Kent School of Architecture and Planning - End of Year Show 2022 Catalogue by University of Kent

We would like to thank our sponsors for all their support in making our ‘UV VU 2022’ KASA catalogue possible. To see more student work head over to our online kentunion.co.uk/activities/KASAkasa_ukcwww.kentarchshow.onlineexhbition:Follow our student events and lecture programmes:

Our 2022 ‘UV VU 22’ Sponsors A big thank you from KASA, to all our sponsors. Their generous sponsorship has ensured the quality and scale of this year show has exceeded our expectations.

We are an award-winning architectural practice with 11 design studios nationwide and ranked at number 24 in the prestigious AJ100.

We design spaces with that elusive ‘must-have’ quality – translating requirements, constraints and opportunities into places that are more than the sum of their parts. Using our insight-led approach and drawing on experience from our 200+ strong team, we help invigorate communities, excite stakeholders and maximise long-term value.

‘UVCONTENTSVU22’KSAPCATALOGUE(2021/22)KENTSCHOOLOFARCHITECTURE&PLANNING

01 - INTRODUCTION 03 - AWARDS 21/22 05 - STUDENT RESEARCH 02 - MArch 21/22 04 - BA (Hons) 21/22 06- POSTGRADUATE KSAP BAMArchDissertationShortlistForewordNomineesForewordForeword MA ArchitectureMScVisualisationArchitecturalBioDigital BA Interior and Spatial Design PG Dip OutreachEnvironment&MSc&MAPhDConservationMScPracticeArchitecturalArchitecture&inArchitectureUrbanPlanningResilienceArchitectureSustainableUnit 3 Net Zero 2022 BA Graphic Design Stage MArch2Pedagogy CREate KASA Foreword Unit 1 Unit Stage5 Artefact3 CASE Unit Stage4 1 AcknowledgementsDARC236112108816 268252 230226 28226427227625827824821010446 286242114842410 28421668 294292 07 - RESEARCH & COMMUNITY

01INTRODUCTION

PROFESSOR GERALD ADLER HEAD OF KSAPFOREWORDSCHOOL

We8 are at last coming out of Covid. We began the academic year at the start of autumn term back in our studios, and had fully returned, in terms of lectures and seminars, by January. Things weren’t quite as before, though. There were still a number of students and staff isolating, and studio culture still hadn’t really taken off. This was particularly noticeable in lower years – unsurprising, given the ‘bubbles’ that students in Stages One and Two had been in for the previous eighteen months. Our aim is now to recover the studio culture, and one way this will happen is to plan for our increased and improved studio space. The ground floor of the Marlowe Building, the suite of rooms previously occupied by the Deans in our superceded Faculty structure, will be opened up over the summer and turned into flexible studio spaces. We will have flexible spaces that will integrate the hybrid kinds of teaching settings that a design school requires. This will be phased so that our existing BA spaces upstairs – studios A and B, as well as the Digital Crit Space, receive a similar overhaul. The academic year 2022/23 (for those students continuing) should feel different – an expanding, more welcoming School.

The answer was resoundingly given in the results of the current REF (Research Excellence Framework) – the body that scrutinises what we researchers get up to, and takes place every six or seven years. We produce world-class research, work that influences architectural scholarship and practice around the world. We were placed in 6th position overall in the UK (that’s equal to the Bartlett, renowned for being a global powerhouse of architectural research) and 3rd for the quality of our outputs (ie our books, articles and other writings).

This year we welcomed Kate McLean and Jerome Tsui to KSAP as Programme Directors for Graphic Design and Spatial & Interior Design programmes respectively, and we said goodbye to Tim Ireland and Peter Buš, and are soon to part with Georgios Athanasopoulos, John Letherland and Alan Powers to whom we send our very best wishes as they pursue new projects.

I end this foreword with some very important news for the School. What do we lecturers and tutors do when we are not teaching you?

This year really has been fantastic for KSAP – indeed, we really will have to change our name (yet again!) in order to encompass our two new BA programmes in Graphic Design and Spatial & Interior Design. We look forward to our second intake this September. The year just ended has seen KSAP getting its RIBA Part 3 validation which, together with the imminent submission to the Royal Town Planning Institute (RTPI) for our Planning programme puts us in prime position to proceed with our Apprenticeship programmes in both Architecture and Planning.

But this is something the whole School community can be proud of, as an important aspect the REF measures is ‘research environment’. This is the way in which administrators, technicians and all academic colleagues (including Practitioners in the studio for one or two days a week and PhD students) nurture our School, making it receptive for world-class research to take place. The fact is, this world-class research feeds back into our teaching and your education - in the studio, seminar room and lecture theatre. I hope that you, too, will feel proud and ‘own’ this achievement of ours.

HEAD OF SCHOOL PROFESSOR GERALD ADLER

Firstly,10 we would like to congratulate every KSAP student for everything they have achieved this year, despite the huge adversities they have all faced as we’ve got used to life post-lockdown. Whilst this adjustment has effected us all, the work in this catalogue is a testa ment to your talents and perseverance. This was KASA’s first year being an official member of the Kent Union. So we relished being able to welcome new architects, planners, graph ic designers and interior designers at our first freshers fair. In addition to the opportunities ‘opening up’ gave us to host many great events, our social channels went from strength to strength. We would like to thank our fantastic social media co-ordinator team: Zach McCarthy, Omar Malik & Hui Wen Tan. Their fantastic content curation, promot ing and showcasing diversity and inclusivity across the architectural profession, has been a regular inspiration to many with their weekly Ourposts.regular social content was also accompanied by our most diverse BY 20/21 KASA CO-PRESIDENTS FROM THE KASAFOREWORDSTUDENTS

lecture series yet. The series was incredibly enjoyable and informa tive, and we must thank Rob Ashworth for taking the time to organise and host each one. We still have a long way to go in terms of making the Tuesday evening lecture a mainstay in everyone’s weekly diary. But nonetheless, the quality and diversity of the guest lecturers that we got to listen to was a testament to Rob.

2022 also marked the return of the KASA Summer Ball! After three long years we were finally able to host this institutional event. To mark the occasion we moved from our usual venue, to the beautiful Can terbury Cathedral Lodge. The night was a huge success with guests across every stage. We were even lucky enough to be able to invite back some previous graduates who missed out during lockdown. So we were really pleased to be able to kick start this tradition once again, with students past and present! We would like to thank Sarah Gardner, Erica Beale and Katie Bunyan for all their help in making this night possible. Also an extra special thank you to Charlotte Cane for going above and beyond aiding with the planning of this memorable Weevening.cannot end this entry to the 2022 catalogue without acknowledg ing the changing terrain of KSAP and KASA. The welcome addition of the schools fantastic graphic design & interior design programmes this year has enriched the diversity of talent and expertise of the schools. Thus ensuring its future as a pluralist and inspiring school of design. We therefore felt that ‘KASA’ in its current form could no longer effectively represent the diversifying student body of KSAP. So come September, we welcome our Head of School’s initiative in the creation of a fresh committee. One named and created to reflect the new pluralist future of design at Kent.

Given the opportunity we had this year to more confidently use the Marlowe to its full potential. We were able to create a new role to co-ordinate the exhibition of student work during the year in the CREate cafe gallery as well as on our social channels. Chris Caballero has been brilliant at investigating and sourcing excellent student work throughout the year and has given us all opportunities to see inspiring work from fellow students outside our own studios.

12 We are incredibly grateful to our wonderful committee for all of the hard work they put into celebrating all of the accomplishments of KSAP. We have been truly shown that constraints are not barriers, merely new challenges, the overcoming of which has resulted in some truly special end of year festivities! We would also like to extend our thanks to our fantastic sponsors, without whom, none of this would be possible! From all of us at KASA, we hope you enjoy looking through the Outgoingcatalogue!KASA Committee: Vice President: Sarah Gardner Treasurer: Charlotte Cane Create Exhibition Co-ordinator: Chris Caballero Lecture Co-ordinator: Robert Ashworth Events Committee: Erica Beale & Katie Bunyan POC Co-ordinator: Omar Malik Femme Co-ordinator: Hui Wen Tan LGBTQ+ Co-ordinator: Zach McCarthy Ent & Events: Solenn Maillard 21/22 Co-Presidents: Robert Keen & Mark Thomson 21/22 KASA CO-PRESIDENTS ROBERT KEEN & MARK THOMSON

13 KASA Summer Ball 2022 photos

MArch 0221/22

16MICHAEL HOLMS COATS

UNIT HITCHIKERS3GUIDE TO THE GALAXY

For 2021_22 these extended to two Kent-based themes, with Unit 1 engaged in a bottom-up urban regeneration, live-project, in partnership with Historic England, and Medway council in Chatham Intra; whilst Unit 5 set its Republic of Communality propositions in the working harbour town of Whitstable, popular with day-trippers, down-from-London, and its wider environs. Elsewhere Units 3 and Unit 4 looked to our capital city. Unit 3 developed an interest in the line of London’s Roman and Medieval city wall as a reference for a wider consideration of ‘Values’, and Unit 4 turned its attention to Hackney Wick, and in particular Fish Island, on the borders of the Stratford Olympic Park, post-Olympics now enduring the growing pains of gentrification.

Students are free to develop their own individual briefs for their ‘thesis’ design projects, across a diversity of sites, within an area of geographical focus that relates to the umbrella theoretical interests of each Unit.

TheMArchMArchkeypedagogicaldifferencethatdistinguishes

MASTER OF FOREWORDARCHITECTURE

ARB/RIBA PART 2 & LAM, BoASg acred.

the MArch from our own BA(Hons) Architecture undergraduate degree, is that we teach design (and integrated technology) through a series of parallel, ‘vertical’ teaching groups called ‘Units’ which mix Stage 4 and 5 students in the same group. Each of our four Units for 2021_22 has its own theoretical and pedagogical position, and a dedicated design, and technology teaching team, and, following published Unit Synopses and a ballot at the beginning of the academic year, fundamentally allows our MArch students a critical choice in their professional post-graduate architectural education. To create choice, and to offer continuing students something fresh, Units re-focus their evolving interests annually, and the diversity of our students’ recent national achievements reflects this.

cursus non elit sed, ultrices dapibus est. Vestibulum vel vestibulum arcu. Proin dui justo, fermentum ut congue at, gravida a massa. In sit amet cursus orci. In mollis erat nunc, nec placerat lacus varius vel. Donec quis mi vel velit egestas ultrices. Ut vitae mi dictum, commodo elit non, tincidunt erat. Donec pharetra ipsum ac ornare aliquam. Nunc porta neque vel convallis scelerisque. Duis ut nulla cursus, eleifend felis a, molestie nunc. Aliquam in mauris non nulla eleifend venenatis nec id ante. In elementum molestie lorem, et elementum lorem efficitur et. Aliquam quis velit id dui facilisis eleifend in quis ipsum. Nunc lobortis magna faucibus mauris lacinia, ac placerat nibh imperdiet. Praesent vehicula mauris a sapien sodales vulputate. Praesent pharetra porta augue, at aliquet quam tempor ut. In iaculis velit eget congue tristique. Pellentesque porta vitae libero in egestas. Vestibulum id lorem magna. Pellentesque maximus odio vel euismod consequat. Pellentesque habitant morbi tristique senectus et netus et malesuada fames ac turpis egestas. Cras eu risus non dui luctus consectetur sed eget tortor. Curabitur vestibulum tortor a tincidunt bibendum. Aliquam rhoncus dui ut purus dapibus rutrum. Etiam in urna eget enim euismod viverra. Maecenas in odio quis justo efficitur cursus ut in orci. Etiam eros sapien, elementum a magna varius, viverra tincidunt leo. Integer et lacus efficitur, ultrices nibh quis, imperdiet ipsum. Mauris maximus risus in malesuada eleifend. Suspendisse non semper elit.

This year our studio enjoyed a fresh diversity of teaching talent, to better address our gender-balance, with five female tutors joining team, across both design and technology teaching. We welcomed both new and returning colleagues, Clare Bowman, Alessia Mosci, Chloe StreetTarbatt, and Faye Tamsett; together with Stephanie Elward, our own MArch alumna and 2018 RIBA President’s Silver Medal Nominee.

Chloe StreetTarbatt joined Unit 1 as Co-Leader, bringing a continuing regional, but now, decidedly live-project focus to the year. Last year’s 4 Leader, Matthew Woodthorpe migrated to the role of Tech_5 tutor, to give more time to practice, with his teaching partner, Yorgos Loizos assuming leadership with Alessia Mosci. Unit 5 Leader, Tim Ireland, took a step back, to generously engineer a way to combine teaching and a research sabbatical, with Chris Jones assuming leadership.

Our emergence from the pandemic through this past academic year saw design studio teaching continue as the stalwart, face-to-face, teaching experience of the University’s charter of a ‘blended learning experience’ during Covid Formally re-joined, from the beginning of the Spring term, by our other lecture-based module, Technology_4 (Giridharan Renganathan & Lawrence Friesen). Those in the Autumn Term were online – Cultural Context (Ambrose Gillick), Employability (Peter Wislocki), and the MArch ‘Options’ Modules: Architectural Pedagogy (Chloe StreetTarbatt), Artefact, & Dissertation (Silvio Caputo & many dedicated Advisors). The reestablishment of fulltime face-to-face education, and the steady cessation of blended learning, has seen the nascent regrowth of a tangible studio-culture whilst pandemic best-practice (TEAMS) has enabled students to benefit from targeted technology tutorials from specialists it wouldn’t be otherwise practical or possible to parachute in. Two Units undertook study trips in the autumn term - to Bristol and Bath, and Liverpool and Chester - not international, but in the process of purchasing of travel and accommodation, there emerged the most welcome surprise, of the principle of some financial support, by the Division for Arts and Humanities for which we were most grateful. You can read more about the adventures of our Design Units in the pages that follow, and more about our MArch ‘Options Modules’ that also distinguish our Programme elsewhere in this Catalogue.

POSITIONNAME17

UNIT HITCHIKERS3GUIDE TO THE GALAXY

18MICHAEL HOLMS COATS

Lorem ipsum dolor sit amet, consectetur adipiscing elit. Ut mattis rutrum venenatis. Sed ultricies malesuada ultrices. Aliquam volutpat tempus cursus. Pellentesque et leo ante. Class aptent taciti sociosqu ad litora torquent per conubia nostra, per inceptos himenaeos. Nullam vulputate, sapien et condimentum congue, ex felis volutpat ex, sit amet porttitor arcu dui non velit. Vestibulum commodo felis tempus, pretium sapien ut, eleifend justo. Donec commodo laoreet quam sit amet commodo. Nunc id urna lacus. In eleifend accumsan imperdiet. Phasellus posuere nisl ut ex tincidunt imperdiet. Nullam ut leo ac ligula consequat convallis. Donec tellus metus, imperdiet eget semper id, fermentum sit amet massa. Mauris dignissim lorem vel odio rhoncus tempus. Cras nec laoreet ex. Ut finibus mauris vitae tellus rutrum tincidunt. Vestibulum tellus arcu, commodo non venenatis a, hendrerit quis ipsum. Phasellus dignissim nisi nec gravida convallis. Aenean a turpis nisl. Vivamus fermentum malesuada scelerisque. Vivamus nibh ligula, confident they have demonstrated the capacity to navigate adversity, look forward to shepherding what will be a small group of finalists, for 2023, as they progress from Stage 4 to 5; and look forward to new blood joining the programme in the Autumn of 2022. At the end of this academic year, we say ‘goodbye’ to Tim Ireland who established Unit 5 in its recent form, with an interest in bio-digital architecture, as he departs the University. We will all miss him, as I will, as my office roommate of some four years. Now everyone will have their suspicions confirmed about whose mess it is. I’d also like to thank Stage 4 Technology_4 Module Convenor, Giridharan Renganathan, who is also KSAP’s Chief Examiner. Giri stewarded the MArch Programme through the extraordinarily early visit of our External Examiners, a voluntary initiative, which, inturn, has enabled our students to enjoy an enhanced amount of time to design, curate, and create the 2022 End of Year Show, to which this Catalogue is a companion. Giri managed all of this whilst on medical leave, and we all wish him well in his recovery. I hope you enjoy the show.

WeMArchMARCHPROGRAMMEDIRECTORMICHAELRICHARDSwishtheClassof2022well,astheygraduate,

POSITIONNAME19

STAGE 5

STAGE 4

Chatham Intra is a bit like a safety pin. It holds the historic city-towns of Rochester and Chatham together, pinned tight against the outside of an acute bend in Kent’s greatest river – the River Medway. A rich collision of circulation, geography, and trade, catalysed by the inherent velocity of ‘being on the way to somewhere’ has created a fascinating urban spatial condition. Now surprisingly forlorn, Intra exists as a nonplace; and like Chaucer’s Canterbury Tales, itself a ‘Framed-Tale’ of nar ratives-within- narratives, set between the poles-apart demographics of pedestrianised central Chatham and Rochester High streets. Intra now needs some careful thought and consideration, combined with a spark of imagination, to make sense of the myriad heritage-legacy opportuni ties, and offer a guidebook for its future. Our role has been to provide an alternative ‘academic lens’ for under standing Chatham Intra and its environs, considering how progressive

24MICHAEL HOLMS COATS

ThisMArchyearUnit1hascollaboratedwithrealstakeholders on a live project, working in liaison with Medway Council on a Historic England funded ‘Heritage High Street Action Zone’ project to regenerate Chatham Intra High Street in Medway, with HTA Design consultants appointed to pre pare a ‘Significance Led Development Framework’. Through this liaison, students of Unit 1 have worked in parallel with this professional team on the development of proposals that will inform Medway’s future policy for the locality; operating as ‘visionary radical innovators’ through con tributing to future planning guidance for a critical part of our region as part of a wider endeavour that will help guide regeneration nationally.

MICHAEL RICHARDS & CHLOE STREET TARBATT CHATHAM INTRA: A FRAMED TALE UNIT MArch1

UNIT HITCHIKERS3GUIDE TO THE GALAXY

Our autumn term was structured through a series of mini-projects, uti lising the ‘concept-test’ method whereby students oscillated between group research tasks and individual design proposals, each consider ing the site and locality at different respective scales. We began with a short introductory haptic, craft-based project, followed by a taxonomy found objects and interrogative mapping of the flows and dynamics of the spatial use and occupation, culminating in the development of in dividual masterplan proposals that illustrated specific impact in place/ space and over time.

