parts of the UK, the project asked students to write their own briefs for a health and wellbeing facility on the ruins of the old lido, with programmes derived from a sensitive analysis and interpretation of the social and cultural context of the neighbourhood, towards an architecture with agency. Architectural Practice, convened by Peter Wislocki with Tara de Linde, supported student learning in the fields of design and construction management, procurement and planning, based on their own design work. Alan Powers, who we were delighted to welcome to the school, delivered Stage Three’s main history and theory module, with a new lecture and seminar programme that covered the vast and varied complexities of Twentieth Century Architecture. Mike Richards continued to convene Dissertation, with individual students working with personal supervisors to develop work on an aspect of architectural, urban or material culture of their own choosing. As ever, these modules have opened up new perspectives and challenges to the students which is, mostly, a good thing… And of course there was the small issue of a spring pandemic… Our Stage 3 tutors and school staff have assisted the remarkable efforts of students to maintain their learning, through thick and thin, and from every corner of the world, as all around stopped making sense and seemed to fall apart. This has been the challenge par excellence and we have all been so very proud of all our students for their diligence and self-motivation and for simply continuing to turn up (if virtually) even amidst it all. To get to the point of *actually* graduating has demanded that we all developed new types of teaching and learning on the fly. It has been a great challenge and the very fact that so many have stayed the course in extraordinary, unprecedented times is, I think, testament to the administrative, teaching and management staff at KSAP and a new level of wonderful creative, industriousness from the whole year, staff and students alike. So, thanks to you all, every one. And well done.

List Of Tutors: Fiona Raley, Chloe Street Tarbatt, Silvio Caputo, Tanya Kalinina, Peter Buš, Andrew de Carteret, James McAdam, Tom Sweet, Peter Wislocki, Tara de Linde, Alan Powers, Manolo Guerci, Michael Richards, Ambrose Gillick, Julia Ratcliffe, Ivan del Renzio, Timothy Brittsain-Catlin, Howard Griffin, Rebecca Hobbs, Francesco Incelli, Marialena Nikolopoulou, Giridharan Renganathan, Gerry Adler, Gordana Fontana-Giusti, Richard Watkins, Tim Ireland, Ron Yee, Hocine Bougdah, Russell Moul, John Letherland, Bee Farrell.







RAYYAN AL HINAI, Stage 3 The design of ‘The Unity Centre’ adds value to the sociocultural system of Cliftonville West whereby its functional spaces enhance community engagement as well as wellbeing through a range of therapeutic activities and communal spaces. Its exquisite design restores the remains of the grade II listed Clifton Baths embedded within the cliff and some elements of the Lido ruins, bringing them back to use in innovative ways. 154

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HAJAR AL-HASHIMY, Stage Hajar Al-Hashimy, Stage 3 3 After looking lookinginto intoMargate’s Margate’ssocial socialand and environmental background, I made After environmental background, I made sure that thatthe theprojects projects assigned improves Margate in all aspects sure wewe got got assigned improves Margate in all aspects possible. For these two projects, I challenged my creative side and played possible. For these two projects, I challenged my creative side and played around with geometry and for. I came up with something that will benefit the around with geometry and for. I came up with something that will benefit people’s wellbeing in many ways. Both schemes aim to modernise and benefit the people’s wellbeing in many ways. Both schemes aim to modernise and Margate’s architectural features. benefit Margate’s architectural features.


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PADINA AMININAVAEI, Stage 3 The centre will respond to local unemployment poverty by providing access to learning facilities focused on training adults with skills needed to assure permanent employment through several workshops such as cooking, gardening and construction. The centre will also provide a creche area where parents can drop off their kids during the workshop hours. The goal of the scheme is to introduce a new cost-effective, sustainable and culturally reformist centre by engaging the local community. 158



ANNAN AMANDA, Stage 3 The MAR is designed as a focal point for the community, and for tourists, comprising three floors. There are a series of saunas and pools reflective of the ancient Roman Baths, consultation rooms and workshop areas, a restaurant, cafĂŠ and kitchens facilitating social interactions whilst creating revenue for the city. The external landscaping areas include outdoor lap pools, a water square and courtyards. 160


MAX ARNOLD, Stage 3 A Gothic Experiment. An eclectic response to late medieval architecture through analysis of geometric form, secular symbols and construction. (Dissertation Artefact) The Social Exchange. A creative approach to Margate’s social problems. A communal hub which combines the existing excavations to a kick-start retail/performance space. Theatre Royal. A dramatic intervention and spatial organisation of a listed structure to improve ambulant circulation, facade identity, economic opportunities and the overall local/cultural impact.



ERLEND C. L. BIRKELAND, Stage 3 The Cliftonville Centre for Collective Learning and Performance expressively articulates the site’s topography and utilises its dramatic level changes to create defined social spaces under one unifying roof. The design is connective both architecturally and through the program, providing a place for shared learning, dedicated tutoring and changing activity curated by the community both indoor and outside. 164


SANZIANA ARINA BULAI, Stage 3 Both of the projects displayed here have challenged and prompted me to engage with an existing building and its history. The canopy-like extension for Theatre Royal coherently speaks of our time and the technological possibilities of the century, while it approaches the old fabric with sensibility and respect. Margate Maritime Centre, or MAR, derived from the latin mare meaning sea, invites the connection between the community and the sea and the strengthening of a maritime culture and identity. The key architectural moves here are informed from the building’s history, subtly informing the visitor of its past.



CHRIS CABALLERO, Stage 3 Although modern society has become globalised, we remain isolated lacking faceto-face interaction. My intention was to revive that lost social conversation, by answering with a universal language understood by all cultures: music. With the idea of architecture being ‘frozen music’, we can form vibrant spaces where people can connect with harmony. This creates a social performance where architecture acts as the backdrop, and the people take centre stage. 168


DANE MARYELLE CARLOS, Stage 3 Cliftonville Climbing & Recreational Centre – To improve the health and wellbeing of the community, while bringing a positive new life to the people of Margate; this project draws focus to the regeneration of Margate through sports. Integrating the old and the new, this scheme presents an expansion of Margate’s Lido Complex that repurposes and redevelops its valued historic elements. A design that is unobtrusive yet makes a statement. 170


RORY CARNELL, Stage 3 The aim of the project (left) is to deliver a vocational centre revolving around alternative energy and technology. This stem-based centre will include a culinary and alternative energy academy within the Cliftonville region, Margate. Coastal features will be used to generate solar and tidal energy. The development will also support local communities in agriculture and leisure for elders. The renders above are from various projects throughout the past 2 years of my undergraduate. Instagram: 172


MUHAMMAD SALMAN CASSIMALLY, Stage 3 From Algae to Electricity, this project explores the opportunities that production can enable in the public realm. Algae Bioreactors located at sea captures energy from the sun and is processed on the site. As such the process acts as a generator of activity and electricity. Clifton’s Generator demonstrate production as a tool for regeneration.



HARRY COOPER, Stage 3 The Urban Livingroom at Cliftonville Lido is a community-led civic centre with an extension of the public realm at its centre. Its stripped classism echoes the original lido and the heyday of British seaside architecture. Intended to be a bold statement towards the regeneration of Cliftonville, the landmark would serve as a catalyst for change.



PIERRE DALAIS, Stage 3 Margate’s Detox and Rehab Centre design is based on a three-stage program: 1. Detoxification 2. Rehabilitation 3. Reintegration The building proposes a therapeutic healing environment that helps the patients reintegrate society through a medical and psychological journey.



CAN DANISMAN, Stage 3 Youth & Elderly Integration Hub Complex A Complex aiming to improve the social, environmental and economic situation of Cliftonville by regenerating the decayed site.The project aims to reconnect the deprived youth and elderly first with themselves, then reintegrate together and later back to the society. The Hub consists of a private institutional youth centre and a very sheltered housing for the elderly while serving also as a public seafront park. 180


HARRY JOHN DARLINGTON, Stage 3 These are the final renders from the Cliftonville Lido project and a few watercolor sketches from three different projects, including: Collective Dwelling, Urban Intervention and the Lido Project. I was quite pleased how the final renders came out considering it was the first time I used V-ray. The sketches I’ve chosen are a few amongst many. I would do about 10-20 for each project, as they were relaxing and quick to produce. 182


FRANCESCA DE LORENZI, Stage 3 Both projects seek to reinvigorate Margate’s society, to reinstate it on the map as a tourist destination in the forthcoming future. In developing my schemes, form followed function; complete axial circulation tied the whole site together at the epicentre - Cliftonville’s seaside farm. Opaque, translucent, and transparent textures enabled each space and node to be perceived through various layers depending on where one stands. 184


LINDA DO THI, Stage 3 Cliftonville Lido Complex tackles food poverty in the area by designing an urban farm focusing on communal activities and raising awareness of healthy diet and its impact on wellbeing. The scheme addresses sustainability with a circular economy scheme. The project was intended to be contextual with use of local materials. Theatre royal proposal reflects social change through art, while respecting existing faรงade. Extension was aimed to provide a spacious and well-lit foyer for people to socialise. 186


DANIEL DRABBLE, Stage 3 Cliftonville Wellness Centre is a retreat specialising in men’s rehabilitation. The complex is arranged over three floors and comprises of guest accommodation, therapy and education facilities. A sports centre at basement level can be used by those in the wellness centre and the public. A spiral staircase connects the basement to street level. Here, a series of squares and gardens connecting the complex to a community centre. 188


ADAM DUDLEY-MALLICK, Stage 3 The Margate Youth Centre provides a dedicated space for young people to relax, exercise, and learn new skills. The heart of the building is a triple-height common room, from which everything else radiates. A double-spiral staircase and suspended walkways wind up throughout the structure, which along with internal windows, enliven the atmosphere by offering glimpses of the various activities. 190

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ALI ENAN, Stage 3 ENAN ALI, Stage 3 The “5 senses” margate’s day center offers various activities for kids having special needsmargate’s : equippedday sports variousactivities workshopfortraining (arts, The “5 senses” centerfacilities, offers various kids having music, hand skills) and the garden of senses. The children use their senses special needs : equipped sports facilities, various workshop traning (arts, to circulate between the buildings (touch and smell). music, hand skills) and the garden of senses. The children use their senses The idea of this project is to prepare children for their adulthood and breaking to circulate between the buildings (touch and smell). the awkwardness between the children and the rest of the community. The idea of this project is to prepare children for their adulthood and breaking the awkwardness between the children and the rest of the community.




BOMA ERE-BESTMAN, Stage 3 I designed this sports centre as a response to the current lack of an Olympic-sized pools in Kent county. I aimed to design a structure that complement its surrounding. After exploring different designs. I concluded with a timber structure attached to a glass cover. It covers two pools and a view of the sea.



DYLAN A FARDON, Stage 3 (Left) An adapt and extend project for The Theatre Royal in Margate. The new entrance is angled towards Hawley Square. Its form takes inspiration from the original fenestration and interior design. (Right) The Margate Music Therapy Centre, built upon the Victorian Clifton Baths, aims to reinvigorate Margate through a social hub and an annual festival to fund the music therapy programme. 196





MARGATE FESTIVAL And so the condenser opened, bringing in people from the whole of Margate. This was the day the town started to heal, where groups came together and split their differences. Each year this event was celebrated with a huge festival, with everybody welcome.

