Kent School of Architecture - End of Year Show Catalogue 2018 by University of Kent

2018

KENT SCHOOL OF ARCHITECTURE

EXHIBITION 2018 WWW.KENT.AC.UK/ARCHITECTURE

KENT SCHOOL OF ARCHITECTURE

“The cover of the catalogue is a suprematist interpretation of the axonometric view of the architecture building: Marlowe. We have spent the majority of the last three years of our lives here. Hope you enjoy!”

LARISSA BRAGA AND ELLIOTT RITCHIE THE CATALOGUE DESIGNERS

WITHOUT THE GENEROSITY AND SUPPORT OF OUR SPONSORS THE 2018 EXHIBITION AND CATALOGUE WOULD NOT HAVE BEEN POSSIBLE.

thank you to:

student projects grant scheme

urban and rural

architects and town planners t. 01227 784444 st johnâ&#x20AC;&#x2122;s lane, canterbury CT1 2QQ offices in canterbury & london

Proud to sponsor KASA

@guyhollawayarchitects

@guyhollawayinteriors www.guyhollaway.co.uk

MADE POSSIBLE BY:

Student Project Grant Scheme

The Student Projects Grant Scheme is funded by the Kent Opportunity Fund, which was established to increase opportunities for students at Kent, today and in the future. The Student Projects Grant Scheme allows donations given by alumni and friends of the University to reach as many students as possible by enabling individuals to bid for funds to run their own projects. Student Project Grant Scheme 2017-2018 The 2018 Student Projects Grant Scheme has made this catalogue and the KSA Summer Exhibition 2018 possible. 5

CONTENTS

EXHIBITION 2018 KENT SCHOOL OF ARCHITECTURE

01 INTRODUCTION

head of school kasa foreword

10 14

02 M ARCH

unit 1 unit 2 unit 3 unit 4 unit 5 artefact dissertation pedagogy

22 40 64 86 108 138 142 144

BA (HONS)

148

stage 3 stage 2 stage 1

154 318 322

328

POSTGRADUATE

ma arch. & urban design msc arch. conservation msc arch. & sustainable environment mA arch. visualisation phd in architecture

05 RESEARCH & COMMUNITY 352 case create KASA acknowledgements Credits

354 356 358 360 362

330 336 340 344 348 7

INTRODUCTION

HEAD OF SCHOOL PROFESSOR DON GRAY

In the 2018 catalogue, you will see inspiring interpretations about how we might live in the varied and rapidly changing urban conditions of the future. Under the tutelage of concerned and experienced professionals, our students constantly challenge the conventional to explore possibilities for architectural futures made credible by the sophistication of beautiful drawings and models. I was lucky enough to attend the opening of the Venice Architecture Biennale in May this year. Kent School of Architecture has supported the Venice Fellowships since the British Council initiated the awards in 2014. Those selected to be Fellows (following short-listing and interview) are able to spend one month in Venice during the Architecture Biennale. They share their time between invigilating the British Pavilion exhibition and events, and conducting independent research which is guided by the focus of the biennale and the exhibition. Bjarke Ingels with Don Gray

The original idea was to strengthen the British Pavilion contribution as a platform for ideas and research, but it also ends up as an exciting period of study in the lives of those selected to participate. During my visit I explored the national pavilions in the Giardini, and met with some of the architects who are changing the way in which we think about architecture. What interested me on this occasion was the range of scales at which architects are working, and in doing so, change profoundly the way in which we experience the world. 10

At one extreme was Bjarke Ingels who is designing the futuristic stations which will service the Virgin Hyperloop One, a project born of Elon Musk’s idea for pods filled with people propelled through vacuum tubes at more than 1,000 kilometres per hour.

Hyperloop One Pod under test, 2018, Las Vegas

Ingels is a Danish architect and founder of Bjarke Ingels Group (BIG), known for extraordinary buildings which defy convention while incorporating smart sustainability principles and bold sociological concepts. He says that in designing a futuristic station or a very fast train, we are dealing with an entirely novel technology with the potential to completely transform how our existing cities will grow and evolve – and how new cities will be conceived and constructed. With 70% of the world’s population living in cities by 2050, the relationship between urban and rural will change profoundly.

Hyperloop One low pressure enclosure, 2017, Las Vegas 11

Working at a different scale is the Swiss architect, Peter Zumthor, who has installed a thrilling workshop of scale models of his meticulously designed projects inside the Giardiniâ&#x20AC;&#x2122;s central pavilion. The models, which vary greatly in terms of their scale, appearance, and materiality, are formed from a rich palette of materials including wax, sand, burnt wood and plaster. They are miniature works of art. Zumthor who is Swiss, is known for his sensuous approach to materiality and his attention to place. His buildings are uncompromising and minimalist, but despite this his tiny practice has won both the international Pritzker Prize and the RIBA Gold Medal. One of his best known projects, the Brother Klaus Field Chapel, was formed out of 112 tree trunks, which were conďŹ gured like a wigwam. In twenty-four working days, layer after layer of concrete, each layer 50 cm thick, was poured and rammed around the tent-like structure. Then the wood was burned to leave an extraordinary charred interior, rich in texture, light and smell. Ingels is 43; Zumthor is 75. That two such unique individuals from different generations can explore very different themes in architecture, and are able to exhibit at the Biennale and attract equal interest and esteem, affirms my belief that, as Mies van der Rohe said, architecture remains the real battleground of the spirit. Our 2018 graduates are at the start of their journey as architects and designers. I am sure that you will find their projects and ideas at least as stimulating and enjoyable as those exhibited in the Giardini in Venice.

Left: Brother Klaus Field Chapel, Peter Zumthor. (2007, Wachendorf, Germany)

Above: Brother Klaus Field Chapel interior, Peter Zumthor. (2007, Wachendorf, Germany) 13

KASA FOREWORD FROM THE STUDENTS

Over the years KASA has gained recognition across the University of Kent as one of the strongest independent student societies working in tandem with the Kent School of Architecture. Originally founded by the DelRenzio brothers, the Kent Architectural Student Association (KASA) continues to be run by the students for the students. Collectively KASA reaches over 450 students annually, offering a variety of academic and recreational activities; including an independent lecture series, competitions and socials. The sense of community throughout the programme is evident in students’ involvement with extracurricular activities; such as the volunteers pitching together for preparations towards the End of Year Show. This is echoed in the high percentage of students keen to continue their Part 2 education at the Kent School of Architecture. The ethos reaches further still with KSA maintaining a strong bond with alumni, albeit this is the school’s 13th year and consequently 13th show. The End of Year Show provides students with an opportunity to celebrate their work amongst peers, friends & family. Each year the show expands hosting an increasing number of prospective employers keen to seek out potential employees from within a talented crowd. We are delighted to share all our hard work in such an anticipated event with local and wider communities, extending to multiple departments, both related to and outside the field of architecture. This year KASA are keen to demonstrate the breadth of academia covered during the course; many of KSA’s students use literature, art and film as precedents throughout their work, as well as other forms of creative media. Usually the End of Year Show has a focus on final products, whereas this year we have chosen to also display the variety of work which students undertake. This is evident through the theme of the show ‘Architecture and More’ displayed through a variety of analogue and digital means. We are also proud to introduce a Virtual Reality Exhibition, using a combination of Oculus headsets and augmented reality trackers via mobile devices to showcase digital models. From all of us at KASA, we hope you enjoy the show! (https://ksaexhibition2018.tumblr.com)

KAYLEIGH BUTTIGIEG & MANDY ROBERTS Stage 5 MArch EDWARD SUTCLIFF & SAMUEL MARTIN KASA Presidents 2017-18 14

M ARCH ARB / RIBA PART II EXEMPTION

On the MArch, we teach all design modules, and 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 and allows students choice in their education. There are about 15 students in each Unit. This year the MArch diversified into five Units, from four last year, both growing organically through the bifurcation of established Units, with existing and proven design tutors finding new voices as Unit Leaders, together with a fresh, new Unit in Computational Architecture, lead by KSA’s new Director of Digital Architecture. In all, eleven of our fifteen key tutors have enjoyed new opportunities and roles this year, further enhancing our students’ experience. Unit 1 Entropy: Changing State – a conflation of the science of Energy decay and notions of ‘borders’ help us to imagine near futures for settlements along 16

Kent’s Royal Military Canal. Design Tutors - Michael Richards and Yorgos Loizos (with Matt Orme) & Technology Tutors - Lawrence Friesen, Tim Carlyle and Patrick Osbourne. Unit 2 Margate: Unknown Pleasures – How might we once more ‘like to be beside the seaside’? Design Tutors - Diana Cochrane and Sam Causer & Technology Tutor- Keith Hurst. Unit 3 Hafen: Thinking with your Hands – the act of making establishes attitudes to life in Kent’s Cinque Ports. Design tutors - Michael Holms Coats and Lee Jesson (with Matt Rust) & Technology Tutor - Oliver Watson. Unit 4 Repurposing the City: Cultural Representation and the death or PostModernism – exploring the role that Technology, Communication, and Media play in a changing Camden Town. Design Tutors - Matthew Woodthorpe and Alessia Mosci & Technology Tutors - Ben Corrie and Lawrence Friesen. Unit 5 Design for Galactic Life on Earth: Emphatic Space - the relationship between an organism and its environment as the moulding forces of life in and around York and the Yorkshire Coast. Design Tutors - Tim Ireland and Emmanouil Zaroukas & Technology Tutor - Chris Jones. In the recent past our students have won international and national recognition in the RIBA Serjeant Award for Excellence in Architectural Drawing at Part 2, and garnered citations and special commendations in the SPAB Philip Webb Award, and the IHBC Gus Astley Student Award Trustee selection. Elsewhere, in Stage 5, students can choose to follow one of three ‘Options’ modules in the Autumn term, and in part and whole these are nationally unique and distinguishing characteristics of our Programme. The Options are: Architectural Pedagogy (where students are involved in the delivery of design and communications education to KSA Stage 1 students and receive a series of lectures in the theory of learning and teaching); Artefact – students undertake research through practice, and create an artefact or catalogue a research process in advance, or following, a piece of theoretical writing; and Dissertation – a traditional 8000 word written thesis – you can read more about our Units and our ‘Options’ Modules in the pages that follow. Internationally, all our Units undertook field trips to destinations as diverse as, Holland, Italy, Germany, and York; one of our Stage 4 students has spent the spring and summer terms in Rome; and two students have been selected as British Council Fellows for the 2018 Architecture Biennale in Venice.

MICHAEL RICHARDS RIBA Programme Director 17

STAGE 5

STAGE 4

01 UNIT

ENTROPY: CHANGES OF STATE

The Royal Military Canal cuts between Seabrook near Folkestone, and Cliff End near Hastings, and follows the edge of an escarpment bordering Romney Marsh along the line of what’s now called the Saxon Shore. Constructed as a defence against invasion during the Napoleonic Wars, Unit 1 reads the Royal Military Canal as an abstract body of water applied across the landscape, itself also an abstraction, in that, it too, is largely artificial, a reclaimed salt marsh and before that, a tidal lagoon. Post-Brexit, how might the significance of this ancient barrier to unwanted invasion catalyse new architectures in old places, and what is its capacity to act as a suture to broad cultural ideas, when the world seems to be building more walls? Our year began referencing the work of Rachel Whiteread’s art theory in the then just opened Tate Britain retrospective. We then applied Whitread’s art practice to the complexities of that great section cut through London - the Regent’s Canal. Initially we conducted a series of pioneering exercises in changing the state of water to ice as an 22

intentionally ephemeral modelling medium. A virtuous loop of learning emerged to refine our practice and theory. Students evolved a series of ‘Ice-Houses’ on the ‘Salients’, bridges, or other idiosyncratic points along of the Royal Military Canal. Individual thesis projects then populated the landscape and the environs north of the canal, to broadly preform the role of institutions for a cross-hatch of cultural and scientific ideas. A trip to the New Hollandic Waterline gave us insight into the history of water as a strategic ally in the lowland landscape, and how its legacy has gained contemporary resonance through new architectural interpretations. The Unit used two key works to guide us. The first is more a set of scientific principles – ‘The Laws of Thermodynamics’. We began an enquiry into the phase changes water undergoes when it too ‘changes state’. What happens when water becomes ice, what are the energy implications, and what happens when ice thaws? Does the ensuing enthalpy hold the capacity for a cultural as well as scientist reading? We started to become more interested in the cultural context of science in this endeavour, and our second guide book was Paul Theroux’s fictional travelogue treatment of thermodynamics - ‘The Mosquito Coast’. This year Unit 1 thesis projects included: Stage 5: A combined Saltarium and Salting near Scots Float Sluice at the tidal interface of fresh and tidal saline water; a post-Brexit combined overt Pidgeon Fanciers Loft and covert Science Institute at Knock Hill; a contemporary Mytharum and new council for the Isle of Oxney; and a Crab Restaurant inspired by Peter Greenaway’s 1989 film, ‘The Cook, the Thief, His Wife, and Her Lover’. Stage 4: A fish Smokery at the confluence of the Rivers Brede and Rother; Seabrook Boat Building Academy; West Hythe Institute for Fungal and Lichen research; Winchelsea New Council; Mausoleum for Lord Lucan (and John Aspinall); Winchelsea Algae Farming Community; three other projects in Rye - Silk Weavers; Sheep Market; Phobia Rehabilitation Centre; and a Mortuary for Appledore . Unit 1 Students Stage 5: Alex Bean; Kayleigh Buttigieg; Chris Longman; Mandy Roberts; Stage 4: Karly Chung; Luke Golding; Kate Ha; Francesca Hopkins; Timur Iablokov; Joshua Kirk; Allan Ossa Montesdeoca; Leonie Perrin; Samuel Plank; Kathryn Rackett. Unit 1 Leaders:

Michael Richards & Yorgos Loizos (with Matthew Orme)

Technical Tutors:

Tim Carlyle, Lawrence Friesen, Patrick Osbourne

Guest Critics:

Sam Causer; Diana Cochrane; Ben Corrie; Charles Drozynski; Keith Hirst; Michael Holms Coats; Tim Ireland; Lee Jesson; Chris Jones; Alessia Mosci; Matt Rust; Oliver Watson; Matthew Woodthorpe; Emmanouil Zaroukas.

Collaborators:

FloPlast; St Leonard’s Church, Hythe; St Rumwold’s Church, Bonnington; SantanderSalt; Chris Gardner

MICHAEL RICHARDS Unit 1 leader 23

ALEX BEAN, Stage 5 In a post-Brexit industrial landscape, where developing industry within the country is of growing importance, this site requires a new harvesting purpose. The rich mineral history offers an opportunity to showcase salt for its health benefits whilst being housed in a decaying superstructure which portrays its damaging nature â&#x20AC;&#x201C; a sea salt refinery that feeds a saltarium.

KAYLEIGH BUTTIGIEG, Stage 5 The Embassy for Research and Academic Debate establishes itself on the site of a former customs house and smugglerâ&#x20AC;&#x2122;s haunt. It is a response to the restrictions placed on sharing academic research post-Brexit. Its illicit function is concealed through its mistaken identity as a pigeon fanciersâ&#x20AC;&#x2122; loft. As entropy always increases over time, the symbiotic relationship between these functions and therefore the architectural details, begins to fail.. 27

CHRIS LONGMAN, Stage 5 As tides rise in the Rother Levels, Oxney reclaims its namesake as an island. Disconnected from a government that dictate their laws, unelected by the population of the isle. Stone seeks independence in favour of self-governance, rediscovering their Mithraic heritage, re-establishing their identity through the rise of their new council.

MANDY ROBERTS, Stage 5 Located in the Union Channel, adjacent to the R.M.C, this linear project explores culinary entropy, in a journey from farm to plethoric dining experience; the user is submersed into a regatta to the finish line. Highly saturated & food inspired, this gluttonous project is of Baroque/Rococo influence; with a seafood restaurant inspired by the 1989 Peter Greenaway film â&#x20AC;&#x2DC;The Cook Thiefâ&#x20AC;&#x2122; a grotesque thriller blending food, lust and animosity. 31

KATE HA, Stage 4 An outbreak of indoor mould has spread across the village of West Hythe. One resident seeks to find a cure to tackle the harmful long-term effects. It is said that the surrounding lichen holds the cure to combat the toxic mould. A new Fungi Research Institute seeks to discover the â&#x20AC;&#x2DC;antibioticâ&#x20AC;&#x2122;.

WINCHELSEA TOWN HALL SECTION AA- SECTIONAL PERSPECTIVE 1.100 UNIT 1 AR837 FRANCESCA HOPKINS

WINCHELSEA TOWN HALL WORM’S EYE PERSPECTIVE

UNIT 1 AR837 FRANCESCA HOPKINS

WINCHELSEA TOWN HALL LISTENING CHAMBER ISOMETRIC 1.100 UNIT 1 AR837 FRANCESCA HOPKINS

WINCHELSEA TOWN HALL COURT HALL CAST ISOMETRIC 1.100 DETAIL ZOOM 1.250

FRANCESCA HOPKINS, Stage 4 The ‘ancient towne’ of Winchelsea plays host to unique piece of history, the Corporation but it is a relic of the towns corrupt past. Tired of being misrepresented the people of Winchelsea have established The New Town Hall; it strives to create transparency within the newly established local government.