POSITIONNAME25

During spring term we asked students to consider Intra High Street and its context; historically, physically, environmentally, economically, demographically and ethically, in order to devise their own ‘social pro gramme’ that had the capacity to cultivate an architectural narrative about the urban context. They were tasked with identifying a specific chunk or slice of Intra on which to develop a design that would combine retrofit and new-build, operating at the scale of the building, the High Street and the wider context. We used Richard Sennett’s book “Building and Dwelling: Ethics for the City” to approach the question of how we might live in the future city, considering the various ways buildings and programmes might evolve over time. Our parallel film series included a blend of regionally historically significant films about dis-continuity, context, post-modern(ism), superposition, politics, surveillance, and plan-section glides through urban dystopia, supporting our ongoing dia logue about urbanism and the human condition.

‘best practice’ could be applied within this complex urban setting. Unit 1 believes the past is never far behind us, and that understanding it is essential to designing the most compelling architecture for the future. Unit themes this year included; reinventing the High Street (post-pan demic / post-internet shopping); progressive and radical approaches to sustainability; reuse and rejuvenation of historic fabric; social justice, community voice, inclusivity and grassroots frameworks; multi-genera tional health and wellbeing; phenomenology, psycho-geography, liminal spaces and spatial affordance. We journeyed to Bristol to experience another complex estuarine conurbation and are grateful to the Division for part-funding this research-led field trip.

•

A new recycling centre celebrating and exhibiting repurposed commodities based on the Japanese practice of Ikigai.

•

StageSTUDENTS5-Charlotte

•

A community brewery to support local producers, focusing on alternative wayfinding and synesthetic design.

•

UNIT MichaelLEADERSRichards & Chloe Street-Tarbatt

Cane, Joshua Cordrey, Filip Ferkovic, George James, Molly Myers, Christopher Mahoney, Michelle Etiebet, Billy Swindell, YulinStageYan.4 -Raimonds Baukerts, Harry Casserly, Donna-Marie Doherty, Alexander Grice, Amy (Hei) Wong.

26MICHAEL HOLMS COATS

UNIT HITCHIKERS3GUIDE TO THE GALAXY

A child-friendly masterplan of popup cross-generational ‘play’ areas, supporting mental and physical wellbeing.

A community living proposal, binding existing and new residents through creative endeavour, and lush green/blue landscapes.

A spiritual but non-denominational refuge for mind, body and soul.

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A ‘Ministry of Food’ considering the theatrical nature of food consumption and production. An expanded ‘Intra Arts’ investigating the functional and poetic qualities of light and water.

•ThisMArchyear’sfinalprojectsincluded:Afloodresilientmasterplanwithanatural spa focusing on spatial and experiential ‘mental health’ prescriptions.

A tea dance emporium that celebrates visual and social permeability.

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An archive for heritage facades within a larger masterplan that reinvents Chatham Intra as a ‘living museum’.

A bold new transport proposal for Chatham Intra alongside a new urban quarter sheltered beneath a superstructure ‘shell’.

Lian

TECHNICAL TUTORS Faye

GUEST LECTURER John UnitEDITORLetherlandRESEARCHER1‘Intra-Mediate’Publication: Khaled

UNIT LEADERS

Duncan Berntsen (Medway Council), Oliver Rock (HTA Design).

MICHAEL RICHARDS & CHLOE STREET TARBATT

SPECIAL THANKS

POSITIONNAME27

GUEST CRITICS

Philip Baston, Clare Bowman, Brian Constant, Stephanie Elward, Ambrose Gillick, Michael Holms-Coats, Tim Ireland, Lee Jesson, Chris Jones, Yorgos Loizos, Alessia Mosci, Henrik Schoenefeldt, Oliver Watson, Matthew Woodthorpe. Tamsett (principal), Ben Godber (structures) Sedki. TO Camila Araujo, Jane Briginshaw, Alice Brockway, Kayleigh Buttigieg, Harter, Mark Hosea, Sheila Featherstone, Robert Flood, David Powell, Anjuli Strange, Emma Wilcox, the Members of Medway Council, and the residents of Chatham Intra.

PRIMARY GUEST CRITICS

28 The Chapel of Broken Things // Permeable wall //

29 Charlotte Cane, Stage 5 The Chapel of Broken Things // The centre stores and catalogues broken and discarded household items which would have otherwise been flytipped or sent to landfill. Workshop spaces allow people to create ‘new’ composite furniture pieces collaging old household items together. The architecture reflects this circular economy concept by using demolished building materials from Chatham Intra. The design also reinstates an original Wesleyan chapel that sits at the back of the site. High Street Elevation // First floor plan //

New Immersion Therapy within the heart of the old Brewery Perforated Light shines onto the basement floatation Pool

View from the Medway Reflection Pool in Front of the new Facade

Josh Cordrey, Stage 5 Intra Wellbeing centre sympathetically reconnects the high street and riverside through the adaptive reuse of the former Lion Brewery in Chatham Intra. Offering a new riverside walkway and public silt bathing centre salutogenic design is at the forefront of the proposal. The aim is to tackle all areas of mental health through a design code, using the idea of ‘red state, blue state’ which suggests water is the cure for better wellbeing and stability.

unique programmes

The Intra Retreat with catering to the mind, body and

soul

is a series of five buildings, each

Michelle Etiebet, Stage 5

Initially intrigued by St Bartholomew’s Chapel and the History of Refuge it provided, The Narrative of the Chapel as a place for refuge guided my Final Year Thesis, The Intra Retreat. In Chatham, the closure of the Naval Dockyard resulted in a lot of people losing their security which is what a lot of us try to secure in our daily grind which is the Rat Race. My proposal deals with a conscious goal of bringing us back to what is important, the care of Body, Mind and Soul.

Taking inspiration from Religious Architecture, the Chalkboard offers cues allowing users to draw and write about “their“ Intra.

35 Filip Ferkovic, Stage 5

Chatham Intra has longed for a new purpose following the closure of the Royal Navy Dockyard. This project is a watercolour gallery, studio and papermaking facility that connects to the existing INTRA community arts facilities. This facility uses the river water a source of energy as well as a resource for paper-making and the production of watercolour paintings. The building is raised as a flood prevention technique. Meanwhile, several water collection methods add to the reservoir sitting below.

36 West Elevation Site Plan Concept Maquette Perspective view from Street

37 George James, Stage 5 Plans //GF// FF //SF Long Interiorsectionview Concept Maquette Interior View

The proposal is a headquarters and archive for a fictional organisation whose role is to prevent projects which use a retained facade, instead transporting the facade to the site where it is recorded, exhibited and treated in a more dignified manner than becoming an example of facadism. The project engages with the contemporary nature of intra by acting as a museum, developing public interest in the necessity of low carbon design and architectural heritage. The process of the building also incorporates a public exhibition of a facade as a temporary installation on the high street, this aims to have people engage with the beauty of the built environment and to drive people to interact with the site to better understand why the face of the high street changes.

38 Olfactory Masterplan for Chatham Intra - Prompting Memory Recall to Allow for Informal, Bottom Up Development Project Narrative Social Program Brief & Values Program of Accommodation External Render - Creating a Theatrical Draw Manipulated Arch-form - Removing Column & Introducing Cantilever Support S w e e t & R i c h W o o d y & E a r t h y Herb a l & S p i c e d Malty & W h e a t y Fruity Zo n e Malt Dry i n g W a r e h ouse Hop F e s t i v al Br e w e r s P ub River s i d e B o a rd walk Sensory S p r i n g G a rden Community S p i c e Allotments Pac k a g i n g P l ant 12Degr e e s H o s t B rewery H o p K i l n s

West Elevation

Christopher Mahoney, Stage 5

Playful

Victorian Back

Carbon Offset

Realm

Adaptive Reuse Schemes Opposed

House Design Opportunity

Known ConventionsShowcasing Existing Wall

Counter Weights Adjacent

Cookie Cutter Approaches Section

Gallery Space

East Elevation

Bought Internally Ceremonial

Cleansed in Light

An olfactory masterplan centred around beer production. A process with a rich bouquet of scents can develop a wayfinding strategy and framework that utilises the prompting of memory recall for bottom up development through intuitive, unobtrusive, associations. A host brewery promoting independence of micro breweries derives from this, investigating the sensory distortion associated with alcohol consumption. The manipulation of inherited structural systems and conventions, creating temporal distortions through light exposure and questioning the boundaries between environments distils the thesis whilst maintaining a narrative driven approach to design. with Immersive Vistas and External Systems Procession Casks Through Manipulated Structure - Public Realm - Indicating a Response for to Through Brewhouse Highlighting the Potential for Strategies - Workers - Referencing of for Manipulating with Exposed

40 1. Star Hill Junction Narrowed 2. Zebra Crossings along New Road 3. Quinn Estate’s Bardell Wharf 4. Co-Housing & Allotment Gardens 5. Tram Station & Civic Space 6. Civic Arches 7. Intra Viewing Tower 8. Tea Dance Emporium 9. Housing (frontage infill) 10. Mixed Use Development 11. Riverside Walk 12. Outdoor Seated Event Space 13. River Boat Dock 14. Intra Cycle Hub 15. Landscaped Area 16. Food Market Tea Dance Emporium Aerial View Visual Permeability - framed Views of Rochester Castle & Cathedral and Chatham Historic DockyardRoof Structure Construction Approach to the Tea Dance Emporium through the Railway Masterplan Paul & TahminaJanice&AsifRichardCallumDoddsFamilyBerylChloeFola

41 Molly Myers, Stage 5

Tea Dance Hall (1:20 Physical Model) Solar Shade (Random) Raised Platforms (Views of Intra’s Architecture) Solar Shade (Closed) Solar Shade (Open) Smith BrendaAnnieAidanFamily&Geoff

The Tea Dance Emporium encourages social permeability amongst the community to address loneliness. The Chatham Intra Tales, inspired by Chaucer’s Canterbury Tales, informed the proposals through the characters’ stories. Tea Dances are hosted for all generations whilst other interests are supported – florist, gardening, book clubs, film nights, yoga, community groups etc. The railway acted as a divide along the high street but now physical permeability through the arches re-establishes the two sections.

Billy Swindell, Stage 5 Master Bakers: Imagined as a linear stage set receding from Intra highstreet to the river Medway, the Bakehouse specialises in artisan sourdough and viennoiserie. A series of mechanised devices, each with their own specific characteristics, add to the theatre of production and consumption in a carefully choreographed service. Central to the scheme, the bakery and community ovens provide a new central hub. The aroma of freshly baked bread is collected and distilled in a giant canvas bag, and injected into the high street via perfume bulbs at daily intervals, enticing passers-by.

Raimonds Baukerts, Stage 4

Intra_PLAY is a new leisure centre on Chatham Intra, utilising the structural frame of Anchorage House to support accommodation to support the mental and physical health of the local community. The project adopts the idea of Ikigai, the japanese concept translating to “a purpose to live”. The boxes are suspended in the frame, providing opportunities for engaging and meaningful activities while being transparent to people passing by along the flaneur path through the structure, which is wrapped in a polycarbonate cladding.

45 pg29 THE PROPOSED NEW WATERFRONT Axonometric view 01 PROPOSED MASTERPLAN FOR CHATHAM INTRA Pedestrianising the highstreet and creating a new waterfront creative quarter

UNIT HITCHIKERS3GUIDE TO THE GALAXY

In early works, students dissected historical architectural systems, from the Vitruvian triad through Modernism’s utopian project to the acknowledged uncertainties and inconsistencies of life ‘after ideology’. Following initial value examinations and architectural case studies, and a study trip to Liverpool, work moved swiftly on to individual ‘value designs’ on sites in Canterbury - on, over or around the city’s historic wall. This was a stepping stone to the ‘Wealth of Here and Now’ final project across seven locations at, on or near the old Roman Wall of the City of London, the capital’s historic core and financial district.

UnitMArchMArchMICHAELHOLMSCOATSUNIT33aimsatresearchthroughdesignandis guided by drawing and making to critique modes of thinking and broaden the architectural ‘toolkit’ of each student. The unit has taken on the challenge of examining neglected aspects of architecture that deserve proper attention. This year students have been working on ‘values’ in architecture, by examining in what ways a broad range of ethical, social and spatial values and value systems impinge on architectural design and how judgments about what something it worth combine and relate to each other in the specifics of architectural design.

46MICHAEL HOLMS COATS

‘What is a cynic? A man who knows the price of everything, and the value of nothing.’ - Oscar Wilde, Lady Windermere’s Fan – 1892

Facing the significant challenges of changing work and trade patterns, the social impact of vulnerable global systems and climate change, students have uncovered in their projects complex and diverse ways

46VALUE(S)

POSITIONNAME47

beside a ruined part of the ancient wall a new work hub adapts itself to the requirements of a looser working day, a film conservation and restoration facility manipulates and exaggerates the character of complex routes and levels and a theatre sequence creates surprise out of the ruins of the wall that erupt into its public and performances spaces. On the riverside an experiential rampway leads from the riverbank to a forum for conversation, hovering over the Thames; and an artbook workshop tucked in close to endless office blocks stands like a sentinel declaring diversity over the repetition of the office working day. Near or outside the wall, routes and volumes create public intimacy for a new artists’ workshop and gallery culled from the existing fabric of a tower and a plinth, currently scheduled for demolition; a redundant access ramp is transformed to serve a prime meat market and restaurant, embedding threatened work and identity into the urban fabric; and a recuperation and recovery therapy unit sets a very different paradigm for ‘restoration’.

& CRITICS

Clare Bowman, Faye Tamsett, Ambrose Gillick, Tim Ireland, Chris Jones, Yorgos Loizos, Alessia Mosci, Michael Richards, Henrik Schoenefeldt, Chloe Street Tarbatt, Matthew Woodthorpe. COATS

GUEST

‘Value is the regard that something is held to deserve: its importance, its worth, its usefulness.’- Mark Carney, former Governor of the Bank of England MichaelTUTORS Holms Coats and Lee Jesson. With technical tutors Oliver Watson and Mervyn Rodrigues (Rodrigues Associates). LECTURERS

UNIT LEADER

47 MICHAEL HOLMS

48 Work V Sectional Perspective Work V SectionalWorkPerspectiveVRendersWork V Exploded Construction Axonometric

During the first semester, the theme for my work was the value of “Time”. In Work III, I explored the idea of “Time” being the main architect of a building, as a learning building that develops and changes over time. During the second semester, the theme for my work was the value of “Adaptation”. In Work V, I created a building system inspired by the work of Walter Segal, with a frame that allows the plan to have a flexible shape and is not demanded by a structure.

Work III Elevation Work III Physical Model Work III Composite Drawing

49 M Luciana Gagliardi, Stage 5

The value in diversity and exchange comes from creating the perfect balance between the universal and individual. In a world where we urgently need to rethink the role of the individual in a universal capitalist society The Wallbrook Artbook Making Centre and display follies encourage the expression of individualism through art production and creativity. Additionally universal design elements are considered in an individual way. For example, the controlled ageing of the universal material, copper, ages individually throughout the design.

Stage 5

Bana Amjad Haddadin,

52 Principal Section. Theatre Exploded Axo. Moment 2. Moment 1. Moment 3.

53 Kira Hill, Stage 5

Positive Disruption Composite Drawing. Outdoor multi-functional performance space. Privilege and confusion points.

External Visual.

Located in Central London, on the site of the London wall ruins, this project challenges the ‘value’ of architecture, creating positive disruption and forcing the users to pause their daily routine, in turn being rewarded with enriching moments of surprise. As defined by Jeremy Tills idea of ‘rogue objects’ architecture doesn’t have to follow perfect geometry but can create valuable moments in its roguishness, demonstrated in the moments of surprise and disruption interacting with the ancient ruins and varying performance spaces.

54 Sectional Perspective of Art Centre Personal space and Proxemics investigation

Section of Art Centre

and Interior Perspectives

I chose to investigate the value of personal space and how this influences interpersonal connection. I explored this value using Edward T. Hall’s Proxemics, a sociological concept that quantifies personal space and ultimately impacts the layout of the built environment. This led me to my final project, retrofitting the Museum of London to become an Art Centre with dedicated spaces for artists to live, create and exhibit their art. The building is integrated with the existing highwalk network which passes through its centre, bringing public and private realms into close proximity and challenging notions of what defines personal space.

55 Georgia Laing, Stage 5

56 Section Cutting through the Existing Trinity House Technical Details Section Through Therapy Rooms

57 Eugene Lim, Stage 5

The word of this academic year was “Value”. Starting this year off looking at the Vitruvian Triad ‘Firmitas, Utilitas, Venustas. This developed until the value off the projects became the phrase “Restorative Intervention”. Both designs created something parasitic while removing the negative stigma of parasitic so that the intervention is symbiotic with its host. This is in both 5A “Reverse Siege” and 5B “Restorative Skyspace”. Shown are extracts from the Therapy and Rehabilitation Centre Restorative Skyspace.Building Isometric

Exploded

Jessica Odinwankpa, Stage 5 I chose to investigate the value: Experience. Architecture that has an impact on the experiential route of its visitors. Which creates an experience as they journey though the space. The chosen location is Blackfriars, known for its history of Paul’s-walkers. Before newspapers, people who were later named ‘Paul’s walkers’ used to walk to St Paul’s cathedral and share the latest news and gossip. Taking that aspect of walking, route and chatting, I have incorporated that into my scheme using the value experience.

60 Temporal section showing how meat traders change their use of the West & East Markets over a 24 hour period Material palette section North/South through East Market East market meat trader experience 10pmEast market meat trader experience 5am 22:00 05:00 13:00 22:00 13:00

This year I researched the architectural expression of a value system of ‘Solidarity’. This system was explored within quintessential British social establishments: The pub & the butcher. The culminating intervention was a ‘New Smithfield’ that would allow the meat traders of Smithfield to be able to continue their social, cultural & economic contributions to the historic site within a low operational energy and ecologically supportive scheme. Additional programme enhanced the traders’ abilities to share their

Mark Thomson, Stage 5

Model development towards what became the West Market

Sketchskills.inhabitation over sectional model of West Market

62 Highlighting the Roman Wall and its relation to the Crescent’s archive building Highlighting the Roman foundations and its relation to the Restoration Centre

Mahmoud Yusuf, Stage 5

Based in the heart of London’s Tower Hill, the scheme fractures the Crescent to revive the character of its lost and hidden values. ‘Refraction’ takes over an existing substation above Tower Hill station but retains its structure to highlight its relationship to the remains of the Roman Wall. The building’s programme corresponds with the intentions of preservation and capturing movement through time by becoming a film restoration centre, housing a private archive and a variety of public exhibition spaces.

