KSAP End of year show catalogue 2019

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Without the generosity and support of our sponsors the 2019 exhibition and catalogue would not have been possible. Our thanks goes to:

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The International Learning Mobility Fund has allowed the support to the school over the past year. Not only has it allowed a great contribution to the school on MArch field trips this year, the generosity given from ILMF has made this years catalogue and the KSAP 2019 Exhibition Possible. International Learning Mobility Fund 2018-2019

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KSAP End of Year Show 2019


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Residential Minor Award






introduction head of school departing head of school kasa foreword



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


case create KASA acknowledgements Credits

352 354 356 358 360

20 26 50 80 112 134 140 144



BA (HONS) stage 3 stage 2 stage 1




student award nominations


06 12 14 16 18

154 162 316 320


architectural visualisation architecture & urban design architecture & conservation architecture & sustainable enviroments bio digital architecture urban planning & resiliance phd in architecture

326 332 336 342 344 346 348







I returned from a period of study leave last summer to find the School in the throes of great change. Keith Bothwell had retired, and so I had to take up the reins of running the BA programme again, while returning to my role as Deputy Head. And alongside the departure of our respected colleagues, Chris Gardner and David Haney, the Head of School, Don Gray, formally announced his retirement in January, with effect from the end of spring term 2019. The moral of the story: never take study leave! But seriously, although things were clearly on the move in the School, life went on as normal. The students continued to produce sterling work (‘circumspice’ as Christopher Wren said just look around the exhibition, and see the evidence in the pages of this catalogue), colleagues taught and conducted their research, and papers and books were written and published. During the year we welcomed new colleagues into the School: Hannah Huxley in the School Office (replacing Rianne Dubois during her maternity leave), looking after our burgeoning PhD programme, and Emma Nevill (maternity cover for Ellie Mascall), looking after recruitment and marketing, and we welcomed Colin Cresser back to the Workshop from his intrepid bike journey to South Africa. We have a number of new academic colleagues, too, bringing remarkable enthusiasm and verve to the School. They are already making a great impact, and we look forward to robotic arms (Peter Buš), urban agriculture (Silvio Caputo) and community engagement (Ambrose Gillick) moving KSAP forward. And what about that letter P in our name? Although we welcomed Samer Bagaeen to the School last year, this year he has been running the initial year of the Masters in Urban Planning and Resilience. We will find out about their interests, and those of our existing academics, at the forthcoming PechaKucha evening at the start of session in September. I don’t wish to dwell on loss, but every year we lose remarkable members of our profession: I.M. Pei (whose formidable geometries we have admired every time we visit the Louvre in Paris), and William Whitfield, that meticulous humaniser of Brutalist architecture. On a more personal level, I was moved to hear of the death of Robert Maguire in February. I got to know Bob some ten years ago while I was researching a book on his practice, Maguire & Murray. His well-crafted work, his profound humanist ethos – which extended into teaching, as Head of the Oxford Polytechnic (as was) School of Architecture in the 1970s – had a great influence on me, as a student, practitioner and teacher, and I was privileged to stand on a breezy Scottish hillside a few months ago as he was piped to the grave. If you want to see his work in Kent, get along to the King’s School in Canterbury, or St Mary’s Abbey, West Malling. Our students have produced formidable drawings and models, in various media, and I shall let them speak for themselves. But do please read the supporting texts from their programme directors, Stage Coordinators and Unit Leaders. I end with some words, 14

still the prime means of communication we have. This year I was pleased to see the publication of a text I had written on the German philosopher Helmuth Plessner, a contemporary of Martin Heidegger’s. It came out of a conference I attended at Bamberg a few years ago, run by the International Society for the Philosophy of Architecture (ISPA). Its theme, the human in architecture, brought together a fascinating collection of papers that linked philosophy, anthropology and architecture. This is one of Plessner’s most evocative passages:

Nestling in, moving along, feeling one’s way, occupying space, the thousand ways of living within our postures and giving the silent image of spaces and planes through such postures an immediate connection to me, these are the ways to understand architecture. We always have to feel such an image and its ideal system of expression on our own body in order to taste the sense of a building. The purely ornamental, the effect of light, the qualities of materials form a meaningful structure, if not consciously, then in a more or less immediate reaction to the artificially formed world of space.



DEPARTING HEAD OF SCHOOL PROFESSOR DON GRAY What would you have done? From 2001 to 2005 I was head of Canterbury School of Architecture, based in Kent Institute of Art and Design (KIAD) in New Dover Road - now the University of the Creative Arts. I had moved there from Central Saint Martins in London where I had written new crosscollege learning programmes as a precursor to CSM inaugurating its own architecture programmes. In early 2005, I was approached by the Vice Chancellor of the University of Kent who enquired whether I would be interested in setting up a new school of architecture at the University. This would involve staffing a new school in the Faculty of Humanities, obtaining professional validation from RIBA, negotiating prescription from ARB, writing learning programmes and modules and designing and specifying the studios, workshops and administration areas of the school: all to be completed within a few months if possible. Part of the Marlowe Building would be made available to the new school. What would you have done? Opportunities like this come perhaps once in a lifetime if you are fortunate. I said “yes” and resigned from KIAD in April 2005. I was not aware of the fury that this would produce among the managers in KIAD, particularly the Director who chose to personalise the decision. In the event almost all the architecture staff from KIAD chose to resign and move to the University - along with a substantial cohort of talented students. Kent School of Architecture was born. ARB prescription and RIBA validation were obtained in record time and our first graduates in summer 2006 did so with the authority of full professional validation. These remarkable actions in so short a period of time could not have been effected without a talented and dedicated team, intent on meeting the challenges of a 21st century school of architecture. Many of the original contributors have now left, but the role of Professor Gerry Adler has been fundamental in the success of the school, and I am delighted that KSA remains under his leadership. Other individuals who deserve praise include Jeanne Straight, the first School Administration Manager; Brian Wood, Technical Resources Manager; Kevin Smith, the inimitable Workshop Manager. The new SAM, Natalie Conetta has supported the school in every aspect of its activities and is proving to be an exceptionally skilled advocate for the school. Ben Martin provides the most authoritative advice as Student Experience Manager. A renewed focus on digital architecture is guided by Tim Ireland. KSA is now home to three important research centres: CREAte, CASE and DARC. The future of the school looks assured. Over the past 14 years, KSA has become known for design and innovation in a number of areas. The foyer and furniture to the Marlowe were designed following a KSA student competition, and so the CREAte Café came into being. The Digital Crit Space has 16