ADAM FERGUSON, Stage 3 ECOSYSTEM THE SOCIAL CONDENSER OF OUR AGE Margate is a town split, with a societal hierarchy present throughout its history. The scheme proposes a Social Condenser, aiming to break the embedded hierarchy and bring the split social groups together. Reinvigorating the Cliftonville Lido to its former glory; as a place of community. 198


ITZIAR FERNANDEZ FLORIAN, Stage 3 First seen are previous project developments. The new Bar extension project for Margate’s Theatre royal is seen next. With minimalist modifications to the existing historic theatre, it was proposed to raise the profile of the forgotten theatre. Lastly, Cliftonville’s proposed Youth Community Centre also embraces the preserved existing Lido. Answering to this, the proposal provides a social plaza-like space for the community, and a structure that provides safe learning spaces for the youth. 200


CHEUK YU LAUREN FUNG, Stage 3 In an attempt to revive Margate, the proposal composes of a ceramic studio and a pier that conveys the juxtaposing concepts of the structural elements of clay and the fluidity of water. Instead of restoring the Lido to its former glory, the pier is reminiscent of the Margate Jetty, to demonstrate its historical significance. Aiming to provide the community with an escape from reality, the scheme combines the growing art scene and the surrounding water. 202


M LUCIANA GAGLIARDI, Stage 3 “Cliftonville Community Market Place” is a glass Pavilion including spaces for a cafe and a farmers market. It enhances the immediate local context whilst establishing links to the wider social and urban context of Margate. “Theatre Royal Intervention” rejuvenates the existing building with a roof beer garden and cafe lobby, adding retail spaces to fund production costs. Communicated through architectural collages for a scenographic effect. Colour schemes for presentations are used from facade material studies. 204


SARA GIOIELLA, Stage 3 The Sport and Wellbeing Center, represent an effective way of facilitating a multigenerational interaction among the community through physical activities as well as creating an attractive and functional space for both residents and future tourists. The rehearsal space of the Royal Theatre is a multifunctional facility that aims to support the social growth of Margate, improving the community involvement as well as integrating the historical part of the city in the more modern context. 206


BANA AMJAD HADDADIN, Stage 3 Margate’s Thalassotherapy and Wellness Centre project: Reviving Cliftonville Lido and Historic Clifton Baths. West Cliftonville, Margate, located on the existing ‘ruins’ of the Cliftonville Lido, this project will develop a programme for new health and wellbeing centre that responds to local needs and activities and to geographical, environmental, historical, cultural and social context. 208


OSAMA HERZALLAH, Stage 3 Dug into, and built out of Margate’s chalk cliffs; the scheme proposes a new arts and wellbeing centre that is situated at the Cliftonville seafront. This new structure will aid the mental health of the residents in Margate and the wider Thanet district through various forms of art therapy. The projects strategic partial placement underground allows it to create a new landmark without interrupting its resident’s views thus creating peaceful contrast. 210


ABIGAIL HOLDEN, Stage 3 The brief required the development of a new model health and well-being centre used by the residents of Margate. In response to this, my proposal seeks to reintroduce Margate’s relationship with its sea heritage by creating a new water sports facility. This new community ‘hub’ will encourage sports, activities, and educational experiences for people of all ages, backgrounds and abilities with ‘health, well-being and sustainability’ at the forefront. 212


STEFAN ILISEI, Stage 3 Extension for the Theatre Royal, Margate The objective of the project was to create a flexible new form for the existing listed building. A modular steel frame structure that could accommodate new circulation was experimented with to provide an open, naturally lit volume, contrasting the enclosed theatre. The intricacy of the cubic volume meant a holistic design was difficult to achieve by typical design approaches, to solve this I produced a 1:1 model in Minecraft. 214


RYAN ISBELL, Stage 3 Both my intervention with the Theatre Royal and my re-purposing of the Margate Lido, have provided me with an opportunity to express my ability to compose a sensitive addition to an existing building, encapsulating its historic character, while creating an architecture which expresses the spirit of our current age. The two projects focus on the intimacy of interior spaces, expressing how they are used and the unique character they hold. 216


CANAN ISCAN, Stage 3 The Open Gate Performing Arts Foundation is intended to serve as an architectural and cultural focal point for Margate, inspiring new generations of musicians and actors. Modelled by acoustics and light, the structure is wholly made out of V-shaped CLT modules. The Form and Structure was designed using the hyperbolic paraboloid formula to create a sweeping pavilion roof.



MARIA.F RAVE JIMENEZ, Stage 3 Both projects have been designed to improve the existing living conditions in Margate. The Martial Arts Centre in Cliftonville aims to reduce crime rates, improve mental health amongst the most vulnerable and promote tourism. Likewise, the new extension of Margate Theatre Royal aims to attract a bigger portion of the community into the building, hence improve the economy while reducing anonymity in the area. 220


DANIEL KING, Stage 3 (Left) Cliftonville Lido, Margate - A Health Education Facility is proposed on the historic site while restoring features such as the Grade II listed rotunda. Monolithic sails rise from the cliffs to create a public courtyard while hosting a wellness centre within. (Right) Theatre Royal, Margate - Red curtains and fly ropes are some of the classic theatre features re imagined as faรงades for the new foyer. While the addition of a stairwell and lift greatly increases access throughout.



ALEXANDRA E. C. KINGWELL, Stage 3 The Margate Hydrotherapy Spa is influenced by the historical context of the Victorian Cliftonville Baths and the 1930s Lido. The baths are a private space whilst the landscape and other facilities integrate with the community. Water features inhabit the various courtyards and landscape, highlighting the connection between well-being and water therapy. The existing rotunda is crowned with a dome and the west faรงade is restored with art deco characteristics. 224


JI HAO LAI, Stage 3 Through technology, the human civilization has achieved unprecedented progress towards the advancement of our species. The Cliftonville Lido Science Center is an architecture driven towards the cultivation of the scientific pursuit, in a town where its rich artistic background has slowly become a stagnant norm. The proposal aims to achieve a revitalized view towards what can be achieved to elevate the social fabric of Margate, historically known to be a tourist destination for relaxation. 226


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GEORGIA LAING, Stage 3 GEORGIA LAING, Stage 3 Both projects, situated in Margate, on regenerating therealm town’s urban realm Both projects, situated in Margate, focus onfocus regenerating the town’s urban to benefit thebenefit local community. Thecommunity. Clifftop SportsThe and Health Centre promotes nutritional to the local Clifftop Sports and physical Health and Centre promotes wellbeing whilst a newwellbeing community whilst hub for Cliftonville, project takes hub for physical and providing nutritional providingMargate. a newThecommunity advantage of its seaside location and the existing Lido buildings on site. The extension and Cliftonville, Margate. The project takes advantage of its seaside location and the restoration of the Theatre Royal aims to inject new life into the historical building and its urban existing Lido buildings on site. The extension and restoration of the Theatre Royal surroundings. aims to inject new life into the historical building and its urban surroundings. Instagram: georgia_art_design Instagram: georgia_art_design 228



OLIVER LE MARQUAND, Stage 3 The Thanet School of Expression, aims to provide education for young people through multiple forms of art. It also strives to provide communal engagement through the skatepark and the interchangeable event plaza. This aims to reduce the very apparent wealth divide within Margate.


The Theatre Royal extension, and the subsequent development of the squares, focuses on integrating change within the community, and its aim is to reconnect the town as a whole.



BETHANY KAR-MEN LIM, Stage 3 The proposal of the new Creative Centre – a dialogue between performance and creative arts – at the once bustling Lido complex, aims to re-invigorate the site’s layered history by reopening up the rotunda. The scheme proposed is a communal and time based one. With skill generation programmes offered in the Clay workshop, the local community can therefore be involved in the construction of the newly built community centre with clay tiles. 232


IEK LAM LO, Stage 3 AR558 - Lido Aquatic & Community Centre, Cliftonville The proposal is to create a new mixed-use development at the Lido site which will restore the historic open-air pool to its former glory and brings health and wellbeing intervention into the local community of Margate.


As a physical embodiment of Kent’s contextual architecture and the Lido’s subterranean Rotunda Space, The design proposal aims to bring education, community and historical character to the literal forefront of Margate’s cliffed coastline. The project progressed with minimal deconstruction, as the revamped Lido Building was reused to house Primary teaching and workshop spaces.


MATTHEW LOK CHEUK YIN, Stage 3 As the design module interweave its way into the contextual and historical aspects of Margate’s way of life, considerations for the design proposal’s circumstantial impact were prioritised. Hence for AR558: Architectural Design, a series of structural arches were arranged perpendicular to the Cliftonville Lido’s terrace to form a non-obstructive panorama of which houses Margate’s new Clifftonville Primary Education Hub. 236


JULIAN WU-YANG NG, Stage 3 The proposal is a new University for Game Design in Margate which aims to act as a community hub for people to congregate and a place to fulfil the modern generations interest in today’s technological world. The sectional perspective shows an extension into Margate’s Theatre Royal. The focus of the scheme is to create a bond between the performing arts and Margate’s community in hope’s of preserving the Theatre’s origins and history within Margate. 238


TIREE WATTERS NIVEN, Stage 3 Both projects imbue a sense of newfound vitality into Margate’s historically significant seaside resort. The Theatre affords entry into an alternative world, making use of a dramatic brick-vaulted ceiling, drawing on Margate’s vernacular locality and materiality. The Egret demonstrates a reupcycled utopia at Margate’s dilapidated ‘LIDO’ site, tackling Cliftonville’s poverty. It draws on Margate’s ship-building industry, with enlivening aluminium cladding, and, in form, the wingspan of Margate’s Little Egret bird.



ODONYE FREDA, Stage 3 This project started with an analysis of the current state of the Cliftonville urban scape and the Lido. The aim for this proposal is to revamp the identity through sports, create the importance of physical health and an early intervention with the youth for positive impact on behavioural attitudes. Further options to revive the Lido include spaces for retail, food outlets, and venues for hire.



DAPHANIE OON YEE CHING, Stage 3 A Dance Centre for Margate aims to restore the fractured community of Margate by bringing them together through the pursuit of health. A key feature are the ‘dancing roofs’, playfully scattered around the site, they provide architecture for everyone to delight in. Below each roof are the warm timber interiors of individual dance studios. The chalk construction and green roof blends the building into the landscape and its terrain, becoming another feature for playful exploration. 244


AMY PALMER, Stage 3 This contemporary Marine Education Centre targets Education as a basis of wellbeing. Breaking the cycle and setting youths aspirations high for a sustainable future. The centre allows socio-economic groups to mix, providing jobs and education for the youth of Margate as well as entertainment for tourists. Green space and pedestrian walkways are enhanced allowing people to pause within their landscape thus strengthening Margate’s relationship to its marine environment. 246


PRIYANKA PATEL, Stage 3 A design for an Underground Arts and Wellbeing Centre situated on the Margate coastline. The scheme celebrates the artistic culture of Margate and focuses on the exhibition of graffiti and street arts in addition to other forms such as music, drama and contemporary art. The concept is targeted to the youths of Margate to provide a ‘safe space’ to express themselves and better their mental health with the hopes to manage and reduce crime rates in a healthy way. 248


WILLIAM PELLING, Stage 3 Both schemes use Corten steel cladding proposals independently, creating new additions to strengthen and protect the historic and community assets of Margate. The social Victorian fabric of the upper levels of the Lido Complex are restored, made possible with new artistic, yet functional additions. The Theatre Royal intervention sees the south wing of the building transformed with a to improve the circulation and aesthetic of the building, creating a more obvious and inviting processional entrance. 250


CHARLIE PERRY, Stage 3 The Theatre Royal intervention aims to make the building more interactive and accessible, thereby strengthening links to the past and between visitors. The interventions include a larger reception, a bar, and a heritage centre. The design utilises the existing “Street Rhythm� and takes inspiration from the Old Vic Theatre. I enjoyed making a 1:50 scale model.