ROOF PLAN

THE NECROPOLIS JOINT MAUSOLEA

CROSS SECTION

TIMUR IABLOKOV, Stage 4 The Necropolis is a violent collision of two existing buildings that form a mausoleum to commemorate the story of Lord Lucan and John Aspinal. In an account of murderous mystery that shook the nation in 1975, the architectural enigma explores possibilities and alternate dimensions through a journey of destruction, encounter and creation.

JOSH KIRK, Stage 4 Economic instability has caused the Winchelsea corporation to adopt a stricter rule over Winchelsea, the residents want to break free from the grasp of the corporation. Locating themselves on the doorstep of the town to create an â&#x20AC;&#x2DC;outside wallâ&#x20AC;&#x2122; community linked to an algae energy production and research plant sourced from the Royal Military Canal, providing the residents with self-sufficiency and complete independence from the corporation. 35

Name: Harold Age: 55 Profession: Sheep Farmer Location: Hamstreet, Romney Marsh Bidding: 10 Lambs

Name: Ian Age: 62 Profession: Sheep Farmer Location: Appledore, Romney Marsh Bidding: 5 Sheep, 8 Lambs

Name: Margaret Age: 43 Profession: Fashion Designer Location: Ashford, Kent Bidding: 20 kilos of wool

Name: Mark Age: 38 Profession: Acting agent for Farm Location: Newchurch, Romney Marsh Bidding: 8 Sheep

Interior Perspective

LEONIE PERRIN, Stage 4 In post-Brexit Britain, the famous Romney Marsh Sheep are to be reestablished in a satirical Live Stock Market. Investigating Rye’s architectural past and isolating elements, the market commemorates these as a combined cast. Sheep Show is an event which voyeuristically curates the movement of Romney Sheep through a ‘sheep walk’.

Unfolded Section of the Key Phobia Route Scale 1:100

Rainwater Drainage System

Proposed Site Location Plan: Rye

Locating St. Mary’s Church, Rye

Scale 1:1000

Site Section BB: East Cliff Face, Fish Market Road Scale 1:100

External View of St. Mary’s Church, Rye

Interior of St. Mary’s Church, Rye

Site Axonmetric: East Cliff Face, Fish Market Road Scale 1:100

View from the Tower of St. Mary’s Church, Rye

SAM PLANK, Stage 4 Rye’s church route contextualises this desensitisation of phobias through a phenomenological response to spatial qualities. Filmic representations of four phobias have defined these spaces. Patients at the centre can research and discuss phobias with fellow sufferers and psychiatric professionals. Derived from Initial research into the response to unnecessary safety.

The Mortuary - Exterior Perspective

The Mortuary - Exploded axonometric 1:200

The Mortuary - ‘B’ Sectional Perspective 1:100

The Mortuary - ‘A’ Sectional Perspective 1:100

KATHRYN RACKETT, Stage 4 The mortuary’s positioning / geometry has been influenced by two significant historical viewpoints in Appledore, signifying the crossover of a natural and man-made epidemic. The proposal explores the notion of slicing and light to guide the visitor’s journey through. The principles of thermodynamics have been used to fulfill an important function within the building.

ALLAN SANTIAGO OSSA, Stage 4 Casting inspired by Rachael Whiteread and research into thermodynamics developed an instalment exploring the reuse of wasted train energy to produce Ice, this led to a discussion in the use of tide to facilitate the function of a building in Rye. The scheme consists of 3 buildings each to a different stage of the silk weaving process, a tower for sericulture, a building on the river bank for silk reeling and the existing bridge is adapted for silk weaving. 39

02 UNIT

MARGATE: UNKNOWN PLEASURES

Margate: Extraordinary sights, unexplained visions “One of my favourite views in the whole world is when you first hit Margate seafront. Whether by train or by car it makes no difference; the view is virtually the same. It’s the view that Turner loved and many great Victorians and, previous to the Victorians, our gentry folk from the eighteenth century. Hawley Square, Margate, was one of the poshest addresses in Britain. Margate was a seaside town built and created for the educated and wise. A place to become healthy and spiritually assured. Margate was never the last resort – for some it was just the beginning ... For years every time I went back to Margate I would want to cry, not just from my own demented, strange melancholia but for the fact that there would always be something missing. For years the local council ran down the place with the speed and zest of fascist vultures who were just after a quick quid or two. No one in control viewed Margate as a long-term venture. Sundecks, the pier, the sea walls, the wrought iron railings, the dolphin street lamps, the Victorian schools, the sea-bathing hospital, picturesque wind shelters and Dreamland. You name it. Gone. I remember actually crying when I said ‘Where the fuck is the big wheel… it’s gone!” - Tracy Emin 40

Margate: A Seaside ‘Dreamland’ The Margate which Emin laments has an important place in the story of seaside holidays. It was prized for its invigorating air, views and leisure activities to be enjoyed. In its heyday it drew 6 million visitors a year, mostly from London, and strove to envelop them in sensual experiences impossible in the city. A Clifftop Wander In September 2017, Unit 2 undertook “a Clifftop Wander,”1 along the 5 miles of Margate Coastal Park. We took clues from layered GIFS we made to examine the rich history and remnants of the many giant seaside structures that fleetingly inhabited the coastline before tides, storms and unreliable economies washed them away. On a journey travelling east from Lake Garda to Venice we drew and discussed the work of Carlo Scarpa at Castelvecchio and at Brion, and of Palladio at the Teatro Olmpico. We examined Scarpa’s manipulation of view and choreography of space by using a robust concrete architecture that inhabits watery landscapes and his is purposeful weaving of elements into ancient spaces to make new connections and meanings. Back in Margate, with one eye on the weather, the group set about examining the social, political and material fabric of the coastal landscape, identifying specific issues amongst which ideas for future development were geminated. At the core of our inquiry was the founding motto of the park Pro Bono Publico, ‘For the Public Good’. All proposals act as a framework upon which a better society can build itself, nurturing health, well-being, societal integration, and sensual pleasure. We take the role of architect as active agent seriously; we consider the effects our actions may have on many levels, from commerce to mental health. We consulted with contemporary characters and extrapolated to imagine who may be impacted by our proposals in the future, inspiring our dreams for new developments. With alchemical overtones, the proposals bridge the gap between land and sea, between civilised town and wild sea. Thanks to Sam Causer and artist Carlos Maria Romero for arming us with their historical study of the Margate Coast Park and to Richard Murphy for an advance copy of his recently published tome on the architect Carlo Scarpa Castelvecchio which used as our guidebook on the trip. Unit leaders Sam Causer & Diana Cochrane Tutors Sophie Goldhill Ketih Hirst – HF-K structural engineer Liam Nabb - critic Thanks to Tony Child – Thanet Cost Project (North East Kent Marine Protected Area) officer Nick Dermott – Thanet Heritage Advisor for TDC Carlos Maria Romero – Chair of Margate Coastal Park Promotion Group Paul Palmer – Manager, Margate Winter Gardens

DIANA COCHRANE Unit 2 leader 41

CIARA BOYLE, Stage 5 Focusing on bringing the neon lights back to Margate, my project is an addition to the existing entertainment venue, Margate Winter Gardens; providing accommodation for performers, rehearsal and recording rooms and much needed public space. Thank you Nero for supplying the coffee that got me through the last two years.

EKOMOBONG OLIVER EBONG, Stage 5 A mixed-use visitor centre on Margateâ&#x20AC;&#x2122;s marine terrace with the aim of improving pedestrian transition from the town to the beach, whilst providing all the needs of the Margate day-tripper. The proposal also incorporates various platforms to allow the visitors to appreciate the sunset over the Margate coastline - creating the perfect end to a days trip.

DAVID EDWARD, Stage 5 Melancholy Margate Inspired by the work of Tracy Emin and Antony Gormley, the project celebrates and enhances the dilapidated structures along Margateâ&#x20AC;&#x2122;s Coastal Park. The proposal raises awareness of mental illness and aims to alleviate it through the Kintsugi restoration of the Lido into a mental health Retreat.

SAM FLEMING, Stage 5 Having investigated the architectural history of Margate Winter Gardens, the design proposal is for a School of Performing Arts and considers how the existing building has developed over time. A stepped rooftop landscape and re-opening the once glazed concert hall are two key moves which enable users to inhabit the original and new terraces/ promenades.

WASEEM HAMADA, Stage 5 â&#x20AC;&#x2DC;Inhabiting the Edgeâ&#x20AC;&#x2122; The project inhabits a site mediating between the chalk cliff edges and the waterside. Activated by a programme of creative spaces in between; initiated by the Turner Contemporary to reclaim the seaside wasteland and the coastal park edge with an arts-led urban regeneration scheme as a catalyst for urban renewal. 51

MELISSA KENDALL, Stage 5 Whilst exploring the Margate coastline I was intrigued by the Architecture that facilitates the meeting of body and water. Walpole Bay Tidal Pool is the biggest rock pool in the UK and has a rare ecosystem. I have designed a water pavillion for this remote site and a marine centre which aims to educate people about the Thanet coastline and the importance of marine conservation. ‘She lay down Deep beneath the sea’ - Tracey Emin 53

NATASHA PAUL, Stage 5 Based out at sea, this project extends the Margate coastal park, providing Westbrook with its own silhouette like that of the Turner Contemporary and Dreamland. The proposal features shops, cafĂŠs and facilities for visitors to the beach, while a perforated pavilion surrounded by tidal pool, rewards with views of the Margate sunset. .

JESSICA RYDER, Stage 5 The Writersâ&#x20AC;&#x2122; Centre, Margate This project explored how a dramatic cut in the chalk may encourage literary inspiration and creativity. Once a postcard location, the Newgate Gap is now little more than an access route to the sea. This proposal aims to reanimate the space by carving new journeys and creating new vantage points.

JORDAN CROMPTON, Stage 4 The Royal Horticultural Society’s garden number 5, A celebration of urban farming expressed through a sensory vertical experience. A proposal which transitions between the refurbished 1960s Cliftonville court complex towards a semi-permeable structure which signifies the seed of change. All tied together under the narrative of ‘What If’ encounters.

EDWARD HOBBS, Stage 4 Margate has seen a significant rise in visitors arriving by train since the highspeed line arrived in 2009. Despite this, the area around the station currently holds little value for incoming passengers. These proposals repurpose longdisused railway architecture to create a dynamic leisure, retail and commercial hub for the town.

ANQI LI, Stage 4 The thesis project developed from investigations of Margateâ&#x20AC;&#x2122;s unique chalk reef found along the coastal park, which nourishes families of seaweed not found anywhere else in the world. The architecture proposal will respond as following: warehouse, research centre with technical diving department, Haeckels flagship shop, headquarters and seaweed restaurant.

FERGUS LITTLEJOHN, Stage 4 The Clintonville Biorefinery is located to the East of Margate on the Thanet Coast. The project supports the development of algae based biofuel, that utilises the abundant supply of seaweed in the area. The scheme incorporates a community and visitor facility that aims to re-engage the local communities of Cliftonville.

- PERPECTIVE SECTION Health spa + indoor bowls

MARTYN TURNNIDGE, Stage 4 Margate Maggieâ&#x20AC;&#x2122;s Responding to global and localised issues relevant for 2030, the scheme is situated on the clifftop location. Centred around health and wellness incorporates a variety of buildings to accommodate this, whilst utilising and relocating the existing indoor and crown green bowls usage of the site.

CORRINA WINTERBURN, Stage 4 This building located in Margate, is using sea kayaking to bridge the gap between land and sea. Using recycled plastic from the beach as a rain screen cladding, this building is designed to provide shelter and storage for visiting kayakers, as well as cafes for all visitors and a kayak manufacturer.

03 UNIT

HAFEN (HAVEN)

‘… the built invariably comes into existence out of the constantly evolving interplay of three converging vectors, the topos, the typos and the tectonic.’ - Kenneth Frampton, Studies in Tectonic Culture Unit 3 is keenly interested in architectural investigation and in the process of architectural design as well as the result, the ‘product’. We have noticed that in architectural design development it is often the case that the focus is directly fixed on site or building type before considering materials and their interconnection. So the unit set out on a journey explicitly guided by Frampton’s three ‘vectors’ yet deliberately arranging them in an unfamiliar running order – firstly, materials and their interconnection were investigated and only subsequently, place and building type. 64

‘Constructing’ was employed as the primary design method from the very start. Even more explicitly, ‘thinking with your hands’ has been a key process in the unit, and through the creation of physical ‘attitude constructs’ has set the framework for each student’s developing project vocabulary. Preliminary and intermediate mini-projects or ‘works’ have been used as research and development for the principal project, ‘The Common’, a civic and productive facility of common purpose located in an allocated Kent port. So only once ‘constructing’ had started was the gateway fully opened to investigate the unit theme of Hafen – German for haven or harbour, with meanings extended practically and poetically to the movement of goods, arrival point, sanctuary, frontier, destination and terminus. The material and social realities of the ‘harbour’, of importing, exporting and deporting were investigated directly during the unit study trip to the Northern German port cities of Hamburg, Lübeck and Rostock. Insights from research undertaken during that trip were fed into the evaluation and appreciation of the Kentish Cinque Ports of Dover, Deal and Sandwich to ensure design consideration at immediate, local and urban scale. Students were encouraged to engage a ‘carrier’ for their project – an existing or needed or unrecognized group in their ‘topos’. Some students talked direclty to individuals or groups in their allocated port town and others chose to reinterpret key communities from the past to explore pertinent issues citizens are facing in our current and future built environment(s). Their resulting projects, all of which are both very special and ‘common’, are shown here. UNIT 3 LEADERS: Michael Holms Coats + Lee Jesson TECHNICAL TUTOR: Oliver Watson, studio associate, Jestico + Whiles VISITING TUTOR: Matthew Rust, project officer, Spatial Planning Team, Croydon Council GUEST CRITICS: Kyriakos Katsaros, Principal, Studio C102 Duncan McLeod, Director, Studio McLeod Robert Sakula, Director, Ash Sakula Susanne Tutsch, Director, Erect Architecture Sam Causer, Diana Cochrane, Charles Drozynski, Keith Hirst, Tim Ireland, Yorgos Loizos, Alessia Mosci, Matthew Orme, Michael Richards, Matthew Rust, Matthew Woodthorpe, Manos Zaroukas, Tim Carlyle, Lawrence Friesen, Keith Hirst, Chris Jones, Ben Corrie.w

MICHAEL HOLMS COATS unit leader 65

MAHAM NEHA ANSARI, Stage 5 The Towers of Disquiet, located on the Southern Breakwater of Dover, take inspiration from the existing lighthouses in Dover and their role in breakthroughs. They commemorate Marconi, Faraday and Walker by providing innovation spaces where apprentices have a close relationship with their master and mentor and are closely supervised by them - leading their own communication experiments. 67

TESSA DODDS, Stage 5 The project considers the identity of the town of Sandwich and attempts to re-capture the traditional importance of the river in its everyday life. Its construction incorporates the silt from the river â&#x20AC;&#x201C; a waste product of the de-silting process while the program is an exploration of the importance of historic immigrant populations â&#x20AC;&#x201C; the strangers of Sandwich.

‘The Apocryphal Parliament’ 70

Parliament Chambers Internal Perspective

Customs House Internal Perspective

Deal | The Common ‘The Apocryphal Parliament’ Inter nal Per spectives of the main buildings 14.

Deal | The Common ‘The Apocryphal Parliament’ Inter nal Per spectives of the main buildings

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NATALIE FRENCH, Stage 5 This scheme explores the notion of Deal becoming its own independent city-state incorporating a proposed parliament building and customs house. It centres around the historic events of 1784 where Prime Minister William Pitt the Younger ordered the burning of the guinea boats of Deal Beach in an attempt to stop smuggling. This resulted in a feeling of anti-establishment from both locals and smugglers alike towards the British Government and its domination. 71

WORK B : CONSTRUCT

WORK C : PAVILION

‘Hiding in Plain Sight’ ‘Hiding in Plain Sight’

‘Texture as Warning’ ‘Texture as Warning’

‘Hiding in Plain Sight’

‘Elevation as Visibility’ ‘Elevation as Visibility’

‘Texture as Warning’

‘Temporary Protection’ ‘Temporary Protection’

‘Elevation as Visibility’

‘Semi-permanent Protection’ ‘Semi-permanent Protection’

‘Temporary Protection’

‘Permanent Protection’ ‘Permanent Protection’

‘Semi-permanent Protection’

‘Permanent Protection’

‘Directional Focus’ ‘Directional Focus’

‘Directional Focus II’ ‘Directional Focus II’

‘Directional Focus’

‘Directional Focus II’

+ + + +

+ +

‘Filter / Membrane / Envelope’ ‘Filter / Membrane / Envelope’

‘Air Flow’ ‘Air Flow’

‘Inhale / Exhale’ ‘Inhale / Exhale’

HEALTH & SAFETY +

HEALTH & construction SAFETY industry equipment Architectural manifestation of typical Architectural manifestation of typical construction industry equipment +

‘Filter / Membrane / Envelope’

‘Air Flow’

HEALTH & SAFETY Architectural manifestation of typical construction industry equipment

‘Inhale / Exhale’

TIM LINCE, Stage 5 Given the current construction skills shortage in the UK, this project introduces a construction institute with a civic emphasis to an archaeologically rich site in Dover town centre. Developed through a series of investigative physical material studies, the scheme sensitively orchestrates the polyphonic aspects of the programme, site characteristics, and marks of the maker. 73

MARINA VIEW

1 CLT PANEL ‘POD’ ASSEMBLY

PEEL-OFF ISOMETRIC

1:20

THE LABORATORY

TESTING POOL

70x140 mm. lamella 40x140 mm. lamella 70X160 mm. beam wood fibre insulation

3 2 35x485 mm. anchorage bolt 50x120 mm. C-section steel beam brass cladding panel

load bearing concrete frame with polystrene infill

steel casette

530x530 mm. cast steel beam

EPDM (rubberwaterproofing membrane)

35x770 mm. anchorage bolt 70 mm. thick cast steel plate

POD to SHELL CONNECTION DETAIL

DETAIL_02

1:5

PHASE 1 - EXCAVATION

PHASE 2 - BRONZE AGE EXHIBIT

PHASE 3 - ARCHAEOLOGY LABORATORY

PHASE 4 - BOAT BUILDING

PHASE 5 - MARINE TESTING AND LAUNCH

20_LIATED

10_LIATED

KEREM SIVRI, Stage 5 05:1

1 ESAHP LLEHS

A-A NOITCES

This project aimed to provide a flexible and long lasting architectural fabric for the Canterbury Archaeology Trust. Excavation, laboratory, workshop, marine testing and celebration functions, are experienced and brought to life by the visitor. Linear production line strategy creates a comprehensive educational experience.