become an emblem of the possibilities of digital learning within the University of Kent and an exemplar to architectural education worldwide. Its innovative, wind-driven façade won the Facade of the Year accolade of World Architectural News in 2013. MArch students worked with the renowned engineering firm Expedition to design the steel tensegrity structure outside the Marlowe Building for the school’s 10th birthday (and the University’s 50th). The giant cardboard hare was a feature on campus long after the End-of-Year Show. A new Planning School opened within KSA this year offering further opportunities for creative intervention in the built environment - and a change of name: Kent School of Architecture and Planning (KSAP). What is the real secret of the success of KSAP? I firmly believe that it is the students who are the guardians of the school ethos, and I have always trusted them to provide the energy, innovation and identity for which KSAP is known. The End-of Year Show and its accompanying catalogue – the one you are reading now – have been designed and produced exclusively by the students, and this has been the case for the last decade. They are our best ambassadors and I am immensely proud of all of our graduates. It has always been about the students. I retired from KSAP and the University in April this year. Thank you all for the opportunity of leading the school over the past 14 years.




The Kent Architectural Student Association (KASA), originally founded by the Del Renzio brothers, has gained noticeable recognition in the last few years as one of the largest student societies at The University of Kent. By working closely in tandem with the Kent School of Architecture and Planning (KSAP) KASA is able to reach over 450 students annually. KASA offers a variety of academic and recreational activities, including competitions, socials and a lecture series that forms part of the Kent Open Lectures. It is important to us that there is a sense of community throughout the programme that is inclusive of all stages from One-Five and the other courses that KSAP offer. We have further strengthened this involvement by introducing a new role, a Vice-President from Stage Two that we hope will work closely with the KASA committee. The End of Year Show is always a celebrated event in the academic calendar, providing the students with a platform to present their work amongst family, friends, peers and employers. Each year we are lucky enough to host an increasing number of employers keen to seek out potential employees within a very talented cohort. On behalf of all students, we are delighted to share our hard work at such an anticipated event. This year we are celebrating the county of Kent and the union of all stages and courses within the Kent School of Architecture and Planning. For the first time, the BA and MArch students all have projects that are within the Garden of England and this is what we are showcasing here at the show. Two major changes have occurred this year that are to be celebrated. On the 27th March the school re-branded as the Kent School of Architecture and Planning (KSAP), providing a vital expansion that now includes courses on planning and allows for engagement with all planning authorities in Kent. In addition to this, the school founder and head of school Don Gray has recently retired having set up the school fourteen years ago. We are looking to take this opportunity to thank him for all his hard work and welcome him back as our guest speaker. From all of us at KASA, we hope you enjoy the show!

Edward Sutcliff & Samuel Martin KASA Presidents 2017-18

Chandni Patel & Stephanie Tillman KASA Presidents 2018/19






In the MArch, we teach design, and integrated technology in Stage Five, through a series of parallel, ‘vertical’ teaching groups called ‘Units’ which are a mixture of Stage Four and Five students. Each Unit has its own theoretical and pedagogical position, dedicated design and technical teaching team, and allows students choice in their education. To create choice, and to offer continuing students something fresh, Units re-focus their evolving interests annually. This year these interests aligned for all Units along east Kent’s north coast – a Dickensian estuarine landscape of reclaimed marshes, excavated silt-scapes, pastoral grazing, surviving and former industries, and military defence.


A line drawn eastwards from the Swanscombe Peninsula – the first bend in the River Thames just below the Dartford Crossing – along the north Kent coast proscribes a series of almost contiguous sites of interest encapsulating the Hoo Peninsula and Isle of Grain; into the Medway estuary to the bridge at Rochester, skipping across to the Medway town of Gillingham; then returning towards Sheerness on the Isle of Sheppey, and beyond. Some of these areas have been areas of interest to other MArch Units before, but this year all Units came to these territories for the first time bringing fresh visions of future architectures. We are grateful to John Letherland, founding partner of Farrells Architects, and the individual most associated with a reimagined Thames Gateway for his Keynote Lecture to all Units, and especially to the University of Kent’s Faculty of Humanities International Learning Mobility Fund, who have so generously supported, in equal share, the International Fieldtrips each Unit undertook this year to look at similar complex conditions as those found here, through a different cultural lens, and for further supporting this exhibition of the direct outcomes of those trips – all the work of the MArch Units in this Exhibition show and the relevant sections of the Catalogue. Outside the Unit system Stage Five students choose between three parallel options to a classic Dissertation – Artefact (research though Practice – ‘making’) and Architectural Pedagogy, an initiative that differentiates KSAP’s MArch as unique amongst all UK schools of Architecture. Here participating MArch students become involved in the teaching of design and communications to Stage One beginning design students. You can read about these ‘Options’ and their outcomes in this catalogue. In Stage Four we said ‘goodbye’ to departing Lecturer, Dr Charles Drozynski, and thank him for his stewardship of Stage Four Cultural Context Module for the past three years, and welcome Dr Ambrose Gillick to the role – one he is already creatively and positively expanding as a new fulltime member of staff. Achievement in all subject areas will be recognised with prizes this year, and shortlists of nominees are listed in this catalogue, with winners announced at the opening of the Exhibition. We are also delighted that two of our MArch Stage Four students – Lisa Edwards & Ottavia Profumo – have been learning Japanese in preparation for Study Abroad next academic year at Kogakuin University in Tokyo.











This year Unit 1 focused on the Swanscombe Peninsula – a collection of former tidal marshes reclaimed from the Thames behind an ancient earthen river wall, the line of which still bisects the peninsula. More recently, there have been sites of former paper, concrete, cement, and metal making factories – some of which survive to this day. It was further extended in the 1960s with the depositing of burnt kiln dust, an industrial by-product of the cement industry, beyond the old river wall to form a new raised tip. In the near future it is proposed that the peninsula will fall under the new London Paramount Entertainment Resort (or as Paramount’s resolve cooled, now ‘London Resort’). This film-themed amusement park is anticipated to draw millions of visitors a year and will create up to 17,000 new jobs, and test the transportation infrastructure of nearby Ebbsfleet International, whilst chiming with the development of the new Ebbsfleet Garden City, on its southern fringes. What will this mean for Swanscombe? Taking our cue from the filmic theme, students became photographers and cinematographers, first making their own pinhole cameras, then developing prints in the darkroom before capturing live real-time images with Camera Obscura. These devices recorded and witness their surroundings but also engaged with time. The optics of these cameras were then drawn out through a process of photogrammetry to generate a scaled, 2D and modelled 3D representation of what the camera saw – through the conventions of architectural drawing. An intermediate short architectural project foreground these abstract exercises onto the landscape of the Peninsula in the form of a ‘Lighthouse’ (or ‘House-of-Light’) – at once both artefact, and architectural model that functions at two or more scales to combine a combination of stills images to create a new meaning for the montage or combination in both 2D and 3D. At every stage, in parallel 26