MARTA GABRIELA PIOTROWSKA, Stage 3 Both projects are based in Margate and look at revitalising the town and social relations there. The boat education centre adds an external staircase connecting the three sea-side paths and uses the flooded basement to create continuity between the new build, Lido and the open sea. The 40m2 extension to the Theatre Royal includes a bar and a foyer featuring perforated Corten steel panels mirroring the peeling away and degeneration of existing building fabric.



ROUMINA POURBAKHTIARI, Stage 3 Clifftonville maternal therapy centre provides a space for mothers who have/ are experiencing post-natal depression. Each level of therapy (CBT, making and salt baths) cuts into the existing cliff levels as well as the underground baths. The building has a tranquillising atmosphere in connection with the sea. The Theatre Royal extension is sensitive to its historical heritage of Margate with the aim of improving social life in the community. 256






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PUN SIU POK, Stage 3 Along with the Turner Contemporary, both projects play a part in the symphony of creative arts, stimulating an energetic mood in Margate. The Margate project features an analogy of raising the show’s curtain for Theatre Royal. The Cliftonville project introduces a woodcraft learning centre which pushes forward the industrial and design movement. A strong language of historical preservation is upheld to respect the past of Margate and to redeem people’s long-lost memories and pride. 258


SARA HUMA QURASHI, Stage 3 After investigating Margate’s social, economic, cultural and environmental background, both projects were designed in relation to the creative arts to bring life and an energetic atmosphere back into Margate. The extension to Theatre Royal features an art exhibition to inspire creativity amongst the community, whilst the Culinary Arts School Association in Cliftonville improves the health and wellbeing of locals. Both schemes aim to modestly modernise Margate’s architectural language whilst still preserving its rich heritage. 260




GARIMA RAI, Stage 3 A health and well-being centre, in a familiar form of a library, creates a sense of community, provides access to information and support, and becomes a safe refuge for the people of Margate. Working with the site’s history and its existing characteristics, the new centre aims to become part of the local fabric by reacting to and becoming an intrinsic part of the site. 262


MARITSA RAVENEAU-JOSEPH, Stage 3 ARCHITECTURAL DESIGN The Margate Single Mom’s Centre is a facility that contains a therapy and daycare centre, providing the community with services to help groom the unemployed population (specifically single parent families). URBAN INTERVENTION - C2 (bottom right) An improved circulation layout of Cecil square and a viewpoint on top of the Library to access the best of Margate’s views. 264






KATIE LAURA RAWCLIFFE, Stage 3 ALGA - THE SEAWEED HARVESTING AND RESEARCH CENTRE, MARGATE & CLIFTONVILLE The out-to-sea centre aims to ‘breathe life’ into the community of Margate and Cliftonville, offering locals an opportunity to be educated and trained in Margate’s own natural asset, algae. The exterior is comprised of a series of walkways and ramps to improve the cliffside connectivity. 266


ALICE GRACE REED, Stage 3 (left)My aim when adapting The Theatre Royal, Margate was to create flexible multi-functional spaces for performing arts and attract people to the theatre through the glowing polycarbonate facade. Plots in Hawley Square will be provided to the community for their own needs and desired function, securing a sustainable future for Margate. (right) Cliftonville Intergenerational Centre encourages interaction between elderly and children through joint activities to benefit both users mental and physical wellbeing. 268


AFIQ ROZHAN, Stage 3 The Cliftonville Rehabilitation Centre for Nicotine Addiction, a building dedicated to providing mental, educational and recreational aid for those who have experienced or are currently experiencing smoking addiction and or substance misuse. Services include 1-to-1 counselling, lectures and workshops and recreational opportunities through meditation and teamwork building exercises to revitalize one’s mental and physical health. 270


DANIEL SABLES, Stage 3 Project 1: ‘The Reach’ Centre, University of the Third Age aims to battle loneliness and isolation by creating new communities and diversity amongst the people of Margate. Project 2: This Urban Intervention enhances connections and circulation in and around the Margate Theatre Royal, enhancing the town’s image and safety for visitors. 272


NAT SALIGUPTA, Stage 3 The urban intervention of Margate and the Theatre Royal focused on enhancing the pedestrian wellness of public squares in Margate. The Theatre Royal addition aims to improve circulation and provide a new reception area, celebrating the original Georgian faรงade. While the Cliftonville School of Construction scheme aims to bridge the gap between education and employment, while stimulating community interaction on site. 274


HELENE SAND, Stage 3 Both the the Cliftonville CliftonvilleDigital DigitalArts Arts Education Centre the Theatre Education Centre (left)(left) and and the Theatre RoyalRoyal Extension (right) (right)aim aimto to provide a welcoming andenvironment safe environment provide a welcoming and safe for the for the community of Margate. Focusing on different forms forms of of learning, learning, like like digital digital arts arts and and theatre/drama, the hope is to inspire the youth to continue with further education. Using aa CLT CLTloadbearing loadbearingconstruction constructionwith with modular components, Education modular components, thethe Education Centre can be extended to suit any future needs of the town. Online Portfolio: 2763




ANGELICA SCORGIE, Stage 3 Both projects explore interactions with the Margate community. Over time helping to resolve social issues using an understanding of the aesthetic, social and economic conditions of the town. The Theatre Royal improves circulation and the three squares development improves pedestrian experience. The Clifftonville Storytelling Archive is a platform for voices unheard as a result of increasing gentrification. Both embody the concept of a turning point within their plans, representing change. 278

Cliftonville Cares


AMRITA SHAD, Stage 3 Cliftonville Cares, A Tale Of Development: ‘Clifonville Cares’ focuses on analysing and acting on Margate’s socio-economic and historical context. It is an intergenerational care centre that facilitates towards improving physical and mental health, and improving the youth employability rates. The building blocks have been arranged to provide intermediate landscape, which encourages the youth and the elder into socialising in nature. 280


MATTHEW CHIN FUNG SO, Stage 3 AR:558: A blue & green educational, cultural, and tourism-based development, bringing awareness to the processes of waste management, urban food production and the culinary arts in Margate. An aquaponic system will cultivate organic produce with wastewater from the fish farmed in an aquarium below creating a sustainable metabolic cycle. Produce and fish grown will be sold in fresh markets and food stalls in the re-purposed Lido complex providing the community with local food security. 282


GEORGIA STEELE, Stage 3 The Hive aims to re-connect Cliftonville’s marginalised society through a multiuse community hub. The proposal allows existing organisations to extend their programmes and operate more efficiently due to the added space. Being in a central location creates a larger presence in the community and draws people to the seafront.The Hive targets the public in a tourist hot spot, with a museum and sea side restaurant/cafe also providing jobs for local residents. 284


KORALIA STERGIOU, Stage 3 For the Urban Intervention project of the Theatre Royal, my intention was to create new interior and exterior social spaces that will bring the community together, giving a new life to the theatre. For the architectural design, seeing the lack of proper education and the unemployment rate of Cliftonville, my proposal was for the Alternative education centre, focusing on the teaching of practical skills relying on nature, while also helping children with traumas to heal.



MING YAU ROBIN SUEN, Stage 3 Both design modules allow us to delve into the background of Margate, offering opportunity to bring the town back to life. AR557 introduces a new extension to the Theatre Royal. The extension delivers fluidity and free form of art to the theatre, hence, to invigorate Margate’s music and art. AR558 introduces the revival of the Lido. The creation of a Coastal Discovery Centre complies with the history & nature of Margate, rejuvenating the town’s coastal identity. 288


CHLOE ELISE JUANITA SUMPTION The first page is dedicated to my final project, the Harbour Library and Sanctuary. It is a sanctuary for the victims of sexual assault and domestic violence in Margate nestled within a new public library. It is shown here in axo, perspectives and a section through the sanctuary. The second page is dedicated to my first term project; a portable theatre addition to the Theatre Royal in Margate, which can be transported around the town. 290


AUDREY NAMIRA SUPIT, Stage 3 The Musical and Recording Centre in Cliftonville Lido put a focus on the mental health and well being of the locals through the intervention of Music in their daily lives. Designed within the cliff, the design concept offers inclusive but intimate space that provides entertainment, learning skills and job opportunities. Without disturbing the historic lido complex, this proposal aims to revive the centre with provision of piazza and performance space without disrupting the seaside view. 292


GABRIELA R TANCHEVA, Stage 3 The Loneliness Hub is a community centre proposal for the Cliftonville area in Margate. It aims to provide support and help for the locals struggling with mental health problems while solving a local issues like poverty and the lack of manual skills. The centre provides the visitors with various workshops that aim to produce goods for the local community.



ALIASGAR TAPYA, Stage 3 The Clifftonville Civic Accelerator is a project that responds to social detachment. Taking precedent from a bee and its hive, the building aims to collectively empower the local ward through community, education, and business mindedness. The Theatre Royal is an adapt and extend project that works on the rhythm of the buildings transforming architecture, its facade is inspired from local shipping forms. Between Worlds is a utopian modular floating city project based in Istanbul. 296


CAL LYNDEN TERRY, StageStage 3 3 CAL LYNDEN TERRY, The image to the toleftthedisplays the urban development of Cecil square, The image left displays the urban development of Cecil square, Margate. The project was to adapt and and redesign public spaces around the was toadapt adapt andredesign redesign public spaces around thetown. The Margate. The project was to public spaces around the The design on a free-standing pavilion asnew a and new hub town. The focuses a free-standing pavilion - acting as ahub hub design focuses onfocuses a on free-standing pavilion - acting as- aacting new encouraging and encouraging interaction through market stalls, shelter. and encouraging interaction through market stalls, performances shelter. interaction through market stalls, performances andperformances shelter. andand The image displays an exploded axonometric of the Theatre Royal. The image aboveabove displays an exploded axonometric of the Theatre Royal. Thefocus main focus the project was to develop a modern circulation system. The main of theofproject was to develop a modern circulation system. 29833



AR558 – A music education and acoustic research centre aiming to create a healthy promoting AR558 –soundscape Music Centre while and Venue Hall creative forms of expression through music. venueand hallacoustic establishes an organic design on theasite, providing a while A musicThe education research centre aiming to create healthy soundscape fluid space for theforms musical community of Margate. promoting creative of expression through music. The venue hall establishes an organic

design on the site, providing a fluid space for the musical community of Margate.

AR557 – A café and design studio extension on the side of the Theatre Royal AR557 – Theatre Design Studio that draws inspiration from Margate’s colourful and vibrant seaside.

A café and design studio extension on the side of the Theatre Royal that draws inspiration from Margate’s colourful and vibrant seaside.