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HELICAL PILES CONCRETE RAFT FOUNDATION STEEL FRAME SUPER-STRUCTURE PRIMED WITH RED OXIDE PAINT

04. 05. 06. 07.

SOLDIER PILE DEEP EXCAVATION RETAINING WALL SHEET PILE RETAINING WALL PRECAST REINFORCED CONCRETE WALKWAY FIXED CORREX ALUMINIUM CASEMENT PANEL

08. 09. 10. 11.

PIVOTING CORREX ALUMINIUM CASEMENT PANEL SLIDING CORREX ALUMINIUM CASEMENT PANEL STANDING SEAM ROOF PANEL WITH PERIMETER DRAIN CENTRAL VENT STACK FORMED WITH PASSIVE VENT CHIMNEY

DOVER MARKET EXHIBITION SECTION C1, A1 1:100 TECHNOLOGY 5B, UNIT 3 ORHAN UNLU

ORHAN KEMAL UNLU, Stage 5 The reinvention of Dover high street, with parasitic and inhabiting interventions, culminating in an exhibition centre at the defunct market square. Referencing the forgotten industrial heritage of Dover, and harnessing the wind tunnel effect of the valley topography and site orientation – for varying degrees of ‘wind mining’.

NYAMDORJ BOLDBAATAR, Stage 4 With reference to Danteâ&#x20AC;&#x2122;s Paradiso, Primum Mobile takes a new perspective into conservation by reclamation and re-use. The Western Heights, Dover is being proposed with a series of theatre and archaeology interventions to give new life to the site in order to maintain its history and architecture.

SAM HOPE, Stage 4 An investigation into the past of Sandwichâ&#x20AC;&#x2122;s Flemish history and its quick and questionable demise during the 16th century reveals the difficulty in facilitating two communities. Architecture is now re-used and proposed to manipulate the understanding of mass and void to conceal the Flemish community.

ese tasks would further inform the choices of the materials pavilion. Both the catalogue and the device explored the theme of tension. e device, generating diﬀerent sounds depending on how tight each string is. e motion of turning the pegs is found within the design proposal and the importance of keeping sound to a minimum is also present.

WORK A | DISASSEMBLY Drawing inspiration from Kenneth Frampton’s Studies in Tectonic Culture, in which he emphasises the importance of tectonic and tactile, Unit 3 encouraged the initial investigation of materiality over site and programme. In order to develop our attitude to making and to materials, the rst work consisted of disassembling a chosen object - in this individual case, a pocket watch- and documenting the process.

THE TWINS are best situated in between shrubs and thin trees such as silver birches, as this type does not structurally depend on the surrounding environment. For this reason, the twins are located mainly on the Southern side of the reserve, where such vegetation is predominant.

WORK D | CATALOGUE AND PERCEPTION DEVICE

WORK C | MATERIALS PAVILION e same materials from Work B were used in this exercise to generate a spatial object. Elements which inform the nal design are tested. Moves which have been carried on throughout the proposal include the ability to inhabit the timber structure, the tension connections, the presence and absence of sound and its impact on the territory, the vertical elements and the movement and dynamism of built form.

e intention is to CONSTRUCT this type so that the process does not severly disrupt the wildlife. Components which are cut beforehand are brought to site and the woodwork joinery can be assembled without any heavy machinery.

e catalogue developed over the Germany trip focused on each individual’s developing theme. e perception device promoted the use of other senses to interact with spaces. ese tasks would further inform the choices of the materials pavilion. PERSPECTIVE

Battens

Both the catalogue and the device explored the theme of tension. e device, generating diﬀerent sounds depending on how tight each string is. e motion of turning the pegs is found within the design proposal and the importance of keeping sound to a minimum is also present.

Fixed wall panel

Birdsmouth joinery

Trellis fence situated along the path next to TYPE 1

In order to develop our attitude to making and to materials, the rst work consisted of disassembling a chosen object - in this individual case, a pocket watch- and documenting the process.

SECTIONAL ISOMETRIC

Fixed screen with horizontal timber parts.

Sliding wall panel

2M A

Tension rod

e stability is given by the symmetry and balancing act of the identical parts which are held together by two timber beams that embrace the vegetation.

WORK B | CONSTRUCT

WORK C | MATERIALS PAVILION

is work involved the assembly of an object from the choice of three materials, thinking with the hands in order to generate ideas, as the architect Juhani Pallasma believes that a crucial role is played by the hand and the senses in creative work.

Angle of posts mimic incline of nearby trees

Although are availabletothrough the xed screens, the best Following the completion of the Materials Pavilion, the work was tested in diﬀerent locations and users were encouraged to interact with theviews elements, observ opportunity is by standing at an angle looking through the corners. e their response and further inform the scheme. is initial investigation provided a vocabulary and helped express one’s attitude and character the project. moment of capturing of a view of the kinggsher on the edge of the lake is

displayed. selection. For this work, e same materials from Work B were used in this exercise to generate a spatialFinally, object.with the help of a TOPOS game, each individual was allocated a town, territory and theme to help with the site and programme SECTION A - A SUB/URB and CAPTURE. PLAN these on three were SANDWICH, Elements which inform the nal design are tested. Moves which have been carried throughout the proposal include the ability to inhabit the timber structure, the tension connections, the presence and absence of sound and its impact on the territory, the ELEMENT C | TYPE 1 | THE TWINS vertical elements and the movement and dynamism of built form. A

e personal intention was to experiment with connections between metal, wood and fabric, without having an idea of the nal result until completion.

DESIGN 4A | WOODWORKING AND TENSION

SECTIONAL PERSPECTIVE

Due to its openess and walls layout, this type oﬀers a multitude of framed views from all sides, making it ideal for locations surrounded by waterside, such as the connection of two drains. It is possible to arrive WORK B | CONSTRUCT close to the kinggshers without being seen by them, as the path close to the FIXED CORE is formed of timber screens. is work involved the assembly of an object from the choice of three materials, thinking with the hands in order to generate ideas, as the architect Juhani Pallasma believes that a crucial role is played by the hand and the senses in creative work.

Posts slot into base Following the completion of the Materials Pavilion, the work was tested in diﬀerent locations and users were encouraged to interact with the elements, to observ their response and further inform the scheme. is initial investigation provided a vocabulary and helped express one’s attitude and character of the project. Finally, with the help of a TOPOS game, each individual was allocated a town, territory and theme to help with the site and programme selection. For this work, these three were SANDWICH, SUB/URB and CAPTURE.

e personal intention was to experiment with connections between metal, wood and fabric, without having an idea of the nal result until completion.

DESIGN 4A | WOODWORKING AND TENSION

is type ‘s stability is aided by the surrounding treescape. Tension cables and posts exceeding beam heights are MOTIFS present within the MATERIALS PAVILION. Its name comes from the fact that upon enterance, the visitor arrives in the centre of space, as well as the fact that all components are xed.

PERSPECTIVE

Battens

Birdsmouth joinery

e name origina ways it resembles system on the sid purpose and it is object’s leather st

Trellis fence situated along the path next to TYPE 1 ELEMENT C | FIXED CORE | MOMENT

Unlike the other gives a direct un large watersides the lake.

PERSPECTIVE BIRD’S EYE VIEW

SECTIONAL ISOMETRIC

Sliding wall DORU MANAILA, Stage 4 ELEMENT C | TYPE 2 | FIXED CORE ELEMENT

Situated just outside the historic town of Sandwich, Kent, the newly opened nature reserve invites humans into kingfisher territory and the interventions are designed so that these native birds do not easily notice the visitors. The main focus is to create the intimate moment of the birdwatcher observing the subject.

80 A

SECTION A - A

PLAN

e stability is given by th parts which are held tog vegetation.

Although views are av opportunity is by standin moment of capturing a v displayed.

SAMUEL MARTIN, Stage 4

Section AA A section through the centre of the building that highlghts both the black market and museum working in tandem and the interactions between the two through the various thresholds. Unnoticeable from the exterior, the museum opens up into small and large exhibition spaces surprising the visitor

Located in Deal, Kent, the Goodwin Sands Museum and Archive is a dual purpose building that ensures a public frontage that celebrates lifeboat men and artefacts found along the coast whilst hiding a secretive black market that sells the authentic goods. The carrier and building form resulted from a series of built models and realised themes of playfulness, surprise and deterioration. 81

LOLA OLABISI, Stage 4 “Deal Hop Brewery” - A permanent facility for the grass root incentive “Deal Hop Farm”. Designed to encourage awareness, education and social interaction through the heart of brewing. The project promotes a positive drink culture for all ages and is a bid to tackle antisocial behaviour in the local community.

2 1

3 5

SECTION AA - BUTCHERS SCALE 1:100

BREWSTER SURRIDGE, Stage 4 The proposal is set in the old port and market town of Sandwich, previously the largest importer of red wine and leather in the UK. Hence the scheme aims to deďŹ ne a new vinery and abattoir to educate visitors on the realities of food production whilst reviving the market place of Sandwich.

CHARLIE WHITTINGTON, Stage 4 A Maritime Archaeological Centre in Deal, on the North East Kent coastline, that facilitates the procession, research and analysis as well as exhibition of artefacts uncovered from the infamous Goodwin Sands. The project references the smuggling history of Deal and represents this through the exploration of the illicit trade in cultural property.

MONICA WIN, Stage 4 ‘Dogs Take Dover’ is a fantastical scheme that imagines domesticated dogs escaping Britain to form their own EU state following Brexit. Through the three proposed interventions, issues such as the Migrant Crises are touched upon whilst also adapting the design to meet the needs of a very ‘different’ client.

04 UNIT

CULTURAL REPRESENTATION & THE DEATH OF POST-MODERNISM

Unit 4 is about cultural expression in art, architecture, and the urban environment. We are interested in the role the built environment plays in both reflecting and influencing society, its relationship to both ‘high’ and ‘low’ cultural expression, and its ability to transform people’s perception of the world and themselves. Students repurposed and transformed an existing urban environment as a Cultural Exchange (of expression) that reflects the manifest needs of its inhabitants. Central themes include empowerment, renewal, and sustainability. We explored in greater detail the role that technology, communication and media are playing in changing the way people perceive politics, cultural values, and society. Examples of this are the concepts of ‘Collaborative Consumption’ 86

– sharing resource and possessions, ‘Collective Intelligence’ – group knowledge arising from collaboration and a rejection of Post-Modernist values in the New Generation – supporting experience based or time related values over possessions. Central to our theme empowerment through culture is an interest in the role that Art Movements and Artist Collectives have played in influencing architecture and politics since the turn of the 20th century. As a starting point, the Unit researched Modernist, Post-modernist and Contemporary artist and collectives, placing each art movement within its original social political context, but also posit its relevance to today’s society. The work was used as a mechanism to explore appropriate cultural responses to the repurposing of the city. London (the UK’s cultural capital) and the Borough of Camden local to Kings Cross / St Pancras was chosen to site the projects. The area around St Pancras is synonymous with culture, industry, transport, and renewal, and has a wealth of social history and contextual data to call upon. For our sites we wound back time to 1947 (the beginnings of the Town and Country Planning Act) to discover a Post War London landscape – in so doing, releasing ourselves from the interventions of Post Modernism. The unit looks towards the future – questioning the continuum of architecture, the public realm, individual ownership, permanence, authorship, and geography. Unit 4 Students Stage 5: Azam Abdul Haleem; Alexei Adascalita; Wesley Hew; Cheuk Hei Li; Charlotte Middleton; Anthia Rajendra Stage 4: Joe Bosson; Matthew Greenwood; Ryan Knight; Anita Krakou; Mai Nguyen; Dafni Papadopoulou; Matthew Spence. Unit 4 Leaders: Matthew Woodthorpe & Alessia Mosci Technical Tutors: Ben Corrie & Lawrence Friesen Guest Critics: Sam Causer; Diana Cochrane; Charles Drozynski; Keith Hirst; Michael Holms Coats; Tim Ireland; Lee Jesson; Chris Jones; Matt Rust; Oliver Watson; Emmanouil Zaroukas, Michael Richards & Yorgos Loizos, Matthew Orme, Tim Carlyle.

MATTHEW WOODTHORPE Unit 4 leader 87

AZAM ABDUL HALEEM, Stage 5 The Compendium of Radical Camden - Exploring how a hypothetical resistance movement can pave the way towards an alternative urban typology for [Camden] London, empowering local residents through freedom of self-expression and allowing them to manipulate detrimental tourism in a positive way that improves the general quality of their lives and embraces their history. 89

Materials Synthetizing Area

Robotics and required components Assembly Area

Robotics Programming and Control Area

Research and Development Area

ALEXEI ADASCALITA, Stage 5 Dreaming of flying in a golden cage â&#x20AC;&#x201C; A dystopian vision of the 22nd century. In a world where the rich are becoming even richer and the poor are being forced into a new type of modern slavery defined by consumerism an icon is being built in order to enhance and cement the new order.

WESLEY HEW, Stage 5 Camden Panacea - To assist the deserving poor of Camden who may only be in these positions due to poor circumstances by offering sustenance, accommodation, skills while maintaining the culture of art and expression of the people of Camden and everyone else to experience. A home for those who have none.

CHEUK HEI LI, Stage 5 Gentrification is causing the displacement of local inhabitants by alternating the social structure and Landscape, as a result of cultural dismemberment and the loss of cultural identity. Camden Council and London’s Creative Criminal Justice Charity have a vision to identify and promote a ‘Cultural Quarter’ where local art groups can interact, develop and collaborate.

The Great Hall is situated inside an industrial portal frame building. The internal space contrasts the view from the outside, with a post construction timber fit-out. Timber is bought into the building and clad on the walls and roof, and a Glulam self-supporting structure floats above the space housing the Ministerâ&#x20AC;&#x2122;s cabinet room. The Great Hall represents a hidden power through its visual relationship to church forms.

CHARLOTTE MIDDLETON, Stage 5 In a post-truth society where objective facts no longer influence public opinion, the Ministry of Truth has formed. A governmental broadcasting organisation dedicated to the production of ‘invisible propaganda’. Low level civil servants, believing the Ministry acts purely for good, are the machine working in secret behind a public façade representing honesty and truth.

ANITHA RAJENDRA, Stage 5 A community centre inspired from the Nudge Theory (gentle push or indirect cue that benefits both individual and community. The art workshops act as a nudge to women who have been experiencing distress and depression to move forward in their life and substitute their emotions into an art form.

JOE BOSSON, Stage 4 Urban Nation encompasses and embraces a global community, connecting people to their city using experiential art installations. Through a series of temporary installations, designed to provoke curiosity, the area around Camden Town will be open to be explored. The scheme sets out enrich the community, through projects run by permanent and temporary artists.

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MATTHEW GREENWOOD, Stage 4 Terracotta Revolution - Collaborative Skills Interchange. A development conjoined with the refurbishment and reopening of York Road underground station; the community initiative aims to integrate the improvement of hand skills into everyday life. Through the innovation and process of terracotta technology it aims to bind disparate yet adjoining communities. 101

RYAN KNIGHT, Stage 4 The Sounds of Anarchy Centre provides a hub at the heart of Londonâ&#x20AC;&#x2122;s alternative culture scene, Camden Town, that allows for the integration of commercial music production, tourist experience and local nostalgia. The project uses sound reverberation and the cultural divide in Camden to influence the building form.