‘Refraction’ facade and its many aperatures Screening Room with vaulted brick ceiling Archive within retrofitted crescent building Detail showing the retained steel frame through the water Stripping the former substation with the intention of reusing its materials

Childcare HQ exploded axonometric drawing

Mohammed Alsafi, Stage 4

Childcare HQ is a redeeming proposal in response to the lack of consideration of childcare facilities in the corporate realm following a site visit to St. Mary’s Axe in London. The project includes parasytic units that extend into neighbouring buildings and an identifiable trail that disperses around the site, connecting it to nearby tube stations. Specific floors include designated childcare programs like a sleeping space and office units that consider acoustics. Working parents can leave their child comfortably or choose to work at the building.

Interior Perspective Exterior Perspective

“Energy exchange between human and the site”

Dibbay Rosli, Stage 4 An Architecture Energy to the Present

This Project investigates many interpretations of what architecture means. It investigates the flow of energy that occurs between humans and the location. It defines architecture as the monument of the present, which magnifies the existing conditions of the neighbourhood to address engaging social activities. Architecture meets people’s needs and reflects societal values. It connects our consciousness to the present and transient realities.

Interior Perspective

This project created an urban pavilion that aimed to bring back connection to the rotunda situated next to Smithfield Market. The design combines two contrasting values, distinctiveness and simplicity and the materials experiment with how a single wrap can be moved to create a more complex form. The space forms a public square for people to enjoy breakfast and lunch whilst connecting with the local community, as well as creating a yoga and meditation space to bring calm to such a busy site.

66 Annabel West, Stage 4 Principal Section Ground Floor PlanSectional Model VISUAL LOOKING ININTERNAL VISUAL VISUAL FROM THE PUBLIC SQUARE

YORGOS UNITLOIZOS4

UNIT HITCHIKERS3GUIDE TO THE GALAXY

68MICHAEL HOLMS COATS

DesigningMArchMArchforresilienceandflexibilityallows buildings and their programmes to be actively adjusted by their inhabitants. The physical involvement of the inhabitants means that the buildings can learn to change over time, through a life-long adaptation and fine-tuning. This year we continued our explorations on contemporary and ever evolving topics of climate change, governance, sustainable buildings and communities, focusing on the themes of ‘resilience’ and ‘transformation’ to explore buildings as fragile ecosystems for adaptation. We asked the students to consider how their buildings learn, change and adapt not only to their inhabitants needs and programme but also to environmental conditions, climate and material decay. The students were encouraged to frame their investigations following Stewart Brand’s observations in his documentary and book How Buildings Learn and in his most recent work Whole Earth Discipline and reframing these for today and the near future. We considered the climate emerging conditions, the ways we use the built environment in our daily lives in post-COVID 19 pandemic, the use of technologies

RESILIENCE IN FRAGILE ECOSYSTEMS

POSITIONNAME69

Loizos and Alessia Mosci. With technical tutor Matthew GUESTWoodthorpe.LECTURERS CRITICS

Faye Tamsett, Ben Corrie, Stephanie Elward, Ambrose Gillick, Michael Holms Coats, Tim Ireland, Lee Jesson, Chris Jones, Michael Richards, Henrik Schoenefeldt, Chloe Street Tarbatt, Oliver Watson.

UNIT LEADER YORGOS LOIZOS and resourceful material strategies. An important question that we asked early on was in what extend we, as architects, can predict the future of the buildings we design, and how these would adapt to their inhabitants and the environments these are sited. We started the year by visiting Sir John Soane’s Museum in Lincoln’s Inn Fields in London to study its incredible collection of antiquities and paintings. The students identified an interesting fragment of the collection and designed a prototype that explored this spatially, considering its materiality and history. The students then expanded their interests in the former industrial sites of Fish Island and Hackney Wick, in East London. Reflecting on the theme of ‘urban mining’, they researched the area and local communities thinking of sustainable material strategies, circular economy, recycling and reclaiming materials, and by the end of the term, designed an experimental Havingpavilion.developed a series of conceptual, theoretical and experimental projects in the Autumn term, the students then transferred their attention to develop building projects located in Fish Island and Hackney Wick. The students framed their proposals through social and environmental sustainability and were encouraged to develop their work through making with both analogue and digital tools. The building projects carefully consider their surroundings, existing structures and local resources while applying findings from the Autumn term work, technology and sustainability.

SPECIAL THANKS TO Andy Bater (Holborn Community Centre) and Stephanie Macdonald (6a Architects) for their assistance and guided tour at the new Holborn House in Bloomsbury, London

YorgosTUTORS

70 Street elevation (top), External views (bottom two images) Street elevation

Robert Ashworth, Stage 5

Aluminium and social naratives: Following the ‘Urban Mining’ principle, there is significant stock of aluminium in domestic products. The pavilion proposes ‘a glorified recycle bin’ where visitors are encouraged to drop used aluminium cans, which are, in turn, re-used by the metal workers within the programme. Aluminium is a versitile building material with vast recycling potential, being 100% recycable and using a fraction of the energy of steel. Set in Fish Island, the industrial context shaped the project. metal worker the

Recast and crafted by

workshop Workers transport billets Suspension and cantilver bridge based on shipping container carring cranes. Used for circulation and load bearing of the feature platform. Workshop and bridge on-site.existinghousedstrutureinsidebuilding Aluminium can carried from bar 0 1m 0Internal side elevation Scale 1:50 A2 Units: meters 5 The aluminium can bar EXPLODED PROGRAMME SITE MASSING Circulation and stairway FeatureExhibitionBridgeWireWorkshopmeshmesh pavilion Retained warehouse Temporary shed Brick warehouse DEMOLITION AND RETENTION

72 West Elevation Make Studios night view along the River Lee Furniture Showroom South Elevation with Plaza and Market Place Cafe’ and Atrium First Floor Level Carpentry Workshop

Exploded Axonometric Short Section Painting - ‘The

Daniel Drabble, Stage 5 Make Studios is a creative hub located along the banks of the River Lee in Hackney Wick, London. There are four workshops on the ground floor specialising in carpentery and woodowrk, furniture restoration and 3D print making, with public plaza and market place. On the upper floors there are showrooms and live / work studios with artists in residents creating pieces to be sold. Underpinning the project was the reimagining of Hackney Wick’s former industrial heritage, with the restoration of its lost nineteenth century Furniture Works. Social

Maker’

Shilong Wang, Stage 5

The proposal is a dance school and a ballroom. The proposal aims to provide local dancers with facilities such as dance studios to perform, teach and practice dance. The proposal involved the adaptive reuse of a small industrial building and cross-laminated timber as the primary construction materials to maximise sustainability and reduce embodied carbon.

Hin Ching Wong, Stage 5

Located in Fish Island, a diverse area in Hackney Wick, this project aims to revitalize the historic boathouse and links back to the history of the pottery factory that used to be located along the river. It provides a place for education, meditation and production for the community. Bricks harvested from the existing building are reused and create contrast with the light timber structure.

The choice of the programme is based on trying to provide opportunity to develop organisations that house creative activity while also providing wider regeneration benefits through educational programmes, cultural programming, investment in innovation and support for the creative sectors .The programme will provide artists with opportunities to access different set of studios of different media. The programme also provides them with options of leasing a live/work studio for a couple of months whilst they finish their projects.

Abdulwahab Yunis, Stage 5

As gentrification creeps along the Lee Navigation many boat dwellers are seeing their way of life threatened. The proposal aims to reverse this trend by providing bathhouse and laundrette facilities, amenities which many take for granted but are otherwise invaluable for a nomadic lifestyle aboard a narrow boat. The tectonics of the proposal are inspired by the solid resilience of the canals combined with the lightweight buoyancy of narrowboats to create a juxtaposition of spaces.

cut

Section exposing internal programmeFragment model

Anthony Nicholas Chester,

Stage 4

THIRD FLOOR PLAN 2m

Mayank Priyavrat Jaitli, Stage 4 Centre of cultural artforms

A design which attempts to merge built spaces with greeen areas on every floor and taking traditional architectural elements and contemporising them. The site is like an island surrounded by roads on all sides and is in close proximity to the Hackney Wick Overground station.

This project focuses on creating fabric formed concrete columns which are structural and visually place in the internal space of the retirement centre. Every column designed was informed from the existing trees around, hence the recreation of the external to the internal. The exterior has fabric formed panel elements that creates a curtain like formation. The spaces inside are divided as public and private, they are a gallery, workshop, studio, cafe and the private studio apartments.

Janice Soares, Stage 4

•

84MICHAEL HOLMS COATS

•

The Unit 5 Study zone stretched from the Hoo peninsular to Thanet and included the isle of Sheppey and the Medway Towns. Chris Whitty reported that – ‘the 3.5 million who live in the coastal zones all year round – are disproportionately poorer, iller, older, more mentally depressed, in low-paid temporary work, more overweight and more prone to suicide, drug abuse and self-harm than if they lived just a few miles inland’. At the same time, the possibilities of the blue economy

The 1.5OC COP 26 Target - with sustainable architecture and communities Wellbeing - with healthy inclusive living and work environments

AsMArchMArchweemergefromourisolation,weproposed

UNIT HITCHIKERS3GUIDE TO THE GALAXY

CHRIS JONES THE REPUBLIC OF COMMUNALITY UNIT 5

Unitzones.5 aimed

• Addressing

• Improving

The issue of Zoomland (people working from home) and reviving the Blue Economy needs of the coast and hinterland, starting with Whitstable and moving on to individual projects

•

are underutilised and issues of climate change, and specific issues for example the dumping of billions of litres of raw sewage into protected seas, lack of meaningful employment and housing provision are Theevident.Studio was physically based in the community in Whitstable for the first three sessions, to learn how work, community and living combine within a fascinating old town where urban grain with streets, urban spaces and alleys meets with the sea and shore.

A series of tasks were undertaken beginning with questioning current housing development typologies and promoting the pre-Victorian hybrid approach of combining living, working and communality; we included an algorithmic design exercise developing generative grammar through which you produce a volumetric assembly, and also an individual prototype exercise based on the idea of hybrid complex forms before proceeding to the major thesis in the second half of the year. We asked how can we reimaging towns and city for the that are low carbon, sustainable and promote living and working in a spirit of communality.

UNIT CHRISLEADERJONES

The Unit 5 student schemes proposed were responsive to the important questions identified, with experimental, perceptive and mature proposals for the coastal zone, they presented new and experimental ideas with responses that are appropriate to the context and point to future ways of living /working and sustainable

Brian Constant and Clare Bowman.

GUEST LECTURERS & CRITICS

POSITIONNAME85

Chriscommunality.TUTORSJones,Tim Ireland, and Stephanie Elward. With techical tutors

Mike Richards, Matthew Woodthorpe, Lee Jesson, Michael Holms Coats, Yorgos Loizos, Alessia Mosci, Henrik Schoenefeldt, Chloe Street Tarbatt, Oliver Watson, Faye Tamsett.

86 Clothes designer sewing in the textiles workshop Makerspace Whitstable banner Local artisans sculpting and displaying work in the gallery Sectional model through boat workshop Bookmaker assembling local works of literature

Chris Caballero,

Stage 5

‘Makerspace Whitstable’ is a project focused on the aggregation of forgotten crafts around the coastal town. The proposal aimed to revitalise the social worth of the urban realm, by reintroducing lost industries in manufacturing and artisanship, e.g. textiles, pottery, and joinery. Communality and industry were combined to enable a hybrid form, as well as a beacon for creativity and termination point for the high street. In doing so, the public can interact with artisans, integrating themselves as ‘aggregants’ of a social network.

Broader masterplan proposal

ExternalInternal(hand-drawn)perspectivesperspectives

88 Skate Bowl Perspective Exploded Axo Skate Ramp Perspective Night View Perspective

Beachfront

Perspective North Elevation Cinema Box Office Arts & Crafts Studio

Combalat, Stage 5

The proposed “Longbeach” project focuses on the mental health, wellbeing and social life of Whitstable’s community. The proposal increases the energy and dynamism of the site by adding activities inspired by Whitstable’s past: rollerskating and cinema. Whitstable’s population is ageing and there are presently very few activities that cater to a younger generation. By reusing a currently negative site and designing a space that is catered to people of all ages, the project hopes to bring in a new crowd to help balance the age gap, and, give the community a new fun, accessible and playful location to visit.

Inès

90 Sculpture garden perspective collonade perspective Seafront perspective - elevation Terrace prespectiveRetreat reception Prespective

The Arc Beachfront was designed to reflect Whistable’s history through its various forms and shapes. Symbolising an oyster, a boat, a sail and fishing nets, the project connects the various points surrounding the site while also framing whitstables beachfront. The proposal consists of a wellness retreat, a restaurant, and an art workshop that also includes an oyster crushing factory built into the site’s promenade; which address the well being of the residents while also providing multiple tourist attractions that serve Whitstable’s

91 Osama Herzallah, Stage 5

Proposal exploded axo Night view Prespective Yoga Plinth Prespective Restaurant Prespective Gym Perspective

Robert Keen, Stage 5

By sinking a series of interventions along the historic Pilgrims Way to Canterbury, the collective narrative promotes engagement with landscape. This aims to tackle vulnerable young adults, amongst wider societal concerns amplified by lockdowns and increased occupation of cyberspace. By relating digitally forms, geometrical translations explore an architecture using touch, texture and materiality within a combined SEN Agricultural College and Agroforestry Masterplan promoting wellbeing, education and opportunity.

94 Water Research Centre - Perspective View showing Construction Details The Market and Water Reseach Centre - Masterplan

95 Oana Matei, Stage 5 Herne Bay Reimagined - Project philosophy refers to the way people interact with the sea and how this can help in the context of global warming and population growth by considering travelling by sea, researching the sea, growing food in the sea. The new food market, arts and crafts workshops and Water Research Centre aim to address the high level of unemployment and lack of tourism negatively impacting the quality of life of people in Herne Bay. Water Research Centre - Section The Market - South-East Elevation

Inspired by the sea shell recycling spots on the beach of Whitstable, the project began with the re-imaging of farming and saline products from the sea. Emerging with a farm houses located in the middle of the sea, products are aimed to be “processed“ and there after taken to a market to be sold. The market project, situated on the Southern-Eastern end of the Ramsgate’s beach, was done with the idea to populate the movement on the beach after realising the loss of activity and how little to no traction that area has.

Freda Odonye, 5

Stage

98 Ground Floor Plan - Showing Seaweed-Biocrete Factory (Right) & Whitstable Moss Natural History Museum (Left) From Raw Aggregate To Distributing The Seaweed-Biocrete PanelsApproach To The Pier From Sea View From Whitstable Beach The Protected Moss20mGarden10m0m

Whitstable Pier is a lifeless space that should be a place where people want to visit and enjoy the views it has to offer. An opportunity arose to create a new green concrete using the locally found seaweed and bio-organisms found in seawater. The bio-organsisms promote moss growth on the face of the biocrete. The factory that produced this 3D printed material then made the Whitstable Moss Natural History Museum that resides on the pier.

Albert Willsmer, Stage 5

Locally Growing Moss Varieties Purple Horn-Toothed Moss Pincushion Moss Spoon Leaved Moss Juniper Haircap Moss Round-Stemmed Entodon Moss Irish TuftedMossThread Moss Tree Moss Process Diagram Showing Raw Components Combining To Create 3D Printed Seaweed-Biocrete Panels Shearkey Locking System For 3D Printed Structure A Concrete Revolution - A Celebration Of Kent Coastal Moss

100 Top: Section through site and Environmental strategy for wastewater management Bottom: Exploded axonometric diagram of scheme

Top: Perspective views Bottom: Photograph of

Christine Wong Wen Gin, Stage 5

101

The concept of this project stemmed from the aggregation task from 5A by breaking away from the traditional grid, using narrow references from alleyways in Whitstable to create smaller volumes within the design. The scheme acts like a catalyst, a regeneration of negative spaces (carparks) to create safe water experiences and more communal spaces for local residents and tourists. physical model

The Caring Community Wonderland hopes to provide a better experience for the neighborhood. The building seeks to generate a series of public spaces with diverse programming such as a local exchange program acting as a centre for re-made garments by re-using and re-purposing materials from old, wornout and damaged clothes, shoes, accessories and a furniture & a wellness centre on the rooftop garden. The design challenge for the proposal becomes how to create creativity between the city and its seaside area.

102 Durray Rosli, Stage 4 Front Elevation of the proposal From “Privileged Point” ViewExploded Drawing Concept Proposal Collage

103

WhilstUK.

had disrupted established ways of teaching in architecture, but it also revealed our ability to adapt to radically new ways of working under emergency conditions. The challenges and opportunities of another, more far reaching disruption to architectural education, has been explored over the last two academic years - the climate crisis. This also requires us to change current practices in fundamental ways. It is also an educational challenge, which affects students, educators and practitioners equally. The RIBA and ARB have made a formal commitment to tackling climate changes. In a report The Way Ahead (2020), which focused on the future of architecture education, the RIBA has identified climate literacy as one out of four key competencies to become mandatory for architectural education. It acknowledges the need for change in both architectural education and professional practice, and stresses that even qualified and experienced architects need to engage in further learning to acquire the required level of climate literacy. The ARB has also produced new competency guidelines on ‘Sustainability,’ setting out to make competencies in net zero carbon central criteria for professional accreditation of architectural programmes within the these criteria are not yet mandatory, over the last two years, I have taken the initiative to develop and implement a net-zero

HENRIK SCHOENEFELDT CLIMATE CHANGE WITHIN ARCHITECTURAL EDUCATION NET ZERO InMArch2022thepreviousacademicyeartheCovid-19pandemic

104PROFESSOR

At the core of the new programme are eight two-hour seminars, during which students are introduced to the theory and working methods but they also took part in practical exercises looking at their applications within the design process. These weekly seminars were followed by group workshops, covering the themes of embodied carbon, circular economy, and sustainable environmental design. I was responsible for delivering the core seminars and workshop, but the delivery of a curriculum is a collaborative effort. This core programme was complemented by weekly technical design tutorials that were delivered by dedicated technology tutors within each design unit.