AFET TURSAN, Stage 3 My stage 3 work consisted of exploring new ideas and skills to be enable the creation of buildings that are aesthetically pleasing and make statements in their surrounding contexts. Architectural Design required a new well-being centre; within this project I wanted to integrate a diverse community i.e the homeless and the tourists of Margate. I designed a set of dwellings for the homeless called ‘the pods’(focussing on single parents with children) and reconstructed existing building to provide a hostel for the tourists. 302





GEMMA TUTTLEBEE, Stage 3 Hawley Square was adapted to engage with passers-by’s, create comfortable spaces to be in and a pleasant park for residents to admire. The Theatre was extended to improve its circulation and aesthetics. It illuminates at night, which forms silhouettes of figures moving around and creates a performance for outside viewers. Margate’s Lido building was transformed into an Engineering college and Go-karting Track, giving Cliftonville a new identity and gaining interest from a wider context. 304

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SAMUEL MILO TWAITE, Stage 3Stage SAMUEL MILO TWAITE, Stage 3 3 SAMUEL MILO TWAITE, The pair are are studies from my Theatre Royal intervention TheThe pairof ofrenders renders studies from my my Theatre Royal pair of renders are studies from Theatre Royalin Margate. Iintervention created accessible, well lit spaces withaccessible, littleaccessible, disruptionwell towell the Theatre. in Margate. I created lit original spaces withwith intervention in Margate. I created lit spaces The section abovetoand to Theatre. theTheatre. left shows my work above on above the Cliftonville littlelittle disruption the original TheThe section andand disruption to collage the original section Lido, aimed at the encouraging integration Margate’s most vulnerable collage to the left left shows my work onbetween thethe Cliftonville Lido, aimed collage to shows my work on Cliftonville Lido, aimed residents. at encouraging integration between Margate’s most vulnerable at encouraging integration between Margate’s most vulnerable residents. residents. 3063 3


MANON VILAGINES, Stage 3 For the “Theatre Royal”, the concept is to subtly expose its original features, while clarifying its circulation and integrating the adjacent landscape. The renovation of the surrounding squares aims to ‘reawaken’ the area and to shed a light on Margate’s Theatre Royal. The main concept of “Margate’s Mental Health Center for Men” is to create, through therapeutic architecture and biophilic design, contrasting environments of disconnection and of introspection for men dealing with mental health issues.



CHARLOTTE E. C. VINT, Stage 3 My final project is an activity centre that inhabits the urban ruins of the Lido Complex in Margate. The form is based upon the fossil of an Echinoid which is abundantly found in the Thanet Chalk Bed. The spiralling circulation into the rotunda celebrates the Victorian baths through ‘dynamic play’ activities such as JunkYard Golf, rock-climbing and trampolining in order to alleviate the health gap issues of Cliftonville West whilst repurposing waste from its scrapyards. 310


SHANNON WADE, Stage 3 This proposal for a textile recycling and design centre was inspired by the contrasting images of Margate. It aims to improve the well-being of Cliftonville residents by providing opportunities for employment, education and socialising, whilst assisting the regeneration of the local economy and vibrant art scene. Secondary promenade routes form better connections with the coastal landscape and help establish an enjoyable landmark location which will support the expansion of tourism along the suffering Margate seafront. 312


TSZ KI YAU, Stage 3 There is a Pilates & Physiotherapy Centre in Margate Lido site. The concept is related to the site context like seaside, visual corridors and the function of each part of the centre. The outdoor swimming pool is connected to the cantilever gym room. The gym room and sport areas in the west side provided nice sea view to the user. The therapy areas in the east side are more private by compare.



ASKIM NAZ YILDIZ, Stage 3 ASKIM NAZ YILDIZ, Stage 3 (Left) Responding to the lack of trust in Cliftonville, “The Ally” serves as a “community living room” programmed to host educational and culture events. It includes an extensive library, flexible studio spaces as well as an old bike repair workshop. This contributes to the notion of creating a stronger relationship between the locals and now higher promenade, in hopes to increase sustainable community engagement, avoiding crime. (Right) Adapt and extend project, The Theatre Royal Margate. New facade responding to pedestrian movement and the need for curiosity in arts.

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EUNICE YUMBA,Stage Stage3 3 Eunice Yumba, The Theatre Royal extension extension was wasaacontext contextsensitive sensitiveproject projectthat where the design respects respects the old facades historical facades with but a spacious but modern interior. The the old historical with a spacious modern interior. Seaside Community Culinary School is a is 3-storey culinary school in which The Seaside Community Culinary School a 3-storey culinary school in each level intolevel the cuts existing blocking any blocking views. Itsany bright colours whichcuts each intocliff the levels, existingwithout cliff levels, without views. contribute to Cliftonville’s historical site respecting thesite sitesrespecting history, with It’s bright colours contribute to Cliftonville’s historical it’s a modern twist. history, with a modern twist. 3183


BIANCA ZUCCHELLI, Stage 3 This training centre for young offenders focuses on providing skills and employability for the youth of Margate, as well as promoting economic growth by providing different spaces for locals and tourists. The latter creates a playful extension of the promenade, promoting pedestrian flow. Environmental means get used all around the site, through rain harvesting or biofuel production, to provide a space respectful of its surroundings. For more information, please visit my website



The Dissertation module offers Stage 3 students opportunity to undertake independent research on a topic of their choice within the field of architecture and allied subjects. The focus is to deepen the knowledge and understanding of a particular aspect of architecture. Students may choose to study one of three options: A classic 8000-word written Dissertation; a Building Appraisal or ‘Case Study’; or an Artefact – a piece of ‘research through practice’ where a piece of theoretical writing is developed and tested through the act of making together with 4000-word report. The module is introduced in the preceding academic year, so that students can consider their choice of option, develop their proposal, meet with their Advisor and seminar peer-group before adjourning for the summer recess where they can use the opportunity to review literature already published in their chosen field, see out primary sources undertake fieldwork or develop porotypes. The first option, Disseration, is perhaps self-explanatory, next, Building Appraisal examines a building in use, completed recently (ideally within the last 5 years). Artefact – requires students to submit an artefact/film supported by a research report both parts will contribute towards one overall mark and is presented at a series of critical reviews much like a design project. With a design output Artefact best lends itself to being illustrated in this catalogue, and this year just 4 students elected to follow Artefact: Max Arnold A Gothic Experiment (Tim Brittain-Catlin); Boma Ere-Bestman A New Theme Park in Nigeria (Gerry Adler); Yi Ping Lan Interactive Light Art (Howard Griffin) and Robin Suen Art-Architecture-People (Silvio Caputo).

Across all options, this year 116 students were tutored by 15 Advisors: Gerry Adler, Timothy Brittain-Catlin, Silvio Caputo, Gordana Fontana-Giusti, Ambrose Gillick, Howard Griffin, Manolo Guerci, Rebecca Hobbs, Francesco Incelli, Alan Powers, Marialena Nikolopoulou, Giridharan Renganathan, Chloe Street Tarbatt, Richard Watkins, Ron Yee.

MICHAEL RICHARDS module convenor


PADINA AMININAVAEI Biomimicry, a Principle or a Solution to Modern Architectural Issues? As climate change is the most significant problem worldwide, extra caution should be on the efficiency of buildings to reduce energy wastage and its negative impact on the environment. One innovative method is biomimicry; this method uses nature’s forms and strategies to decrease the dangerous environmental impacts. Biomimicry is a concept to solve the sustainability problem by replicating nature’s time-tested guides and approaches. The research began with a literature review about biomimicry, its principles and its use in architecture. Later, a study of three levels of biomimicry through case studies of biomimicry in organism level: THE GHERKIN TOWER, UK (2001-2003), behaviour level: EASTGATE MALL, ZIMBABWE (1996) and ecosystem level: CALIFORNIA ACADEMY OF SCIENCES MUSEUM (20002008), to explain how the principles are implemented and impacted the surrounding environment and people. Finally, an analysis of the use of biomimicry in real life through case study of REAL GOODS SOLAR LIVING CENTRE, HOPLAND, CALIFORNIA (1996). Biomimicry can be used as a solution to modern architectural problems because it presents a new way of thinking. It appears that the Organism and Behaviour level in biomimicry does not work because it did not satisfy the six principles of biomimicry. But the Ecosystem level is a very appropriate approach. By focusing on designing a building that can contribute to its natural surroundings, the imitation of the natural process can simplify the building process. Therefore, it is highly essential for architects to first thoroughly understand the natural processes and biological design because not all levels of biomimicry are suitable for architectural design and surrounding environment.

PUN SIU POK ‘Exploration of Architectural Solutions to accommodate dense and ever-increasing population in Hong Kong’ The problem of density is closely related to urbanisation and how cities may evolve in the future. Facing rocketing population figures in the century, current cities have been failing to cope with present demographics and human activities on a colossal scale, suggesting that timely architectural visions to support the drastic growth of a city are of paramount importance for its sustainable development. Centred around Hong Kong, the dissertation sets out to explore and analyse solutions for future urbanisation through present and past experimentations on architectural possibilities. Demonstrating how architects have been re-portraying the utopian society with unrealistic megastructures and seemingly impossible fascinations, the essay endeavours to reflect the excitement for the limitless architectural creativities and the immense potential of architecture to remodel people’s way of life.


FRANCESCA DE LORENZI Promoting healthier living and physical activity through urban planning Urbanisation has led to a rise in population in cities in the modern world. After migrating to urban areas, people enjoy various opportunities such as health, education, financial services, international trade, and also better government services. However, urbanisation is also linked with adverse impacts such as population increase in cities resulting in congestion, air pollution from car transport, inadequate housing, and concerns about security. These present health challenges in different ways. The paper utilises desk research method that borrows greatly from academic journals, official websites and publications pertaining the topic. Urban developers have a vital role to play in addressing these health challenges. For instance, the paper argues that provision of public space will promote physical activity that acts as a driver for sustainable change. Public space facilitates physical activity that can counter different health outcomes such as obesity, cardiovascular diseases, and diabetes. The dissertation, therefore, emphasises that urban planning and modern housing development should provide for public spaces that facilitates physical activity, ultimately translating to healthier living. The paper utilised the case study of Barcelona Superblock Model showing how public space catalyse sustainable city development and transformation. The paper recommends that urban planners, governments, and other stakeholders in urban developers should collaborate with city residents, understand their needs for safety, exercising, transportation and socialisation to design the best public spaces in cities. The other recommendation is that those who hold authoritative positions should prioritise the wellbeing of citizens to ensure that public spaces act as drivers for change.

GEORGIA STEELE The Domestication of Make-Believe; A bi-product of the Arts & Crafts movement. This dissertation is a study of the work produced by the architect Charles Francis Annesley Voysey, who is renowned for revolutionising domestic architecture in the early twentieth century. In it, I have speculated the origins of his architectural style concerning the works of Philip Webb, who is commonly considered a nineteenth-century pioneer of the Arts & Crafts movement. Using the Case Study of ‘The Homestead’ (located in Frinton-On- Sea, Essex, UK), which is widely considered the most complete example of Voysey’s work, I have analysed the building in detail to determine what is uniquely ‘Voysey’ and what is inherited from Webb’s initial design philosophy. Identifying these key elements of his design approach allowed me to speculate how he has rationalised the imagery of the make- believe world and materialised it through the medium of domestic architecture. The Homestead marked a turning point in Voysey’s career, saturated with the idiosyncrasies, symbolism and detailed craft that Voysey is famous for. The nineteenth century is known as the ‘Golden-Age’ for children’s literature in England, and can easily have been one of Voysey’s largest sources of inspiration for his architectural style. In this dissertation I discuss how literature such as Lewis Caroll’s ‘Alice in Wonderland’ to E. Nesbit’s contemporary fantasy’s have influenced the subversive nature of key elements in Voysey’s designs. The imagery created by key illustrators at the time such as Walter Crane and Beatrix Potter are heavily referenced in the patterns and imagery created by Voysey in numerous of his domestic dwellings. 323

SHANNON WADE Tudor Manifestations in Suffolk, England: 1919-1939 An investigation into how Tudor architecture manifests itself in Suffolk during the interwar period and its consequent effects on twentieth-century Neo-traditionalism. During the interwar era, three million private houses were built in England. In large cities, the suburbanisation has been frequently documented, however rural East Anglian development has little mention. Suffolk, one of the largest rural counties within England, is notable for its original Tudor architecture, thus it is curious that it does not feature in most publications concerning the interwar Tudor revival. Suffolk architecture of the period deserves to be more commonly recognised. Subsequently, some of the worthy interwar buildings may be unveiled. The dissertation aims to research how the Tudor style manifests itself within Suffolk housing, with a focus on semi-detached and detached dwellings between the World Wars. Interwar housing by the architects Cautley and Barefoot represents a time of both appreciation and criticism of revived Tudor architecture. The recirculated Tudor types found in Ipswich respond to a deep-rooted part of English history and the identity of Suffolk, and the fact that the style is still influential in the twenty-first century suggests that these ongoing Tudor manifestations are a result of factors far more significant than simply aesthetic tastes which are continuously changing. Although the neo-traditional dwelling continues to highlight the symbolic value of Tudor imagery and its expression of identity, it also provokes controversial thoughts regarding fakery, imitation and kitsch. This evaluation suggests that the future of speculative building relies on correcting the misleading aspects of history that developed over the twentieth century, in order to establish ‘true’ architectural design which deviates from complete imitation of the past.