with the photographic process, we used architectural drawings as vehicles conjecture, analysis and proposition. Our Fieldtrip to Paris and beyond, generously supported by the Faulty of Humanities Intentional Learning Mobility Fund, visited Disneyland Park and in particular Walt Disney Studios Park (nee Euro Disney Resort), the most visited theme park in Europe, as the best equivalent of a film-themed amusement park. Situated in Marne-la-Vallée, a new town located 32 km (20 mi) east of the centre of Paris, there are clear parallels with Kent’s new Garden City, Ebbsfleet Valley new town, adjacent to the Swanscombe Peninsula, 15 miles from the centre of London. In Paris - ‘City of Light’ - we experienced key architecture, urbanism, riverine landscapes, and seminal interrelated, interdisciplinary Cinema, Photography and Art as it relates to ‘True Stories’. Before going and whilst there we viewed films and techniques of French New Wave Cinema, and its chief auteur, Jean-Luc Godard, who rejected Hollywood tradition and the primacy of the scriptwriter, in favour of the creative role of the Director. Handheld photography, single camera positions, nonsequitur still images, jump cuts (editing), and actors talking directly to camera and breaking the ‘fourth wall’ of cinema, all shocked viewers our of narrative complacency, and alerted them to the reality that film is a living creative act, that requires active and critical engagement. Students’ critical faculties honed, their control of mixed mediums established, the foregrounding of these to landscape achieved, and their portfolio ordered, then shortly after a return from Paris, briefs and design propositions for students’ unique thesis project were developed. This year these included: Stage Five: Rum Distillery utilising sorghum from Tilbury Dock, a ‘Little Havana’ Cigar cartel community at Broadness Harbour; Hyperventilating William Morris Wall Paper Archive & Works; a Hitchcock Film Centre of a former waste water facility; a materials prototyping community that consumes burnt kiln dust to make new buildings; a ground water cleaning facility on a reinstated Broadness Creek; a Kentish Saville Row Tailoring Apprenticeship guild; an Alchemist factory interposed into the existing Lead refinery campus; a Thames Marine Log and Manifest Archive astride a dry-dock; Stage Four: a Neverland child and adult play centre (that anticipates Paramount World);’ The Dickensian’ a visitor centre for Great Expectations; Ecology centre for indigenous jumping spiders and plant life; a Digital peer-to-peer film and editing school; a combined salt desalination plant, power station and salt spa; a Folly for the fictions characters from The Cement Garden/Breaking Bad/The Signal Man; a new civic centre for shared government twixt Dartford/ Gravesham/Paramount worlds; a magical Mystery Bus Tour company and costumerie; neo-noir dystopian Gothic Lead Foundry. Unit 1 Students: Stage 5: Francesca Hopkins, Timur Lablokov, Joshua Kirk, Anqi Li, Allan Ossa, Leonie Perrin, Samuel Plank, Kathryn Rackett, Corrina Winterburn. Stage 4: Sude Akdeniz, Samar Al-Haddad, Ka Pui Cheng, Andy Kong, Yuen Kwok, Ellisha Seagroatt, Aubin Torck, Michelle Winkler, Konstantin Zlatarov. Unit 1 Leaders: Michael Richards & Yorgos Loizos Technical Tutors: Philip Baston, Philip Baston Architects Ltd., Tim Carlyle, Tim Carlyle Architect; Ben Godber, Godber & Co. Ltd; Patrick Osbourne, RHP. Guest Lecturer: John Letherland, John Letherland Ltd. Guest Critics: Felicity Atekpe, White Table; John Letherland, John Letherland Ltd., Matthew Orme, Purcell, Peter Buš, Mark Coles, Benn Corrie, Ambrose Gillick, Michael Holms-Coats; Francesco Incelli, Tim Ireland, Lee Jesson; Alessia Mosci; Oliver Watson; Matthew Woodthorpe

MICHAEL RICHARDS Unit 1 leader 27


FRANCESCA HOPKINS, Stage 5 The Moonshine Rum Distillery utilises Swanscombe’s position along the Thames to take advantage of the cargo routes that operate under the Port of London Authority. Importing Sorghum cane from the adjacent Tilbury Dock, the Distillery takes an inexpensive material used for animal feed and vastly increases its value for exportation.



JOSHUA KIRK, Stage 5 After a history of wallpaper production on the Swanscombe peninsula, the project reintroduces the handmade industry; providing a new home for the production, conservation and archiving of Morris & Co. wallpaper, as master of the craft. It uses wallpaper as an architectural element to produce a structural language and material layering.



ANQI LI, Stage 5 The thesis project is a memorial and archive for victims who died in AlfredHitchcock’s fims. It was proposed on the site of an old sewage work ruins within the Swanscombe Peninsula, and this project also takes part in theLondon Paramount World theme park, which is planning to open in 2030.



ALLAN SANTIAGO OSSA, Stage 5 Swanscombe’s cement industry boomed in the early 20th but destroyed its vast saltmarshes through the depositing of kiln waste. Now a derelict and contaminated site, this scheme proposes to return the peninsula to a saltmarsh through the mining of the deposited by-product. Using the mined resource as well as other local and industrial waste to build a research community which evolves as it expands. 35


LEONIE PERRIN, Stage 5 This project is the story of A Purifying Infrastructure set in the industrial wasteland of Swanscombe Peninsula. Since the establishment of the Cement Works in 1825, cement kiln dust has littered the once unblemished silt-scape. To correct a pollution problem, the natural water shed will be redirected into a reclaimed creek. Toxins will go through a filtration process before its release into the River Thames, as unpolluted water. 37


SAMUEL PLANK, Stage 5 Savile Row Academy and Kentish Tweed Mill trains tailoring apprentices over a 5 year residency period. The design has developed through section, pattern making and bespoke shuttering that uses traditional tailoring techniques Situated on Botany Marsh, Swanscombe Peninsula the site houses a Kentish Botanical Garden used for tweed dyeing process.



KATHRYN RACKETT, Stage 5 The Alchemist’s Foundry is situated in the existing lead refinery at Swanscombe and is an extension to the proposed Paramount World. The form has derived from a series of spatial investigations relating to the themes of: double exposure, photogrammetry and film analysis.