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ANITA KRAKOU, Stage 4 A building that will revitalize the Bloomsbury group, their period of time and their avant-garde spirit. The contrast in architectural language will comprise a building that will be retrospective and progressive, while promoting ARTS & CRAFTS, EDUCATION and EXHIBITIONS. The cultural center will allow the visitor to experience a balance between enclosure, and openness, through a variety of different experiences. 103

MAI NGUYEN, Stage 4 Theatro Enotitas aspires to be the catalyst for the social and political enlightenment via the use of Altermodernism and Surrealism language. An immersive theatre, exhibition space and artist workshops are intentionally curated into an educational journey, attracting audience to different social experiments that shred light to the ugly nature of Nationalism and celebrate the multicultural history of Camden. 104

DAFNI PAPADOPOULOU, Stage 4 Attempt to restore peace between cultures and acceptance for refugees who suffer facing cruelty and hostility trying to escape war. Focusing on a typical refugee journey, the institution will raise awareness through a journey of exhibition spaces that are designed to express the danger, fear, emptiness and disorientation that refugees experience on their journey towards safety, through a visual as well as an acoustic experience. 105

MATTHEW SPENCE, Stage 4 The Digital Laboratory will deliver digital education to the residents of Kentish Town in order to improve social equality in the borough. The project will improve access to digital technology and training so that the most vulnerable residents are not left behind in the digimodern age.

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05 UNIT

DESIGN FOR GALACTIC LIFE ON EARTH

Unit 5 explored architecture as the crystallisation of environmental energies, harnessed and directed into forms by a scientist-architect; who is perceived to deal with forces not objects. We investigated the dynamic correlations between objects, environment and human experiences, through analogue and digital methods. Students were introduced to programming as a means to think algorithmically about the generation of shape and form, and to setup an opportunity to think computationally about interaction, and life dynamics. The ambition being to approach architecture in a manner that recognises the creative propensity of life and to capitalise on its self-organising and emergent properties â&#x20AC;&#x201C; to explore architecture as the moulding of forces to influence life in a desired direction. â&#x20AC;&#x153;Galacticâ&#x20AC;? pertains to the unusual or extraordinary; that which is not known, or is to be imagined, but having been realised transforms understanding. The galactic (re)informs perception and sensibilities. It is the realisation of the potential. Taking a correalistic 108

approach we ignored boundaries separating artistic genres, and distinguishing scientific information to inform an approach to generating architectural scenarios that seek to define propositions that unite the arts, science and technology through architecture. Embracing the correlation between an organism and its environment as a global system of complex reciprocal relationships we explored “life” as a process of communication and signification. Understanding life as continuity, a nucleus of possibilities, constituted through and by space and time we examining cases from art, architecture, science and philosophy to articulate architectural propositions that express living conditions and emphasise coordination of heterogeneous elements, forces and tensions inherent to conditions of inhabitation. Design 1/Autumn term: An Architecture to Accentuate the Senses We undertook a series of short and intense exercises, working in and between analogue and digital methods, to investigate the dynamism of form and sensation(s) of living to articulate space-time dynamism. Looking first to art, students deconstructed an object to articulate the three-dimensional space in and around itself, before taking an anatomical turn to study a specific organism and express its “synthetic continuity” of motion and interaction in its environment. These two exercises led to the development of an artefact that enhances, exemplifies or amplifies (a) sense to fabricate an interpretation of biological space. The approach was experimental. Students were encouraged to test and hypothesise, constructing assemblages that articulate their interpretation(s), and address the poly-dimensionality of both objects-in-space and life-in-space/time. They fabricated artefacts expressing the atmosphere, complexity and dynamism of being in the world. Week 6 Field Trip We explored the historic walled city of York, surrounding area and the “Dinosaur Coast”. Rich in ancient history, romantic ambience and fun activities, York is a popular tourist destination and centre of the region. Renowned for its architecture, tangle of quaint cobbled streets, iconic York Minster and wealth of visitor attractions, York is a flourishing city, just two hours by train from London. During our stay students chose a site to base their Design 2 project. Design 2/Spring term: Emphatic Space Building on Design 1 outputs students developed architectural propositions that responded to the constaints and qualities of their chosen site and its context. They chose a site on which to build and identified what to build, developing their own design brief for a building with both a public and private agenda. Pivoting between science, art and technology, they made architectural propositions to promote sensorial being and expresses space emphatically: the expressed, expressive, striking, sharp/clear in form, contour or profile, distinct, energetic, unequivocal, significant, striking and pronounced. Unit 5 Leaders: Technical Tutors:

Tim Ireland & Emmanouil Zaroukas Chris Jones

Guest Critics: Sam Causer; Diana Cochrane; Ben Corrie; Charles Drozynski; Keith Hirst; Michael Holms Coats; Lee Jesson; Chris Jones; Alessia Mosci; Matt Rust; Oliver Watson; Matthew Woodthorpe; Michael Richards; Yorgos Loizos.

Dr Tim Ireland Unit 5 leader 109

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HOLLY COOPER, Stage 5 Media Arts Guild: Peckitt Street, York A new building proposal for York’s Guild of Media Arts. As the custodian of York’s designation as a UNESCO City of Media Arts, Holly’s project not only acts as a centre where creativity and technology meets, but also explores methods of non-verbal communication, to connect and improve the life of people who live, work and visit the city. 111

COMPONENT ITERATIONS

REFECTORY

MULTIPLYING THE GENERATIVE COMPONENT TO CREATE COMPLEX SPATIAL GEOMETRY

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INTERIOR PERSPECTIVE LOOKING THROUGH THE INTERVENTION

SITE ENTRANCE PUBLIC FOOTPATH VIEW TO THE ABBEY

ROOF / WALL EXTERIOR DETAIL

FLOOR DETAIL

INTERIOR WALL DETAIL

Zinc shingles (300mm length, random width) fixed to 15mm marine grade ply

Lacquered beachwood timber floorboards (140mm x 20mm)

100mm x 12mm beachwood textured boards with wax oil finish

50mm x 50mm timber battens to form ventilated cavity

100mm screed with omni underfloor heating

50mm x 50mm timber battens to form service void

Breather membrane on 9mm OSB

100mm rigid insulation

Vapour barrier on 9mm OSB

250mm x 50mm timber JJ i-joists with 250mm insulation inside

2 x 5mm plywood boards

5 5

3mm black anodised aluminium continuous eaves vent on JJ i-joists

250mm x 50mm timber JJ i-joists with 250mm insulation inside

JOSEPH CROSSLAND, Stage 5

Rehabilitation Metamaulxphosis: Rievaulx Abbey, York REFECTORY The introduction of two structures, alien to the monastic architecture of the abbey, inject new life into this monument â&#x20AC;&#x201C; provoking a new function for the site. Looking into the wildlife, flora and fauna of Rievaulx, the abbey is transformed into a centre of rehabilitation. The abbeyâ&#x20AC;&#x2122;s renaissance as a rehabilitation centre is also a mechanism for rejuvenation of young offenders. 6

Galvanised steel footing installed onto Glulam

1:50 DETAILED SHORT SECTION

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Bird Pavillion Camera Obscura

Mist enclosure

Outdoor play Cafe

Gift shop

Lobby_ entry point Research/Lab/Office

Staff facilities Bike hire (shop and repairs)

Fog Enclosure Fog x Wind Enclosure

Education Exhibtion Cloud Chamber

- INSIDE THE S Y N A N T H R O P I C VISITORâ&#x20AC;&#x2122;S CENTRE -

FARAH EL-HAKIM, Stage 5 The Synanthropic Visitorâ&#x20AC;&#x2122;s Centre: Sutton Bank, Yorkshire Using weather as a form of escapism, this proposal responds constantly to its environment. Revealing and concealing features, it encapsulates what makes visible things become invisible, and invisible things (like wind) become visible. It provides an experiential journey that blurs the boundaries between artificial and natural, to form a synanthropic microbiome space. 115

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STEPHANIE ELWARD, Stage 5 As a gift to the citizens of York in celebration of the Rowntree legacy, a new public library is to be built on Peckitt Street, which seeks to provide a place for connection, rather than traditional collection. Amidst the bustle of a lively 21st century library, a network of glistening reading rooms perch upon the landscape, providing a space in which a reader can indulge in the ritual examination of a precious book, requested from the dedicated Bibliophiles. 117

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TIRION ENGLISH, Stage 5 Media Arts Guild: Peckitt Street, York A new building proposal for York’s Guild of Media Arts. As the custodian of York’s designation as a UNESCO City of Media Arts, Holly’s project not only acts as a centre where creativity and technology meets, but also explores methods of non-verbal communication, to connect and improve the life of people who live, work and visit the city. 119

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      vegetation 100mm growth medium filter fabric drain mat root barrier Visqueen 2000 guage waterproof membrane 200mm rigid insulation vapour barrier 18mm laminated timber sheet 72x195mm JJI-Joists 27mm laminated timber sheet

      zinc standing seam 18mm OSB 25x50mm timber battens Visqueen 2000 guage waterproof membrane 200mm rigid insulation vapour barrier 18mm laminated timber sheet 72x195mm JJI-Joists 27mm laminated timber sheet

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150mm rigid insulation 2 coats elasticised tanking slurry 300mm Sika waterproof concrete vapour barrier 25x50mm horizontal timber battens 2x12mm plasterboard

Internal floor finish 12mm chipboard 30x30mm timber battens underfloor heating pipes 12mm OSB vapour barrier 72x195mm JJI-Joists 150mm mineral wool insulation 300mm concrete slab Visqueen 2000 guage waterproof membrane 50mm lean mix

AMY HEWES, Stage 5 The Infrastructure of Memory: Lord Mayor’s Walk at Robin Hood Tower York’s rich history triggered this project’s exploration of the connectivity of people, communities and their environment. With the JRF’s ‘Dementia Without Walls’ programme as a foundation, this scheme is designed to provide a safe environment where people with dementia can enjoy a peaceful lifestyle in homely surroundings with the care they need. 121

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GEORGE HUTCHINS, Stage 5 An Ecological Woodworking Community - Rievaulx Terrace Motivated by child poverty, this project rethinks the way society lives and proposes new mode of living. Inspired by Japanese architect Sou Fujimoto’s ideas of ‘open field architecture’ the project aims to blur the boundaries between categories of space to generate an open field of family cohabitation.

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Approach: Skeldergate Bridge

MacroEvolution

Long Section BB: Through Entrance, Exhibition and Auditorium Space

Opening

The Flood

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BEN LANGAN, Stage 5 Insect Ecology Preservation Research Institute: St. Georgeâ&#x20AC;&#x2122;s Fields, York The isolated character of St. Georgeâ&#x20AC;&#x2122;s Fields car park is a natural setting for a secure storage facility that seeks to respond to the ecological damage of the Anthropocene. The scheme grows from the natural contours of the site, generating building podiums. The stratified landscape serves to nurture wildlife displaced through flooding, encapsulating the local river ecology. 125

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ROBERT NORMAN, Stage 5 Eoforwic Research Centre: York The project proposes an archaeological centre of research and public facilities to promote knowledge and learning into the Anglo-Saxon York, named Eoforwic. An isovist was used as computational method to concentrate views and drive the configuration of space and form, serving as a catalyst to regenerate the area. 127

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JEREMY PATON, Stage 5 Piccadilly Markets:York. A mixed-use urban market, showcasing Yorkshire cuisine. Central to the project is a decentralised generative approach to spatial configuration. The design strategy employs computational agents, representing hypothetical visitors, to generate continuous urban layouts through agential interaction. Providing a template which is transferred into components configured into built-form articulating an interwoven market. 129

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“THE DISTRIBUTION OF KNOWLEDGE” SECTION B-B

ELVIRA SALYAHETDINOVA, Stage 5 A centre for the “York and District Guild of Weavers, Spinners and Dyers”, aiming to expand the influence of the guild. The factory uses a primary code of a weaving pattern and expresses it both internally, through its spatial arrangement and externally, through its fabric. Activities are “knitted” together to create a vibrant atmosphere where the textile manufacturing process can be enjoyed. 131

MUNEER ALKIZIM, Stage 4 Lorem ipsum dolor sit amet, consectetur adipiscing elit. Phasellus ullamcorper odio purus. Curabitur sed urna nulla. Suspendisse luctus ante elit, id tincidunt nibh pellentesque a. Vivamus aliquet nisl nec lacus pellentesque, sed sollicitudin ligula faucibus. Sed nec elementum erat. Praesent ac fermentum sapien. scelerisque dui nec nulla pharetra pretium

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LEWIS ARMSTRONG, Stage 4 The pioneering aviator, Amy Johnson, was the first female to fly from the UK to Australia, built her house to be on the cliffs of Sutton Bank. It was informed by her mission to Australia where she navigated strong winds in her open cockpit plane and used the stars to find her way. Today, the house is a museum and allows visitors to see Amyâ&#x20AC;&#x2122;s passion for flight.

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JAMES COTTON, Stage 4 Performing Arts Centre, York Embracing the flood my project takes inspiration from the rivers performance and builds on the evidence of the rivers intrusion on land; palpable in the growth of moss on the site. Exploring these performances, the proposal responds to the river and celebrates the rich culture and history of York providing a base to foster local performing arts. 134

CHARN MURPHY-YORK, Stage 4 Bringing fishing back to Staithes: Harbour Front, Staithes With the prospect of fish-less oceans by 2040, this project aims to reintroduce fish back to Staithes, but through a more environmentally friendly and humane process of cell cultivation. A lab and restaurant along the harbour front will research and produce cod fillets through cell culturing, enabling visitors to sample this revolutionary food source in the on-site restaurant. 135

EDWARD SUTCLIFF, Stage 4 The North York Moors Coastal Research Facility: Robin Hoodâ&#x20AC;&#x2122;s Bay A marine geology research lab situated on the site of the old gas works. The interpretation and analysis of topographical information has informed design decisions and led to a generative system of spatial organisation. Homologous structures are a product of site specific qualities resulting in an overall form that possesses an affinity with the site it occupies. 136

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ARTEFACT

RESEARCH THROUGH PRACTICE

Artefact is one of three parallel ‘Options’ Modules offered in the autumn of MArch Stage 5 (the others are Dissertation and Architectural Pedagogy). Globally there is an increasing interest in the notion of research-through-practice in academia as a means of bridging the divide between theory and practice, and how one necessarily informs the other, in a virtuous circle. That being said, this year, as in the recent past, a small number of students, just three, from the cohort of 36, elected to follow the Artefact option, a statistically insignificant 8% of the course. Might this reflect a growing interest in academic writing, as opposed to making? Perhaps it’s more a symptom of the Unit system, where design education now offers greater opportunities to experiment through making? Artefact can tend to be a magnet for obsession, and this year’s Artefactarians have produced some truly heroic and obsessive pieces of research-through-practice. These, in their very different ways, are about how we make and perceive things across a range of scales and technologies. You can read about them on the following pages – where you will find a ‘wabi-sabii’-inspired, almost true-scale, Japanese Tea House that places as much emphasis on the satisfaction of reclaim/ reuse construction, as the contemplative consumption of tea. Between disciplines, a Balinese Gateway is replicated physically, at scale, through rapid prototyping, to serve as the analogue for a heritage structure; whose narrative is brought to life through projection mapping. In the virtual world, alternative and educational realities can be experienced in the digital space of ‘Virtual Reality’. Students: Alexi Adascalita; Natalie French; and Mandy Roberts Advisors: Howard Griffin (Alexei Adascalita and Mandy Roberts) and Rebecca Hobbs (Natalie French) Module Convener: Michael Richards

MICHAEL RICHARDS module convenor 138

ALEXEI ADASCALITA Virtual Reality – An innovative approach towards design and cooperation in an architectural project Simulating the real through the use of virtual brings a new age of information in which the physical boundaries that have been limiting humanity for so long can now be breached. Through this new way of exploring our own nature the society in its entirety is being irrevocably changed. Architecture is now departing from ‘romanticized renders’ (Richard Coyne) and enters a new age of virtual truth. The paper explores the current state of Virtual Reality and sheds some light on its future potential on providing on its promises of a better optimized design process. 139

Tea house sitting in its site locations

Tree cuttings of equal length are arranged to support three lengths of timber which will provide the floor structure

In order to establish the angle of the roof timbers, the ridge beam had to be erected onto two strong timber lengths that were cut in half. This was done with 6mm timber dowelling.

View of the inside of the tea house

Timber scaffolding planks are arranged ontop of this foundation structure to provide a surface to sit on.

The roof timbers were then cut to the right angle (through trial and error) and then arranged onto the structure and secured with timber dowels.

Image showing the dappled light coming through the timber shutters

The foundation elements are secured together using hessian rope and toggles to tighten, allowing the vertical structure to be attached using handsawn bolts.

Once the roof timbers were established the roof covering was then suitably arranged and nailed onto the structure beneath.

Diffused light shining through the ‘shoji screen’ opening

Once the vertical wall structure is secured, the base of the roof structure is attached creating a secure and stable structure to add the roof timbers.

The adjacent roof covering incorporates angled timbers and an improvised ‘shoji screen’ to allow diffused light into the space. Two side of the timber cladding are nailed onto the frame.