In 2019-20, social and environmental issues are demanding we preserve and reintroduce productive activities in cities whilst re-imagining our cities created with more sustainable and inclusive housing, therefore Stage Two students worked on design projects that challenged them to engage with some of the most important contributions that architecture can make to a balanced, happy society. The Autumn term Architecture and Landscape project, convened by Felicity Atekpe, looked at the relationship between landscape and architecture through the siting of a building, site planning and elementary planting design and landscape detailing with architecture and landscape fully integrated both spatially and conceptually. The brief was for a small manufacturing (productive) building to support a landscape following sustainable principles relating to the Climate module situated on a car park site on Stour Street connected by bridge to the secret Greyfriars Gardens behind reimagined for growing in the heart of Canterbury’s walled city centre.


The second design project of the year, Collective Dwelling, convened by Timothy Brittain-Catlin, used the design of an accessible, sustainable, mixed-use housing scheme to create a new urban centre in central Dover, to complement and comment on the rich housing and other buildings types from every period in Dover’s history. The project was divided into three equal parts: the creation of survey drawings of historic houses in the area, their details and a design guide; the preparation of a masterplan for design of a layout of 70-90 units of housing on the site and a small group of public buildings; and to ensure that the layout and design of the dwellings make a positive contribution of the streetscape of Dover. The design modules were complemented by: Climate Convened by Richard Watkins, students were required to adjust and design their landscape project to explore passive means of environmental control to achieve energy savings and greater comfort in different climates and the influence of materials, form and construction on environmental performance with reference to precedents and benchmarks on their projects. Nineteenth-Century Architecture Convened by Timothy Brittain-Catlin, students learnt through a series of detailed investigations how a number of specific important aspects and events in architectural history have changed the way in which we experience the built environment and also, the responsibility of all architects and designers towards the society in which they live.

Renaissance to Neoclassicism This module, convened by Manolo Guerci, addressed the developments in architecture from the early fifteenth century to the beginning of the nineteenth century. The underlying conditions of the movement known as Renaissance, Mannerism, Baroque, Rococo and Neo-classicism were studied and relevant buildings, as well as objects of art, architectural texts and dominant narratives. Form and Structure This module enhanced students technical competence by investigating the relationship between structure and architecture. Convened by Ronald Yee, students gained an improved understanding of how structural components shape architectural form and how a structure can influence the quality of a space through studying a series of well-known contemporary structures and then by application of the principles learnt to designing their own structure.

List of Stage Two tutors: Haval Abdulkareem, Felicity Atekpe, Anske David Bax, Benedetta Castagna, Timothy Brittain-Catlin, Mattia Fanin, Manolo Guerci, Rebecca Hobbs, Nikolaos Karydis, Jo Merry, Parin Mohajerani, Rebecca Muirhead, Patrick O’Keeffe, Sukanya Ravi, Michael Richards, Nathaniel Seall, Jef Smith, Jonathan Tarbatt, Richard Watkins, Benjamin Wood, Ronald Yee


Fig. 1: Fig. 2:


Phoebe Bix - Collective Dwelling: Pencester Garden Mews Josie Kassapian - Collective Dwelling: King’s Court, Dover

Fig. 3: Fig. 4:

Carys McVicar - Colllective Dwelling: Dover Regeneration; Stour Side Hamlet Mariam Pinto Rodriguez - Collective Dwelling: Courtyard In-Fusion


Fig. 5: Fig. 6:


Silvia Simeria - Collective Dwelling: Dubris before Dover George Bamford - Landscape: Greyfriars’ Apiary

Fig. 7: Fig. 8:

Kayley Gibbons - Landscape: Mulsi Rebecca Jilks - Landscape: The Friar’s Crisp Factory


Fig. 9: Fig. 10:


Felicity Pike - Landscape: Greyfriars’ Tearoom Zoey Yeoh - Landscape: Aida’s Paint House





Autumn: AR318 Form Finding The power of imagination in architecture can be the source of invention. This year began with the first assignment, the building of an imaginary city based on an extract from Italo Calvino’s, ‘Invisible Cities’ which describes ‘Zenobia’. An imagined city from the text lead to drawings and a ‘City’, a collective community, was built on bamboo ‘stilts’ on the green outside the School. It highlighted the role the imagination plays within the design process and it manifested itself as an eclectic, imaginative and joyful city in the miniature. The second assignment was a ‘Tiny House’. A small prototype timber house [5 x 5m], for clients who had a passion for an activity. The site was located on an existing car park in Cliftonville. Its focus was to design a community of houses with an associated landscape. The proposals were to celebrate the sea and the sky. 333

Spring: AR319 Building Design The final project in stage I, Building Design, is a brief that considers 19th, 20th and 21st century art and its place in Kent. Students designed a gallery to house the work of Kent based artists, JMW Turner, Shona Illingworth, Rose Wylie, Adam Chodzko and Henry Moore together with an international artist, Do Ho Suh. The site was located on a small peninsular in Canterbury on the River Stour. Views to the Cathedral and the study of light in relation to the artwork was a key aspect of consideration. In parallel to the design modules Light & Structure AR320 requires students to design a structure to withstand the weight of a brick using sticks and thread. ‘Light’ involved an investigation of natural daylight and its effect within Tiny House. Building Envelope, AR320, tackles the construction and environmental aspects of the students’ Gallery proposal. The Modern House module AR322, is a study of a 20th Century house. Each student writes a contextual and analytical essay based on a particular house accompanied by a detailed 1:100 scale model. At the other end of the historical spectrum, the Ancient and Medieval Module AR324, offers an insight into the historical design process, it is examined and analysed through the study of text and drawings and prepares the students for an examination in June. Folio AR323, is the key module that straddles the whole year and enables all students to develop their own visual vocabulary. The module is taught to encourage students to communicate their ideas with confidence through sketches, life drawing, making small interventions, ‘Mind the Gap’, orthographic drawing, model making, sculpting, digital drawing, modelling and 3-D renders. Finally, we returned to Paris this year for the field trip. Beautiful spring weather provided the backdrop to many building visits but in particular, the Louis Vuitton Foundation, the Louvre via IM Pei’s pyramidal entrance, the newly refurbished Picasso museum, Corbusier’s Villa la Roche and Jean Nouvel’s Philharmonie de Paris…all managed without a hitch!

List of Stage One Tutors: AR318 Form Finding (Rebecca Hobbs, Tanya Kalinina, Jo Merry, Patrick O’Keeffe, Paul Simms, Hooman Talebi & Ben Wood), AR319 Building Design (Rebecca Hobbs, Jo Merry, Rebecca Muirhead, Paul Simms, Jef Smith, Hooman Talebi), AR320 Light & Structure (Richard Watkins & Francesco Incelli), Modern House AR322 (Jef Smith, Colin Cresser, Giacomo Damiani & Kevin Smith), AR323 Folio (Felicity Atekpe, Howard Griffin, Ivan del Renzio, Tim Meacham, Jonathan Tarbatt), AR324 Ancient and Medieval Architecture (Nikos Karydis & Anske Bax), AR325 Building Envelope (Richard Watkins & Ronald Yee).


Fig. 1: Fig. 2:


Sean Broomhead - Tiny House: Spray Painter’s Abode Ian Angeles Canlas - Tiny House: INBETWEEN

Fig. 3: Fig. 4:

Samuel Crow - Tiny House: Zero Carbon Community Tyler Evans - Tiny House: Eco Village


Fig. 5: Fig. 6:


Takuyu Hirosaki - Tiny House: Helix House Simone Jackson - Tiny House: Triangle House

Fig. 7: Fig. 8:

XiXun Jin - Tiny House: Sailboat Solenn Maillard - Tiny House: Margate Ensemble Projec


Fig. 9:


Colin Nietzer - Tiny House: A Close Community of Sculptors









10 is the optimal number this year. With 10 students (MAAVers) from across the world, joining the course in its 10th year, 2019-20 has not transpired in the way we imagined at the beginning in September. The inevitable changes to teaching delivery and students learning experience due to the COVID-19 pandemic has, of course, changed the nature of the programme for both staff and students. However, with the course content being primarily digital in nature, this transition from campus to online classes has been both fruitful and rewarding. And the quality of work has not been unduly affected by this new way of working, with students producing work to professional standard. In this momentous year, students have focused on the past, the present and the future. Students have engaged with the past through heritage visualisations, the present with augmented reality projections in the public arena and their photographic work, and the future, creating realistic renderings of speculative, unbuilt designs. 343

This year, we welcomed Fabrice Bourrelley to the course to help teach students the use of real-time visualisation in Unreal Engine. Students are currently applying these skills to further develop the virtual reality project at St Augustine’s Abbey created in 2017. Students also learned to mix realities by augmenting an Art-Deco building at a public light festival in Kent. The installation called In Another Place led organisers to thank the students, “…for creating such a wonderful artwork for [the] Cheriton Light Festival. It was so spectacular and it was wonderful to see this building brought to life by the work.” We welcomed back Paul Roberts as part of the Digital Architecture Portfolio work. His work in teaching the fundamental visualisation skills has, once again, been instrumental in helping students create some of the best work we have seen on the course. We also welcomed Olga Banaszyk, from Hayes Davidson, and past MAAVers, Uma Shan from AVR London and Hayden Brinkley, all of who helped to develop the students’ portfolio work. Once again, the MAAVers are embarking on their dissertations, projects or work placements over the summer. Although the work placements will be undertaken remotely to begin with, we are confident that the students will gain as much development and experience through this option as in previous years. I would like thanks AVR London, The Boundary, Fosters + Partners, Glass Canvas, Hayes Davidson and Miller Hare for continuing to engage with the course and our students, despite the difficult circumstances. It is certainly not the way we would have wanted to celebrate 10 years of the MA Architectural Visualisation programme at Kent, but I am immensely proud of the work our students have produce this, and in previous years. The course has evolved throughout the past decade and will continue to do so. With our links to industry cemented, we can look forward to the next 10 years ahead!