CORRINA WINTERBURN, Stage 5 An archive and visitor area was designed, on Swanscombe Peninsular, to store logs of the people traveling on ships along the Thames. This design is inspired and derived from the films Rear window and the forced perspective that was used in the tesseract scene of Interstellar.


SAMAR AL-HADDAD, Stage 4 The story in between becomes the story of the film the ‘Great Expectations’ meeting the themes it shares with Forrest Gump’s film of retrospection, superficiality, and journey through time. It eventually leads to story writing workshop that teaches how to write stories by unfolding the story of the ‘Great Expectations.’


KA PUI CHENG, Stage 4 Inspired by the local extinct animals - jumping spiders and water voles on the Black Duck Marsh, this leads to the design of Swanscombe Animal Nature Reserve Centre which sits in the habitat enhancement area of the future London Resort development. The proposal consists of different routes and animals experiences for visitors to explore. It comprises the jumping spiders and water voles experiences with exhibitions which strives to create learning experiences about the extinct animals located on the Swanscombe Peninsula. 45

ELLISHA SEAGROATT, Stage 4 This project on the Swanscombe peninsula was developed through the exploration of traditional camera movements. An architectural analysis of the dolly zoom shot led to various mechanical instruments being designed to move the rooms’ interiors to create the desired distortion effects rather than the inhabitants moving around in the space themselves.


AUBIN TORCK, Stage 4 The Gravesham and Dartford Joint council Hall is developed as part of the Ebbsfleet Garden city urban development program. Swanscombe peninsula is chosen as a central point for a new joint council hall to appease and resolve socio-political and environmental tensions. The form was developed from the site’s overlap of natural, man made and political boundaries. Design moves integrate ideas of paradoxical contrast of tension and unity between the two councils. 47

MICHELLE WINKLER, Stage 4 Integrated into the existing bus depot, the Magic Mystery Tour revitalizes the existing structure and gives it a new lease of life. The bus depot is the second largest supplier of classic vintage London buses, and is predominantly for event use. The proposal consists of timber framed modules which represent the route master bus; each being an independent exhibition space intended to portray different historical worlds. Users are designated costumes and are guided through a theatrical tour to multiple destinations around Kent. 48

KONSTANTIN ZLATAROV, Stage 4 The Monastery of Lead tells a story of a cult formed around the lead production in a fictional timeline where the Second World War did not end. The workers supplied the necessary materials and praised the Lead Saints, ever sacrificing themselves for the greater good. The building consists of a factory unit and an accommodation wing, combining the industrial and the ideological architectural language. 49



‘... the built invariably comes into existence out of the constantly evolving interplay of three converging vectors, the topos [place], the typos [function] and the tectonic [construction].’ - Kenneth Frampton, Studies in Tectonic Culture Each year Unit 3, guided by making and drawing, seeks to challenge modes of thinking and broaden the architectural ‘toolkit’ of each student. Our starting point this year has been ‘place’, following on from a ‘construction’ start last year. The theme of island(s), in its broadest sense, has been in the foreground – metaphorically, spatially and socially – to provide both focus and scope. Making direct use of this ‘island’ framing theme, context, place, location and site have been the leading drivers for student work in our chosen Medway towns of Rochester and Gillingham. The imaginative, urban and social character of ‘island(s)’ – of separation, boundary, particularity, arrival, departure – has been fleshed out in these townscapes. Mapping work, directly in these locations, was an essential grounding for all the projects and the creation of ‘physical dialogues’ set the framework for the development of each student’s growing project vocabulary. Employing the design method of ‘constructing the site’, students imposed constructs and components into and onto their selected ‘urban island’ locations. And insights and observations


from the unit’s study trip to the Republic of Ireland - to the cities of Dublin, Cork and Limerick – have enriched designs. These preliminary and intermediate ‘works’ were undertaken before launching the final project – ‘The Conversation’ – a civic and entertainment facility for each student’s chosen ‘carrier’ or stakeholder, a project embedded into the townscape: The redundant high street mall of Gillingham was reborn as a fashion up-cycling co-operative and revitalised as a diverse live music venue, while an empty plot was transformed into a functioning and educational fire station. Terrace houses became public front doors and back gardens were linked to form a community kitchen, and a family-friendly hub was introduced as a fresh urban feature with a new cinema as its attractor. In Rochester, historic walls sprouted a sleek, black youth offenders’ platform, a gently canopied mental health oasis and a fortress-like artist community studio and gallery striding out over Roman remains. In the ‘in-betweens’, humble rammed earth was squeezed into every city orifice to create a grand interior world of craft and exhibition, and blacktop car parks were overtaken by an expressive, folded, complex mathematics college and the swirling ramps of an institute for sign language. A bold tower marks the recent arrival of the riverside apartment quarter outside of town while a crafted writers’ campus has been won from a neglected, central plot close to the cathedral in the old town’s very centre. At the river edge, an oyster farm was combined with a public market hall and secret ceremonial chamber and ‘across the tracks’ travelling showmen were given a colourful new home under a masted roofscape, while a ‘vessel’ capable of withstanding serious flooding provides emerging games’ entrepreneurs with a motion capture studio. On the shore, the rudiments were set up for foragers in an informal architecture for their incremental practice, veiled from public view. All the students’ individual designs in this rich collection of contemporary, responsive ‘public conversations’ are represented here. Unit 3 Students Stage 5: Nyamdorj Boldbaatar, Karly Chung, Matthew Greenwood, Kate Ha, Sam Hope, Doru Manalia, Samuel Martin, Mai Nguyen, Brewster Surridge, Charlie Whittington, Monica Win Stage 4: James Bearman, Sojia Johnson, Chandni Patel, Banu Santhosh, Ottavia Profumo, Dusan Sunwar Unit 3 Leaders:

Michael Holms Coats & Lee Jesson

Technical Tutors:

Oliver Watson, studio associate, Jestico + Whiles

Guest Critics: Kyriakios Katsaros, Principal, Studio C102, Duncan McLeod, Director, Studio McLeod, Mervyn Rodrigues, Director, Rodrigues Associates, Joseph Hamblin, Feix + Merlin, Felicity Atekpe, White Table, Philip Baston, Peter Buš, Mark Coles, Benn Corrie, Ambrose Gillick, Francesco Incelli, Tim Ireland, Yorgos Loizos, Alessia Mosci, Matthew Orme, Michael Richards, Matthew Woodthorpe

MICHAEL HOLMS COATS Unit 3 leader 51


NYAMDORJ BOLDBAATART, Stage 5 Anticipation and The Oyster Guild - this project sees a new Market, Chamber, Accommodation, Office and Training Grounds for the former Rochester Oyster and Floating Fishery, currently operating out of the Guildhall. The project was realised as a consequence of my stance on the dichotomy of the definition of “Anticipation” and “Prediction” informed by early conceptual work.