105 MODULE CONVENOR PROFESSOR HENRIK SCHOENFELDT

Students were introduced to tools and methods that allowed them to estimate the climate impacts of their own projects, looking at the carbon emissions associated with the operation of buildings as well as the construction of new buildings.

The objective of the curriculum is to enable students to acquire the core knowledge and working practices required for net-zero carbon design and integrate them into their work within the design studio.

In their final submission students have documented their engagement with the principles of low-carbon design and some provided personal reflections on their experience with applying these principles in their studio work. These submissions show that students were embracing the challenge, many engaging deeply and creatively with the question of how climate change is transforming our approach to architecture.

Much of the emphasis has been placed on encourage critical reflections on the impact of net-zero on the character of the architectural design.

The objective of this initiative was to embed climate literacy and skills into the teaching of architectural design and technology. This curriculum was delivered through the module arch6470 Technology 5, which is taught alongside arch8390 Design 5B, in order foster an integrated approach to design.

curriculum within the MArch, focusing on stage 5.

SHORTLIST 03AWARDSNOMINATIONS21/22

RIBA108 PART ONE- BA (Hons) RIBA PART TWO - MArch PURCELL PRIZE HAYS WRITING PRIZE HAWKES SUSTAINABILITY AWARD BOND BRYAN PRIZE MODULE AJRIBASUSTAINABILITYAWARDSAWARDBRONZEPART1 RIBA WEST KENT BRANCH MODULEPRIZE AWARDS UNIT AWARD RIBA SILVER AJ PART TECHNOLOGY2 PORTFOLIO AWARD TECHNOLOGY AWARD STAGE TechnicalPORTFOLIOARCHITECTURETHREEPRIZEintergration Stage 3 Honourable mention for outstanding work in each module Most innovative and creative work across the BA (Lovell Memorial Trust) Honourable mention for outstanding work in each module Best design portfolio in each Unit (LovellPRIZERIBAAWARDSWESTKENTBRANCHMemorialTrust)

School-wide Prizes AJ PartPartHEADRIBASUSTAINABILITYDISSERTATIONOFSCHOOLPRIZEOneorTwoOneorTwo 109

BA (HONS) 21/22 04

112MICHAEL HOLMS COATS

BAFOREWORD(Hons)

UNIT HITCHIKERS3GUIDE TO THE GALAXY

AsMArchmyfirstyearasthenewBAArchitectureHons Programme Director draws to an end, I should like to first of all thank my predecessors in the role, who ran the BA collectively – the Stage Coordinators Howard Griffin and Professor Gerry Adler (Stage One), Rebecca Hobbs (Stage Two), and Dr Ambrose Gillick (Stage Three), ably supported by Professor Marialena Nikolopoulou, the Deputy Head – and all the students alike, for heroically making it through such challenging times, whilst, in fact, seeing to and producing very good work. This is a testament to a cohesive community of staff and students, of which I am proud to be part. This year we finally (if gradually) moved back to full face-to-face teaching, a return to ‘normality’ not without its own challenges, not least concerning attendance, as experienced not just in our school but nationally. Clearly, sitting in a (relatively) full room, or interacting ‘as before’, will take some (re)getting used to, while only now do we begin to realise the full impact of the pandemic. At KSAP staff and students came together and openly discussed these issues, and we began to turn a corner. We also introduced bonding initiatives such as day trips, as we returned to an essential part of our curriculum, that of travelling together to experience architecture first hand. As per the last few years, we continued a successful engagement with the region. Our projects were based in Canterbury and Ramsgate, easily accessible to students while allowing them to meaningfully engage with the surroundings. Projects ranged from ‘Gown in Town’, a student micro flat in Canterbury, and a clubhouse for the local Sea WITH HONS

ARB/RIBA PART 1 EXEMPTION BACHELOR OF ARTS

Scouts together with a working museum of boatbuilding by the harbour in Ramsgate (Stage One); a small manufacturing building to support a landscape following sustainable principles, and contemporary infill housing and mixed-use development, both again within Canterbury’s historic setting (Stage 2); to the urban redevelopment of the seafront of Ramsgate followed by the design, re-use and transformation of the existing Royal Ramsgate Harbour Carpark into a new civic amenity, incorporating a corn exchange, a public trade hall, a productive garden and energy generation (Stage Three). Alongside design, other modules related to fine art, technology and environment, professional practice, or indeed cultural context, including the dissertation, praised by our External Examiners as one of KSAP’s unique selling points, also remained strong. This year the School has grown with two new programmes, Graphic Design, and Spatial and Interior Design. As I write, other important changes are also underway. These include space expansion with new state-of-the-art studios, to be followed by an overall refurbishment of the School. Discussions pertaining to the BA Architecture curriculum, so as to constantly monitor, refresh and revisit our teaching, have also taken place, and more will follow.

ARCHITECTURE. HONS PROGRAMMEMANOLODIRECTORGUERCI

POSITIONNAME113

Overall, these are exciting times for KSAP, not least given the excellent evaluation of our research, impact and innovation at the recently concluded Research Excellence Framework, which has scored the School (alongside many other subjects at Kent) amongst the top ten in the country. We can therefore look forward to a new year where staff dedication, expertise and outstanding research will continue to synergistically feed into our teaching.

ThisMArchDR.AMBROSERUFUSGILLICKyear,ourStage3appliedthemselvesto

Led by Professor Alan Powers, this module introduced the key projects, designers and cultural and theoretical ideas central to the development of Twentieth Century architecture. Beginning in the 1890s, the course explored movements and developments throughout the century and from across the globe, through key people, buildings, sites and urban

ARCH5550 ARCHITECTURAL PRACTICE

114MICHAEL HOLMS COATS

the mystery of collaborative and in-person design education once again. Design teaching, lecturing and tutoring took place in person as we all got back on with normal life. It has been a mammoth effort for everyone, and it has been inspiring to see such dedication to the collective enterprise of learning. It has not been easy, but the energy, dedication and teamwork has been wonderful to see.

UNIT HITCHIKERS3GUIDE TO THE GALAXY

Led by Peter Wislocki, this module introduced students to the role of the professional architect. Incorporating a broad range of topics, from planning and development control, building regulations, construction management and building procurement, as well as legal and professional concerns essential to working in contemporary practice, the course prepares students for life beyond university.

ARCH5560 TWENTIETH CENTURY ARCHITECTURE

FOREWORDdesigns.STAGE 3

BA (Hons)

ARCH5580 ARCHITECTURAL DESIGN

ARCH5570elit.URBAN INTERVENTION

Led by Dr Silvio Caputo, this module offered students an opportunity to undertake independent research on an aspect of architectural, urban or material culture of their own choosing. Working with a supervisor, students deepened their knowledge and understanding of a particular topic, either via an essay, a building study or the production of an artefact.

POSITIONNAME115

Led by Ambrose Gillick, this project had students design a new civic amenity within the existing Royal Harbour Carpark, Leopold Street, Ramsgate. Imagining a future as a trading link between the continent, the county and the country, this project embraced the idea of ‘exchange’ to support community growth. Students developed briefs in consultation with existing organisations and groups through mapping and design work, producing buildings that supported the social, ecological, cultural and economic life of the town.

ARCH5970 DISSERTATION

Led by Dr Nikolaos Karydis, this module required students to focus on sustainable urban design, in a way that addresses today’s environmental challenges. Situated in the east Kent coastal town of Ramsgate, the project worked to reconnect the town and seafront. Developing urban designs and buildings, students explored how a programme of urban design can be used to produce a new seafront that celebrated Ramsgate’s heritage whilst integrating dwelling, working and leisure within a territory designed for the pedestrian.

STAGE 3 CO-ORDINATOR DR.

IvanTUTORSDel Renzio, Silvio Caputo, Lawrence Friesen, Nikolaos Karydis, Ambrose Gillick, Manolo Guerci, Shaun Huddleston, John Letherland, Tara de Linde, Victoria Lourenco, Rebecca Muirhead, Patrick O’Keeffe, Alan Powers, Andrew Reader, Giridharan Renganathan, Dimitris Sofos, Peter Wislocki, Ron Yee, Chloe Young. AMBROSE RUFUS GILLICK

UNIT HITCHIKERS3GUIDE TO THE GALAXY

116MICHAEL HOLMS COATS

InMArchMEDIEVALANIMALSadditiontothecurriculumcourses,students had an opportunity to take part in a design competition, led by Dr Diane Heath from Canterbury Christ Church University, in collaboration with KSAP, as part of Diane’s National Lottery-funded, Medieval Animals Heritage Project. This called for the design of a sustainable learning space for children with special needs, with the winning submission by a team of Stage 3 students, for their proposal of the Greyfriars Dragon, to be built in Canterbury’s Franciscan Gardens in summer 2022.

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STAGE 3

122 Front Elevation Prototype Elevation Prototype Perspective Prototype Plan

Ground Floor Perspective Building Axonometric First Floor Perspective Building Cross Section

A community hub situtated towards the harbour of Ramsgate, designed for the organisation Pie Music Factory. This hub is designed to create a journey of sound around the community hub, while providing music and arts places for the young people of Ramsgate, in order for them to develop and hone their artistic skills. It also acts and an exhibition space where the skills learned can be presented to the rest of the local community.

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Oluwatobi Akinde, Stage 3 Ramsgate Wave Hub

124 LeopoldPerspectivesStreetElevation Vertical Circulation Building Axonometric View

The new Arts in Ramsgate community centre is a safe and inclusive space for the people of Thanet. It uses art to help people develop confidence, new skills, and knowledge. The new centre is built using Cross-Laminated Timber. Its design explores several theories, including Biophilia, by creating a homey feel and incorporating natural elements into the design. The use of intimate and open spaces provides pod-like spaces inspired by butterfly Cocoons. Finally, the use of curves to creates softer, more welcoming spaces.

Construction Section Building Long Section Interior Section

125 Reema Almajed, Stage 3

Leopold’s Blossom CentreSectionIsonometricA-A’ Furniture-Making Workshop Theatre 126

Diana Alva-Aguirre, Stage 3

Blossom: Flower that means spring, a new beginning, and growth.

Designed for Thanet Shelter and Support, Leopold’s Blossom Centre aims to bring a new home for Thanet Area’s homeless to a well-designed space where they will not only spend time during the rough months throughout the year. It also allows them to develop furniture-making skills that will help them reintro duce themselves later in their new lives.

Section B-B’ Structural Diagram New Glulam NewExistingStructureTreeCar-ParkStructurefortheAtrium Tree Structure Diagram 127

128 Entertainment Hub Link to Urban Intervention Project: The Rotunda. Creating a new landmark and embarkation point of Ramsgate View of the new public space in Leopold Street Family Food Bank Collection HubFamily Food Bank Food Market

129 Ian Neil Angeles Canlas , Stage 3

The Masterplan Aerial view of the overall design

The proposal aims to tackle the stigma of shame and embarassment in foodbanks. The stigma prevents people from getting the help they need therefore the design emphasises openness, socially enganging and inviting space through form and function to allow foodbank users to interact and engange with the proposed design. The connection of the Urban Intervention Project is to create a new landmark and a new embarcation point for people arriving from the sea and at the same time create obstacles for vehicles in order to prioritise pedestrians.

Image130 Above: Perspective view of scheme Image Below: Master Plan Image below: Internal renders of spaces within scheme

131

This facility provides job possibilities while resurrecting a historic tradition in Ramsgate, an old woodworking wooden boat making centre. Another goal of this plan was to promote the need for more Urban green spaces in Ramsgate while also providing housing to people in need. This civic centre intends to establish a new type of green space that combines the natural beauty of Ramsgate’s existing port with chances for personal growth and achievement.

Alfie Baldry, Stage 3

Image above: Sections through scheme Image below: Perspective view from Leopold street

132 Our Kitchen HQReuseISOMETRICStrategyGleaning Market Section linking to High St.

Harry John Bird, Stage 3

Watercolours of surrounding area

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My project is centred around the concept of ‘Gleaning’. In its most recognised definition ‘glean’ means - gather (leftover grain) after a harvest. I took this concept further to incorporate a wider range of ideas. The client, in this case, uses gleaning to help reduce food cost and promote healthy eating. I repurposed (gleaned) the car park into two areas – a gleaned goods market and an HQ for the clients charity ‘Our Kitchen’. In the project the gleaning of: people, structure, ornament and foods are prevalent, while paying special attention to local precedents.

134 RooftopConceptviewDeck view Main elevation Existing carpark Divide volume with green space Deal with edges to make open space Walkways connect the volumes

Section perspectiveShopview Interior courtyard view Ground floor plan

135 Riya Bodas, Stage 3

This project, built for the Arts in Ramsgate (AiR) organisation, aims to bring the community together while allowing people to express themselves creatively and emotionally through different forms of art and art therapy. It focuses on well-being which includes connection to nature and explores the relationship between inside and outside spaces.

136 IometricViewsVisualizationofAtrium Ground Floor Plan

Architectural Design (above) – In an aim to bring the community of Ramsgate together through the use of the charity ‘Thanet Family Food Bank’, the proposal sees an urban farm installed into the heart of the town. Through the use of traditional farming and hydroponics, fresh produce can be harvested locally, reducing the carbon footprint of food miles. Urban Intervention (right) –Designed to be an outdoor museum experience, this proposal invites people on a national level to explore the history of the traditional maritime industry once found in the historic Royal Harbour of Ramsgate.

Sean Broomhead, Stage 3

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138 Section AA: Showing the public, serive and multifunctional spaces as well as their relationship to eathotherand the egg shaped anaerobic Exploadeddigester.Axonometric

Exterior perspective showing the main courtyard where visitors gather and enter the Exchange Bank. Interior perspective of the double height exchange hall where visitors come to exchange skills, expereinces and goods.

Katie Bunyan, Stage 3

My proposal, which I have nicknamed the Exchange Bank, aims to work with the charity Fareshare to combat the causations of food poverty and reduce food waste by providing spaces for people to exchange skills and experiences while helping to build a more circular economy. The Bank is divided vertically and horizontally into a series of spaces based on different activities and can be entered at different levels. These spaces are brought together by a central courtyard which houses the anerobic digester centerpiece. Continuing from the arch5570 project the surrounding streets are pedestrianized to help reconnect the high street and sea

Leopold Street Elevation

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front.Ground Floor Plan

Section140 Perspective Street BuildingPerspectiveFacade

Groundcycle. Floor and First Floor Perspective Biogas Circulation Public Circulation Prototype Axonometric

141 Tin Cheung, Stage 3

Food waste is often overlooked as one of the major culprits that is causing climate change. In this project I worked with FareShare Kent to create a building which combines a social kitchen and biogas facilities. The goal is to provide food to families in need, while tackling the food waste problem. By recycling food produced by the social kitchen, gases required for cooking are generated and supplied back to the social kitchen, creating a self-sufficient

142MasterplanFullViewNightViews

The Sanctuary in Ramsgate is a project that brings the people of the town together, in particular the learning-disabled community who are often forgotten about in the grand scheme of things. One of the main aspects of this design is giving a lot of space back to the town as having lots of outdoor space is incredibly important not only for bringing back some of the animals but for the public to enjoy even if they don’t enter the structure. –

143 Fahemullah Chowdhury, Stage 3

Instagram

RoofSectionSectionFahem_design12Views

Sketch144 of International Maritime Signal Flags spelling Ramsgate. Left: Orthographic drawings for the Maritime Engineering School. Right: Collection of concept drawings. Left: Views of Mariner’s Club. Centre: Views of Composite Material Office. Right: Views of Maritime Engineering School.

Above: These are designs for the development of Ramsgate’s coastal environment – a revitalisation of the rich maritime history through the creation of facilities to educate the community in nautical engineering skills.

145 William Cook, Stage 3

Site section with Ramsgate Community Art Gallery in context.

Left: View of rooftop Sculpture Garden. Centre: Context analysis sketches of Ramsgate ‘Landmarks’. Right: Interior view of courtyard.

Right: These are renders of the Ramsgate Community Art Gallery – a project that has repurposed the multistorey Royal Harbour Car Park into a space for the people of Ramsgate to have access to art education and engage with one another in a welcoming space.

146 Proposal overview, bamboo planted across Ramsgate Long section, production and learning spaces surrounded by growing bamboo Leoplod St Elevation, changing according to the artwork displayed Bay Elevation Bespoke bamboo design

Urban plan, bamboo planted across Ramsgate Seabound planted avenues Ground plan, inside and out merging Roof terraces for crafts

147 Samuel Crow, Stage 3 ARCH5580, Architectural Design, Bamboo for the future

This term I have investigated bamboo, speculating its use in the UK as a sustainable material and alternative to steel.

Repurposing the existing concrete car park on Leopold Street in Ramsgate, the project aims to act as the epicentre for the growing and manufacture of bamboo in the UK, creating a viable infrastructure and skilled community.

Proposed East Kent Mencap building in wider urban context of Ramsgate, as redisigned in the AR557: Urban Intervention project Rendered model of the finalproposed East Kent Mencap building Experiential, eye-level perspective views of key areas of the building.

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Exploded axonometic showing the structural composition of the proposed building, incorporating the existing car park structure.

On site prototype design showcasing initial exploration of dsign elements and functions later carried forward to the final building design.

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Adam Cyrankowski, Stage 3

Utilising an underused car park on a prominent site in the Ramsgate town centre and harbour, this building provides a multifunctional headquarter for East Kent Mencap: a local charity helping people with learning disabilities by enabling them to live more “normal” and fulfilled lives. As well as combining all functions necessary for the operation of the charity, the building comprises an extensive productive garden which supplies the market and cafe in the building, supported accommodation, and recreational rooftop gardens serviced by a series of ramps which connect previously closed off surroundings of the site.

Street elevation of proposed building.

Long setion showing volumes and main functions of the proposed building.

150 Perspective Street View Market SpaceOutdoor Growing AreaClient Brief Building Exploded Axonometric

151 Helana Danial, Stage 3

Instagram: @architecturehd Linkedin: Helana Danial Section Building Isonometric Leopold St. Elevation

The architectural design project assigned us to renovate an existing carpark. This created several prospects to re-unite the town. The Client Windmill Community Gardens Margate caters for people with wellbeing needs and offers the opportunity to try a range of supported gardening activities. The modified structure accommodates social gatherings, diverse activities, and cultural exchange, with its aim to revitalise Ramsgate.