Programme Students: Olga Banaszyk, Fabrice Bourrelley, Hayden Brinkley, Paul

Roberts, Uma Shan

Additional Tutors: Khaled Alhasan, Aina Barcelo, Faaris Hussain, Adam LancasterBartle, Carlos Lara, Scott Lloyd-Baxter, Abhik Rajagopal, Toby Roshom, Aran Virdee and Robyn Wogan


Fig. 1: Fig. 2:


Abhik Rajagopal - Maitenes House Adam Lancaster-Bartle - Outhouse

Fig. 3: Fig. 4:

Aina Barcelo - Wild Lilac House Arandeep Virdee - Korin Tower


Fig. 5: Fig. 6:


Carlos Lara - Does Edward James Olmos Dream of Electric Sheep Faaris Hussain - Darth Vader’s home

Fig. 7: Fig. 8:

Khaled Alhasan - Al Khamis Mosque Robyn Wogan - Architectural Photography, Lyon


Fig. 9: Fig. 10:


Scott Lloyd-Baxter - Casa Matanzas Vitoon Roshom - Interior Detail




Today we live in an unprecedented state of uncertainty, in the wake of a viral attack on humankind that has had a profound effect on our urban way of life. Affected as we are by climate change, the erosion of our eco-system, conflict, religious persecution, displacement of communities and the ever-rising gap between the rich and poor, inevitably we are forced to question the way we coexist and our relationship with the world. Our Masters programme in Architecture and Urban Design offers a unique perspective on how pro-active urban planning can address the dynamic conditions that influence today’s cities. The global population continues to grow so the urgent need for space and resources puts us in competition with our environment, as well as with our fellow humans. As an urban species, growth and quality of human habitat are some of the biggest issues we face today. 351

This year’s programme ran for a full year over 3 terms through a variety of media, combining lectures and design workshops in both London and Paris. Students spent the autumn term at the School of Architecture and Planning in Canterbury, where lectures in Research Methods and Analysis provide the skills and the tools needed in order to carry out research. In the parallel design module, students master-planned a new socially and economically mixed urban neighbourhood in Folkestone, Kent. In the spring term, students relocated to the School of Arts and Culture in Paris. There a programme of seminars in the Theory and History of Urban Design explored the idea of a city, and how urban concepts have evolved throughout time. Students also created a masterplan exploring how landscape can be used to transform a city to provide clean water, clean air, a haven for wildlife, relief from flooding to deal with the climate crisis and to help our physical and mental health. The programme culminated in the dissertation module in the summer term, in which students focussed on their own research into the various aspect of urban design we have studied throughout the year, including theoretical, historical or design-based. The Paris study tour organised in February enabled students to understand how this great city evolved over time, and the role the natural landscape has played in its development. The natural landscape from which Paris was derived now appears to have been completely lost beneath its grand boulevards, formal gardens and majestic palaces; however the trip involved exploration of the places and spaces where aspects of the ‘lost’ landscape are still apparent. Paris is also the focus of study for the Urban Design module AR847 set during the spring term and the field trip provided valuable inspiration for the students and an opportunity for individuals to visit the project site. The trip also enabled a visit to Paris architects, urbanists and teachers at ‘Arte Charpentier’ to learn of their work in helping to shape the future of this city, and to learn first-hand about new development initiatives in the city. In addition to the University-based staff noted above, we are most grateful to Dr Christopher Houghton Budd, Diane Dever and Lewis Biggs for acting as real-life project clients. Also thanks must go to London-based urbanists Sir Terry Farrell, Richard Portchmouth and Steve Smith, for their contributions as lecturers and external critics at design review

Programme Students: Vania Amelinda, Hang Li, Viola Modiane Keneilwe Tau, Abdulwahab Yunis Omar, Ross Duncan McCardle, Darren Paul Bridgett, Elisabetta Gastaldon, Hadi Mohsen, Louise Catherine Randall, Ahmad Faizal Bin Rosian, Andrew Jonathan Headley

Programme Tutors: John Letherland, Timothy Brittain-Catlin, Carrie Wilbert, Andy

Hobson, Alan Powers


Fig. 1:

Vania Amelinda - Masterplan of The Journey of Montreuil Stream Project in Bercy, Paris. The Journey Starts from the Seine River Edge and Ends at Bercy Metro Station.

Fig. 2:

Darren Bridget - A new town square and urban beach in Folkestone, linking the flows of landscape and people in a happy and distinct commercial and recreational destination.


Fig. 3:

Elisabetta Gasaldon - The project is composed of three parts and the purpose is improving the part of Paris along the Canal de l’Ourcq with particular attention to the sustainable movement.

Fig. 4:

Group Work - Research and Mapping of Paris’s city walls and how they act as growth rings for the city




Based in the historic town of Canterbury, this programme combines the study of conservation theory and philosophy with an exploration of the technical aspects of repair and reconstruction. The city’s stunning cathedral and medieval monuments give students the opportunity to learn from the conservation of a World Heritage Site. Ideal for those with an interest in architectural heritage, the course represents a gateway to a career in demanding professional fields such as conservation and heritage management. As the future leaders in these fields, the course’s graduates play a central role in disciplines that lie at the centre of current economic, environmental and social agendas. The varied curriculum of the course reflects the multi-disciplinary nature of conservation. During the autumn term, students gain a critical understanding of historic buildings through an introduction to conservation philosophy and policies. This is followed by the study of practical survey and preservation techniques during the spring term. Case studies and workshops carried out in collaboration with Canterbury Cathedral and the Society for the 355

Protection of Ancient Buildings (SPAB) introduce students to the properties of historic building materials and the techniques employed in the repair of historic buildings. This year, our newly-launched collaboration with the SPAB gave our students the opportunity to work on a live project: the survey and preservation of ‘St. Andrew’s Chapel’, near Boxley Abbey, Maidstone. Built in the fifteenth century and modified several times in the following centuries, the chapel is currently in an advanced state of decay. The SPAB is currently surveying the building with the view to restore it. Our students visited the site in January and February 2020, and were guided by SPAB specialists. Following this fieldwork, the students researched the history of the building, analysed its significance and drafted conservation strategies. This material was then synthesised in a new conservation plan, which will be submitted to the SPAB with the aim to contribute to the future conservation of this magnificent building. In the meantime, the students are working on their dissertation module, which enables them to study an aspect of conservation of their choice.

Programme Students: Yuke Fan, Asma Haddouk, Chandler Hamilton, Joel Hopkinson Elisabetta Gastaldon, Rosalind Webber

Programme Tutors: Timothy Brittain-Catlin, Manolo Guerci, Nikolaos Karydis, Ron Yee


Fig. 1: Fig. 2:


Asma Haddouk - St. Andrew’s Chapel, Maidstone, Analysis of Decay, 2020 Asma Haddouk - St. Andrew’s Chapel, Maidstone, Analysis of Decay, 2020

Fig. 3: Fig. 4:

Asma Haddouk - St. Andrew’s Chapel, Maidstone, Analysis of Decay, 2020 Asma Haddouk - St. Andrew’s Chapel, Maidstone, Analysis of Decay, 2020


Fig. 5: Fig. 6:


Asma Haddouk - St. Andrew’s Chapel, Maidstone, Digital Model, 2020 Asma Haddouk - St. Andrew’s Chapel, Maidstone, Digital Model, 2020





The programme promotes a cross-disciplinary approach in sustainable architecture, bridging the traditional boundaries between humanities and the sciences, research and practice. The 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. Our students develop strong external links. Choosing to study, monitor and evaluate thermal comfort conditions and energy performance in different buildings, this year they reached out across the campus, the University for the Creative Arts, as well as TP Bennett, monitoring their state-of-the-art Passivhaus building in Maidstone. Finally, the programme enhances strong analytical and research skills and we have been thrilled to see dissertations from last year’s cohort submitted in major international conferences this year, such as the Windsor Conference on Thermal Comfort as well as 361

The Passive and Low Energy Architecture. In the Autumn term, the focus is on understanding historic buildings and past environmental technologies, the principles and methodologies of environmental design, along with the importance of high tech system in low energy buildings. However, to avoid a purely technical view of sustainability the subject is also addressed from cultural, social, ecological and economic perspectives, which is unique in the country. In both modules, a variety of buildings have been scrutinized in different parts of the world. In the Spring term, students are introduced to the measurements and advanced simulation techniques for the environmental performance of buildings. The cohort selected a range of buildings across the campus, and looked at different schools of Architecture and their studios -from the Marlowe and the Digital Crit Space to the Canterbury School of Architecture. From gymnasia, educational buildings, and transition spaces to the domestic scale, there was extensive variety to inform the debate in the cohort. On the design, they focused on a redevelopment strategy for different wards of the QEQM maternity complex of the East Kent Hospitals University NHS Foundation trust in Margate. With the aim to enhance its environmental sustainability to improve health and wellbeing, the students developed environmental design strategies and proposals for a low-energy building to meet the highest sustainable design standards, a challenge addressed through different schemes.

Programme Students: Julie Anne Ainley, Nawar Alkhatib, Rached El-Ferri, Zeynep

Kasali, Hatice Kubra Kurukose, Nick L Owens, Ailyn Pentรณn Penton-Ansia, Shahla Safwat Ravhee, Shaker El-Samad, Bufan Song, Kun Wang, Jing Wang, Jiahe Yang

Programme Tutors & Modules: Principles of Environmental Design (Dr Richard Watkins), Rediscovery - Understanding Historic Buildings and Past Environmental Technologies (Dr Henrik Schoenefeldt), Monitoring and Modelling of Environmental Performance (Prof. Marialena Nikopolopoulou and Dr Giridharan Renganathan), Sustainable Design Project (Dr Giridharan Renganathan, Dr Richard Watkins, Dr Silvio Caputo and Mr Lawrence Friesen)


Fig. 1:

Shahla Safwat Ravhee - Redevelopment of the QEQM maternity complex by introducing passive and low carbon strategies and incorporating nature to make it socially, economically, and environmentally sustainable.

Fig. 2:

Nick Owens - We have 27m substandard homes in UK burning 25% of total UK energy; I chose Kent’s MASE course to learn how to make a difference – real effective change, to design and retrofit housing to be low to zero carbon.


Fig. 3:

Zeynep Kasali- The aim of this study is to evaluate the summertime thermal performance of three ecologic house which

have different construction types (timber, stone and mud-brick) and compare the effectiveness of the different construction types in the same climatic context.





Launched this year, the MSc Bio Digital Programme provides a theoretical basis of Computer-Aided Architectural Design as an academic discipline while simultaneously teaching the use of the computer for analysis of design problems and a tool for the generation of space and form. The principle of self-organisation is fundamental to understanding morphology and students explore natural processes of pattern formation and growth to investigate the emergence of form and space. The programme combines biological theory with computing know-how to explore architecture as a form of arti¬ficial life. Exploring mechanisms of feedback in systems, parallel simulation and principal ideas in arti¬ficial life developed by zoologists, biologists and computer scientists students investigate building generative and evolutionary models as a way of understanding architectural space and form.


The programme merges advanced computer-aided design skills with concepts from other fields pertinent, yet traditionally separate, to architecture; such as biology, psychology, computer science and philosophy. By integrating practice and theory students will be better able to think about the role of the computer in architecture and urban design, and approach alternative ways of thinking about space, form and structure to advance architectural knowledge and design practice.

We work at the conceptual level, to explore the creativity of algorithmic processes for architectural design. Students are taught how to work with digital tools parametrically and also how to work with computers at the level of code, so that they can work with and adapt algorithms and digital tools to direct them towards their own design aims. The purpose being that students gain an in-depth understanding of biological concepts and computational methods and to apply them to (conceptual) architectural design in new ways – to redefine how we think about space and the generation of architectural form, to invent and define the future of architectural design.

Programme Students: Julien Soosaipillai Programme Tutors: Peter BuĹĄ, Tim Ireland


Fig. 1&2: Julien Soosaipillai - Images explore, the decentralised approach to form building, through a diffusion limited aggregation (DLA) algorithm, parametrically controlled to reflect the natural behaviours of a Coral polyp.