KARLY CHUNG, Stage 5 Hidden behind the bustling High Street of Rochester lies the Eastgate Mental Well-being Centre. The design wraps around the historic Roman wall and encourages the relationship between built-form and nature. Layers of fabric conceal a variety of inhabitable spaces with increasing privacy.



MATTHEW GREENWOOD, Stage 5 Canterbury St. Community Fire Station (Gillingham) to educate and involve the local community in the process of the local fire brigade. Rammed chalk embodies the accumulation of social decisions whilst the organisational jig provides organic arrangement of frames. The public are elevated above the appliance release and through observation, class and experiential areas. The service return through a calming chalk volume towards the opposite direction. 57






Copper flaring roofs


Upstairs tearoom



Existing structures Faceted concrete plinth


Lumpy hempcrete angled wall

Green insulated lime render

Pivot door entrance Hopscotch shared space Ground benches


Stage opening




Hanging hempcrete coiffure

High level walkway



Floating stairs

Suspended platforms

Ground wall








Flippy doors








KATE HA, Stage 5 The project is an expansion of the showman’s guild territory and provides a safe space for the show people to meet up . The idea of puppeteering runs through the building with flared roofs, suspended walkways and pivoting elements.



SAM HOPE, Stage 5 Crafting the Between This project instigates a specific research into fragmented spaces. The strategic intervention of these architectures follow the method of casting, carving, subtracting and configuring, where spaces will act as promenades of claustrophobic and uncomfortable environments leading to areas of breathable thresholds of light and space. 61


DORU MANAILA, Stage 5 Situated on the edge of the River Medway, the proposal consists of creative office spaces, a motion capture studio as well as public sports areas Movement and structure are celebrated in this playful design, with all inhabitable spaces being raised above ground to account for a 1-in-200 year flood event.



SAMUEL MARTIN, Stage 5 Charles Dickens’ novel Great Expectations recalls a view once provided from the gate of Grade 1 Listed Restoration House (Satis House) along an axis towards the Woodhams Brewery building. The building accommodates creatives in a range of secluded pods dispersed through the site. The route, linked by a range of courtyards and gardens offers glimpses to unexpected moments, whilst acting as inspiration for their own writing. 65


MAI NGUYEN, Stage 5 The thesis focuses on the theme Threshold, using it as a lens to investigate a humble car park site in Rochester and its’ potential of a lasting architectural intervention. The proposal comprises of various research and study facilities, which frame an open courtyard for social gathering and public performance. The scheme references its’ past through the sympathetic material palette and architectural vocabulary of Rochester. 67


BREWSTER SURRIDGE, Stage 5 The scheme proposes an intervention for youth offenders in Medway, offering the chance to participate in a sports and life development programme, uniquely positioned around, inside and on top of Rochester Castle wall. Inspiration was taken from the attitudes of the pie-powder courts, located beneath an Elm tree at the southern end of the castle grounds.



CHARLIE WHITTINGTON, Stage 5 The Billy Childish Factory of Sound This project builds upon the nature of “street performance� and seeks to create a music cultural community hub that embraces both the rich history of the Medway music scene and the prominant industrial past of Gillingham.



MONICA WIN, Stage 5 Located on the High Street in Gillingham, Kent, the proposal consists of a textile and garment up-cycling centre that responds to the High Street’s existing high ratio of charity shops to ‘fast fashion’ clothing stores. The proposal also retains and revitalizes the site’s original use as a pedestrianized through-route, also providing the public with seating and open areas.


JAMES BEARMAN, Stage 4 Accentuation of the Sanctity of Urban Thresholds - This Arts Community Centre, over an exhibited Roman wall, conceptualizes a building acting as an axis of connections between the historic Rochester and the riverside developments eastward. This ‘conversation’ takes place throughout the brief, geometric massing, materiality and mixed re-interpreted vernacular typologies.


SOJIA JOHNSON, Stage 4 The project is a sign language foundation, designed in the town of Rochester, considered to create an awareness about the existing deaf communities and their language. This project is assumed to conceive an environment where one could feel both, to isolate others and be isolated. The aspects used in this project, could be used beyond in the future, to establish a safe, friendly world, where the deaf and the public could co-exist, without any war due to miscommunication, known as ‘Deaf Utopia’. 75

CHANDNI PATEL, Stage 4 Acknowledging the existing social affluence of the Medway town Gillingham, the community led centre aims to create central hub for social activity. Using the Cinema as a tool to attract groups of all ages, it would allow a new activity to thrive within the centre of the town, as well as celebrating the existing social organisations within.


BANU PELLUR SANTHOSH KUMA, Stage 4 Verticality is consciously or unconsciously implemented in everyday life and in representation of the social hierarchy in the society. This measure begins in the built environment where the strong hidden meaning of the expressive qualities through emotion and aesthetics takes place. Unexpected meaning arises in the way building parts are assembled and highlighted. Vertical Markers act as symbols of experiential spaces in this context. 77

OTTAVIA PROFUMO, Stage 4 Set within Gillingham’s residential neighbourhood, the project takes its shape from community-driven decisions to reconnect people with what they eat, through on-site food growing, cooking and eating. Back-to-back terraced houses are transformed to enhance solar gain and break down the neat separation between indoors and outdoors. Emphasis is placed on materiality, differentiating what is original, altered and new. 78

DUSAN SUNWAR, Stage 4 The shoreline of Strood acts as a social boundary between local people and squatters living in an abandoned boat along the shoreline. Appreciating both communities, this brief aims to provide an improved shelter for squatters and a platform to disguise their activity and misdirect local people’s attention. It also provides an infrastructure and influence more improvised structure in the future. 79




Collective; a group of entities that share or are motivated by at least one common issue or interest, or work together to achieve a common objective. Collective intelligence; a perception created from the influence of collective sources creating broad group knowledge.


Unit 4 explores ‘Collectives’ and the notions of ‘Collecting’ to examine the changing perceptions of Architecture and Society. The final projects are based upon three principal themes of self-directed research; the collective belief structure, a poetic appreciation of site and a socio-political standpoint on the influence of technology, data and social media on contemporary society. Through the design process, the idiosyncratic tendencies of the collector(s) have been explored in great detail, with architectural programmes being derived from the detailed, user-specific requirements of the final proponent(s). Projects range from the obsessional behaviours of specialist collectors to larger scale collective enterprises. Located in the context of the beautiful and surreal landscape of the post-industrial Hoo Peninsula in Kent, the projects have drawn inspiration from the poetic interpretation of the physical and sensorial attributes of the landscape. Through the use of mapping, graphics, photography, sensatory appreciation and metaphor, students have developed ‘an approach’ to the landscape. The completed projects imagine new ways of human co-existence and collective purpose on the edge of society.