152 URBAN INTERVENTION

153 Judah Detty, Stage 3

ARCHITECTURE DESIGN

The projects I have chosen are for the Regeneration of the Ramsgate Area. I have included interesting views of both sites. The first being the Royal Harbour in Ramsgate, and the second project is for the regeneration of an old Carpark into a Civic Centre dedicated to providing arts of all forms to the people of Ramsgate. My design approaches are very sustainable economically and environmentally. The Urban intervention project involves me using old shipping containers to create my buildings.

154 Photo-Montages from Ramsgate High Street Building Elevations Aerial Views of the Proposed Building

155 Samia Esa, Stage 3

This building was designed for the Thanet Community Development Trust, a group which helps disadvantaged people gain experience in order to enter the job market. I wanted to focus on highlighting the existing structural grid of the carpark, elevating it rather than demolishing it. To design around the grid, I created modules, which could slot into the existing grid, in a way which would allow the building to be assembled and disassembled easily, promoting a cradle-to-cradle design approach. In developing this design, I studied the historical plans of Ramsgate high street and created photo-montages which helped me understand the push-and-pull rhythm of Ramsgate. Views From Proposed Building Site

Perspective

156 Perspective of the roof top vegetable garden Section through the Social Spaces Perspective of The Bridge Perspective approaching the building from the harbour

Cliff Street Perspectiveelevationofmain social space and entrance Leopold Street elevation Environmental Strategy

157 Sarah Gardner, Stage 3

The Bridge is a Civic Centre for Catching Lives a homeless charity based in Canterbury. The new centre in Ramsgate uses the structure of a redundant carpark. The building will enable Catching Lives to expand its services with spaces for socialising, counselling, academic learning as well as vocational learning, together with some small accommodation and other standard services which are also available to the general public.

158 Section Perspective Outdoor Performance View Main Entrance View Connect the rooftop gardens Spiral ramp to connect different levels Connect the split blocks creating raised courtyard Match the scale of the building Existing condition

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Stage

Rear Entrance View Side Entrance View1st Floor Plan

Takuyu Hirosaki, 3

In this project, the Family Food Bank is integrated with the Pie Factory Music charity organisation to have a better awareness and a deeper relationship with the local community. The raised courtyard connects the project with its surrounding open spaces and invites people to take part in communal activities.

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This car park proposal was designed for the Audax Foundation and Pie Factory Music. The charities both work to improve the livelihoods of young people. Using the visions of each charity, I decided to use music as the basis for the design to encourage the Ramsgate youth. The prototype for this building was a vinyl-making function machine that encouraged Ramsgate residents to have a hands-on audio experience. This engaging experience led to the development of a music centre, devoted to promoting, employing, and teaching young people from all over Ramsgate and surrounding areas. The centre consists of an auditorium hall, teaching spaces, therapy spaces, radio and podcast rooms, and an open-plan restaurant and bar.

Deborah Idowu, Stage 3

162 Caption text template (move to where necessary below each image) Sectional AxonometricPerspectiveofscheme

The key concepts of the scheme focus on cycles in food production and trade. Located in Ramsgate, using the existing structure as part of the proposal, the scheme departs from archaic beliefs and attitudes towards urban planning, in particular, the domesticities of life and social interaction, historically centred around the automobile. The proposal is for a trade hall and community garden, through its use and centralised location in an urban environment, presents new ways to live and thrive, centred around growing.

163 Tariq Jhugroo, Stage 3

Instagram: @identitepersonnelle Axonometric detail view of Leopold St Elevation

164 Above: Long Section Below: “Rampometic” Drawing Above: Exploded Axonometric

Inspired by Pugin’s idea of “Ornamental Structure”, my proposal for a new civic centre - the Ramsgate Exchange - at the heart of Ramsgate aimed (1) to provide a new typology of urban green space, combining agritech with the existing natural beauty of the Port to create tranquil, accessible community gardens and (2) a hub for the creative communities of Ramsgate, facilitating social activity and engagement. RamEx aims to explore the intersection of industry, hospitality, and health and wellbeing.

Leo Johnson, Stage 3

Above: This view shows the project situated in context. The project responds to the need for a civic centre to reconnect the polarised com munities of Ramsgate and bring the town from a state of decayed grandeur into the future; where a hybridity of argriculture and creative structural engineering foreshadows the town’s exciting potential

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Below: Elevations

166 Section showing the building in use, highlighting the quadruple height atrium and the greenhouse space. Ground floor plan of the building and the surrounding landscaping. Physical model of the key design features. Front (North-East) elevation taken from Leopold Street. StructuralStrategy

Perspective section showing the building in use, highlighting the tubes of dye with sunlight shining through them. Perspectives of the building.

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The purpose of this project was to create a community art centre for Ramsgate. Reusing parts of the existing multi-storey car park, this design aims to create a space that promotes social interaction, creativity and practical skills. A quadruple height atrium and buffer zone greenhouse allow natural lighting and natural ventilation. Also, different height spaces and balconies allow for interaction between the floors, creating an open and vibrant space that is full of life.

Rowan Knight, Stage 3

168 Exploded Axonometric showing circulation Building Development Building Elevations

The goal of the project is to transform the carpark into a social and open space dedicated to the arts and corn exchange. To better integrate into the environment of Ramsgate, the design considers breaking the carpark’s areal density. Because the building is intended to serve everyone, a ramp that facilitates impaired access was a major design consideration. To encourage circulation around the structure, the ramp wraps around the building. Finally, by optimising biodiversity, energy generation and employing sustainably sourced materials, the building was made sustainable. Oluwanifemi

LinkedIn:

169 Oluwanifemi Emmanuel Kolawole, Stage 3

KolawoleEnvironmental section Masterplan Air Arts Ramsgate Ground floor perspective Approaching first floor perspective Approching second floor perspective

Exploded170 axonometric demonstrating zones within the building. Interior perspective showing vertical farming space. Interior perspective showing lounge space. Exterior perspective showing courtyard space. Axonometric drawing of the project showing its relation with the neighbourhood and the harbour.

Dominika Kowalska, Stage 3

The project is a retrofit of an existing carpark structure in Ramsgate designated for semi-independent living accommodation for young care leavers aged 16-18. The project aims to connect the client with the wider community through the building programme providing spaces for wellbeing, education, work and socialising. Renewable energy is produced on site using algae photobioreactors which also serve as an architectural feature. The project explores how environmental solutions can be incorporated with the aesthetics of the building. Visualisation of the Leopold Street with improved landscaping and retrofitted building.

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172 Left: Section of workshop space from process.seaweedseasite,ArchitecturalSectionBelow:Design.ArchitecturalShortthroughDesignshowingthewaterbaths,andgrowing ENCOUNTER - sea water bathing This public ammenity aims to facilitate a collective ritual in Ramsgate, encouraging chance encounters between GENERATIONpeople.-Growing and making things from seaweed EXCHANGE - ‘NETWORK OF LEARNING’ Based on Christopher Alexander’s pattern of ‘NETWORK OF LEARNING’, the workshops on site facilitate learning and exchange of knowledge between different generations through a master and apprentice learning style. Above: Illustration of public lido as it could be inhabited on a busy summer day.

Left: proposalInterventionUrbanfor housing above open studios, which enclose a series of squares leading towards the

173 William Lawrence, Stage 3

Architectural Design - After research into the needs of care experienced youth, I developed a brief to expand the social networks of young people through collective routines and learning between different generations.

Urban Intervention - Using principles from Gordon Cullen’s Townscape, my proposal extends the enclosed public spaces of the town to help develop a connection between Ramsgate and its seafront.

Below:seafront.Building for Project Motorhouse as part of bottombetweenprovidesThisInterventionUrbanproject.buildingalsoalinkthetopandofthecliff.

174 Leopold Street Elevation-GroundFront Floor PlanBuilding Uses Sectional Perspective- Through Atrium and towards the Harbour

175 Solenn Maillard, Stage 3 Site Isometric View Circulation Axis Community Space Illustration Rooftop (Urban Farming) Greenhouse Illustration Circulation Atrium IllustrationRestaurant Illustration Roof Structure Wood-Steel (Flitch) Plate Joint Architectural Design- TESGRO

The proposal for the new ‘Our Kitchen’ charity headquarters has been taken as an opportunity to rethink the typical soup kitchen/ food bank approach. By partnering with a big supermarket company keen to expand its sustainable, eco-friendly, and green brand image, the project was able to expand and focus on food productivity, job creation and education.

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Susmita Majumder, Stage 3

The proposed civic centre seeks to address ASB in youth, homelessness, and to introduce sustainable methods for urban food production. The design concept investigates light and porous spaces; themes inspired by the town’s historical tunnels and by the works of local Glass Artist, Grace Ayson. The main functions of the project are encounter (e.g. Hostel Hub), play (e.g. Rock Climbing Centre) and regeneration (e.g. Vertical Farming). Additionally the project responds to the wider context of the inner harbor (ARCH5570), by proposing a wildlife sanctuary in its place.

178 PerspectiveIsometricsection Prototype: Educating RamsgateClient mapping

Demolishing up to 50% of an existing reinforced concrete multistorey car park in Ramsgate. The purpose of this project is to create a new space for Windmill Community Gardens to expand and educate adults, young people, families and children about their local environment through various activities to develop a thriving community within Thanet, using the ‘Talk, Learn, Grow’ scheme to promote and introduce new people to the current gardens and the proposed Windmill Community Education Centre.

Instagram: @jakemarshall_arch LinkedIn: www.linkedin.com/in/jakemarsha11 PlansView from Royal Parade View inside the second floor View from the roof Jake Marshall, Stage 3

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180 Section AA The heart of the site, Soundtherapyraingarden

A structure with the likeness of a spider from above, a waterfall from below, a parasitic-like building from afar growning in between the buildings, latching itself to its surroundings. With the anatomy of frogs, represented in the spaces, the heart as something alive that grows and sings, and becomes a part of the existing building itself.

Section BB

Represented as rain catching mushrooms growing in different heights, symbolizes all difficulties in life. But through these hardships, we as people can grow and these pains will soothen and soften over time, as rain represents the rebirth of oneself.

In the Rain Gardens, tranquility, mental health, and wellbeing would be shown with the use of nature, water and sound as the key elements of this scheme; With the means of trade of knowledge about gardening, local produce, and wellbeing, and the generation of rainwater on site. The scheme took huge inspiration from the anatomy of frogs, biomimicry and rainwater, which then transformed the carpark into the very core value of the client: The Windmill Community Gardens,”Togrowclosertonature”.

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Thea Steiro Mikkelsen Stage 3

182 Above: Courtyard perspective Above: Prototype development Above: Three primary elevations of the parametric structure, which acts as a communal asset and evolves through time based on community needs. The structure plays with perspective, appearing to alter shape depending on which side you approach it from. Above: Environmental strategies

@1205bashir Above: Ramp perspective Above: Courtyard sectional perspective Top Right: Library perspective Above: Thermal bath perspective

The initiative aims to create a healthy atmosphere for the Ramsgate community by focusing on four primary themes: ‘Learning,’ ‘Exercising,’ ‘Growing,’ and ‘Socializing.’ The original vehicle park was a solid concrete construction with no connection to the street. The new proposal includes a courtyard that relates to the street. A ramp is superimposed on the Courtyard serving as a running track, with energy collecting tiles that activate as people run. In addition, the ramp functions as a social tool, enhancing the bond between people, building, and Instagram:street.

183 Ahmed Bashir Mohamed, Stage 3

184 Atrium Space Perspective Axonometric of Building Proposal

Farahiyah Nasution, Stage 3

185

An ‘adaptive-reuse’ project of an existing car park site in Ramsgate, which is repurposed for clients in Thanet Community Development Trust (TCDT). This building supports the organisation’s main goals, which are to improve locals’ skills, bringing unemployed people closer to employment, as well as to tackle social isolation, which is prominent in Thanet. This is done through the provision of multiple classrooms, a training kitchen, computer rooms for CV making, social spaces and halls to accommodate social activities.

186 Building Axonometric View Leopold St. Elevation (Existing Car-Park (ExistingSecondaryReconnectingElevation)theCityStreetFrontHarbourElevationCar-ParkElevation)

187 Colin Nietzer, Stage 3 PLATEAU;

Connecting the City levels Multi-function Forecourt Dispersed Planting Areas View from Leopold St. Trade Hall on Market Day Transformable Spaces

The redevelopment of Ramsgate’s Royal Harbour car-park seeks to expand upon the limited public space along the seafront and integrate community growing within Ramsgate culture. The previous monolithic structure is broken down into plazas, courtyards as well as garden patches, and the development forms a strong focus on permeability, transparency and a harmonious integration into the town’s urban fabric. Newly introduced pedestrian streets lead to a Trade hall, aiming to supply local ethnic minority groups with the ingredients needed for cultural meals, thus allowing them to cook healthy meals for family and children.

188 Bar Terrace Perspective Cafe Perspective Approach from High Street Perspective Atrium from Entrance PerspectiveKey Concept Approaches

189 Freya Eugenie O’Donoghue, Stage 3

Growing Ramsgate - a place to grow, both individually and as a community. The proposal for a new civic centre, with a focus on providing a new hub for Pie Factory Music - a charity that aims to provide free accessible music for young people. The concept of the building stemmed from the journey of learning an instrument; for myself, a saxophone. It represents the different stages, progress, practice and struggles that one may encounter - reminiscent of what is experienced in day to day life.

Atrium Perspective Section: Cafe, Connect Space, Shop, Workshop South Elevation

190 A Perspective street view of the site A Perspective view of the Roof (birds eye view) Perspective section (human sesnses)

A new civic amenity which incorporates a corn exchange, a public trade hall, a produc tive garden and energy generation within the existing Royal Harbour Carpark, Leopold Street, Ramsgate, which reflects the identity of the town as a seaport and trading point.

We were tasked, given a rnage of clients, and mine was AiR (Arts in Ramsagate) as well as Windmill Gardens Margate. Both clients requested a space which incorporates art, music and gardening. The building has existing columns and beams on the site, and roughly 50% of the site was demolished and redeveloped using timber as its primary structure.

Exploded axonometric diagram of the building in context:

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Environmental section (spring/summer)

Helen Oluwadamilola Oloyede, Stage 3

As asked by the clients the building is Colourful,Bright, Diverse and Step-free.

Environmental section (autumn/winter)

192 Project FrontBuildingBuildingPerspectiveViewsectionEastElevation

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The proposed design is a new centre for my client; AiR Arts Ramsgate and Windmill community Gardens Margate. The new Civic amenity will be built within the existing Royal Harbour Carpark, Leopold Street, Ramsgate, with approximately 50% of it being demolished. It will be a timber framed structure which includes a theatre, several art galleries, an art café, a rooftop restaurant, a rooftop garden for public gardening to be accessible to the public. The space also includes workshop rooms for various creative arts activities including painting, sculpting and music and a market place which generates the trade of organic foods and other products. The space will support community growth and local regional and national social, ecological and urban development objectives. view of my prototype Construction Section Prototype Model

Perspective

Levi-Angelique Stage

Osahon

The top image is the approach toward the building from Ramsgate’s harbour/coast, With plans and perspectives of the workshop, band room, café and public gallery.

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Alexander Park-Wilson, Stage 3 Inspiration for ‘Sonus’, designed for Pie Factory Music in Ramsgate, came from the way music visualisation can be demonstrated and the site’s landscape; where an old river sculpted the chalk cliffs down to the coast. These are seen in the flow of the static forms and the kinetic elements; which respond to music, ‘making the building dance’. This sustainable building uses the existing Royal Harbour Carpark structure, which is partially demolished and reused. Functionally, it is a Youth Music Centre, built on the principles of exchange, where musical instruments are donated, restored and then either sold or used for learning/performances. The diagrams at the top of the page are the street-facing facade with the section demonstrating some of the key spaces in the facility such as the recording studios, workshops, gallery and performance space.

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Architectural design, the last project of my bachelor degree, challenged my aptitudes when it comes to form and function. Redeveloping an existing structure of a car park, the building proposed is supposed to become the headquarters of Pie Factory Music. PFM is a charity encouraging children to make use of their talents and hobbies, providing facilities such as : music studio, sports hall , event space , dance studio and art workshops. The complexity of both the design and the structural principles are shown in the images presented.

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Clarisa Adriana Pop

Stage 3

198 Architectural Design Project - Drawings and Perspectives

Architectural Design Project - Model

Exploded

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Holly Porton, Stage 3

Located in the heart of the Ramsgate coastline, this project aims to bring live performace to South-East Kent, as well as provide opportunities to youngr generations in surrounding areas, through the means of music and theatre. The embedded need for distinct acoustic spaces led the development of the design, thorugh exploring structural composition, materiality, and the configuration of each individual volume. Sound is somewhat deemed an occupant of the building, requiring consideration of movement, access and behaviour. Through developing this hub for the arts, this project intends to connect and engage the current coastline of Ramsgate with the wider community.

200 Night view Day viewNorth Elevation Master Plan Prespective Pawse & Whiskers Social PrespectiveIntegration Enviromental Stratergy Section Pawse & Whiskers resturant view

Paws & Whiskers represents a place of interaction of people with similar interests. The aspect of wildlife and animals was close to me, as during my studies I missed the time I would spend with my pets back at home. Therefore the lack of animal shelters or a place for social interaction in canterbury drew me to combine the two together.

Paws & Whiskers is a place for all ages and demographics of people, to gather, spend time, and take a break from their busy lifestyles. A place to pause and be able ground and recharge your self. As needed in the student dominated city of canterbury, helping people with their mental health, a place of refuge for people, and animals. Creating and encouraging hobbies to be discovered and indoor/outdoor socialisation to occur. Aiming to blur the bounderies of inside vs outside.

201 Hafsah Rajput, Stage 3 Sharing PrespectiveInterestsPawse & Whiskers bridge view Section ShowingAainside the Animal rooms Client Research Mapping Zoomed Sections Section Cc - into the top and bottom cafe/ reception

These seats were designed to blend in with the curved shape of the building while still incorporating the theme of nature, so planters are created within the sculpture.