The Kent School of Architecture & Planning’s MA in Urban Planning & Resilience was launched in 2018 in response to the global challenges of globalisation, urbanisation, digitisation and climate change. Early in 2020, our students had the opportunity to put their skills in addressing global challenges to the test when the COVID19 pandemic ground life to a halt, but not before we managed a site visit to the Berkeley Homes development at Kidbrooke in Greenwich to look at how green infrastructure and modular green construction were being built for a new community on the site of the former Ferrier Estate. The de carbonisation agenda, delivering net zero, and recognising that capital and investments should shift towards transition activities form a substantial component of our curriculum. We looked at how the building industry, and construction in particular, could shift towards zero emissions as quickly as possible. This was one reason why we went to Kidbrooke. The labour-intensive view of construction is a fragile model vs. construction sites reliant on off site and modular construction. The overnight shift to remote teaching and meetings did not stop students on the School’s Master of Arts in Planning & Urban Resilience from completing their education for the year on a high. 369

During the year, we covered the COVID19 as an urban resilience challenge and this allowed the two cohorts of students on the programme to put their learning in to practice and the practice into their learning. The pandemic is impacting lives and livelihoods around the world. And the built environment professions are not immune to its impact. The challenge for us as a planning profession is therefore to mitigate this impact and to ensure that we remain resilient, as much as we can through the next few weeks, but, more importantly perhaps, the challenge is also to emerge different, more mature, aware and suitably enabled to take advantage of the new operating environment. We tried to address these issues in the work the students had to complete and the list included the following: • • • • • •

The relaxation of planning rules and commercial units on the high street during a pandemic Commercial units on the high street and the role of economic subsidies during a pandemic Decision-making in local government and the role of technology during a pandemic Health and well-being in local government and the role of planners at times of crises The office lettings market and flexible space – How are empty properties being re purposed to house patients during a pandemic? Pandemics and the construction sector – what impact is the pandemic having on house building and office space provision?

Several elements of learning stood out for the group including the interdependencies between systems and how similarly or differently different places have reacted to the pandemic. We focused on the interconnectedness of recovery to people, to infrastructure, and to the environment. We also looked forward and covered the increasing use of AI – artificial intelligence – in planning. We ended the year on a high with the appointment of Steve Quartermain CBE as our Honorary Professor of Practice in Planning. Steve recently retired from the position of Chief Planner at the Ministry for Housing, Communities and Local Government after 12 years in the role. He was responsible for the transformation of the UK planning system, bringing forward the National Planning Policy Framework. List of Students: Chris Pragnell, Grace Martin, Louise Randall, Oliver Ansell, Hadi Mohsen, Andrew Headley, A.F. Bin-Roslan, Nicola Kingsford, Will Fletcher, Simone Ward, Jess Brown





The Kent School of Architecture and Planning’s PhD programme is going from strength to strength. We currently have twenty-eight PhD students; five of whom joined us in 2019/20, while further seven will join us in the next academic year. Indeed, this has been a very successful year for the school’s doctoral community: five students successfully completed (Bahar Badiee, Leonidas Tsichritzis, Maria Dimitriu, Ben Tosland and Timothy Fox-Godden), while of those new forthcoming students, five are the recipient of prestigious scholarships. These come from both the university’s consortia and co-tutelle partners, such as the Global Challenges Doctoral Competition (GCDC), the Engineering and Physical Sciences Research Council scholarship (EPSRC), and the recently introduced Kent-Lille co-tutelle, as well as from external funders, such as two Marie SklodowskaCurie Early-career researchers in partnership with industry. Our students are members of one of our three research centres, CREATE (Centre for Research in European Architecture), CASE (Centre for Research in Sustainable Environment), and DARC (Centre for Research in Digital Architecture), and actively 371

participate in the School’s life. Some are involved in teaching; others with special occasions and events including the organisation of the school’s biannual conferences. This ever growing and diverse community is very active in our own professional and academic networks, and join their supervisors at international conferences and in the national amenity societies in which they are themselves involved. Indeed, all PhD students are invited to attend the annual conferences organised by the research centres, which are often major international events. The School has a wide range of expertise, from the history and theories of both polite and vernacular buildings and landscapes from across the centuries, through planning, resilience and urban design in the twentieth century, to thermal and environmental comfort, urban environments and housing sustainability, and digital architecture. This is informed by our constantly developing research that addresses wider concerns for the individuals, society and the environment and incorporates health, heritage and climate change agendas as imperative for all centres in the rapidly changing world. This year was also marked by a renewed and very active Research Seminar Series in which our students informally presented their work to staff and peers, an excellent platform to bounce ideas off, share knowledge and expertise whilst getting important feedback alongside gaining some experience to present publicly. With rising numbers and challenges, KSAP prides itself for the dedication of both academic and admin staff, with a dedicated Director of Graduate Studies as well as a Graduate Assistant, instrumental, together with the Student Support Officer and the whole team in the smooth running of the programme. The Graduate Assistants (both for taught, PGT, and research programmes, PGR) have been instrumental in enhancing the student experience, introducing, amongst other things, coffee mornings where both Masters and PhD students can meet and discuss ideas, whilst building up a friendly graduate community. My thanks are due to all of them, and of course to our supervisors, who make the school a stimulating and friendly work place. Equally, I thank the PhD community for their continuing contribution, be it at our regular graduate research seminars, or the various post-graduate activities. And of course for all the innovative and interesting research they carry out!








SPRING 2020: Partner School Workshops

A dedicated and inspiring group of student ambassadors from Stage III and IV ran a series of architectural workshops in three Partner Schools; Canterbury High School, St Anselm’s Roman Catholic School and Whitstable School. The student ambassador are trained both in safeguarding and have subject specific training before they go out in teams to run the workshops. At Canterbury High students designed a Drop Box. This could be a house, a clinic or an orphanage for areas of natural disasters or war zones.At St Anselm’s and Whitstable School, students designed beach huts for artists on the Harbour arm in Whitstable We would like to thank the following student ambassadors: Manon Vilagines, Maria Luciana Gagliardi, Benedetta Castagna, Adam Dudley-Mallick, Gabriela Tancheva, Reni Animashaun & Izzy Adams Thank you too, to the Heads of Art at the Partner Schools; to Vicky Uttley, Linda Tucker and Sonya Connell at Whitstable School.


Partner College Workshops: For the first time, we also ran an in house, one day workshop with our Partner Colleges, Mid Kent College and East Kent College. Students were invited onto campus. They designed a house, with a view, using shipping containers. We hope to see more of these students in the future! SUMMER 2020: Summer School In July the School had hoped to offer the 6th. Architecture Summer School in collaboration with Canterbury Cathedral Education Programme but this has had to be cancelled. We hope to be working together on a Summer School in 2021. Finally, a big thank you to Sharmini Mahendrasingham, whose brilliant organisation makes the programme so successful.




The CASE team conducts collaborative research and development, and contributes significant knowledge and understanding to enhance sustainable design with a specific focus on environment and social sustainability. Within this premise, we are one of the leading research centres in the South East of England and more specifically in Kent. We have been looking into the sustainability issues relevant to this region through projects such as ‘Climate change adaptation and intergenerational living in a heritage townhouse in Margate’ (Heritage Lottery Fund and Townscape Heritage Initiative) and we will be giving greater emphasis to this realm in the coming years, more specifically in collaboration with our new medical school. As part of this outreach, in the last academic year, our MSc students worked closely with Queen Elizabeth The Queen Mother Hospital of Margate and developed redevelopment strategies to enhance the environmental sustainability of maternity ward complex. On the other hand, some students took up dissertation topics which are in line with the ongoing funded research projects. These students have access to project specific equipment and data. As a group, we are open to new ideas and collaboration. As part of this ethos, during each year we invite leading researchers in the field of sustainable design to deliver lectures at the KSAP open lecture series. Last year we had eminent scholars like Prof Rohiton Emmanuel (Glasgow Caledonian University) and Prof Tim Stonor (University College London) as well as policy makers and practitioners such as Ms Kristina Guida (London Climate Change Programme) and Ms Clare Brass (Department 22).


We are conducting collaborative research with both local and European universities. Our members have also initiated research collaboration with leading universities in Brazil, China, India, Sri Lanka and Mauritius. More recently we have exchanged Letter of Intent (LOI) with two leading Indian universities to collaborate in research, especially with a focus on Global Challenge Research Fund (GCRF). Our research funding portfolio has grown gradually in the last five years ( , especially the AHRC Fellowship funded project looking into ‘Between Heritage and Sustainability – Restoring the Palace of Westminster’s nineteenth century ventilation system’ and the large EPSRC grant which investigates ‘urban albedo in high latitude location’ have given a major boost. The centre was able build its equipment portfolio through these grants, e.g. securing a sophisticated Q-Sun Xe-1-S weathering chamber to test the aging of building material. More recently, SUGI funded ‘The Few Meter’ and the EU funded Marie Sklodowska-Curie ITN European Industrial Doctorate have been added into the portfolio. These projects will advance our research contribution and open new opportunities for post graduate researchers. As part of the industrial doctorate, 2 PhD students will commence their research in the summer. Further, we also have 2 GCRF funded PhD research scholars. The CASE is looking for highly motivated and dynamic PhD candidates to join our scholarly team to contribute to our ever growing research portfolio. We wish our 2019-20 graduates a bright future!




CREAte members specialise in a variety of subjects, and committed to the cultivation of humanistic values and ethical responsibility, through the exploration of cultural and social contexts within constantly evolving European and national identities. Based in the Faculty of Humanities at the University of Kent, our Centre collaborates with other faculty centres and colleagues, widening the scope of our investigations into problems affecting architectural culture, such as ecological changes, demographic shifts, and historiographical debates. Our work is wide ranging, focussing on history and theory, culture, urban design, heritage and conservation, including not only the conservation of physical material, but also the constant re-evaluation of cultural significance through interpretation and physical adaptation. We are equally committed to the exploration of new digital media to reconstruct and reinterpret historic sites in a manner that is accessible to wider publics. This has been another successful year for the centre. Prof. Gordana Fontana-Giusti was interviewed on Vittorio Gregotti by the Turkish television channel TRT World as part of their flagship arts and culture programme, ‘Showcase’, and participated in the AHRA 2019 International Conference on ‘Architecture and Collective Life’ in Dundee. She has contributed to the submission of Interreg project ECOMAT 3D – an international, multi-million experimental project bid led by partners from Lille, France, that combined digitalisation and architectural design in sustainable natural materials; has submitted a ‘Digital Landscape’ proposal for CHASE CDF fund for PhD students training and has contributed a chapter on Zaha Hadid’s ‘Heydar Aliyev Centre’ in Baku for the book World Architecture and Society (ABC/CLIO, 2020), amongst others. Dr Timothy Brittain-Catlin published his latest book on The Edwardians and their Houses and was also interviewed by Radio 4 to discuss it. Dr Nikolaos Karydis recently published a series of papers on Early Byzantine and nineteenthcentury architecture. These include a chapter on the reconstruction of the church of the Holy Apostles at Constantinople for the Dumbarton Oaks monograph devoted to this monument (2020), and an article on the church of St. Mary at Ephesos for Anatolian Studies (2019). He also contributed to the Routledge Handbook on the Reception of Classical Architecture with a chapter on the ‘Revival of Classical Architecture in Athens’ (2019) and wrote an article on the origins of the Byzantine Revival in Great Britain, which is due to be published in Architectural History later this year. Much of this work was finalised at the British School of Rome where Karydis was appointed Balsdon Fellow for his research on the Ripa Grande, the river port of Early Modern Rome. The reconstruction and study of this lost port is the topic of his new monograph, currently in preparation. Dr Manolo Guerci, CREAte’s acting director, is putting together a new project with the Sir John Soane’s Museum in London on the famous, 16th c. architect surveyor John Thorpe, while he completed his book on The ‘Golden Mile’: Great Houses of the Strand, 1550-1650, to be published by Yale, alongside a number of other articles on the relationships between Rome and France in the 18th century, and on Georgian London. He also co-edited a book with 379