Assembly Process /

Sequence 1 - 4

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The final side of cladding is completed and the pebble garden is arranged with rocks demarkating the pathway

Deployment / completed structure

NATALIE FRENCH Architecture & Mental Health: How does a person’s self-concept affect their mental health? A research study into how we could potentially improve a student’s well-being during their time in architectural education through the implementation of workshops that strive to increase their knowledge of what is required of them throughout the design process. 140

MANDY ROBERTS An exploration into the digitalisation of ornament; using elements from Balinese temples to develop a unique proposal and narrative. The project explores how a highly ornamental structure can be further expressed through the digital means of projection mapping. This can be identified in two parts; the first being the amalgamation of the gates, designed using existing Balinese spirituality and belief in life after death. The second stage is the curation of the animations for projection mapping; a contemporary interpretation on the narrative of ornament. 141

DISSERTATION ACADEMIC RESEARCH

JESSICA RYDER ‘Contemporary Design within a Historic Setting: Assessing the notion that new design must be distinct and distinguished.’ ‘Contrast of form and material remains the most common approach when adding new architecture to a historic setting. However, this ‘distinctively different’ approach separates contemporary from contextual, and implies that one cannot occur alongside the other within new design. This essay assesses the notion that the new must be unquestionably different by examining how the historic context itself has dealt with the challenge of contextual adaptation.’

KAYLEIGH BUTTIGIEG ‘From Fortress to Microstate: How should the cultural values and local identity of heritage buildings in Gibraltar be preserved within its future development plan?' Gibraltar’s rich political history has created a city whose urban fabric epitomises a collage of cultural nuances. Historically a fortress, the British territory of Gibraltar no longer caters for a military presence. Over the last three centuries Gibraltar has undergone increasingly rapid urbanisation and has now extended far past its original urban core. Outside the fortress walls lie highrise developments and new living typologies built on vast amounts of reclamation areas giving the city new definition as a microstate. Drawing upon recent political concerns over Gibraltar due to Brexit negotiations, the Gibraltarian identity and the cultural identity of its streets, are no longer issues that can go formally undefined. This paper intends to identify the architectural and cultural significance of the city still preserved inside Gibraltar’s historic city walls in order to help manage change and prevent the loss of Gibraltar’s cultural identity.

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STEPHANIE ELWARD The digital age has opened a world of possibilities within the design industry. Computational technology has enhanced the ability of the architect in representation, production, and problem solving. However, when we start to investigate the influence that it has had on creativity within the field, it seems the already extensive debate on aesthetics has only been expanded by our new-found freedom to design and create almost anything we desire. By following the history of ornament over the last few centuries, and acknowledging that today we are starting to see it return to architecture, the essay seeks to begin to understand the role of aesthetics in today’s society, by focusing specifically on the case of ornament. The essay is centred around three key figures: John Ruskin, Adolf Loos, and Lars Spuybroek.

ORHAN UNLU ‘We Lived Inside a Dream… The Uncanny Architecture of David Lynch’s Twin Peaks’ An uncanny architecture distinguishes itself by separating familiar design attributes, associated with culture and identity, from the places they inhabit. Creating an unspoken ceremony of psychological engagement, where an occupier can truly offer themselves to the spatial experience. Momentarily sacrificing their preconceptions and emotional bonds, to engage with the idiosyncrasies of the architecture, beyond a field of known logic. David Lynch’s work elaborates on these conventions, weaving them into the collective subconscious, and establishing a distinct Lynchian style, inhabited by a definitively uncanny architecture. Lynchian narratives elaborate a language of the uncanny, but to what affect. What are the benefits and detriments of creating such environments for observers & occupiers, and how have they provided a forum to question social structures and the morality of the omniscient onlooker. Lynches offer of the introspective experience of architecture, suggests a greater awareness of the mysteries hidden in plain sight. 143

PEDAGOGY RADICAL EDUCATION

This module was run by Chloe Street-Tarbatt. It aims to provide a formal programme in the teaching of architectural design and communication. Students develop an understanding of the general principles of architectural pedagogy, first through practical experience with studio teaching in the Stage 1 undergraduate programme, and second through research in the field of higher education. The focus is on teaching and learning models that are specific to architecture including as studio-based tutorials and design crits. The module is taught through a combination of group seminars, tutorials and review sessions. Teaching and assessment of this module is divided into two components; Theory and Reflection and Practice and Evaluation. Through combining 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. Methods and strategies developed here will be disseminated through the school through working with Stage 1 tutors, presenting to staff and students at crit sessions, and reported on at Education Committee meetings and the new Pedagogy Working Group the school intend to set up this academic year. The knowledge, enthusiasm and experience, provided by the stage V students in tutorials, has been invaluable to both first year students and the stage I tutors.

REBECCA HOBBS acting module convenor

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Fig. 1: Joseph Crossland, ‘Architecture and Mental Health’ workshops KEREM SIVRI Unlocking Creativity Through Imaginative Drawing; A reflective research and teaching innovation proposal on first year architectural design studio. This research aspired to discover a connection between music and architectural design. To evaluate the effects of such an interdisciplinary phenomenon, first year architecture students at Kent School of Architecture were guided through three workshops. Students were subjected to free hand drawing exercises, where they also listened music. Workshops are aimed to discover effects of blindfolded drawing, different drawing media and different drawing types. Identifying the missing link between design and drawing teaching at KSA and proposing a solution is expected to improve students sketching skill and relatively improve their design skills. Below images show same students’ drawings respectively in Rock, Jazz and Classic music sessions of the ‘Drawing medium’ workshop.

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JOSEPH CROSSLAND Architecture & Mental Health: How does a person’s self-concept affect their mental health? A research study into how we could potentially improve a student’s well-being during their time in architectural education through the implementation of workshops that strive to increase their knowledge of what is required of them throughout the design process.

FARAH EL-HAKIM In architectural education, there is a general lack of teaching and emphasis placed on the importance of oral communication. This fuels both a power hierarchy as well as a trial and error process in a student’s ability to articulate and sell his or her designs. Through training workshops like Speed Critting and Public Speaking, I have attempted to break down these issues related to anxiety and ILPs to ensure that we produce a successful generation of fledgling architects who can communicate convincingly and effectively, in both crits and the workplace.

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AMY HEWES Synthesising the Art & Science of Architectural Education through Role-Play Simulation “Architecture is a science and an art all at the same time: like a science, architecture demands knowledge; like art, it requires talent” (Durand, 1809, as cited in Madrazo, 1994). Through teaching Stage 1 students at KSA, a study was developed to interrogate how the potential of a curriculum where the art and the science of architecture are thoroughly integrated with one another. This culminated in a teaching proposal, that sought to facilitate students in making this link between these two often opposing sides of architecture, involving a workshop session with half the year group intending to test and combine the way individuals uniquely learn with an activity which involved thinking and processing both artistic and technical information.

NATASHA PAUL The mental health epidemic among architecture students: What impact is architectural education having on its student’s health and well-being and can teaching students’ better time management skills, help improve this? The AJ found in their recent survey that more than a quarter of architecture students in the UK have reported mental health issues related to their studies. As RIBA president Jane Duncan says: ‘Long hours, a heavy workload and intense design scrutiny are embedded in the culture of architecture education’ and all-nighters have become the ‘bedrock of architectural production’. My research proposal was about establishing if better time management could eradicate some of the stress resulting from these issues.

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BA (HONS)

BACHELOR OF ARTS WITH HONS

ARB / RIBA PART I EXEMPTION

Even over a lifetime exploring the field of architecture we will never discover every furrow. On this first course we can merely offer a taste of the main patterns, structures and ideas that might be encountered, and provide some of the tools with which to probe, analyse and reconfigure them, as students expand their frontiers. Our students are encouraged to explore the characteristics that distinguish architecture from mere building. How will their designs create spaces which make the practicalities of life easier and more pleasant, delight users, and raise the quality of peopleâ&#x20AC;&#x2122;s lives? They explore the work of architects who adopt a humanistic approach - architecture that embodies the eternal qualities of good design regardless of passing fashion or superficial styling. 148

Although we are expanding our teaching in computer design skills, our focus is still on hand-drawings and model-making as we believe that these are the best ways of connecting hand and brain. Specific prizes are awarded for the best stage 2 sketchbook, the best models, and the best integration of technology and design. And, the Gravett Award is given for the best representational drawings of existing buildings. As well as recognising and celebrating the highest achievements in these areas, the prizes help to motivate students to excel in these skills and abilities. The ethos of the BA Architecture course lies in its engagement with the region. Stage 1 began the year building their own shelters on campus - for overnight inhabitation! - and then designed beach huts in Folkestone. Skills learned in autumn term - in manipulating natural light - were applied in the design of an art gallery in spring term. Stage 2 designed an activity centre for a peri-urban site in Hambrook Marshes. In the following term they explored the rich heritage of Faversham, to design housing schemes for sites forming part of the Faversham Creek Neighbourhood Plan. Stage 3 were engaged in two projects in Chatham Historic Dockyard, firstly preparing a masterplan, and then upgrading and extending an existing building to form a multi-generational care facility. In spring term the design of a major new building was undertaken – for an innovation centre titled One World Workshop – linking local residents, nascent businesses and university researchers. Module convenors liaised closely with local stakeholders, including conservationists and politicians, to develop the briefs and teach the modules. An exhibition of the best schemes is planned this summer. The success of our programme is, as always, down to the many contributions from students, staff, tutors, critics and friends of the school, whose insights, ideas and inspiration bring vitality and diversity to the course - an experience for students that will shape their whole lives. It has been an honour and a privilege for me, over the last twenty two years, to have played a part in shepherding the next generation of architects towards their new frontiers. As I go out to grass … or hopefully … to pastures new, I wish the school and its staff and students every success on their onward journeys.

KEITH BOTHWELL Programme Director 149

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STAGE CHLOE STREET TARBATT

Our design modules this academic year continue to actively build on our evolving agenda to use ‘live projects’ as an educational tool, making closer links between the school’s activities and local industry / society. The ‘live project’ (a design brief that is developed in liaison with a real client, based in real time on a current development scenario) can effectively provide “a pedagogic means to extend the institutional confines of the design studio” , developing mutually beneficial relationships with local clients and stakeholder groups, engendering poetic design responses underpinned by robust pragmatism and social awareness. The three design projects this year are all linked and based at Chatham Historic Dockyard on the river Medway in Kent; an important site of significant historical interest and of conservation merit. The students spent the year developing and evolving design proposals and visions for the future development of the site, ranging from the macro scale of the masterplan, through to the micro-scale of detailing construction junctions that sensitively connect new-build proposals to the important historic structures within the dockyard. 154

The first design module ‘AR557 Urban Intervention’ (convenor Chloe Street Tarbatt) had two components: the first of these asked student to analyse the and record the social use and built fabric of the whole site, and then to design a masterplan developing a future vision for the site through making proposals for landscaping, new-build insertions and upgrades/changes of use to the existing buildings. The second component asked students to choose one of three selected existing buildings, and to undertake an ‘adapt and extend’ project to re-design this building into a ‘multi-generational care facility’. This relatively new hybrid typology – including residential care for the elderly alongside a children’s day nursery – was selected to reflect the very diverse and complex range of activities and people currently occupying the Chatham Historic Dockyard site, ranging from small businesses and tourist attractions, through to university facilities and residential zones. The second design module -‘AR558 Architectural Design’ (convenor Jef Smith) – asked students to design a new-build multi-use building on a site of their choice within their masterplan. The project was entitled “One World Workshop’ and the programme of rentable / bookable / flexible spaces was intended to support the full spectrum of users allowing for a melting-pot of events, exhibitions and conferences to take place collectively on the site. We worked closely with the Dockyard Trust throughout the year, encouraging an interweaving of old and new structures, demanding awareness of the conservation status of the historic buildings on the site while encouraging students to consider ways a contemporary addition might fuse gracefully with a complex historical setting. Medway council was another key stakeholder, providing a wealth of information and input on the complex social, political and economic factors underpinning the future development of the site. Our third key stakeholder was the University of Kent itself, who are keen to expand their presence at Medway and on the CHD site particularly. We are also delighted to have secured TESSA funding for a touring public exhibition of our student’s design work, to take place in July 2018. The exhibition will be based at Chatham Historic Dockyard and will publicly showcase the best of our student projects, serving to increase an awareness and impact of our activities at KSA within and beyond the confines of the university, sparking curiosity and debate with the general public. Our Stage 3 students also partake in three academic modules. The Dissertation module (convenor Keith Bothwell) allows students to select a subject of their choice, on the basis of which they are assigned a personal tutor. Subjects range in scope dramatically from the historical to contemporary, from critiques of gothic architecture through to the impact of neuroscience on the design of urban environments. The Twentieth Century Architecture module (convenor Dr David Haney) provides a lecture series based on 20th century architecture and design, followed by production of a reflective essay on a self-selected theme. The Architectural Practice module (convenor Peter Wislocki) is taught in parallel with the Spring Term design module, and requires students to produce a report based on their final design projects, taking on a role as an ‘architectural practitioner’ for the purposes of this professional practice assignment. Tutors: Dr Timothy Brittain-Catlin, Dr Luciano Cardellicchio, Keith Bothwell, Andy de Carteret, Sam Causer, Dr Manolo Guerci, Professor Don Gray, Dr David Haney, Rebecca Hobbs, Dr Nikolaos Karydis, Bernardo Lopes, Dr Giridharan Renganathan, Khaled Sedki, Henry Sparks, Jef Smith, Chloe Street Tarbatt, Tony Swannell, Fiona Raley, Ashvin de Vos, Dr Richard Watkins, Peter Wislocki

CHLOE STREET TARBATT stage 3 coordinator

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SITI AISYAH ABU DANIEL Stage 3 The Film Factory and Multigenerational Care Home are projects at the Historic Dockyard Chatham which investigates an architectural response that could accommodate a cross section of the community, to regenerate a place which suggests an economically sustainable and culturally progressive place. Thematically linked is the Collective Dwelling project at Faversham.

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JAMEELA AHMED, Stage 3 Placed within the historic Chatham Dockyard, One World Workshop aims to act as a â&#x20AC;&#x2DC;community magnetâ&#x20AC;&#x2122; for Chatham. It proposes to revitalize the once-walled off dockyard, drawing the community into the site by creating a collection of new public spaces centered around a vibrant, adaptable mixeduse venue on the riverfront.

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SARAH AL ABED, Stage 3 I am absolutely honoured to have been part of this diverse architecture program at KSA. To my teachers, thank you for all your guidance. To my fellow students, thank you for these past 3 years, I have made friends for life and I will never forget this experience.

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LEEN ALKHOURY, Stage 3 Artistâ&#x20AC;&#x2122;s Cocoon is inspired by a local artist in Chatham named Billy Childish who founded Stuckism- a movement that focuses on the use of art as an expression of experiences. The building reaches out to young artists and startup art therapy businesses and prepares them in order to transform Chatham into a colorful and vibrant town, similarly to how a cocoon prepares the caterpillar to transform into a butterfly. 165

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AMINA ALTHUWAINI, Stage 3 The KSA has taught me a lot throughout my part 1 studies. From exploring different media, a wide imagination in creativity to enhancing my presentation skills. The chosen work shows my development throughout the years that had set out my out my â&#x20AC;&#x2DC;styleâ&#x20AC;&#x2122; and a further understanding in construction details.

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LOK KAN KATIE AU, Stage 3 My inspiration of One World Workshop project lies within the existing urban fabric of proposed site, Chatham Historic Dockyard. By adopting such forms and lines into the building, both event and office space is strategically incorporated to strengthen its connection with surrounding context, while maintaining and promoting its native character.

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MIHAI ADRIAN BALAN, Stage 3 Mihai Balan finished Architecture, Architecture did not finish him.

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ELLIOT BENNETT, Stage 3 “[THE DOCKWORKS] Set in the heart of the Chatham Historic Dockyard, the [DOCKWORKS] intends to provide an opportunity for the ‘untapped’ engineering skill that was left behind in 1984 from the Royal Navy’s departure. The design regenerates craftmanship through attracting [THE MAKERS] to assemble their own workshops which are craned into place.” 173

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LARISSA BRAGA, Stage 3 THE CHATHAM PROJECTS Chatham Historic Dockyard was the site chosen to develop two building proposals. On the left the Apples and Honey Home for the Elderly and the Young and above the Whoâ&#x20AC;&#x2122;s World Workshop. Both projects based heavily on artistic compositions such as suprematism and constructivism. 175

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LUCAS CARRINGTON, Stage 3 The project explores Chathamâ&#x20AC;&#x2122;s rich historical background, the construction of naval warships, which lead to the concept of reversing a shipâ&#x20AC;&#x2122;s hull to form an arch. The repetition of arches explores the continuous permeability between spaces creating dynamism and dramatic shadows throughout the building. Additionally, this creates enclosure between spaces forming a vibrant and enjoyable environment. 177

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ANDREW CAWS, Stage 3 Chatham Dockyard was once an important naval base for the region, however today it finds itself very isolated and dislocated. This project aims to re-establish the dockyard as a centre of economic and cultural growth â&#x20AC;&#x201C; utilising an extensive wayfinding system throughout the site, creating a catalyst for creativity.

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CHIN YEUNG JASON CHAN, Stage 3 The main concept of this project is to reflect, recall the Chathamâ&#x20AC;&#x2122;s local identity and history through symbolic meanings embedded in the forms and structures of the building, with additional emphasis of the interaction between democratic spaces. In general, the building acts as a transitional zone, connecting existing elements with new developments.

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ZHI BIN CHEAH, Stage 3 Chatham Historic Dockyard, once a thriving Naval Base, the proposed One World Workshop, inspired by warships and covered slips, linking the slipway and the preserved mast pond. With the integration of transportation hub and historical walk, this building sets as a passage, an entrance to the dockyardâ&#x20AC;&#x2122;s waterfront.