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203 Harriet Kay Manalo Reyes, Stage 3 I designed a new homeless shelter and learning facility for the charity Catching Lives Canterbury, where the interaction between the homeless community and general public is encouraged. The building acts as a safe place for the homeless where they can learn new skills, ranging from becoming employed in the cafe, to picking up their education again in the library and they can also help find their peace of mind through the emphasis on nature throughout the building. The newly added glulam structure reinforces the blend between man-made and nature and the plant life growing there is taken care of by the inhabitants, while also being recycled as art in the art gallery and used as ingredients in the cafe.

Elevation MasterplanSection 204

This infrastructure aims to improve the way of life of those disadvantaged among the general population of Ramsgate and the surrounding Thanet region through various means. These include mitigating the issues of Litter, Anti social Behaviour and Poverty related struggles. The original structure lacked any individuality and connection to its surroundings in relation to its shape and concrete materiality. The new proposal introduces a fresh, organic feel to the urban landscape, with unique features such as its multi-faceted terraces, mushroom-like pod accessories and urban farmland space, each serving their own unique purpose within the design.

Instagram:Perspectives@Vaughan_ArchitechAxonometric 205

Reuben Desmond Vaughan, Stage 3

206 Section Connecting to Harbour Existing Urban Context/Design Development AQUA

207 Astrid Marilyn Whitehouse, Stage 3 ‘AQUA’ consists of an upcycled existing carpark transformed into a centre for circular economy food which complies with the client requirements. This project encourages visitors to learn and interact with aquaponic farming in the heart of Ramsgate while also producing byproducts derived from the aquaponic systems. The aim is to promote a healthy food culture and allow Ramsgate to reconnect with the Royal Harbour. Environmental Strategy Activity Manual

208 Existing building - (Car park) Proposed building - (Homeless shelter / community centre) Southeast axonometric section Northwest street view

209 Nok Hei Wong, Stage 3

This project aims to support the rough sleepers, homeless and vulnerably housed in Ramsgate. It is a place for these people to turn to when they feel they have nowhere else to go. It aims to end the struggles of these individuals and provide resources and assistance. Additionally, this space would tackle any issues that they may have and assist the clients toward personal recovery and independent living.

CourtyardCourt yard view Ground floor communal area

210MICHAEL HOLMS COATS

The relationship between a building and a landscape, the threshold between a working landscape and a building to support it, was located on the historic Grey Friars site in Canterbury. The site now called, ‘The Franciscan Gardens’, challenged students to site a building within this beautiful setting, create a landscape for growing produce and illustrate an understanding of elementary planting design. The architecture

our Stage 2 students as we slowly returned to a face-to-face teaching and learning mode. In the autumn term, teaching combined face-to-face and for those unable to join in person, on Microsoft Teams and One Note. The autumn term modules contributed to a greater understanding of Renaissance to Neoclassicism, Climate, Architecture and Landscape. By the spring term, most students returned to the School to engage with the second design module, Collective Dwelling, 19TH Century Architecture together with Form & Structure.

2021-22MArchhasbeenanotherchallengingyearfor

BAFOREWORDHOBBSSTAGE2(Hons)

ARCHITECTURE AND LANDSCAPE

REBECCA

UNIT HITCHIKERS3GUIDE TO THE GALAXY

AnskeTUTORSBax, Catriona Burns, Benedatta Castegna, Joseph Eyles, Gordana Fontana-Giusti, Manolo Guerci, Rebecca Hobbs, Gihan Karunaratne, Victoria Lourenco, Andy MacFee, Patrick O’keeffe, Iliona Outram Khalili, Jef Smith, Hooman Talebi, Chloe Street Tarbatt, Ben Wood, Ron Yee.

REBECCA HOBBS

This second design project of the year was again located within the city walls. A car park sandwiched between Castle Street and Castle Row offered students the opportunity to explore the site’s rich history, the local vernacular, its relationship with the Norman Castle Keep, the historical Wincheap Gate, and Worthgate, together with long views of the cathedral which formed a fascinating context for the brief. Its proximity to the Dane John Garden and a footpath leading to Bingley Island encouraged students to integrate landscape as part of their masterplan. City living, live/work opportunities following lockdown, apartments, two and three bed dwelling with an associated community provision formed the basis of this challenging module.

COLLECTIVE DWELLING

STAGE 2 CO-ORDINATOR and landscape were to be fully integrated spatially, conceptually with sustainability and the environment at its heart. In parallel with this module, students engaged and integrated the Climate module which looked at embedding environmental strategies and a sustainable approach to both architecture and landscape. With an understanding of the site, a team of stage 2 students, as well as teams from stage 3 submitted a proposal for an interactive piece of sculpture as part of the Franciscan Garden Competition launched by Dr Diane Heath and the Franciscan Gardens. The proposal was commended for its reference to medieval stained glass and butterflies found in the garden.

POSITIONNAME211

Stage212 2 - Bachelor of Arts BA (Hons) Joseline Klinger Frankenthal - Architecture & Landscape Alana Fisher - Architecture & Landscape

213 Zain Aldoseri - Architecture & Landscape Alana Fisher - Collective Dwelling David Johnson - Collective Dwelling

Stage214 2 - Bachelor of Arts BA (Hons) Oksana Pavlovska - Collective Dwelling Margo Woollard - Collective Dwelling

215 Harry Lane - Collective Dwelling Hui Wen Tan - Collective Dwelling Jasmine Fu - Collective Dwelling

FOREWORDSTAGE 1 BA (Hons)

216MICHAEL HOLMS COATS

UNIT HITCHIKERS3GUIDE TO THE GALAXY

FORM FINDING

The autumn term module introduced students to the idea of the design project, and was structured around a series of words with an associated design exercise. “Scale” dealt with perhaps the most basic architectural concept, followed by “step”. Here, the project was to design a tower set on campus, with a view down to Canterbury

GERALD ADLER & GRIFFIN

2021MArchsawareturntofullface-to-faceteaching, following the series of COVID-19 lockdowns. The Stage One team were keen to eliminate any possibility of an online learning hangover and fully embraced the use of our various teaching spaces, such as studios, large halls, darkrooms, and new computer labs. To this end, students experienced a multi-sensory event in Week 1, recording the many spatial experiences of the (roller-skating) body, setting the theme for the year’s work in Folio. Using these corporeal-spatial experiences, our Stage-Oners developed their understanding of ergonomics, and their skills in drawing, drafting, modelling using both analogue and digital methods, underpinning the design module work.

HOWARD

BUILDING DESIGN

The design module in spring term was based in Ramsgate. A dramatic site was sourced at the foot of the cliff, for a building (‘Coracles and Clunch’) for the local Sea Scouts, and to house a small maritime museum. The site was located close to where the Stage Three students’ design projects were based, and so we managed to establish a strong KSAP understanding of this fascinating and richly varied seaside and harbour town in Kent. We are grateful to Del Renzio & Del Renzio architects in Ramsgate for assisting with the site selection and brief writing. Stage One Tutors: Simon Barker, Anske Bax, Colin Cresser, Giacomo Damiani, Howard Griffin, Wayne Head, Rebecca Hobbs, Shaun Huddleston, Nikolaos Karydis, Bernardo Lopes, Victoria Lourenco, Andy Macfee, Patrick O’Keefe, Iliona Outram Khalili, Tim Meacham, Edward Pryke, Fiona Raley, Jef Smith, Kevin Smith, Hooman Talebi, Richard Watkins, Ron Yee, and Chloe Young.

GERRY ADLER & HOWARD GRIFFIN STAGE 1 CO-ORDINATORS

POSITIONNAME217

Cathedral. The aim was twofold: to learn the basics of changing level, and to respond to changing views, as the human body changes height and orientation as it ascends a tower. At the mid-term break students had to design and make a carapace or covering – a gownover their own body (a joint exercise with the Folio module). This fed into the final project, “Gown in Town”, that sought creative ways for a group of students to inhabit a narrow infill site in Canterbury city centre. This was the students’ first foray out of the campus, to be followed by a journey to the sea at the start of the spring term.

Stage218 1 - Bachelor of Arts BA (Hons) Building Design - Coracles and Clunch

219

Form220 Finding Gown in Town

221

Folio222

223

Folio224 continued

225

After initial experimentation and the design of a small art studio using railway containers, they collaborated with graphic design students JEROME INTERIORTSUI AND SPATIAL DESIGN BA

UNIT HITCHIKERS3GUIDE TO THE GALAXY

AMArchbiomimeticinstallationthatmimicstheeffects of natural form on one’s innate senses, an in-between space under a mutating pattern of chemigram on repeat, an illuminated visual journey that plays with the materiality and emotional qualities of colour, an atmospheric light enclosure with distinct interior experience corresponding to the time of day – these are a few of the projects designed by our first year students in the Spatial and Interior Programme. Using design as a tool to bring and raise awareness to the importance of mental health in a post pandemic context, they were asked to create a sitespecific installation for their final narrative project to challenge our experience of the world through the eyes of others. These projects aspire to bring an empathic response to the well-being and social challenges of our time.

226MICHAEL HOLMS COATS

POSITIONNAME227

to co-create and examine interdisciplinary approaches to the design process. Informed by design research, students put forward their own proposals based on case studies, individual narratives, personal interests and other creative obsessions. They explored how design is a form of storytelling through the analysis and investigation of narrative environments. From Isamu Noguchi’s sculptural exhibition at the Barbican to conversation with Theatre Designer Tom Paris on his costume and set design for The Lion, the Witch and the Wardrobe, students navigated between design fictions and detail model making to arrive at projects that reveal rich narratives in imaginative spaces. From inducing warmth and safety to defining the criteria for one’s physical, emotional and mental well-being, as spatial and interior designers, they observed the interaction between people and space to discover and interpret the joys and challenges of modern life.

JEROMEDIRECTORTSUI

PROGRAMME

Aimee228 Key – black and white chemigram Flora Greening – detail, hexagonal pattern Interior and Spatial Design BA

229 Alex Barona – Fine Martyna Florczak – stairs

WelcomeMArchtoUVVU22andthefirstGraphicDesign

GRAPHICMCLEAN

UNIT HITCHIKERS3GUIDE TO THE GALAXY

end of year show at the University of Kent. This year we are sharing work completed by the first cohort of year 1 students. Just as UV is energy-efficient, environmentally clean and the units are compact in size, so is the new BA (Hons) in Graphic Design; sharing design studio spaces with architects and spatial interior designers, creating work that re-uses, re-purposes and re-cycles and totalling just 15 student visual communicators. It is both exciting and hard being the first cohort of a degree and requires concessions, compromise, and tolerance. We have discovered we work well together as a ‘design studio’ sharing our space and ideas (but never our lunch). The briefs have been numerous and the visuals on view demonstrate almost the full range. Students have designed logotypes, logomarks and signage, a photographic triptych about light and shadow, photography-inspired book covers, a celebrity charity fund raiser catalogue, hand-made books about the spaces and places of DR KATE DESIGN BA

230MICHAEL HOLMS COATS

PROGRAMME DIRECTOR DR. KATE MCLEAN

Canterbury, digital posters for design documentaries, explainer animations and typographic interpretations of an object in the local gallery, the Beaney House of Art and Knowledge.

POSITIONNAME231

The work here can also be seen in conjunction with the research and prototypes in the End of Year Show – we look forward to your Ourfeedback.congratulations to these amazing first years for their desire to learn and to constantly improve how they communicate visually to convey concepts and ideas through form, colour, scale, rhythm and layers. We look forward to seeing what they can achieve in the future. It has been a pleasure to work and learn with you first year students, I look forward to the next two years.

Graphic232 BADesignAlexBarona Isabelle UingsSaga El Banna Joshua Akinwale Megan DaviesAnn Marie Ibiabuo

Oreoluwa Onakade

MartynaSimsFlorczak

233 Atanas Aleksandrov Molly

05RESEARCHSTUDENT

ACADEMICdevelopment:ofstructuredTheytowhichprofession.researchpiecesexcellentGenerally,dissertation.studentsacrossprogrammes.Dissertation236MArch/BAhasaspecialplaceintheKSAPPart1andPart2Itisanatypicalmoduleduetoitsduration,stretchingtwoacademicyearswithseveralseminarsduringwhicharesupportedbysupervisorsinthedevelopmentoftheirthisparticulardeliveryofthemodulehasgeneratedresults,andsomeofthebestdissertationsaretrulysolidofacademicwriting.Dissertationisaboutresearchandrefiningskills,whichareskillsthatareessentialinthearchitecturalTheyenablethedevelopmentofthoseinvestigationsusuallyconstitutetheevidencebasenecessaryforpractitionerssuccessfullyjustifydesignideasandarchitecturalprojects.alsoenabletheorganisationofresearchfindingsinaclearandway,whichiseasytocommunicate.Indeed,theprocesswritingadissertationbearssimilaritieswiththatofdesignbotharecarriedoutinastructuredway,followingaDRSILVIOCAPUTORESEARCHDISSERTATION

we had a dissertation exploring the relationship between musical and architectural compositions in past and modern ages; one that focused on motivations and lifestyle of van-dwellers, reflecting on the possible consequences that this way of living can have on the built environment; another one outlining a design code for refugee camps with beautiful illustrations of the plans of these camps; and one that examined impermanent architecture, with a foray into the theories of change and the temporary events and gatherings that transform places beyond the duration of such events.

Although we encourage the choice of topics that focus on architecture, urban design and planning, and climate change students are free to propose any topic for their investigation, which leads to some unusual Thischoices.year,

In spite of the exceptional time we are living and the disruption the pandemic had on the delivery of teaching, this year too the overall quality of the dissertations submitted in Part 1 and 2 was very good.

Finally, in a school of architecture, visualising concepts is important. In our dissertations, text is usually complemented with beautiful images, sketches and diagrams. This year, I have seen great efforts poured into illustrating and graphically composing text and images, resulting in engaging dissertations, beautiful to watch. Some of the illustrations can be found on the following pages.

237 MODULE CO-ORDINATOR DR SILVIO CAPUTO sequence that articulates complex concepts, elaborates them and reaches a conclusion. Learning to write a dissertation will surely help develop good and convincing design schemes.

The238 Permanence of Impermanence: An Essay on Transient Architecture and Placemaking Chris DissertationDissertationCaballerocover-Academic ResearchForMArchalongtime,architects and planners have spent much of their profes sional training with a three-dimensional understanding of architecture being static. We have prioritised an illusory sense of legacy and security thanks to the subconscious notion of imprinting our permanent mark on society. However, our built and unbuilt environments ceaselessly act with a fourth dimension: time. In reality, nothing created or designed by the human population will physical ly remain permanent as time progresses – the only constant is change itself. The urban realm is never finalised as a conclusive end-product since initia tives, activities and changing communities cause it to be in continuous flux. Our experience of ‘space’ and ‘place’ itself are also affected by the passing of time, in addition to other factors enabled by ‘transient architecture’. This paper aims to explore the qualities of transient architecture and how its ephemerality can lend itself to become a tool for significant change, both long-term and incrementally. It will also underline how human experience and association with ‘place’ may benefit from this temporally based approach, potentially enabling users as architects of the space they inhabit.

239

Some particularly divisive examples of serial music that inspired me to write this dissertation include: Pierre Boulez – Piano Sonata No. 3 / Formant 2 – Trope: Glose Arnold Schoenberg – Suite Op. 29: 2. Tanzschritte – Moderato Anton Webern – Variations for Piano, Op. 27: 2. Sehr schnell

The paper finds that although it is not accurate to say that architecture can ever be wholly serialist, deconstructivism has roots in musical serialism and therefore shares a relationship as consequential and important as the symbiosis of classical architecture and music. Music is used as a leap-vehicle for design rather than as a direct translation. A building will not look like Beethoven’s Fifth Symphony though it may have been derived from the structure, melody or gestalt of that work. Serial ism is a starting point for deconstructivism; a reservoir of potential to drink from.

Schoenberg’s score and its translation into a matrix I have long been intrigued by the mechanisms and methodology of serialist music and how such a logical rationale for its creation can make, in short, a cacophony of sound often considered as unpleasant by audiences. Serialism is often referenced as crossing over into other disciplines such as fine art and film, but my interest lies in its parallels with architecture. “As abstract art forms based on rhythm, proportion and harmony, music and architecture share a clear cultural lineage.” (Jencks, 2013). By exploring post-modernist ideas in works by Tschumi, Hejduk and Libeskind, the dissertation establishes connection between ‘dodecaphonics’ in Schoenberg’s compositions and architectural theory in deconstructivism.

Music and Architecture: A critical exploration of the shared principles of musical Serialism and architectural DeconstructivismCharlotteCane

Zachary DissertationDissertationMcCarthycover-Academic

Vanlife is not a unique movement. There are countless examples throughout history of people turning their backs on society and living a different sort of life. But to turn away from society is a radical choice, and something that has implications for architecture and architects. The least radical join mobile home communities, which represent a form of mimicry of the city but on a smaller and cheaper scale. The most radical reject society completely, choosing to live as hermits in complete isolation instead. Others join or start intentional communities - residential communi ties built around shared values and utopian ideals, with high levels of social cohesion and teamwork. Many more buy rural farms and homesteads or join religious or spiritual communities. Vanlife is just one modern manifestation of a counter-cultural approach to how we live, with roots in movements across history and the globe.

BA (Hons) 240

#Vanlife

The Origins, Causes and Architectureal Implications of the Movement Research

Author’s diagrams establishing design codes for social wellbeing and integrity

Haven for theChloeRefugeesLim

This dissertation explores the intersection between psychology & architecture as a strategy for addressing refugee mental wellbeing. It focuses on how refugeecamp settings exacerbate trauma and how densely-populated spaces encourage unpleasant interactions, contributing tothe emotional stress among refugees. Many unhealthy interactions result from overcrowding for most refugee camps, which leads to invasions of personal space and privacy. This thesis links aspects of social proxemics psychology to spatial solutions, intending to minimise mental anguish to improve psychological wellbeing among the refugees. As a result, a design code for categorising design guidelines is created.241

MArch/BA242DRSILVIOCAPUTORESEARCHTHROUGHPRACTICEARTEFACT

Clearly, model-making, which is so important in the architectural profession, is one of the most common ways for students to assemble and deliver the final artefact, although not the only one. Over the last years, students have designed installations, films and digital artefacts. This year, for example, a student proposed as an artefact a detailed manual for converting a camper van into a mobile dwelling, addressed to those who have no skills for such a challenging task and the desire to live a different lifestyle. The student produced the manual as he was converting his own van, which – together with the manual - became his final artefact.