Prof. Gerald Adler on Riverine: Architecture and Rivers (Routledge 2019), while he lectured on Tudor and Jacobean London, and will deliver a paper on the architectural patronage of the Cecils in the Strand, the famous duo of Elizabethan statesmen William and Robert, at the ‘Lord Burghley 500’ conference to be held at St John’s College, Cambridge. Prof. Samer Bagaeen and John Letherland discussed aspects related to the Covid 19 pandemic, from an urban design angle, while Howard Griffin organised the international AMPS conference, Connections: Exploring Heritage, Architecture, Cities, Art, Media, taking place online at the end of June 2020. Prof. Alan Powers published Bauhaus Goes West to coincide with the bicentenary of the Bauhaus, a book that aimed to expand knowledge of the German school’s impact in Britain and the USA while also critically assessing the many myths around it. He appeared at major literary festivals to speak about it, and organised a related conference towards the end of the centenary year. Dr Ambrose Gillick co-wrote an article on the modernist architecture of twentieth century pilgrimage in Scotland with Robert Proctor (University of Bath) and contributed to a book on the Scottish Parliament Building in The Story of the Scottish Parliament: The First Two Decades Explained, edited by Gerry Hassan and published by Edinburgh University Press. He also contributed to the formation of the new University of Kent Living on the Edge transdisciplinary research network, of which he is a member. Gerald Adler’s co-edited book on Riverine with Dr Guerci (see above) included the chapter ‘Sauf aux Riverains: the riverine memorial of Georges-Henri Pingusson’. His other writings include a chapter on the West Berlin architect Myra Warhaftig and her ground-breaking theoretical and practical work on feminist housing in a German-language book on the contribution women have made to urban design, published in Katia Frey and Eliana Perotti (eds), Frauen blicken auf die Stadt: Theoretikerinnen des Städtebaus. He has also published on the early twentiethcentury movement known as ‘Philosphical Anthropology’ with ‘Architecture Is Concealed unto Itself: Helmuth Plessner and his Influence on Twentieth-Century Architecture’, in the journal Architecture Philosophy. He wrote the Practice Profile on the architectural practice Maguire & Murray, including a number of descriptions of their churches, in the book 100 Churches 100 Years. Forthcoming work includes the chapter ‘Reading, Storing and Parading the Book: Between tradition and modernity in the synagogue’, to be published in Modern Architecture and the Sacred: Religious Legacies and Spiritual Renewal, edited by Ross Anderson and Maximilian Sternberg. CREATE PhD students Ben Tosland and Rafaella Siagkri presented at the SAHGB Architectural History Workshop, while Christopher Moore was awarded the prestigious National Railway Heritage Awards. Our Masters students in Architectural Conservation worked on live restoration projects and examined restricted areas of Canterbury Cathedral. In December, the Cathedral also hosted a light installation by Howard Griffin as part of his PhD work. Called Liminality, it explored the connection between what is real and what is virtual, opening up imagined space beyond the physicality of the stone walls of the Chapter House. This year, CREAte Open Lectures included Richard Reid’s ‘Dancing Through the Veil: the Ruskinian Concept of Savageness or Changefulness’; John Goodall’s ‘Under a spell: Gothic 1500 – 1700’; Adam Richards’ ‘Playing with time – fiction and history in recent projects’; and, exceptionally, John Outram’s ‘Cookbook for Being’.





What is DARC? Digital Architecture Research Centre (DARC) is the newest research centre at Kent School of Architecture and Planning (KSAP) focusing on the application of digital technology in architecture. DARC looks to explore the creative use of digital technologies to enhance design and fabrication possibilities for architecture and the built environment. The Centre has streams headed by members: - Generative design and computational creativity - Digital fabrication and robotics - Digital visualisation and mixed reality. DARC promotes an innovative interdisciplinary research environment exploring intersections between architecture and digital technologies, to open up and expand the schools research agenda and funding possibilities. The new research centre aims to promote a fundamental shift in architecture and design thinking to develop design methods for the utilisation of computational technologies in architectural design, fabrication and assembly. DARC is currently composed of Dr Tim Ireland, Dr Peter Buš, Howard Griffin and Julien Soosaipillai. Tim and Peter both specialise in computational design methods. Tim’s research is driven by an interest in biological theory and concepts of space, whilst Peter concentrates on the development of custom-based computational environments, design workflows and simulation strategies within the field of Responsive and Adaptive Cities focusing on end-users’ perspective. Howard specialises in architectural visualisation and is exploring the perceptual effects that projection mapping can have on the interpretation of architectural and urban space. Julien has technical expertise in digital



Pablo Zamorano (Heatherwick Studio) Mike Oades (Atomik Architecture) Fabrice Bourrelly (+ workshop) Milad Showkatbakhsh (AA)





KASA has been an active part of KSAP since its beginning in 2005. Since then we have grown to become a large part of the school, with the hope of enriching student experience and community at our heart. We also aim to provide a platform for students to go beyond their studies in order to be become well rounded individuals by the time they leave us. Part of this is providing a lecture series each year which are provided by architectural practices, research bodies and professional societies. We hope that this allows our students a view into the professional world, whilst continuing to conjure inspiration. This year we welcomed talks from both CJ Lim and Tilo Guenther, whom we would both like to take the opportunity to thank for giving us such fantastic insights into their work. We have also taken steps to showcase more of our student’s work this year, by reviving “Drawing of the Week” and introducing “Model of the Week”, released via our Instagram account. We had also hoped to begin filling Create Café with work in progress to highlight all of the multitude talents possessed by all of our students. We very much hope to launch this in the autumn term. Although KASA has had to adapt, as have we all, due to the global pandemic of COVID-19, we could not be prouder of our students. The effort put into the catalogue has been incredible. We must thank Erlend Birkeland, Daphanie Oon, Bethany Lim and Adam Dudley-Mallick, a collective of Stage 3 Students, for providing such a beautiful catalogue cover – despite the fierce competition! We hope that we will be able to come together in the autumn term, and are very grateful for all the work the KASA team has put into both the catalogue and all fresh plans we come to see through in September!

Vice President: Matt Maganga Finance Officer: Reegan Howles Head of Media: Helana Danials Head of Events: M. Can Aytek Isabel Adams and James Vincent KASA Presidents 2020 - 2021 Chandni Patel and Stephanie Tillman KASA Presidents 2019 - 2020



ACKNOWLEDGEMENTS Academic Staff Professor Gerald Adler; Head of School Professor Samer Bagaeen; Professor of Planning, Programme Director: MA Urban Planning and Resilience

Professor Marialena Nikolopoulou; Deputy Head of School, Programme Director: MSc Architecture and the Sustainable Environment, REF Coordinator Professor Alan Powers; Senior Lecturer Fiona Raley; Lecturer

Dr Timothy Brittain-Catlin; Reader, Stage 2 Coordinator: BA (Hons) Architecture, Director for the Centre of Research in European Architecture (CREAte)

Dr Giridharan Renganathan; Senior Lecturer, Chief Examiner (UG & PG), Director of CASE Research Centre

Peter BuĹĄ; Digital Architecture Lecturer

Michael Richards; Senior Lecturer, Programme Director: MArch

Dr Silvio Caputo; Senior Lecturer Professor Gordana Fontana-Giusti; Associate Dean: Graduate Studies, CHASE Kent Academic Lead, Professor of Architecture and Urban Design Dr Ambrose Gillick; Lecturer Howard Griffin; Senior Lecturer, Programme Director: MA Architectural Visualisation, Director of Graduate Studies (PGT) Dr Manolo Guerci; Senior Lecturer, Director of Graduate Studies (PGR), Erasmus Coordinator, Library Liason, Acting Director of CREAte Research Centre Rebecca Hobbs; Lecturer, BA (Hons) Architecture: Stage 1 Coordinator, EDI and Outreach Project Lead Francesco Incelli; Lecturer Dr Tim Ireland; Senior Lecturer, Director of Digital Architecture, MSc Bio Digital Architecture Programme Director, Director of DARC Research Centre Dr Nikolaos Karydis; Senior Lecturer, Programme Director: MSc Architectural Conservation, Ethics Representative

Elena Rueda de Watkins; Research Associate Dr Henrik Schoenefeldt; Senior Lecture, AHRC Leadership Fellow, Research Leave until 2019/20 Dr Victoria Schoen; Research Associate Jef Smith; Lecturer Chloe Street Tarbatt; Lecturer, BA (Hons) Architecture Programme Director, e-learning Champion, TEF Coordinator Dr Richard Watkins; Lecturer, Senior Tutor, Director of Education, Partner College Liaison Officer, Chair of Disciplinary Committee Peter Wislocki; PDip Architectural Practice Programme Director Ronald Yee; Lecturer

Associate & Assistant Lecturers Felicity Atekpe; Design Tutor

Dr Alkis Kotopouleas; Research Associate

Mark Coles; Design Technical Tutor

John Letherland; Senior Lecturer, Programme Director: MA Architecture and Urban Design

Ben Currie; Design Technical Tutor

Tim Meacham; Lecturer

Giacomo Damiani, Design and Culture Tutor Andrew de Carteret; Design Tutor Lawrence Friesen, Technology Tutor


Ben Godber, Technology Tutor Michael Holms Coats; MArch Unit Leader & Design Tutor Lee Jesson; Design Tutor Tanya Kalinina, Design Tutor Dr Alkis Kotopouleas; Research Associate John Letherland; Design Tutor Yorgos Loizos; Design Tutor James McAdam, Design Tutor Patrick O’Keeffe, Design Tutor Fiona Raley; Design Tutor Julia Ratcliffe, Technology Tutor Elena Rueda de Watkins; Research Associate Nathaniel Seall, Design Tutor Paul Simms, Design Tutor Tom Sweet; Design Tutor Oliver Watson; Design Technical Tutor Peter Wislocki; Design and Prof. Studies Tutor Benjamin Wood; Design Tutor Matthew Woodthorpe; MArch Unit Leader, Design Tutor

Professional Administration Natalie Conetta; School Administration Manager Rianne Dubois; Research Support Officer Stuart Flower; Finance and Resources Coordinator Joanna Green; Clerical Assistant, PA to Head of School Sharmini Mahendrasingham; Recruitment Communications & Outreach Coordinator, Admissions Officer Charlotte Malkin; Administration Officer Ben Martin; Student Experience Manager Ellie Mascall; Recruitment Admissions and Marketing Manager, Director of Recruitment & Admissions, Admissions Officer Russell Moul; Administrative Assistant

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


ACKNOWLEDGEMENTS Practitioners Hocine Bougdah Andy De Carteret Ivan Del Renzio Michael Holms Coats Lawrence Friesen Lee Jesson Tanya Kalinina Tara De Linde Georgios Loizos James McAdam Joanne Merry Rebecca Muirhead Patrick O’Keeffe Julia Ratcliffe Paul Roberts Nathaniel Seall Paul Simms Tom Sweet Hooman Talebi John Tarbatt Oliver Watson Ben Wood Matthew Woodthorpe


CREDITS catalogue team

Isabel Adams Chandni Patel Edward Roberts Stephanie Tillman James Vincent

catalogue cover design

A big thank you to the students who designed the catalogue cover and feature page: Erlend C. L. Birkeland Adam Dudley-Mallick Bethany Lim Daphanie Oon


Kent School of Architecture & Planning Marlowe Building Canterbury Kent CT2 7NR 01227 824689

printed by


01622 716636

copyright kent school of architecture

All Rights Reserved

ISBN 978-1-5272-6571-4


& planning 2020