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SZE WING SALLY CHENG, Stage 3 The first project is design a ‘multi-generational care facility’ comprising a nursery and a care home. My design included part of an existing building on the CHD site, and an extension to it. The second project is design for University of Kent – school of music, as well as the entire surrounding community (day-tripping tourists, the universities’ and graduates) to stimulate the re-integration of the Historic Dockyard’s activities with the town. 185

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ASHLEY CHEUNG, Stage 3 The building complex with 4 blocks, which is located at the junction of Chatham Historic Dockyard and the university campus, accommodates workspaces, university facilities and covered event spaces. Circulation within the building together with various openings, create a journey at the Dockyard within the â&#x20AC;&#x2DC;boxâ&#x20AC;&#x2122;. The internal spaces are designed to encourage movement and communication between users, work-at-home individuals and students. 187

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GABRIELA ANNA CHOJNOWSKA, Stage 3 Three years in Kent School of Architecture let me explore new ideas, develop the process of creation and learn about criticism. At this point, I think the most important is to keep doing what you believe in.

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ALEXANDER CLOUGH, Stage 3 My Architectural Design project acts as a centre point as an entrance to Chatham Historic Dockyard by connecting the surrounding towns. The building combines office spaces, a lecture hall and an exhibition space. My Urban Intervention project combines a care home and nursery in one building which focuses on the existing timber drying sheds and aims to celebrate it by protecting and exposing the timber joinery. 193

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SURAJ DEB, Stage 3 Urban Intervention: A multigenerational community hub bridging the intergenerational gap between young & old. OWW: Acting as a gateway and beacon along the River Medway, the â&#x20AC;&#x2DC;One World Workshopâ&#x20AC;&#x2122; based on the Chatham Historic Dockyard aims to reignite the Dockyards association with the seas by celebrating its maritime history.

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YASHAS DESHMUDRE, Stage 3 Architecture should be a reflection of who you are, a physical imprint of the mental landscape. A fragmented abstract mess of a mind is the best page to start on.

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COSMIN-ANDI DUMITRU, Stage 3 The project is a response to the brief â&#x20AC;&#x201C; asking for a multiuse facility, for a three-headed client. A series of pavilions/programs are connected through ramps and revolve around a courtyard that becomes an Urban circus, a promenade architecturale, a floating vertical village.

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KAROL GRZESKOWIAK, Stage 3 This is just the start of something beautiful.

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LAUREN HEATHER, Stage 3 During my three years at the Kent School of Architecture I have been able to develop my abilities and open the door to the career of my aspirations. With the teachings and guidance I received, I am able to move forward into new experiences, and welcome new opportunities through my new and exciting career.

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ALIA HISHAM, Stage 3 Studying architecture in Kent has taught me using varieties of media ranging from hand-drawings to digital skills. I am very passionate in arts and love helping people. I see architecture as a medium where these two meet; I can express my creativity and at the same time put people at ease.

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MAN HIN SAMUEL HON, Stage 3 The Cultural Centre aims to construct a comfortable place for all at all time. By connection to na-ture, with great use of timber and continuity of event space, courtyard and river; and respecting lo-cal history, with introduction of medway festivals into the building; and provides the needs for all stakeholders, students, residents, tourist and workers.

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REEGAN HOWLES, Stage 3 This design seeks to integrate the aesthetic of surrounding buildings whilst announcing a clear departure towards the technological age of today. It repurposes and integrates the derelict Brunel canal running under the site. The flexible event space draws on the ship-building history of the site, with sail-like roofs that respond to the weather conditions.

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SERIN HUSSEYIN, Stage 3 A youth centre with a flexible event space and shared office spaces. The purpose for the design was to give the youth in Chatham better opportunities by providing them a place to have fun and learn at the same time.

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ANDREI CALIN ION, Stage 3 The images chosen for the end of the year show are curated from the Architectural Design Module. My project follows a social programme that addresses Chathamâ&#x20AC;&#x2122;s civic and economic landscape through a sustainable scheme involving education, work and retail. The architectural language that has been adopted for the proposal encapsulates Chathamâ&#x20AC;&#x2122;s industrial heritage, thus generating a sense of belonging. 215

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ARWA JAHWARI, Stage 3 KSA helped me develop my architectural abilities by exploring various building typologies, human experiences, and media forms, and establish my personal approach to architecture. I was able to apply my love for using industrial materials in elaborate forms throughout and combine my interest in video game environments and architecture.

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RHIANNON JAMES, Stage 3 To the River Medway by John Watson Dalby Thou stream of beauty! gentle, varied, wide! Long have I wandered on thy grassy shore â&#x20AC;&#x201D; Which now in loneliness I lean beside, And listen to thy musical calm roar. 219

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DUNCAN KEELING, Stage 3 An investigation into the potential beauty, pattern and rhythm, the exposed structure can achieve and how architecture as a machine may enhance determination for success. The variety of functional spaces provided enable residents to choose how, when and where they work and meet, both under formal and informal context.

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REBECCA KELLY, Stage 3 The Leviathan of Chatham. In all my work I strive to combine art and architecture together through my philosophy that all design should have an artistic concept which runs throughout. The concept is embodied through the decay of the Leviathan allowing a new civilisation to emerge from it carcass. 223

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LEILA KHADEM, Stage 3 Project ‘Urban Intervention’: I designed a Multi-Generational Care Facility as an extension to existing timber huts, incorporating pitched roofs and wood cladding in keeping with these existing listed buildings. Project ‘Architectural Design’: I designed a major mixed-use development incorporating specialist facilities for research into prosthetics and extensive disabled sports facilities. 225

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ANDREAS KYRIAKOU, Stage 3 Undertaking my Bachelorâ&#x20AC;&#x2122;s degree in Architecture at the University of Kent has been a truly incredible experience. It has allowed me to develop my presentation, design and computing skills, inspired my creativity and given me the knowledge and ability to move further towards my career as an Architect. I would like to thank my friends, my family and my tutors for their continuous support, and for making this journey unforgettable. 227

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COLLEEN LAURENT, Stage 3 One World Workshop - Imbedded into the history of the Dockyard are the train lines which connect the site together. Similarly, the Chatham Arts Link is a hub which seeks to connect the youth, the artist, and the businessman together, creating links to help build a brighter, more creative future.

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HANA WING HAN LEUNG, Stage 3 I believe architecture should be people centric and aware of their users when occupying the space this is reflected in my dissertation which received a 1st: Usage of neuroscience research in architecture to improve a built environment. Thus my design schemes takes a humanistic approach in creating a contextualised environment.

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EUGENE LIM, Stage 3 The Enterprise Incubator has been developed from the concept of integration between the University Students in Penbroke and the locals of the Chatham Historic Dockyard. This concept is realised through the facilities which include a Cafe, Bookshop, Cinema, Study Spaces and an Exhibition Hall.

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NATHAN MING CHI LIU, Stage 3 The mixed-use Office Incubator complex, located at an open area near the north of Chatham Historic Dockyard, composes of a mixture between offices, carpentry workshops, a lecture theatre and shops. By having a boatâ&#x20AC;&#x2122;s structure as its main inspiration and concept, it blends into its surroundings contextually, whilst adhering to the history of the dockyard itself.

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JAKE MADDOCKS, Stage 3 In order to reintroduce life and activity to Chatham’s historic riverside a series of pontoons and platforms has been conceptualised as an “Urban Pier”. The structures rise and fall with Chatham’s tidal environment, presenting a series of ever-changing views and experiences for those using the spaces and buildings.

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DOMINIC MAJE, Stage 3 Chatham institution of fashion and technology (CIFT) is a development designed to unify the pupil of Chatham through learning, creating and marketing (LCM Method). The development features an infinity studio space, flexible work rooms, two lecture theatres a cafĂŠ and a large event space.

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MICHAIL MEXIS, Stage 3 The ultimate goal of the project is its incorporation into the setting of Chatham. Particular emphasis is given on the establishment of a new public space, that organizes movements into and from the Dockyard.

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BAHNNISIKHA MISRA, Stage 3 These images represent some of my work in Stages 2-3, including my time as an Erasmus student in Italy. I am passionate about creating architecture that is sensitive to function, context and more importantly, people. My primary software strengths lie in 3D modelling and rendering using Rhinoceros, Sketchup, Photoshop and their plug-ins.

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MUHAMMAD FADZRIL MUSTAFA, Stage 3 The â&#x20AC;&#x2DC;InterWorldâ&#x20AC;&#x2122; Chatham is designed to reflect the whole context of Chatham Historic Dockyard and integrate the three major groups of people which are the student, tourist and the local to function as a community centre rather as an incubator. The pitch roof and the gigantic columns become the main focus of the design.

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MOLLY MYERS, Stage 3 The One World Workshop, located at Chatham Historic Dockyard, is designed for use by all. Spaces within promote self-development opportunities and tutoring facilities to access higher education and beyond. The large event space at its core is overlooked by all floors. This project will restore a previously neglected area.

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SHEFIELD NG, Stage 3 This project attempts to embrace the rich surroundings of Chatham Historical Dockyard, and to ignite a conversation between the building and the context. Located between Medway River and the mast pond, it connects both water bodies and acts as a threshold to site. Organisation and movement throughout the building is driven by the masses of water.

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BENEDETTA NIGRO, Stage 3 My last project, the Chatham Music and Performing Arts Institute, revolves around bringing together the different parts of the community through the varied program of the building complex. The two pavilions present a simple and linear architecture that juxtaposes with the lively and creative atmosphere of the institute.

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ANGELLA NKURUNZIZA, Stage 3 The Artisan Village aims to enrich the Medway experience at the Dockyard through art, tourism, trade and education. It emphasizes permeability and democracy through its various openings and its splayed truss systems. The vertical structures around the building act as purely sculptural pieces that light up at different times of the day and represent the enlightenment the scheme brings to the Dockyard. 255

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ALEXIA NOMIKOU, Stage 3 The Marine Science Eduational Centre (MSEC), situated between the two ponds, is a high-education building. Students are encouraged to continue working in Chatham and MSECâ&#x20AC;&#x2122;s flexible office spaces. An exhibition space designed in the basement of MSEC helps unify the buildings purpose through the open voids that represent transparency and equality.

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ALEKSANDRA NOWAK, Stage 3 Following the 1984 closure of Chatham Dockyard, historically a hotspot for latest advances in maritime technology, frozen in time as a museum of the Age of Sail. This scheme aims to continue its prosperous history, technology being its power. An Artificial Intelligence factory, with an externally viewable conveyor belt network.

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JEREMIAH TOBECHUKWU OBIEKWUGO, Stage 3 The OWW (CHATHAM CREATIVE CORP) IS A DIGITAL SANCTUM THAT was designed to give Chatham a media house where student at university of Kent Medway and the locals in the area can come together and immerse themselves in the new creative industry of digital media which would create new jobs thus creating economic growth, along with the (PULSE) multi gen care facility which caters to the elderly and the young. 261

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NAZIHA OMRAN, Stage 3 A school of marine technology reminiscing on the history of naval invention within the area. Cast ripples of the wave simulator and spaces descending into ground between two ponds offer the user unique underwater experiences worth traveling for, coming a step closer to rejuvenating Chathamâ&#x20AC;&#x2122;s Historic Dockyard. 263

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AMANDA OPE-EWE, Stage 3 The Digital Arts and Engineering Research Centre, or DAERC Shed, is a postgraduate research centre that allows locals to come and be part of research through participation in studies, apprenticeships, workshops and exhibitions. The steel frame building sits on Chatham Historic Dockyard as part of a strategy to regenerate Chatham.

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ANDRA-LILIANA OPREA, Stage 3 One World Workshop- Chatham Historic Dockyard 2018. Trying to fit a building there turned the project into a rehabilitation centre.

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MATTHEW PARISH, Stage 3 A AutoCAD a new plan each week R Revit so useful so hard to use C Coffee & Crits the flow of life H Hope the crazy designs are possible I Individual because a truly unique ideas are gold

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CARLOS PEREIRA, Stage 3 ‘The Forest’, is a direct reaction to the ever-growing demand of office space in the United Kingdom, and serves as an adaptable building creating a new cultural center for Chatham, which embraces its great history and the people of Chatham. ‘The Forest’ grows with the city and drives further growth in the community.

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DEMETRA PHILIPPOU, Stage 3 The Architectural Design project aims to unify the Historic Dockyard with the town once again and bring life back to the site. The Collective Dwellings project aims to improve the area of the Faversham Creek and to bring liveliness to the site.

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ANNA REEVES, Stage 3 The Urban SHED aims to reconstruct the community identity of Chatham with shared resources and ideologies. By embracing the predominant blue collar culture that Chatham currently possesses, it aims to combine a focus on learning and homage to tradition to create equal opportunities for the Chatham average and beyond.

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CHARLOTTE ELIZABETH RICE, Stage 3 This degree has given me the tools to understand and design Architecture, I have learnt to communicate through perspectives, axonometrics and plans. I found I designed best with 3-Dimensional drawings to explain my work, going through a practical and logical methodology.

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ELLIOTT RITCHIE, Stage 3 The Chatham Historical Dockyard Culture Centre countains houses for Learning, Socialising, Health and Arts that are encouraged to mix disciplines as a catalyst to erruptions of innovative progression. The architecture acts as a playful, modern continuation to the series of historic covered slipways that stand imposingly over the river Medway. The ridge of the roof is twisted as to gesture towards both the inner dockyard and to historic landmarks opposite. 279

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SOPHIE RYDER, Stage 3 The start of what I hope is a series of experimental work about rethinking the way larger scale buildings are made and their ability to construct themselves, and for the machinery used (in this case cranes) to be the supporting structure. Trying to reduce the construction costs that are not embodied in the building in raw materials when completed. Making way for a more economic construction process. 281

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PRIYA SANGHANI, Stage 3 My proposal for the Architectural Design project aims to enhance the marketing environment of Chatham historic dockyard, creating a link between Medway university students and enterprise tenants and aims to encourage the use of green roofs. The Urban Intervention proposal aims to maximise interaction spaces and create peaceful environment for the multi-generational care centre. 283

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KWAN YEE COLETTE SIU, Stage 3 The scheme is to create a â&#x20AC;&#x2DC;One World Workshopâ&#x20AC;&#x2122; which is a mixed-use development for the School of Music and Art in Medway with different ranges of facilities such as covered event spaces, university areas and workspace. The building consists a walkable roof to encourage movement and connection between students, public and visitors.

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CALUM SNAPE, Stage 3 The Chatham Historic Dockyard offered many historical textures and spaces whilst also allowing us to explore the future of the site. My designs aimed to respond to this: preserving the historic fabric whilst engaging with the next generation of the Dockyard.

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DAMBAR THAPA, Stage 3 The objective of this project is designing a major mixed-use development for a waterfront site in Chathamâ&#x20AC;&#x2122;s Historic Dockyard. Through the understanding of human interaction across various disciplines in public and semi-private spaces, the main goal is to create an active area connecting the Pembroke site and the Historic Dockyard, Chatham. The developed facilities act as a communal hub and enhance opportunities for people to come together. 289

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IMRAN THOMPSON, Stage 3 This project is about once again redeveloping the Dockyard and turning it into a mix of Music and Art studios, Art galleries, Private offices and student spaces. Although not officially affiliated with the University of Kent, the building complex will encourage artistic students from across the university and Kent as a county.

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DILAN TORBATOR, Stage 3 Both projects are located at the Chatham Historic Dockyard, Kent. The multigenerational care facility project is based on re-creating the historical characteristics of Chatham, such as pitched roof into a conceptual form, resulting in various ceiling levels for group activities. â&#x20AC;&#x2DC;The Two volumes over the Waterâ&#x20AC;&#x2122; is a mixed-use building split by an existing slipway, then connected via an exhibition bridge, which almost constructs a new language. 293

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RARES TUGUI, Stage 3 The building is a mixed use scheme for the Chatham Historic Dockyard in Medway. Located in a conservation area, the plan shape and the massing was influenced by existing buildings and the historic street pattern. An atrium opens into a communal space, a restaurant, bookshop, workshops and an auditorium. The 1st and 2nd floors contain offices as well as meeting rooms, start-up units and an exhibition space. The 3rd floor contains micro flats. 295

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MARY ROSE VILLALUZ, Stage 3 The Art and Design centre situated beside the Dockyard Slips aims to create a new roof scape in continuation of the existing iconic roofs of the slips. The new roof massing is broken up by reflecting the different uses of the building internally which creates a combination of curved and flat roof structures.

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JACOB VINER, Stage 3 Based in the Historic Dockyard Chatham, the brief asked for a â&#x20AC;&#x153;one world workshopâ&#x20AC;? that would incorporate enterprise businesses as well as university facilities and multipurpose spaces. My design was inspired by the wooden hulls found in traditional boats and concentrated on a minimalist aesthetic.

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TOAN VU, Stage 3 One World Workshop is a place for all to meet, to get conflicted, to share and to learn from each other. The proposal is a combination of pedestrian bridges that will link the new building to the university campus and the town centre. This will transform the north-end of the dockyard to the new gateway and bring back the liveliness as it was.

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CHARLOTTE WARD, Stage 3 Located in the Historical Dockyard of Chatham, this yearâ&#x20AC;&#x2122;s projects have aimed to improve the social, economic and environmental sustainability of Chatham for all new and existing residents.