Unit 4 Students Stage 5: Lewis Armstrong, Joe Bosson, Jordan Crompton, Luke Golding, Edward Hobbs, Ryan Knight, Anna Krokou, Fergus Littlejohn, Dafni Papadopoulou, Matthew Spence, Martyn Turnnidge Stage 4: Samuel Bush, Lisa Edwards, Bethany Elmer, Edward Roberts, Toby Smith, Mhari Stevenson, Vi Vien Teo

Unit 4 Leaders:

Matthew Woodthorpe & Alessia Mosci

Technical Tutors:

Ben Corrie

Guest Critics: Charlotte Middleton, Ambrose Gillick, Michael Richards, Michael Holms Coats, Lee Jesson, Alessia Mosci, Yorgos Loizos, Philip Baston, Oliver Watson, Francesco Incelli, Peter Buš, Timothy Ireland



LEWIS ARMSTRONG, Stage 5 The Collector: A Fact Checker’s Heterotopia The project is an architectural exploration that responds to the abundance of political claims in modern day politics in the UK. The design is a machine that embodies the fact checking process, a process that relies on feedback. The machine accomodates a super computer that monitors media for important claims that should be checked, and provides a permanent destination for these claims in the archive on site. 83


JOE BOSSON, Stage 5 ‘wHoo Cares’ is a community resource that reacts to the current social stigmas relating to mental health issues whilst attempting to combat localised issues on the Hoo. With influence from Biophillic design and exposure therapy, the spaces within attempt to evoke certain emotions that relate to therapy and our affiliation to nature.



JORDAN CROMPTON, Stage 5 My project is centred on the energy company E.on’s attempt to rebuild its relationship with the people of the Hoo peninsula, by introducing the lost local trade of the Muddies. The proposal is for a community ran brick factory, which supplies building material for Shelters proposed Garden City. Portfolios: crompton1994@hotmail.com



LUKE GOLDING, Stage 5 Cliffe Equine Assisted Psychotherapy Centre The centre uses horses as a therapy aid to help teenagers wfrom mental health issues. A Therapy Building is positioned at the cliff top, with a Stable Court and riding arena at the base. The buildings contrast smooth polished concrete with the rough chalk cliffs.



EDWARD HOBBS, Stage 5 In the 1930s, Allhallows was set to become the UK’s largest seaside resort. The plans, however, never materialised. The Allhallows Performing Arts Centre seeks to rectify these missed opportunities for the town. It also seeks to aid its users - ex reality TV contestants - in adjusting to life post “fifteen minutes of fame” and readjust to normality.



RYAN KNIGHT, Stage 5 The Estuary Conservation Network is group dedicated to preserving and improving saltmarsh habitats that different species of fish occupy in their juvenile stages of development, with the aim of increasing fish stock in the UK. My project demonstrates the first branch of proposed saltmarsh habitat research centres to be placed on the UK’s estuaries designed to aid the conservation of the area. 93


ANNA AIKATERININI KALLISTI KROKOU, Stage 5 The purpose of the design is to heal teenagers with mental health issues through experiencing nature in the most remote location of the Hoo Peninsula. By relieving distractions, the scheme promotes the interaction of users, whilst providing the appropriate space for reflection. The scheme comprises distinctive spaces and considers daylighting, helping to aid people with mental health issues and creating a therapeutic community. 95


FERGUS LITTLEJOHN, Stage 5 ‘Hansa Peninsula’ explores the revival of the Hanseatic trade alliance post Brexit, locating the headquarters for the organisation on the Isle of Grain. The design of the building is derived from distorted vernacular forms, with the translucent glass tower creating a ‘beacon’ for the project. The building is part of a wider masterplan for the Thamesport area, examining the role that architecture can have in acting as a catalyst for regeneration and investment. 97


DAFNI PAPADOPOULOU, Stage 5 The proposal aims to respond to the economic threat that farmers will be facing in post-Brexit England, with the formation of a new socio economic structure in the Hoo Peninsula. A Farmer’s Guild is proposed. The building is designed to allow them to showcase their produce, while celebrating trade, monumentality, procession and rituals defining a guild. The building aims to sit as a ‘cathedral’ and contrast the marshy landscape of the Hoo. 99


MATTHEW SPENCE, Stage 5 ‘The Government Department Devoted To Big Data’ has been set up to enable a smooth transition of the UK’s big data storage during Brexit. To be able to increase the UK’s storage capacity, off-shore data centres have been built off the coast of Isle of Grain.



MARTYN TURNNIDGE, Stage 5 The Fame Factory From the author’s perspective; The Fame Factory focuses on society’s affinity and obsession with online influencers and Instagram. Providing a physical representation of Instagram via a series of internal and external stages and sets. The Fame Factory facilitates the pursuit, creation and destruction of the insta-famous. 103

SAMUEL BUSH, Stage 4 The collective centres around the conservation and protection of birds at the RSPB reserve in Cliffe Pools. The first term folly serves as a gathering space, where the collective can listen to birds nesting in the spire. The final design project proposes a visitor and research centre on the reserve.


LISA EDWARDS, Stage 4 Moths serve an important purpose as nocturnal pollinators in the broad ecosystem. Contemporary light pollution is having a detrimental impact upon lepidoptera species in the UK. Set within the steeply wooded site of High Halstow (Hoo Peninsula), the project comprises a scientific facility and public entomology library to study links between moth phenology and artificial light.


BETHANY ELMER, Stage 4 In response to contemporary disengagement with the environment, the project seeks to save the precious saltmarshes of the Hoo Peninsula from the oncoming plastic tide. The project balances future looking material experimentation with ideas of ad-hoc reclamation to provide alternate futures for our plastic waste.


EDWARD ROBERTS, Stage 4 The CEO of Sal Sol Pharmaceutical calls the employees to the annual conference to discuss the future expansions. Sal Sol will establish a combined pharmaceutical production and therapy facility using industrial vernacular to combat the rising levels of mental health in the young people of the United Kingdom.


TOBY SMITH, Stage 4 “Escape to the HOO”. A high-end retreat for athletes being set up by UK Sport. Due to the high suicide rate and depression of athletes caused by social media attacks and pressure from fans. This centre is being set up because there isn’t currently enough in place. Offering services for health, body and the mind.