Artefact is an option for Part 1 and Part 2 students that prefer developing a design-based investigation rather than a dissertation, which requires ‘traditional’ academic writing skills. Students who choose this option are asked to investigate through making, with the artefact being an opportunity to capture in a model, installation or any other form of visualisation and form creation some key reflections on a particular topic.

Regardless of the nature of design-based investigations – whether socially, environmentally, or aesthetically oriented – these have been developed using also traditional research methods. The research reports accompanying the artefacts provide robust evidence of the relevance of the artefacts proposed, broad understanding of work developed in a particular area of investigation and – in some cases – consultation with experts that provided important advice on the making of the artefact. Results are very encouraging. We continue to grow.

Another artefact focused on the design and development of a 3D structural joint for bamboo constructions which can resolve the issue of joining the ends of bamboo sticks that have slightly different sizes.

243 DR SILVIO CAPUTO MODULE CO-ORDINATOR

To enable adaptation of Communities living in flood-prone areas in the Philippines, a student designed a modular self-build unit that can be arranged into clusters to support local people’s needs and Somelifestyle.of this year’s artefacts explored themes following a conceptual approach. One student looked into the Tiny House concept and how this can be relevant in a super-dense city such as Tokyo by occupying interstitial spaces. The final artefact included a model of an area of the city with these spaces colonised by micro dwellings.

A key area of architecture is building design. In the current context of climate change the target of becoming sustainable in architectural practices is important. Although building materials are often considered the methods used for joining elements of structures, they can be overlooked. Bamboo has been introduced as a sustainable material which is versatile and environmentally friendly. However, they are limited methods in which you can connect bamboo culms, based on them not evolving over time. Most bamboo is joined using lashing and bolting, some researchers have tried to develop new connections, such as the clamp system but there is a scope for further Thisdevelopment.researchreport will analysis the challenges of bamboo connections, examine a selection of innovative techniques, focus on traditional bamboo wall construction. It will then investigate the use of 3D printing to develop new prototyping connections. The use of 3D printing is to experiment ideas and develop protypes to explore bamboo connection

MArchtechniques.244

Using 3D Printing to Explore New Bamboo Connection Methods Jessica ExperimentingOdinwankpawithdifferent 3D-printed connections Artefact - Research through Practice

Final artefact: Owners conversion manual

A growing concerning global picture has seen a recent boom in alternative living. For many, the prospect of living in a vehicle is absurd. I see it as an opportunity to travel, work, develop and appreciate the world in a different light. For me and many others, vanlife is the most practical lifestyle solution in the current context. Ultimately my aim is to present the execution of my conversion process in a method that is both comprehensive and universal, making this lifestyle more attainable. To this aim, this report is an analytical exploration of ‘how-to’ manuals, using IKEA’s furniture instructions and Haynes DIY Owners Workshop Manuals as case studies, which epitomise communicating instructions in a comprehensive, effective, and understandableuniversallyway.

Campervan Conversion Manual Billy Swindell

The importance of analysing manuals by IKEA is to gain an understanding of techniques used to achieve the universal element, coherence, and consistent point of view. Haynes manuals contain in depth detailed chapters that have a further level of description and expertise. Users can be confident that, with the help of the manual, complex tasks are more than achievable. The contents of the artefact have the reliability of being tried and tested by myself, moving beyond just the theoretical context to the practical process, which has directly informed the artefact. It is hoped this research will extend the opportunity to convert a van into a home to those that may otherwise not know how245to.

BA (Hons) 246

Thea Mikkelsen Final artefact: Cityscape model Artefact - Research through Practice

Tiny housing or Pet architecture in Tokyo, Japan is a building typology that is made on leftover landscape in densely urban areas. Small spaces on nearly- impossible or non-workable sites but have the most lived- in and habited space regardless of the size and shape of the building itself. How the designers and inhabitants have to be creative in terms of space and function ality as in basic necessities in housing. A truly lively space that is willingly affected by site and space, rather than to control it. A building that is customized by its user and altered to how the people creates their own spaces. An interesting space that is created by occupancy, demand and the given site that the building sits on.

Minimalist and Contemporary Architectural Design in Compact Spaces

During my young age in the Philippines, I witnessed several Filipino friends fall victim to several tragic incidents caused by natural disasters. Storms and floods force Filipinos who live in poverty and vulnerable structures to evacuate their current location that is at risk, disrupting their life, health, livelihood, and wellbeing. Therefore, the Philippines will be used as the basis of the design for countries threatened by floods and disasters in the middle latitude of the earth and countries with tropic climates.

Floating Unit: Forming and Empowering the Community Against the Threats of Water Michal Zapletal

The project aims to explore ways to understand the threats of water and their effect on an individual and to the structure. To incorporate low technology with high-end knowledge in construction that can adapt to the harsh environments and flood-prone areas, allowing the community to remain in their settlement during unpleasant conditions.

The project objective is to produce a modular unit that can be arranged into clusters to support the community’s needs and lifestyle. To design a structure that can adapt to the threats of water and wind and create a new lifestyle where water will be considered as an opportunity.247

Final artefact: Modular unit in its floating state

a theory option offered alongside Dissertation and Artefact. It aims to provide a formal programme in the teaching of architectural design and communication in the field of higher education and seeks to promote its students as active ‘agents for change’ in the Kent School of Architecture & Planning. The focus is on historical and contemporary teaching and learning models that are specific to architecture including studiobased tutorials, seminars and design crits.

This248MArchuniqueandpioneeringMArchmoduleis

The teaching and assessment of this module is divided into two components; ‘Theory and Reflection’, and; ‘Practice and Evaluation’. Our Stage 5 MArch students develop an understanding of the general principles of architectural pedagogy through practical experience; teaching alongside design tutors on the Stage 1 undergraduate programme, and through developing their own specific research question; which is explored both theoretically and through the vehicle CHLOE RADICALSTREETTARBATTEDUCATIONPEDAGOGY

•

Nikki Yang: The professional imperative to communicate design information clearly and concisely through composite graphic presentations.

•

• Robert Keen: Tutor guidance towards supporting and enabling creative ‘flow’ in their students, based on sports training techniques.

• Mohamud Yusuf: Generating infographics to successfully test and communicate concept design proposals.

George James: Expanding the lexicon of precedent analysis to include art and spatial design to engender broader engagement of students with precedent studies.

249 MODULE CONVENOR CHLOE STREETTARBATT

Robert Ashworth: Testing the acquisition of ‘threshold concepts’ with a focus on orthographic drawing techniques.

Christine Wong: Manual and digital methods to assist students with designing in context.

of devising a sample teaching innovation that is both implemented and reflected upon. Through this combination of pedagogical theory and research alongside direct teaching experience, the students develop a unique insight and expertise into educational methodologies for architecture. The projects and teaching strategies devised through this programme are fed back to KSAP staff through presentations at the end of the module, providing valuable inspiration for our education-focused Thisteam.year our pedagogy students’ research spanned an extraordinary range of pedagogical thinking, and the projects covered a broad range of topics, as follows:

•

Filip Ferkovic: Feedback sheet to assist tutors in generating constructive design guidance for students.

06POSTGRADUATE

HOWARD

The252 MA Arch Vis course, this year, saw a number of changes to previous years. Not only did we return to the computer labs on campus, but the course evolved to meet the everchanging requirements of the industry. The Film and Architecture module was enlarged to incorporate a Spring term film production addition, responding directly to the theoretical grounding developed in the Autumn term.

Former MAAVer, Rafaella Siagkri, continued to deliver this module looking at the relationship between the two disciplines, helping students to incorporate this understanding into their own film work. We also saw the introduction of a new module, Postproduction, which focused on both still and moving imagery. This new work allows students to further prepare their visualisation work to professional standard. We were able to welcome Joseph Robson from AVR London to deliver this course, giving students a valuable insight into the profession and how to get their own work to this standard.

MAVISUALISATIONARCHITECTURALGRIFFIN

HOWARDDIRECTORGRIFFIN

We were also able to welcome Uma Shan and Jonny Lee (two other former MAAVers) to help deliver the Digital Architecture Portfolio module. Again, their knowledge and experience at AVR London was crucial in helping students gauge the quality of their own work.

253 PROGRAMME

Virtual Cities, this year, saw the MAAVers take part in the Medway Light Nights festival in February 2022 in Rochester. The two-day event was attended by thousands of spectators, who were treated to an array of architectural augmentations on two sites, Rochester Cathedral and the Six Poor Travellers’ House. Responding to the themes of Charles Dickens’ work, the MAAVers created some excellent work that was widely appreciated by all. This summer, some of our students are taking part in work placements at AVR London, Factory Fifteen, Glass Canvas, Miller Hare, MSC Cruises and VMI Studio, during which they will continue to develop their skills and knowledge. Whilst others are pursuing their development through major project work.

I would like to thank Jonny Lee, Joseph Robson, Uma Shan, and Rafaella Siagkri for their help in preparing the next generation of architectural visualisers. The 2021-22 MAAVers are: Stephon Best, Srushti Chavan, Eylul Cucumak, Will Denney, Rosie Jones, Line Nehme, Jermaine Thomas, Iyad Sawaftah, Rose Wetherell, and Tzs Ki (Khara) Yau. Good luck to all of you!

Architectural254 VisualisationMAStephonBestTszKiYau

255 Rosie Jones Srushti Chavan Eylul Cucumak

Architectural256 VisualisationMARoseWetherellWillDenney

257 Iyad JermaineSawaftahThomasLiamNehme

Based258 in the historic town of Canterbury, this programme combines the study of conservation theory and philosophy with an exploration of the technical aspects of repair and reconstruction. The city’s stunning cathedral and medieval monuments give students the opportunity to learn from the conservation of a World Heritage Site. Ideal for those with an interest in architectural heritage, the course represents a gateway to a career in demanding professional fields such as conservation and heritage management. As the future leaders in these fields, the course’s graduates play a central role in disciplines that lie at the centre of current economic, environmental and social Theagendas.varied curriculum of the course reflects the multi-disciplinary nature of conservation. During the autumn term, students gain a critical understanding of historic buildings through an introduction to conservation philosophy and policies. This is followed by the study of practical survey and preservation techniques during the spring term. The delivery of these modules is enriched by site visits and guest Duringlectures.the last academic year, we visited a number of historic sites and conservation projects including the Church of St. Mary the Virgin at Willesborough, the scaffolding deck in the nave of Canterbury Cathedral, and Chatham House in Rochester. These site visits gave our students the opportunity to engage with key specialists and stakeholders involved in the preservation of these sites. Our students DR NIKOLAOS

MScCONSERVATIONARCHITECTURALKARYDIS

259 PROGRAMME DIRECTOR DR NIKOLAOS KARYDIS

Fasorun Ishoribo, Josh Kirtley, Vanya Marques-Navaratnasingam, Nicola Persic, Alice Pitts, Andreia Rocha-Costa-Mosdell.

(ARCH8440 - CONSERVATION PRINCIPLES)

Caseac.uk/conservation/studiesand

Sai Brunda Bhaviri, Mayler Colloton, Ross Crayford, Gareth Dennis, Diane Harvey-White, Wayne Head, Rebecca Lilley, Robert Wallace.STUDENTS

have written about these site visits on our blog: https://blogs.kent.

workshops carried out in collaboration with Canterbury Cathedral and the Society for the Protection of Ancient Buildings (SPAB) introduced students to the properties of historic building materials and the techniques employed in the repair of historic buildings. This year, we continued our collaboration with the SPAB, which gave our students the opportunity to work on a live project: the survey and preservation of ‘St. Andrew’s Chapel’, near Boxley Abbey, Maidstone. Built in the fifteenth century and modified several times in the following centuries, the chapel is currently in an advanced state of decay. The SPAB is currently restoring the building. Our students visited the site in January and February 2022. Guided by SPAB specialists, the students researched the history of the building, analysed its significance and drafted conservation strategies. This material was then synthesised in a new conservation plan, which will be submitted to the SPAB with the aim to contribute to the future conservation of this magnificent building. In the meantime, the students are working on their dissertation module, which enables them to study an aspect of conservation of their choice.

FionaTUTORSRaley, Nikolaos Karydis, Manolo Guerci, Ron Yee.

ManaswiniSTUDENTS

Architectural260 Conservation St. Andrews Chapel, MaidstoneMScStudyoftheConstruction Phases of St. Andrew’s Chapel Diane Harvey

261 Study of Gothic Windows and Proposal for the East Window of St. Andrew’sRebeccaCheapelLilley Intervention at St. Andrew’s Chapel, Detailed Sections Mayler Colloton

Architectural262 Conservation St. Andrews Chapel, MaidstoneMScPorposalfornew pedestrian paths to reconnect St. Andrew’s Chapel to Boxley Abbey Ross ProposalCrayfordforthe extension of St. Andrew’s Chapel, Axonometric Drawing Wayne Head

263

&ARCHITECTURENIKOLOPOULOUSUSTAINABLEENVIRONMENTMSc

In autumn, the focus is on two modules; (i) understanding historic buildings and past environmental technologies by Prof. Henrik Schoenefeldt and (ii) the principles and methodologies of environmental design, along with the importance of high tech system in low energy buildings by Dr Richard Watkins. Through extensive literature review, in-depth analysis and archival research students scrutinise a variety of buildings in different parts of the world.

Spring is the time where students engage directly with buildings not through literature, but through monitoring and modelling of environmental performance, in the module I teach. This offered the opportunity to study a range of buildings on campus and beyond: from a community well-being centre to the new the Kent Law Clinic, our own Digital Crit Space and PC lab in our School. We also had a range of domestic buildings, from Woolf College to houses in central Canterbury and Chatham, all of which provided interesting insight about the life and PROF. MARIALENA

It264has been another great year for our Master’s programme and it is extremely satisfying watching our students returning on campus. Following a year of online learning, this year initially offered a variety of blended learning, with some students attending virtually while others began populating the seminar rooms, moving to a full face-to-face experience during spring.

“There were many aspects of the program that I enjoyed, but the most influential factors were the positive learning environment and close relationship between academic advisors and students.” Sepideh Farzi Sizkouh We wish them all well and good luck in their future careers!

conditions of buildings comparing and contrasting internal conditions, environmental performance, user engagement, materials and housing conditions and standards. We also benefitted from Alex Duckworth’s visit from AECOM.

Spring also offered the opportunity for the delayed graduation ceremonies for those completing their studies during the COVID-19 pandemic and it was wonderful seeing some of our students in person in the Canterbury Finally,Cathedral.as they are currently embarking on their dissertations, we benefit from live projects and collaboration with external partners in the region, working with Gravesham Borough Council, who aim to upgrade Cascades Leisure Centre in Gravesend, where the aim is to have a new net-zero leisure centre. Once again, through the cross-disciplinary approach in sustainable architecture promoted by the programme and supported by our staff, bridging the boundaries between research and practice, along with the strong analytical and research skills our students develop, our students will be well equipped to face the challenges in their professional Orlife.in the words of two of our students:

“Itwas greatto learnsomething brand new everysemester.Theimaginative course structure is the reason. The introduction of design-builder and its application stands out among my favourites. The technical knowledge that I am gaining in this course, especially about various sustainable methods and their application will be of utmost benefit to me.” Divya Prakash

The last year highlighted the need for walkable cities, where indoor and outdoor conditions are of equal importance, with climate change concerns considered along with health and well-being priorities. Within this context, the brief for the sustainable design project included the development of an Urban Village in Canterbury, with some very interesting work developed, along with the support of Lawrence Friesen from Nomad Workhouse who worked closely with Dr Giridharan Renganathan.

265 PROGRAMME DIRECTOR PROF. MARIALENA NIKOLOPOULOU

266Architecture & Sustainable EnvironmentSustainableMScFeatures for the Urban Village in Canterbury Divya Prakash

267 Local climate zone analysis for teh Urban Village in Canterbury Sepideh Farzi Sizkouh

MScATHANASOPOULOSGEORGIOS-SPYRIDONBIODIGITALARCHITECTURE

The268 MSc Bio Digital Architecture Programme at KSAP is a post-professional program developing a specialist approach to architectural thinking and design execution, and encourages you to engage with broader theoretical debates that are pertinent to contemporary practice. The programme explores the concept of space and the problem of configuring space in architecture. Taking an interdisciplinary approach (including theoretical biology, social science, systems theory, cybernetics, semiotics and computation) you will establish ways and means of rethinking and designing architectural space. In the current situation, where the integrity and primary role of architecture is seriously challenged by specialised research and partial interpretations of the discipline, there is a growing need to articulate a body of knowledge and understanding capable of reconciling the fragmented areas of knowledge within the given reality of current

To the students, we hope that you will be inspired to reveal new boundaries for the discipline and to open up new horizons for your own professional development.

PROGRAMMEATHANASOPOULOSDIRECTOR269

(Excerpt adapted from the MSc Bio Digital Handbook 21/22. Written by Dr Tim Ireland).

GEORGIOS-SPYRIDON

contemporary architectural practice. The aim of the course is to establish a comprehensive understanding of architecture rooted in the humanities, with an emphasis on the digital turn in architectural discourse and theory, to integrate knowledge of specialised disciplines into a unified and meaningful whole. The integrative nature of the investigations you will study opens the possibility to come to terms with the situational structure of architecture and can serve at the same time as a foundation for a more fully developed human ecology.

The programme is also designed to create an open dialogue between academia and the architectural profession at a local, national and international level and there are a range of high profile visiting practitioners and academics to promote such a dialogue. The programme equips students with the skills to influence architectural design direction at the highest level: the MSc Bio Digital Architecture programme becoming a vital link between academia and architectural practice: a hub of knowledge interchange for the region, providing an interface for practitioners to contribute to intellectual debate and for academics to connect with practice.

The MSc Bio Digital Architecture Programme experience, its seminars, reviews, lectures and debates provide a unique body of knowledge from which the students develop their own understanding of and position within contemporary architectural design. Design projects, lecture programmes, seminars and workshops occur within the framework of research, experimentation and innovation, which make up the life of the Kent School of Architecture and Planning.