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ALEXANDRA WIJAYANTI, Stage 3 This yearâ&#x20AC;&#x2122;s projects focused on the urban regeneration of the Chatham Historic Dockyard. One is a nursery/care home hybrid that encourages interaction between the young and old through a shared library facility. Another is the Chatham Arts Dock, an arts-centric hub for professional, educational and recreational purposes.

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ALICE WILSON, Stage 3 The first project is a multi-generational care facility for elderly and infants. My design repeats the arched form of the existing building and have a central social space where the two groups can interact. The second project is mixed-use and aims to bring university graduates, businesses and Chatham residents together. It is a connection point between the Dockyard and Medway Campus, with public routes on the roof which provide views over the river. 307

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CHEUK LAM WONG, Stage 3 My idea for Chatham Dockyard One World Workshop came from the removed propeller of the HMS Cavalier. My concept of the design is to â&#x20AC;&#x2DC;bring back the propeller. It is symbolizing the energy that propeller generated would be able to create a spin off regeneration effect to the local area.

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HIN CHING WONG FLORENCE, Stage 3 The main idea of the scheme is to reinvent the use of the existing slipway in the Chatham Dockyard. This is achieved by relocating the boathouse for the University Rowing Club. It is a place for all to experience rowing from making to participating within the rich historical maritime context.

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MEGAN WOODS, Stage 3 My project focuses on the concept of integration within the Chatham Historic Dockyard site â&#x20AC;&#x201C; through master-planning and the design of a business and enterprise center. The building contains lecture theatres, office space, event space, restaurants and retail units as well as a gym and swimming pool. Its design was inspired by the timber covered slip buildings which are situated opposite the site as part of the dockyard. 313

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BRENDA ZIYING YEOW, Stage 3 My overall project designs stems from my doodling sketches of what I observe on site and are mainly based on consideration of day to day activities of individuals inhabiting the spaces within my buildings and working from inside out creating the final form.

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ZAIDATUS ZABUDDIN, Stage 3 Throughout my 3 years of doing Architecture (Part I) I have learned and developed my skills in designing especially using digital software. I love exploring new ideas and shapes and try to translate my ideas and designs digitally.

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STAGE

REBECCA HOBBS & KEITH BOTHWELL

Architecture and Landscape â&#x20AC;&#x201C; Autumn Term Rebecca Hobbs â&#x20AC;&#x201C; Module convenor The first design module in the second year offers students the opportunity to explore the relationship between interior and exterior spaces, the threshold between architecture and landscape and a new proposed landscape. This year, the old South Canterbury to Hythe railway line on the Hambrook Marshes, now only an embankment, formed the site for an activity centre. The railway line originated at Canterbury West and travelled to Folkestone, Dover & Hythe via Wincheap. It was opened in 1887 and closed in 1947. Much of the proposed site is a flood plain so earth moving and water management formed an integral part of the proposed landscaping. 318

The brief challenged the students to design a new building and associated landscape to form an activity centre offering opportunities for people, to get fit through play and exercise. Internal activities included climbing & abseiling, free running, parkour training & jump courses of various levels and conditions, dance, fitness training, Yoga, Thai chi, Karate and a small pool to learn how to capsize a kayak. The site was to incorporate a kitchen garden to serve the café, a link to the existing cycling route to enable connections with the City and two villages, Chartham and Chilham located to the west of Canterbury. Students had to choose from a number of interventions including a sensory garden, a labyrinth, a natural swimming pool, opportunities to row/kayak in the River, a skate ‘park’, a playground for adults and children, opportunities to fish and the provision of a microclimate. Studies of historical and contemporary landscapes were made through the lecture series to provide a rich context for the module. Throughout the design process, environmental issues were also tackled to ensure that the proposed building responded to and made the most of its environment. Sustainability were also key considerations in the buildings’ design. Collective Dwelling – Spring Term Keith Bothwell - Module convenor Collective Dwelling returned to Faversham as it has proved so popular with students and tutors alike. The maritime and industrial heritage on the riverside site, including a brewery and gunpowder works, coupled with the town’s current economic decline, spark students’ imaginations. Based on a live proposal for reinvigorating the area - the Faversham Creek Neighbourhood Plan - the brief engages with vital local aspirations. Students build up a ‘vocabulary’ of building and housing types – necessary to do this urban design work – by researching and analysing precedents of housing using Kenneth Frampton’s method for comparative analysis, as outlined in A genealogy of modern architecture. As students leave stage II and begin the journey into stage III, the dissertation topic is chosen and the first tutorials and lectures take place in the summer term. The timing ensures that students have the body of the work completed before the final project, Urban, is underway in the spring of 2018. Stage II Tutors: Felicity Atekpe, Keith Bothwell, Timothy Brittain-Catlin, Luciano Cardellicchio, Patrick Crouch, Jasmine Davey, Ashvin de Vos, Chris Gardner, Manolo Guerci, David Haney, Rebecca Hobbs, Francesco Incelli, David Moore, Giovanna Piga, Mike Richards, Nathaniel Seall, Tony Swannell, Ben Tosland, Leonidas Tsichritzis, Lorenzo Vianello, Richard Watkins, Ben Wood. 319

STAGE 2 - FIELD TRIP TO COPENHAGEN BA stage two and three students visited Copenhagen in October and November. We explored the city and its environs as well as the coast to Helsingor and further afield to Sweden. The current king of Danish architecture is of course Bjarke Ingels, who leads the practice BIG. In a bleak and windy landscape on the outskirts of Orestad (itself on the outskirts of Cophenhagen) we encountered his highly inventive structures – each one unique – no easy repetitive production line for him. We also visited Lundgaard & Tranberg’s beautiful circular student housing. On our second day we took a long day’s trip around the Oresund via Helsingor (Elsinore in English) – where gauche statues of Hamlet and Ophelia haunt the railway station – then by ferry to Helsingborg, returning eventually via Malmo and The Bridge. The main object of our excursion was to visit Sigurd Lewerentz’s church at Klippan. This was a new discovery for most of us – thank you Tony for strongly encouraging us to make such a lengthy and worthwhile detour. We were given an excellent and free (very welcome in this most expensive of regions) guided tour of the building by Anders Klaussen, who spent the best part of two hours explaining the architect’s design and approach. Lewerentz virtually lived on site, and would often change his mind during the night, coming up with new instructions for the builders every morning! As the light faded in the late afternoon we arrived at the cemetery in Malmo by the same architect – a project he worked on for nearly sixty years. On the Tuesday, the Louisiana Museum – on the coast 25 miles from Copenhagen – with its lawns overlooking the Oresund populated by Henry Moore, Richard Serra and Max Ernst sculptures, offered a peaceful respite from the busy city streets. The museum buildings – from various ages – loop above and below ground like a Moebius strip, capturing contrasting views of the landscape and the sea. Jorn Utzon’s brave Bagsvaerd church – an exercise in Nordic Blanc – was highlight of the itinerary on day four. Like a geode, a severe and orthogonal factory-like appearance on the outside reveals undulating folds of poured concrete within – a veritable tour de force. In contrast, Gruntvigs Church by Peter Jensen-Klint, is an austere and formal exercise in stepped brickwork – in both plan and elevation – on a gigantic scale. We stayed in the excellent Generator hostel – quite the best student hostel any of us had experienced – where we happened to encounter a group of KSA alumni who graduated from the Interiors courses in the early years of the school. I was very ably assisted on the tour by Rebecca Hobbs, Patrick Crouch, and Edie.

KEITH BOTHWELL programme director ba architecture riba 320

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CHRIS GARDNER

Form Finding The theme for the Autumn term was Shelter. Having identifiedw and recorded three shelters from their home town during the Summer prior to beginning the course, the students were asked to design a shelter for three people suitable to spend the night in. The individual groups were then tasked with building a full sized shelter from cardboard, plastic and bamboo, and having to spend the night on campus in their own shelters! This is a great icebreaker and as can be imagined, friendships are quickly formed. The second assignment was the beach hut project where students are asked to produce a masterplan for a small beach hut park in Folkestone, and finally to detail design one of the huts. 322

Light and Structure The technical project runs in tandem with the shelter project. Students design and build a structure to support a brick at mid span across a 450mm gap, using only cotton and swab sticks. Structures are then tested (often to destruction) in the studio. Later the students investigate the nature of day light by modelling a space to exhibit an art piece and experimenting with it to achieve an imagined lighting effect. Modern House Also in parallel, the cultural context module studies seminal houses of the 20th century, students are required to model a chosen house and compare it with other houses within its historical context. Building Design / Building Envelope. The Spring term requires students to design a small art gallery in Canterbury to display art by famous Kent artists. The design module runs in tandem with a technical module where students investigate the structure and construction details of their finished designs and comment on the environmental aspects of their building in a combined report in the summer term. Ancient and Medieval Architecture The final cultural context module regards Architectural history, and is the subject of an examination in the summer term. Folio Running across all three terms is the communication module Folio. In this module students are taught the skills needed to communicate their ideas, undertaking hand drawing, sketching model making, sculpture as well as digital drawing, rendering and modelling work. Study trip. At Christmas Stage 1 went for their field trip to Barcelona studying over 2000 years of built architecture and also the works of some of the 20th centuryâ&#x20AC;&#x2122;s greatest artists. Students further get to know their colleagues, other members of staff, and the culture of one of Europeâ&#x20AC;&#x2122;s great cities.

CHRIS GARDNER STAGE 1 COORDINATOR 323

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Bethany Lim Erlend Birkeland

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Julian Ng Max Arnol

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Adam Dudley Mallick Adam Dudley Mallick

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Max Arnold Sanziana Bulai

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POSTGRADUATE POSTGRADUATE STUDIES

MA ARCHITECTURE AND URBAN DESIGN MSC ARCHITECTURAL CONSERVATION MSC ARCHITECTURE AND THE SUSTAINABLE ENVIRONMENT MA ARCHITECTURAL VISUALISATION PHD IN ARCHITECTUREMA Architecture & Urban design

ARCHITECTURE & URBAN DESIGN

MA JOHN LETHERLAND

Yet another exciting international MAUD programme to report, with students this year joining us from as far afield as the USA, China and the Lebanon. We undertook two separate design studies this year; the Urban Landscape design module in the Autumn Term involved the whole student group in creating a new masterplan for our very own University of Kent Canterbury campus, derived from an in-depth analysis of the local landscape character. For this project, we were fortunate to have a real-life brief, as well as presentations to and feedback from representatives of the actual client team. Many thanks to the client team of Juliet Thomas, Catherine Morris and Richard Cottam for donating their valuable time and support. 330

In the Spring Term, most of the group stayed in Canterbury to tackle the newly-established Urban Design module, whilst two of the students elected to relocate to Paris to take modules at the University’s campus there. The objective of the design module was to explore the underlying landscape from which Paris is derived, to reveal the impact that the natural landscape has had on the structure and evolution of this great city, and to use this knowledge as a basis for undertaking a more detailed urban design project. To provide context for this study, in February the student group went on a field trip to Paris. The trip was a great success, despite being carried out in blizzard conditions and leaving us stranded in Paris for an extra night. Whilst there we visited the Paris campus and the offices of architects and urban planners Arte Charpentier, we found traces of medieval Paris that had escaped Hausmann’s remodeling and like true psycho-geographers we explored the ‘lost’ valley of the Bièvre river. In parallel with the design modules, history, theory and research modules were run by programme teachers Dr Nikos Karydis, Timothy Brittain-Catlin and Alan Powers, who provided essential background and context to all of the students in both the Autumn and Spring Terms. Once again, we are grateful to expert London-based urbanists Richard Portchmouth and Steve Smith for acting as external critics at reviews.

JOHN LETHERLAND ACTING PROGRAMME DIRECTOR

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Chen Jiaxu Franklin Forbes

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Haowei Hou Mengyun Yin

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Michel Houweis

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Mohamad El Halabi Omar Masri

There is a dichotomy in using islands - which are by their very nature ‘disconnected’ parcels of land - to reconnect a part of the city together again.

In Case of Flooding

A’

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ARCHITECTURAL CONSERVATION

MSc DR. NIKOLAOS KARYDIS

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 cityâ&#x20AC;&#x2122;s stunning cathedral and medieval monuments provide students with an education resource, giving them the opportunity to learn from the conservation of a World Heritage Site. Ideal for those with an interest in architectural heritage, the course represents a gateway to a career in demanding professional fields such as conservation and heritage management. As the future leaders in these fields, the courseâ&#x20AC;&#x2122;s graduates are expected to play a central role in disciplines that lie at the centre of current economic, environmental and social agendas.

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The varied curriculum of the course reflects the multi-disciplinary nature of conservation. Students gain a critical understanding of historic buildings through an introduction to conservation philosophy and policies. This is followed by the study of practical survey and preservation techniques. Case studies and workshops, carried out in collaboration with Canterbury Cathedral introduce the students to the properties of historic building materials and the techniques employed in the repair of historic buildings. In this context our students survey a wide range of historic buildings. Case studies chosen this year include Norman churches and Victorian terrace houses in Canterbury and its vicinity. Towards the end of the programme, our students undertake a conservation project in which they design an intervention at an existing historic site. This year, the students worked on the restoration of the Infirmary of Canterbury Cathedral. This involved the study of the history of this outstanding building, and the survey of its remains, which are currently in an advanced state of decay. These preliminary studies formed the basis for the elaboration of new conservation plans and the design of restoration proposals that promise to save this seminal building and infuse new life into it. At the same time, the students explored the structural aspects of conservation by working on a live project in Ramsgate. Surveying the grade-II listed â&#x20AC;&#x2DC;Townley Houseâ&#x20AC;&#x2122;, the students had the opportunity to observe closely the current project to convert the house in apartments and to reflect on its structural implications. Having completed these two projects, the students started work on the dissertation module, which enables them to study an aspect of the conservation cycle of their choice.

DR. NIKOLAOS KARYDIS PROGRAMME DIRECTOR

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Fig. 1: Fig. 2:

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Infirmary of Canterbury Cathedral, Plan and Elevation of surviving colonnade (Emmanuelle Colyer and Corentin Petit) Infirmary of Canterbury Cathedral, Proposed Intervention, Plan and Elevation (Emmanuelle Colyer and Corentin Petit)

Fig. 3, 4 & 5:

Infirmary of Canterbury Cathedral, Proposed Intervention, Perspective Views (Emmanuelle Colyer and Corentin Petit)

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ARCHITECTURE & THE SUSTAINABLE ENVIRONMENT

MSc MARIALENA NIKOLOPOULOU

Our Master’s programme has been promoting a cross-disciplinary approach to research in the field of sustainability in the built environment, bridging the traditional boundaries between the arts and the sciences, research and practice. As the programme is expanding we have had the pleasure of old students returning and offering to organise case study visits for us. Our current cohort enjoyed the visit to ‘One Blackfriars Tower’, by our alumni Mr Alexandros Konstantinidis, now working with the Technical Department of St George Developments. Alex and his team organised a talk by Multiplex Construction and took us at the top of the tower, where we got the opportunity to inspect the construction and enjoy the views. 340

E External links were also fostered by our students who chose to monitor and evaluate thermal comfort conditions and energy performance in different buildings in Canterbury and beyond for the module AR829 Monitoring and Modelling. The case studies monitored and modelled through dynamic thermal simulations ranged from university buildings, including the new Sibson Building by Penoyre & Prasad and Max Fordham to a 1980s Hastings Chapel, and Five Pancras Square in Kings Cross by Bennetts Associates. Another successful initiative benefitting the students is the collaboration with the Chartered Institute for Building Services Engineers (CIBSE) Heritage Group, under the leadership of Dr Henrik Schoenefeldt. Along with his AHRC Leadership Fellowship, his National Teaching Fellowship and in the context of the module AR828 Rediscovery, on the history of environmental technologies, the aim is to jointly explore how research into historic environmental technology could yield a better understanding of historic buildings and, ultimately, how this understanding can feed into practice. Seven students from this yearâ&#x20AC;&#x2122;s cohort presented their detailed case studies on the original environmental principles underlying the design of historic buildings at the 5th Annual Conference of the Construction History Society, at Queens College, Cambridge in April 2018 and saw their work published in the respective Proceedings. The international conference with delegates from countries across the world, including Australia, US, Switzerland, Germany, Belgium, Bulgaria, Sweden and France, gave students the opportunity to gain important skills required in research, such as the writing of papers, navigating the peer-review process, speaking to larger audiences or taking part in plenary discussions, which involved dealing with critical comments or challenges questions from delegates or panel chairs. Undoubtedly, a remarkable opportunity, significantly enhancing the studentsâ&#x20AC;&#x2122; experience.

PROFESSOR MARIALENA NIKOPOLOPOULOU PROGRAMME DIRECTOR

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Fig. 1 & 2: Sustainable Design Project at the Chatham Dockyard area, by Surabhi Pandurangi

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Dr Henrik Schoenefeldt with our MSc representative at the 5th Annual Conference of the Construction History Society, Cambridge, April 2018.