MHARI STEVENSON, Stage 4 Hoo on FIRE (Financial Independence, Retire Early) provides an affordable co-living option to downsize and retire early for a collective who, fed up with a consumerist lifestyle, instead value nature, relationships and creativity. A ceramics studio allows creative expression, provides an income and encourages wider community engagement.


VI VIEN TEO, Stage 4 The memorial is designed as a journey of time to reconnect people with the past and to each other through an axial path from the main island to the Hoo Fort. The memorial celebrates the emotions and lives led by the 11 soldiers who sacrificed themselves in the first world war. It is also a space for contemplation and to move on from the sorrow memories into a new life.






Unit 5 considers architecture to be the crystallisation of environmental energies, harnessed and directed into forms by a scientist-architect; perceived to deal with forces not objects. To articulate the dynamic correlations between objects, environment and human experiences, through analogue and digital methods. Students were encouraged to think algorithmically about the generation of shape and form, and to set up an opportunity to think computationally about interaction, and life dynamics. The emphasis of the studio is EMPHATIC SPACE: the expressed, expressive, striking, sharp/clear in form, contour or profile, distinct, energetic, unequivocal, significant, striking and pronounced.


The first term (Design 1) concentrated on exploring combinatorial possibilities to develop generative processes of construction. Taking root from the famous dictum “Form Follows Function” Unit 5 upturns the notion to evoke speculations around the notion of “Function Follows Form”. A dialectic process between these two notions educes tensions between intention and output through speculation of affordances; to drive an exploratory process of construction. Design 1 was composed of a series of three short tasks, designed to encourage students to think algorithmically about the generation of space and form – and to provoke students to think about design as the manipulation of forces, and in so doing develop a combinatorial and generative process of construction. Tasks One and Two involved developing a spatial logic through which to generate interesting and appealing volumetric assemblies, which could then be applied, in Task Three, to designing a habitable intervention that responded to idiosyncratic observations and qualities of a chosen site. Task three was a small design project to develop initial ideas for and to kick start the main Design Two project; in second term. In the second term (Design 2) students developed an architectural proposition to respond to the constraints and qualities of their chosen site and its context. The unit was based in the Medway and Swale Basin, along the southern coast line between The Riverside Country Park and Queenborough/Sheerness. Having explored the area students identified sites for development and established programmes varying from a monastery to Drone Research Centre, ecologic community housing to artisan pottery centre, an archive, cinema, a site for artistic retreat and house for William Turner. The Unit 5 field trip was to Lyon, France’s second city, with a riverine condition. Rich in architectural heritage and new contemporary architecture Lyon will serve as a base for a pilgrimage to see a series of unique buildings by Le Corbusier – La Tourette and his campus at Firminy completed posthumously.

Unit 5 Students Stage 5: Muneer Alkizim, James Cotton, Charntelle Murphy -York , Edward Sutcliff Stage 4: Niyazi Aker, Zohaib Ashfaq, Zarah Graham, Daniel Hoang, Darren Howell - Bray, Salman Khan, Lauren Lau, Yi Lee, Charlotte Mcewan, David Norman, Emilia Osho - Williams, Stephanie Tillman, Xiang Yeoh Unit 5 Leaders:

Tim Ireland & Peter Buš

Technical Tutors:

Mark Coles

Guest Critics: Thomas Bush, Stephanie Elward, Emmanouil Zaroukas, Ambrose Gillick, Michael Richards, Matthew Woodthorpe, Michael Holms Coats, Lee Jesson, Alessia Mosci, Yorgos Loizos, Philip Baston, Oliver Watson, Francesco Incelli

TIM IRELAND Unit 5 leader 113






MUNEER ALKIZIM, Stage 5 My project proposal is a pottery crafts centre that focuses on the craft not only as one of the main ancient crafts that was supported by the Medway marshes leading to a thriving community but also gives opportunity to the new trends made possible through advanced technology.



JAMES COTTON, Stage 5 Monastery of Craft

Acting as a place of solitude and refuge from urban city life, my project celebrates the previous industries of Queenborough. Forgotten /traditional skills are merged with current technologies and taught with the principle belief that scientific evidence coupled with a spirit of humanity can build a better/ alternative future. 117


CHARN MURPHY-YORK, Stage 5 Guardians of the marsh: Sustainable plant-based community

By blurring the boundaries between human interventions and natural processes, the proposal for a self-contained community strives to protect the existing salt marsh whilst reducing detrimental impact upon the environment. Integration between spaces, landscape and residential units provides communal living alongside crop production on this riverside location. 119


EDWARD SUTCLIFF, Stage 5 Homeostatic Distribution: Balancing industry with nature. The proposal redesigns delivery services provided by online retailers, managing stages from cargo handling to order delivery from one location. Drones deliver individual parcels directly to customers, increasing efficiency. A R&D centre furthers capabilities in this field. The building faรงade is designed to encourage wildlife, reaching an equilibrium between nature and industry. 121

NIYAZI AKER, Stage 4 Located within a nature reserve, this project aims to create a space which will act as a centre for people suffering from mental stress, building a place which offers a deeper connection with oneself through its linguistic design process.


ZOHAIB ASHFAQ, Stage 4 The project programme seeks to address the lack of land use and management of Motney Hill, by creating allotments in which the locals can collectively interact, farm and cook natural goods.


ZARAH GRAHAM, Stage 4 Along the coastline of Sheerness, the town and sea are disconnected. In the space between, a playful cinema rises above the seawall and manifests as a suspension of reality; bridging the gap between ordinary life and recreation. Hints of playfulness are revealed in the recesses of the building’s solid exterior.


DANIEL HOANG, Stage 4 This project pays tribute to its context by encapsulating the human experience of the site through architecture. Located in Rainham, Kent, the project looks to preserve its saltmarshes and mudflats - one of the most productive ecosystems in the world.


View from Chef’s Bedroom

Sectional View

Cookery School View

Restaurant View

View from the River Medway

Ground Floor First Floor

Lower Ground

DARREN HOWELL-BRAY, Stage 4 House/Restaurant for a Chef A home for a chef providing a collection of transformable areas that operate as a restaurant during September, serving an invasive species on our shores known as the ‘Chinese Mitten Crab’, and as a cookery school between the months of October - August teaching cooking techniques for all seafood. 126

SALMAN KHAN, Stage 4 The project proposes an archive centre that peel back layers of the present to resurface history of the past buried by the ever expanding port of sheerness. The centre celebrates and resurface memories and history of the site through contributing,sharing and exhibiting past artefacts and collective memories of the people and town of Sheerness.