270Bio Digital Architecture Hamid MScZoab

271 Goli Golzarkhollari

The272 built environment comprises a multitude of agents set in a myriad of contexts. Often expressing a desire to engage within this discipline requires an appreciation of the delicate balance of art and science with that of empathy and compassion. So as to maintain these delicate and somewhat symbiotic relationships between stakeholders and their environments, the MA Urban Planning & Resilience runs as a practice and policy embedded programme.

With the focus is on resilience, we as students feel that we are able to address broader issues of social and infrastructure resilience. In the face of the climate and housing emergencies, more sympathetic and inclusive approaches toward futureproofing development and facilitating community growth have called for more creative PROF. SAMER &MARESILIENCE

The MA in Urban Planning and Resilience reframes the understanding of these concerns and addresses these delicate ecosystems in a way that circumvents the focus of isolation by appropriating a systems-based approach to understanding the complexities of policy implementation, urban design, and development.

URBANBAGAEENPLANNING

With ongoing changes to the planning system, we are beginning to see a shift away from the conventional approaches of top-down urban development in favour of more inclusive bottom up and locally set agendas. We get the benefit of lectures from policy and government experts at the cutting edge of system reform.

At the Garden Communities Conference at the RIBA, we listened to experts and politicians outlining the steps to action on the levelling up agenda, however understanding and contextualising the concept of sustainable development is still an ongoing learning practice. The issue when exploring an alternative method of practice often relies on case studies and constant evaluation that extends far beyond the initial concerns for economic viability and the inclusion of bureaucracy. We are beginning to explore such scenarios in our dissertations as part of the MA.

In her keynote address, the lead in Homes England, Fionnuala Lennon, focused on what was being undertaken to modify the approaches of planning in this new garden city movement. By emphasizing active transport and connecting with nature to streamlining the procurement and delivery process. We transitioned smoothly into an open discussion of what does good, sustainable development look Withlike. representatives both in the public and private sectors, the overall consensus of this discussion saw the value of individuals

273 solutions. We therefore have explored in class improving the capacity for communities to participate in shaping their futures and equip them to better react to future shocks and stresses as well as changes over time.

Our cohort attended several external events off campus during the year, including the Building Garden Communities conference which was held at the RIBA in London in May 2022. We were fortunate to spend some 1:1 time as a group with the Government Minister responsible for planning and housing. Our teaching staff have also attended the largest industry event since the pandemic, UKREiiF, held in Leeds in May 2022. The School collaborated with the Royal Town Planning Institute, the Government Department for Levelling Up, Housing and Communities, and the BAME Planners Network on an invite only roundtable at this event.

PROF. SAMER BAGAEEN 274PROGRAMME DIRECTOR and cultural assets toward shaping spatial ownership and called for greater transparency in education, adaptability in policy frameworks and expressing the importance of holistic management toward legal and emotional ownership of space. One of the panels at the conference unpacked how we could achieve net zero through the garden community model while a wider discussion explored how resource allocation and infrastructural provision could cater for all members of the community. The final remarks of this session called to humanise the public sphere and ensure that development is fair, equitable and accessible.

Written by John Kirtley, student of MA in Urban Planning & Resilience.

275 Photos taken from the Building Green Communities Conference 2022

is a relatively new school, but over the last ten years it established itself as a school with a strong research culture. This has been shown in the new national research ranking of architecture schools within the UK, which were published in May 2022. In the Research Excellent Framework KSAP came 6th place, reflecting the quality of its research as well as the practical impact of this research outside academia. Alongside larger research projects led by academic staff, it is our research students who are contributing towards the development of a research culture.

During the autumn and Spring Term, we also held weekly PhD seminars. Despite the lifting of restrictions, these were conducted in a hybrid mode to increase inclusivity. It enabling those PGR students that were abroad for fieldwork, archival research or industry placements, to take part

PROFESSOR HENRIK SCHOENEFELDT in

PhDARCHITECTURE

As a result of the pandemic the last two years had been challenging for PhD students. For long periods supervisors could only see their students Thisvirtually.academic year, however, has seen normality to gradually return as restrictions are being lifted, and several initiatives were taken to reestablish as sense of community amongst researchers. At the start of the academic year we held a half-day symposium, which provided a forum for new and existing PhD students to share and discuss their research, which was also joined by academics staff.

KSAP276

KSAP has current has over 45 doctoral students and they are undertaking research across a variety of academic disciplines. This diversity of research subjects reflect the cross-disciplinary character of architectural research, and it also reflect different ways in which architectural research, alongside its contribution to academic scholarly, can make contributions to the world of architectural practice.

Although I had proposed the idea for an end-of-year conference, the event is organised by the PhD students themselves. Three students, Richi Mohanty, Marika Tomasi, Nicholas von Behr and Benedetta Castagna, have formed the core leadership team.

SCHOENEFELDT277

remotely. These seminars provided a forum for weekly gatherings, during which students were able to share and discuss their individual research but also engage in open debates about some of the wider challenges of research in the built environment. These were also joined by personal supervisors as well as other academics from the school. This year we took the initiative to establish an end-of-year conference for post-graduate students, which I hope will become an annual event, similar to the end of year show. The conference is entitled ‘Communicating the value of research,’ and has been funded through a grant from the Division of Arts and Humanities. The aim of the event is to explore the value of postgraduate research and how can be communicated in the contexts of academia, society or industry.

It is through such events that PGR students are demonstrating that building and sustaining a research culture is a collaborative endeavour, bringing together research staff and Communicatingstudents.theValue of Research: Call for Abstracts

DIRECTOR OF GRADUATE STUDIES PROFESSOR HENRIK

Many aspects of the PG Diploma curriculum are introduced at a more elementary level in an existing undergraduate Stage 3 module (Professional practice AR555) and graduate Stage 4 module (Employability AR540) which the Programme Director convenes and PETER

The278 PG Diploma in Architectural Practice provides a Part 3 programme alongside the well established architectural Part 1 and Part 2 programmes offered by the Kent School of Architecture and Planning (KSAP). As such, the course benefits from KSAP’s diversity of academic knowledge and research, and the cross-fertilisation between the disciplines of its staff. KSAP is strongly rooted in Kent while pursuing a broad outlook, and the Part 3 course reflects this, with staff and students mostly based in the region but professionally active across the UK and beyond.

PGPRACTICEARCHITECTURALWISLOCKIDip

• Draw on the academic and professional knowledge and contacts of existing University staff

• Emphasis on international practice (based on the proposed staff team’s personal experience)

The PG Dip’s core curriculum is based directly on the RIBA/ARB criteria for Part 3 graduates, and the lectures and seminars is derived directly from these criteria, which are common to all equivalent courses in the UK. It is, however, intended that, within these criteria, the Kent PG Dip has the following USPs:

• Offer graduates of other universities to complete their professional training in Kent

• Enable current Kent students to complete their professional training at the University

279

PROGRAMME DIRECTOR substantially delivers. The understanding of the Part 3 programme in the context of teaching of professional practice at Part 1 and Part 2 ensures that all three stages of architectural education are addressed at an appropriate level in relation to students ’academic knowledge, practical experience and learning needs. Specifically, whereas Part 1 provides a basic introduction to all topics, Part 2 promotes lateral thinking and questioning of conventional practices, and Part 3 greatly deepens detailed knowledge as a basis for mature and responsible decision-making in complex and unforeseeable circumstances.

One of the USPs of the Kent PGDip in Architectural Practice is to be its international outlook. The Programme Director has extensive personal experience managing projects and businesses in the UK, France, Poland, Russia and many other countries, particularly in Central and Eastern Europe. Other senior member of the staff team manage a design and construction business in Germany and the UK.

PETER WISLOCKI

• Provide a gateway to professional practice, complementing Kent’s established courses in architecture

• Be the only course of its kind offered anywhere in the county

• Exploration of alternative building procurement strategies, reflecting innovative practice (partly based on the staff team’s personal experience)

The Part 3 course has been designed to:

RESEARCH 07COMMUNITY&

282REBECCA

ThePROGRAMMEHOBBSLEADEROutreachprogrammehas been very much curtailed by the effects of Covid. We are however, hoping to run a one-day summer school in July both in the School and in Medway. The Canterbury brief is to design a small pavilion in the Dane John Garden and the Canterbury ‘school’ will be a one-day event and will include a desk top study of the Dane John Garden, a mini ‘lecture’, and a drawing and modelling exercise. Students will be asked to design a pavilion, to include a place to meet and a space for a small cafe. We hope to be able to run it in one of our design studios within the University Covid guidelines. We are awaiting confirmation of the Medway event which will be looking at the regeneration of Chatham High Street and its relationship with Rochester High Street.

We very much look forward to running our usual programme in 2021 and REBECCA2022.

Outreach2021-22HOBBS

283

DR GIRIDHARAN

CENTRE &ARCHITECTUREFORSUSTAINABLEDESIGNCASE

The284 CASE team conducts collaborative research and development, and contributes significant knowledge and understanding to enhance sustainable design with a specific focus on environment and social sustainability. Within this premise, we are one of the leading research centres in the South East of England and more specifically in the Kent County. The centre is the leading research income generator for KSAP. Further, the CASE researchers contributed significantly towards the success of the KSAP Research Excellence Framework (REF) results, especially in terms of output and impact case studies. The centre hopes to use the REF success as a springboard to diversify the collaboration activities both locally and internationally. RENGANATHAN

CASE DR GIRIDHARAN RENGANATHAN

DIRECTOR

285

As a group, we are open to new ideas and collaborations. As part of this ethos, we continue to invite eminent persons in the field of sustainable design to deliver lectures at the KSAP open lecture series. Last academic year Mr Max Farrell, the Founder & CEO, LDN Collective talked about ‘Creating socially and environmentally sustainable communities’. Mr Juan Carlos Romero and Mr Alberto Benetti of CRA-Carlo Ratti Associates elaborated on ‘Building the future – a convergence between natural and artificial’. Mr Ton Venhoeven spoke about ‘The Circular Economy and Energy Neutral Design’. Finally, Prof. I.M Dharmadasa delivered a lecture titled, ‘Solar Energy for Sustainable Development, Reduce Poverty, and mitigate Climate Change Effects. CASE is looking for highly motivated and dynamic PhD candidates to join our scholarly team to contribute to our ever growing research Weportfolio.wishour 2021-22 graduates a bright future!

CREateARCHITECTUREEUROPEANRESEARCHFORIN

The286 past academic year has been extremely rich in research activities. The members of CREAte - Centre for Research in European Architecture - have been busy and actively engaged in numerous and diverse research projects and activities that include writing and publication of research books, edited book chapters, journal articles, conference presentations, PhD supervisions, as well as engagement activities with research collaborators, local communities and general public. There have also been preparations for research projects and new bids and some wins.

Crucially, the results of REF21 were been published in May and Kent School of Architecture & Planning has been judged as joint 6th nationally (place shared with UCL). This has been an extremely successful outcome for the work KSAP and CREAte research members of staff have published in the period between August 2013 and December 2020. The entire submitted research input in architecture, its history, theory and design, has been characterised as ‘world-leading’ and ‘internationally excellent’, being assessed in respect to the criteria of originality, significance and rigour. In addition to this landmark achievement, the activities that followed included the publication of the long-awaited book by Manolo Guerci on now-extinct houses of the Strand entitled London’s ‘Golden Mile’: The Great Houses of PROF. GORDANA FONTANA-GIUSTI CENTRE

The members have been invited to give public lectures and talks: at Henri Mellon Foundation and at Accademia di San Luca (Guerci); at the Centre for Research in Anglican History and Theology (CAHT) (Adler); at Milan Triennale of Design and Culture, at Canterbury Maps Study Day (organised by Canterbury Cathedral, the Historic Town Trust and Canterbury Christ Church University) and at Annual W.T.C. Walker Lecture at British School in Rome Successful(Fontana-Giusti).researchapplications included: ‘Living on the Edge Coastal Housing Group’ project awarded by British Academy and ‘Making-UnmakingRemaking Home in Lockdown Margate’ from Special Research Grants COVID-19 projects by Ambrose Gillick. Associate members have been involved in research and impact activities that included the preparations of an Urban Room (Street Tabartt and Gillick) and potential Urban Observatory to support UKRI and EU research.

287 the Strand, 1550-1650. The book came out in October 2021, it has received excellent reviews and was promoted in the Paul Mellon Foundation, London, March 2022 and in the Academia di San Luca, Rome, May 2022. The 2020 RIBA publication The Urban Block: A Guide for Urban Designers, Architects and Town Planners co-authored by Chloe Street Tarbatt has been awarded by the Urban Design Group as the publication of the year 2021.

CREAte members have been involved in external research activities such as: contribution to the work of REF21 sub-panel 13 for Architecture, Built Environment and Planning by Gordana Fontana-Giusti who was the member of the panel (Nov 20-March 22), contribution to research societies by Gerald Adler in Tessenow Prize Giving meeting at Mendrisio (Ticino), May 2022 where Adler spoke and introduced Grafton Architects, Dublin, who were awarded the Heinrich Tessenow Gold Medal. It is important to address the participatory activities and dedicated work with community in the region of East Kent by Ambrose Gillick, and the street installation by MA students in Architectural Visualisation instructed by Howard Griffin.

More articles and book chapters have been submitted or published in the past year. They include: ‘Continuity and Tradition in Late Antique Architecture’, and Sts. Sergius and Bacchus: Justinian’s Church and its Transformations through the Centuries’ by Nikolaos Karydis; book chapters ‘Monumentality, Skyscrapers, and Being Human’ and ‘Zaha Hadid’s Heydar Aliyev Centre Baku’ by Gordana Fontana-Giusti etc.

CREate DIRECTOR PROF. GORDANA FONTANA-GIUSTI

288Centre for Research in European Architecture

CREate

Heinrich Tessenow. Iconic approaches and projects, exhibition at Teatro dell’architettura Mendrisio attended by Gerald Adler. Photo by Enrico Cano. Dalby Square Cliftonville, Margate research project led by Ambrose Gillick looking at how covid restrictions have affected the way residents of Dalby Square in Cliftonville use their homes.

289 Front cover of The Urban Block, by Jonathan Tarbatt and Chloe Street Tarbatt Front cover of Manolo Guerci’s book London’s ‘Golden Mile’: The Great Houses of the Strand, 1550-1650

Centre290 for Research in European Architecture Sts Sergius and Bacchus: Justinian’s Church in Constantinople (related to Nikolas Karydis’s CREatepublication)

291 Image for Gordana Fontana-Giusti Annual W.T.C. Walker Lecture at British School in Rome Christopher Packe, A new philosophico chorographical chart of East-Kent... Canterbury: C. Packe, 1743. Maps K.Top 16.24.11. This map was discussed by Gordana Fontana-Giusti in her lecture.

The Centre has streams headed by members: Generative design and computational creativity Digital fabrication and robotics Digital visualisation and mixed

•

Digital292 Architecture Research Centre (DARC) is the newest research centre at Kent School of Architecture and Planning (KSAP) focusing on the application of digital technology in architecture. DARC looks to explore the creative use of digital technologies to enhance design and fabrication possibilities for architecture and the built environment.

•

DARCATHANASOPOULOSGEORGIOS-SPYRIDONreality.DIGITALARCHITECTURERESEARCHCENTRE

DARC promotes an innovative interdisciplinary research environment exploring intersections between architecture and digital technologies, to open up and expand the schools research agenda and funding possibilities. The new research centre aims to promote a fundamental shift in architecture and design thinking to develop design methods for the utilisation of computational technologies in architectural design, fabrication and assembly.

DARC DIRECTOR293 GEORGIOS-SPYRIDON ATHANASOPOULOS

DARC draws on expertise university wide and attracts knowledge and research in the field of digital architecture through collaborations, adding to its high quality research output, and looks to enhance the faculties Digital Humanities theme, principally in the areas of Digital Creative Arts and Digital (ExcerptHeritage.taken from the University of Kent website).

The Centre is a new interdisciplinary direction for KSAP, founded on members’ expertise and international research profiles to open up new avenues of research activity.

SukanyaHudaDrSukanyaFionaDrIlionaProfTimBernardoDrDrMichaelRebeccaDrHowardDrProfGiacomoBenedettaDrAnskeProfGeorgiosSTUDENTSSTAFF,294ACKNOWLEDGEMENTSAlkisSimonBarkerCatrionaBurnsStephanieElwardJosephEylesLawrenceFriesenBenGodberWayneHeadShaunHuddlestonLeeJessonChrisJonesGihanKarunaratneTaradeLindeIvanDelRenzioVictoriaLourencoYorgosLoizosAllessiaMosciLECTURERS&PHDPRACTITIONERSAthanasopoulosSamerBagaeenBaxSilvioCaputoCastagnaDamaianiGordanaFontana-GiustiAmbroseGillickGriffinManoloGuerciHobbsHolmsCoatsTimIrelandNikolaosKarydisLopesMeachamMarialenaNikolopoulouOutramKhaliliAlanPowersRaleyRaviGiridharanRenganathanElsherifRaviMichaelRichardsDrHenrikSchoenefeldtJefSmithChloeStreetTarbattDrRichardWatkinsPeterWislockiRonaldYee

295 Rebecca Muirhead Patrick OliverChloeBenjaminHoomanDimitrisAndrewAndyEdwardO’KeeffePrykeMacfeeReaderSofosTalebiWoodYoungWatson Natalie Conetta Kirsty Corrigan Alex ClaireJulieFionaHeavensJonesWatkinsJames DIVISION OF ARTS & HUMANITIESTECHNICANS ADMINISTRATION These are the key Arts & Humanities colleagues who have been particularly instrumental in engaging with the School this past yearColin Cresser Neil ChristopherEvans Jones Kevin Smith Brian ValentineWoodGoesel Atanas Aleksandrov Joshua Akinwale Mark HuiChrisRobertThomsonKeenCaballeroWenTan BRANDING DESIGNCATALOGUE TEAM

296 ‘UV VU 22’ KSAP CATALOGUE Marlowe Copyrightwww.kent.ac.uk/architecture-planning01227CanterburyBuildingKentCT27NR824689ksap@kent.ac.ukKentSchoolofArchitecture&Planning 2022 All Rights Reserved ISBN 978-1-3999-2798-7

COVER DESIGN & SHOW IDENTITY CREDIT: Atanas Aleksandrov & Joshua Akinwale