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ARCHITECTURAL VISUALISATION

MA HOWARD GRIFFIN

2017-18 sees much more focus on the representation of architectural image through the use of projection-mapping. In December, students took the opportunity to attend the Fête des Lumières in Lyon, France to witness firsthand the ways in which architecture can be transformed through light. This trip was kindly supported through the Faculty of Humanities Internationalisation Mobility Fund. Building on this, our students designed, developed and created their own light shows, displayed as part of the Cheriton Light Festival in Kent. The diverse work for Virtual Cities explored topics, such as the development of language, architectural form and space, oppression and Disney’s WALL·E! In Digital Architecture, students were tasked with creating photo-realistic imagery of buildings in three categories; ‘what is’, ‘what was’ and ‘what has 344

never been’ (building examples that exist, no longer exist and have never existed), reflecting the multi-disciplinary nature of the work that visualizers can encounter. This year, the programme collaborated with Article 25, an architectural charity driven by the ‘United Nation’s Universal Declaration of Human Rights, which states that everyone has the right to adequate dignified shelter.’ With a choice of live, ongoing projects provided by former KSA student, Elizabeth Innemee, now of Article 25, our students created a series of images that will be used for fund-raising and publicity by the charity. In Film & Architecture, seminal films, such as The Cabinet of Dr. Caligari, Collateral, The Third Man and The Truman Show were investigated and presented in our open screening series, Film Fursdays. Students further developed these presentations into essays, exploring topics, such as the architecture of Alfred Hitchcock’s horror films and the influence of German Expressionism on other artistic movements in cinema. The cohort of students this year have worked well as a team, bonding well from the outset of the academic year. However, this has been especially so when working on Professional Group Work to create this year’s End of Year Show MA Architectural Visualisation exhibition stand. I would to thank the ‘team’ for a great year and I wish them all, Gabrielle Greenidge, Flor Hidalgo Pintado, Jihad Kmail, Yavuz Onuk, Amelia Pay and Rafaella Siagkri, well for the future.

HOWARD GRIFFIN PROGRAMME DIRECTOR

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Fig. 1: Fig. 2:

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By Di Fonzo By Marco Ciscato

Fig. 3: Fig. 4:

‘What was’ by Onuk ‘What has never been’ by Siagkri

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IN ARCHITECTURE

PHD

DR. MANOLO GUERCI & DR. NIKOLAOS KARYDIS

The Kent School of Architecture has a vibrant and diverse community of about twenty PhD students, which plays an important role in its research life. The students are members of one of our two research centres, and actively participate in the schoolâ&#x20AC;&#x2122;s life. Some are involved in teaching; others with special occasions and events including the organisation of the schoolâ&#x20AC;&#x2122;s biannual conferences. Our students are offered a variety of specialist workshops to develop their skills, complete their research with in-depth knowledge of their respective fields, and have developed a reputation for delivering conference papers. This often begins within the seminar series organised by the school, where the students are given an opportunity to present their work informally, whilst receiving peer review from their own environment. Equally, they also work with the research centres to deliver thematic events and talks. 348

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 and design in the twentieth century, as well as thermal and environmental comfort, urban environments and housing sustainability. To this expertise the school has recently added digital architecture, with a dedicated member of staff. New research students will broadly work within these fields, will become active in our own professional and academic networks, and will 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.

DR. MANOLO GUERCI & DR. NIKOLAOS KARYDIS DIRECTORS OF GRADUATE STUDIES

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Ben Tosland Title: The growth of regionalism in architecture and planning in the Persian Gulf, 1950-1982. This thesis looks at the proliferation of a regional style of architecture developed by Western architects in the Persian Gulf between 1950 and 1982. Geopolitical events are largely responsible for the alterations in style encouraging the new aesthetic of the postcolonial world, specifically in the Gulf transcending rigid geographical borders creating a regional, not national, style of architecture. Using original archival material, the thesis assesses previously unconsidered work by revered Western Modernist architects such as Candilis-Josic-Woods, Alfred Roth, and Jane Drew who all produced a spatially and culturally appropriate architecture for the region. Latterly, it considers the change in aesthetic, analysing buildings by Jørn Utzon, Henning Larsen, and plans by Constantinos Doxiadis; the new architecture they produced was considerably more ‘Arab’ in its aesthetic and identity. Looking at this new architectural language and its relationship with geography, post-colonialism and geopolitical events forms the key elements of this project.

Fig. 1: Fig. 2: 350

Courtyard of the Ministry of Foreign Affairs, Riyadh also Henning Larsen Construction of the Kuwait National Assembly, Jørn Utzon (Aalborg City Archives)

Fig.3: Fig. 4:

Interior of Henning Larsen, Ministry of Foreign Affairs, Riyadh. The Danish Embassy, Henning Larsen

Khaled Sedki Title: Écochard in Damascus: Modern Machines and Urban Transformation (1931-1968). Supervised by: Prof. Gordana Fontana-Giusti and Dr Iain MacKenzie. A study of Michel Écochard’s work in Damascus and its role in the urban production of the modern city.

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research & community

CASE

CENTRE FOR ARCHITECTURE AND SUSTAINABLE DESIGN

This has been another fascinating year for CASE with a range of exciting projects and activities. We kicked off our Open Lecture Series with an international perspective, “Birkha Bawari: a 21st century step-well in India” from A. and Shilpa Mridul, on traditional language in contemporary context for water conservation and architecture. Ze Nunes, the Founder of MACH Acoustics provided a ‘David Attenborough approach’ to inspire and inform designers, by visualising sound to make our buildings more sustainable. We concluded the year with Prof. Sue Roaf from Heriot-Watt University, inspired by the different notes in music and perfume, proposing a three-step method for designing comfortable buildings. Henrik Schoenefeldt’s AHRC fellowship “Restoring the Palace of Westminster’s nineteenth century ventilation system - Between Sustainability and Heritage” has been progressing exceedingly well with Henrik being fully embedded with the Restoration and Renewal Programme to lead the study of the original Victorian ventilation system and how it can be re-utilised in the context of the forthcoming refurbishment. Henrik is currently based at the Palace of Westminster four days a week, where he is fully involved with the design team, and regularly seen showing visitors and journalists round the hidden spaces. The refurbishment of the heritage townhouse in Dalby Square, Margate, in collaboration with Thanet District Council, has now been completed and Kent County Council are seeking the tenants. The three-generation family will be part of the innovative project, where extensive monitoring will take place, to evaluate the climate change adaptation strategies, focusing on overheating, thermal comfort and energy performance, while testing the concept of multigeneration living. The team was interviewed for the BBC news for the southeast last autumn. Our other flagship project, the EPSRC “Urban albedo computation in high latitude locations: an experimental approach” with Marialena Nikolopoulou, Giridharan Renganathan and Richard Watkins, aims to investigate experimentally the impact of urban fabric on urban albedo and develop an empirical model to predict changes in urban albedo. Alkis Kotopouleas, our post-doc researcher is busy building the experimental model of different areas (100x100m) of London, at a scale of 1:10! You can visit these in the next few 354

months at the northern part of the campus. Our staff and researchers also gave different presentations across the world, including keynotes from the launch of the First International Conference on Landscape Architecture and Microclimate at Tongji to the ECOBUILD in London, where Marialena discussed urban design and thermal comfort. And we cannot close this piece without highlighting some important conferences CASE co-organised; Marialena’s “Innovation for Sustainable Development” for the Royal Academy of Engineering Frontiers of Engineering for Development symposium in Oxford last September and Henrik’s convening of two important conferences. The International Conference of the Construction History Society, in Cambridge in April, with a focus on the history of building services and its relationship to the development of construction technology, and the forthcoming CIBSE ‘Historic building services in education, practice and research’ conference in July.

PROFESSOR MARIALENA NIKOLOPOULOU Director of CASE and Visiting Professor at Wageningen University

Dr Henrik Schoenefeldt as the Time Traveller, uncovering the secrets of the Palace of Westminster’s nineteenth century ventilation system, on the cover of the CIBSE journal 355

CREAte

CENTRE FOR RESEARCH IN EUROPEAN ARCHITECTURE

CREAte (Centre for Research in European Architecture) is the Kent School of Architecture humanities-based research centre. The members of the centre explore a wide range of topics related with the history, theory, and cultural context of European architecture and urbanism. During this academic year, members of the centre finalised and published papers in the following topics: - - - - - - - - -

The conservation issues of contemporary architecture, and the technical development of conservation projects Twentieth-century architecture in Germany and the UK Nineteenth-century architecture in Athens Byzantine architecture and its reception Tudor and Jacobean architecture Jewish sacred space Perspective and urban design Riverine architecture Projection mapping and the use of digital media to reconstruct and reinterpret historic sites.

Our research centre is an important research forum for the exchange of ideas in the field of European Architecture. Following on the tradition of our biennial conferences, in June 2018 the CREAte conference titled, ‘From Building to Continent: How Architecture makes Territories’ will take place in the heart of Canterbury. One of the main goals of this conference is to bring together architectural historians and geographers to discuss possible interdisciplinary methodologies. This conference is thus part of our wider efforts to interrogate traditional modes of practice in architectural history and theory. CREAte members are often invited to give lectures in other institutions. Research work carried out in the centre this year was presented in Dresden (event organised by the Technical University of Delft), the University of Oxford, the École Polytechnique Fédérale de Lausanne, the Insitut National de l’Histoire de l’Art in Paris, La Sapienza University of Rome and the National Technical University of Athens. Many of our research projects begin with grant applications. This academic year, Luciano Cardellicchio was awarded the Leverhulme Fellowship for the 356

project â&#x20AC;&#x153;Our Future Heritage: conservation issues of contemporary architecture in Romeâ&#x20AC;?. Research carried out in the centre has an impact outside Academia. Members of the centre have worked with professional bodies, amenity societies, and local authorities in the UK and abroad, providing design and conservation guidance and campaigning to protect buildings from demolition or alteration. The members of the centre enrich the research environment of Kent School of Architecture through the organisation of activities in Canterbury and its vicinity. This academic year we hosted a visit by Professor Martin Bressani, the head of the School of Architecture at McGill University in Montreal. This included CREAte-led seminars and talks.

DR. NIKOLAOS KARYDIS PROGRAMME DIRECTOR

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KASA

KENT ARCHITECTURAL STUDENT ASSOCIATION

The Kent Architectural Student Association (KASA) is a student run body which has grown alongside the school since its inaugural year in 2005. This year, KASA have focused on providing lectures and events that enrich the prescribed curriculum. This not only strengthens the feeling of community amongst architecture students but allows for individuals to get involved and have their say, making their mark on the school. Each year KASA aims to provide a series of lectures that draws speakers ranging from practising architects to research bodies and professional societies. These lectures provide a different insight into the field of architecture and helps to broaden studentsâ&#x20AC;&#x2122; knowledge and outlook. This year we were delighted to welcome talks from AVR London, HOK, SPAB, Gilles Retsin and Sheppard Robson. We received excellent feedback from all students that attended the lectures regarding the speakers and the information they presented. We would like to take this opportunity to thank all the guest lecturers for the 2017-18 academic year. The social calendar commenced with a quiz on the first day of term and numerous successful events followed through out the year. KASA concluded the academic year with a black tie summer ball at the Westgate Hall in Canterbury city centre. The event featured fine dining and a live jazz band, providing students the opportunity to celebrate the completion of an academic year at KSA with the rest of the school and staff. This yearâ&#x20AC;&#x2122;s catalogue design competition featured a number of high quality entries. Stage 3 students Larissa Braga and Elliott Ritchie were announced as the competition winners and have worked extremely hard to design and help produce both the show invitations and this catalogue. The End of Year Show has been the result of a fantastic team effort and on behalf of KASA we would like to thank all of those involved. Finance Officers: Josh Kirk & Matthew Greenwood Lecture Team: Sam Hope Events & Media Team: Francesca Hopkins, Allan Santiago Ossa, Timur Iablokov Support Team: Billy Wongkar, Franklin Forbes, Phuc Nguyen, Charlotte Clark, Roksana Wrywa, Aisyah Daniel, Alexandra Wijayanti, Aleksandra Nowak

Edward Sutcliff & Samuel Martin KASA Presidents 2017-18 358

FEBRUARY

PUB QUIZ KASA invites you to put your knowledge to the test at the Pub Quiz Social! Entry is £2 with a KASA wristband and £3 without. Maximum team of 5. Team names should be posted on the wall of the Facebook event or emailed to: sm2076@kent.ac.uk by Monday 12th. The quiz will start at 8:30 although you are welcome to come & socialise from 8. Mungo’s will be offering a food and drinks deal unitl 9; burger and beer for £5.

MUNGOS 20:00 SOCIAL 20:30 QUIZ START

PRIZES -WINNER -BEST TEAM NAME HALF TIME GAME WITH CASH PRIZE!

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ACKNOWLEDGEMENTS Academic Staff Professor Don Gray; Head of School Professor Gerald Adler; Deputy Head of School, GTA Academic Contact, Programme Director: MA Architecture & Urban Design

Professor Marialena Nikolopolou; Director of Research, Director of CASE Research Centre, Programme Director: MSc Sustainable Architecture & Environment, Professor of Sustainable Architecture Dr Giridharan Renganathan; Lecturer

Keith Bothwell; Programme Director: BA (Hons) Architecture, Director of Education, Senior Lecturer

Michael Richards; Programme Director: MArch, MArch Unit Leader & Design Tutor, Senior Lecturer

Dr Timothy Brittain-Catlin; Reader in Architecture

Dr Henrik Schoenefeldt; Lecturer of Sustainable Architecture

Dr Luciano Cardellicchio; Lecturer, KASA Liaison, Library Liason, BA Technology Coordinator, Chief Examiner

Jef Smith; Lecturer

Professor Gordana Fontana-Giusti; Humanities Associate Dean (Graduate Studies), Professor of Architecture and Urban Regeneration

Chloe Street Tarbatt; Stage 3 Coordinator, Lecturer, e-Learning Champion Dr Richard Watkins; Lecturer, Senior Tutor

Chris Gardner; Stage One Coordinator, Lecturer

Associate & Assistant Lecturers

Howard Griffin; Programme Director: MA Architectural Visualisation, Lecturer

Bahar Badiee; Design Tutor

Dr Manolo Guerci; Director of Graduate Studies, Senior Lecturer Dr David Haney; Director of CREAte Research Centre, Senior Lecturer Rebecca Hobbs; EDI and Outreach Project Lead, Equal Opportunities Representative, Lecturer and Design Tutor, Stage Two Coordinator

Felicity Atekpe; Design Tutor Samuel Causer; Design Tutor Diana Cochrane; MArch Unit Leader & Design Tutor Patrick Crouch; Design Tutor Jasmine Davey; Design Tutor Andrew de Carteret; Design Tutor

Dr Tim Ireland; Director of Digital Architecture, Senior Lecturer

Ashvin de Vos; Design Tutor

Dr Nikolaos Karydis; Programme Director: MSc Architectural Conservation, Chair of Humanities Faculty Ethics Committee, Lecturer

Ben Godber; Technology & Environment Tutor

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Charles Drozynski; Design Tutor

Kevin Haley; Design Tutor Michael Holmes Coats; MArch Unit Leader & Design Tutor

Matthew Woodthorpe; MArch Unit Leader & Design Tutor

Benjamin Wood; Design Tutor

Professional Administration

Yorgos Loizos; Design Tutor

Stuart Flower; Finance Officer

Michael Luszczak; Design Tutor

Joanna Green; Administration Assistant

Charles Hope; Design Tutor Maria Araya-Pereira; Design Tutor

Sharmini Mahendrasingam; Recruitment Communications & Outreach Coordinator, Student Success (EDI) Project Officer

Tim Carlye; Design Tutor

Ben Martin; Student Experience Manager

Francesco Incelli; Design Tutor

Ellie Mascall; Recruitment, Admissions and Marketing Manager

John Letherland; Design Tutor

Lee Jesson; Design Tutor Bernardo Lorpes; Design Tutor

Rianne Dubois; Postgraduate Coordinator

Patrick Oâ&#x20AC;&#x2122;Keefe; Design Tutor

Natalie Conetta; School Administration Manager

Tony Swannell; Design Tutor

Charlotte Malkin; Administration Officer

Leonidas Tsichritzis; Design Tutor

Ellie Hayes; Administration Assistant

Emmanouil Zaraoukas; Design Tutor

Technical Team

Nathaniel Seall; Design Tutor Martin McKay; Design Tutor David Moore; Design Tutor Giovanni Piga; Design Tutor Alan Powers; Design Tutor Fiona Raley; Design Tutor Henry Sparks; Design Tutor

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

Peter Wislocki; Design Tutor 361

CREDITS

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catalogue team

exhibition coordinators

Larissa Braga and Elliott Ritchie; Catalogue Design Competition Winners

Kayleigh Buttigieg

Mandy Roberts

Samuel Martin

Edward Sutcliff

Alex Bean

m.arch unit coordinators

Jessica Ryder Melissa Kendall Ciara Boyle

Chris Longman; Unit 1

Holly Cooper

Ciara Boyle; Unit 2

Farah El-Hakim

Kerem Sivri & Maham Neha Ansari; Unit 3

Timothy Lince

Charlotte Middleton; Unit 4

Orhan Unlu

Stephanie Elward & Rob Norman; Unit 5

Maham Neha Ansari Natalie French

signage & media

Mandy Roberts

Larissa Braga

Charlotte Middleton

Elliott Richie

Timur Iablokov

Tim Lince

Rachel Tessa Dodds

Charlie Whittington 363

NOTES

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

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