LAUREN LAU, Stage 4 The project encapsulates the collective memory of Sheerness. The agglomeration was articulated by the surrounding elements, including the church, promenade, sea wall and the brass band instruments. The site heritage acts as a catalyst for regeneration, through the history of bandstands and brass bands, forming a Brass Music School.


YI FENG LEE, Stage 4 A retreat house design for a geologist with gallery and public spaces. The idea of the house is to reflect the lifestyle of a geologist. The wall grows within the gallery and public spaces in the forest will create a space where making the users to detach from the environment and appreciate the nature.


CHARLOTTE MCEWAN, Stage 4 The project proposes a Pedometric Scientific Research Centre to continue the testing and conservation of the Chetney Marshes. The Chetney Marshes ancestry was a catalyst for the process, form and building use. Eventually the rammed earth structure will be enveloped by the landscape and allow those within to feel as if they are submerged within the ground.


DAVID NORMAN, Stage 4 Embrace the Dystopian My work takes objects and operationalised action verbs from my chosen site, a derelict former steel-breakers yard in Sheppey. I used these to refine a process that created a visual and architectural language, that resonates with the site. This culminated in the creation of a ‘dystopian retreats,’ for Sheppey Creatives.


STEPHANIE TILLMAN, Stage 4 This project strives to imagine a hypothetical alternative home for William Turner which has been converted in modern day, to function as a museum to celebrate Turner’s work. The archetypal language stems from studies into the processes of decomposition in timber; which is a response to the initial site experience. The interior also responds to the main features of Turner’s paintings which was the contrast of light and shadow. 132

XIANG AN YEOH, Stage 4 The main focus of my final year project is the revigoration of Cliftonville, Margate through the introduction of the Circus School and the Art School which hopes to bring communities together and celebrate the artistic aspirations of the city.




Artefact is one of three parallel ‘Options’ Modules offered in the autumn of MArch Stage Five (the others are Dissertation and Architectural Pedagogy). Globally there is an increasing interest in the notion of research-through-practice, or led-practice, in academia, as a means of bridging the divide between theory and practice, and how one necessarily informs the other. This year, as in the recent past, a small number of students, five, from the cohort of 35, elected to follow the Artefact option. This perhaps reflects strong interest in the alternative ‘Options’, academic writing of Dissertation, or the opportunity to learn-through-teaching that makes Architectural Pedagogy, and KSAP’s MArch Programme, unique amongst all UK school of Architecture. Or perhaps it’s a symptom of the matured MArch Unit System – which already offers a degree of choice and individualism in research-led-practice? This year’s five Artefactarians have produced some truly heroic and obsessive propositions that, in their very different ways, all confront the art and craft of making and perception, across a range of scales and technologies. You can read about them on the following pages – where you will find Jordan Compton’s Virtual Reality platform that can accept building design 3D virtual models and render them with real-time simulations of a variety to sight-impairment symptoms, and implement a series of simulated design interventions to help architects holistically design better buildings for the sight impaired; whilst Sam Hope’s Parasitic Armatures interposes a series of small sized yet full scale parasites that in deriving support from their host – KSAP’s own Marlowe Building – also add value to our appreciation of its left-over spaces – often themselves the symptom of over-arching architectural principles. Here Sam’s work forms a parallel prototype to his design work within Unit 3 – an example of how a student can lead their own education, not parasitically, but symbiotically. Sam Martin became interested in how the multilateral solutions for refugee camps might offer a unilateral interpretation that gives communities, families and Individuals a sense Personal Identity in Refugee Camps. Ed Sutcliff amplified his interests in iterative design in his artefactual proposition for a Decentralised Approach to Architecture through autonomous digital fabrication, with a series of prototypes for 1: 1 designobjects that sought an economy of scale and means. Corrina Winterburn added insight to the popular interest between Architecture and Fashion – hear more about the garment and seamstressing as a practice allied to building design. Her study used dress-making as vehicle to analyse how design guidance – literally ‘dress code’, material science and ergonomics cross over from made-to-measure to prêt-à-porter. Students: Samuel Martin, Jordan Crompton, Sam Hope, Edward Sutcliff, Corrina Winterburn. Advisors: Felicity Atekpe, Peter Buš, Howard Griffin and Michael Richards. Guest Critics: Gerry Adler, Patrick Crouch, Richard Watkins. Moderator: Silvio Caputo

MICHAEL RICHARDS module convenor 134

Edward Sutcliff A Decentralised Approach to Architecture: Using decentralised systems to inform architectural design and facilitate autonomous digital fabrication. The paper explores a seamless digital process, connecting the fields of digital design and digital fabrication. The outcome was a decentralised system of components, connected via their use of the same set of rules. 135

Jordan Crompton With the increase in population in the United Kingdom due to ageing, which in hand increases the number effected by visual disabilities, how can architects use virtual reality as a tool of experience-led design to create an empathetic gallery proposal? This artefact is viewable via the YouTube title above.

Sam Hope This thesis acts as a tool for identifying specific spatial identities. To raise awareness for underused and neglected spaces, this thesis identifies, interrogates, analyses and intervenes to demonstrate how unique spatial relationships are available and how they can be used.

Samuel Martin ITENTITY - Making a shelter a place to belong: Current shelter provision stripped refugees of their identity. A solution needed to be designed that would allow individuals to personalize their accommodation and establish a sense of belonging. Through a process of formulating, constructing and testing designs, a final shelter evolved; ‘ITENTITY’.

Corrina Winterburn, Stage 5 The objective of this artefact is to record the process of making a dress as an analogy to the process in which an architect experiences using the RIBA Plan of Works. No full time student fully experiences the RIBA Plan of Works in full scale. This artefact has explored the opportunity of using fashion to allow students to experience all stages of the Plan of works with full scale construction during education. This process teaches: analytical skills, drawing, instruction making and construction.


This module aims to provide a formal programme in the teaching of architectural design and communication. Firth year students develop an understanding of the general principles of architectural pedagogy, through practical experience teaching on the Stage One undergraduate programme alongside tutors and through research in the field of higher education. The focus is on historical and contemporary teaching and learning models that are specific to architecture including studio-based tutorials, seminars and design crits. The teaching and assessment of this module is divided into two components; Theory and Reflection and Practice and Evaluation. Through the combination of pedagogical theory and research alongside direct teaching experience, the module seeks to promote its students as active agents for change in the Kent School of Architecture and Planning. Key Methods and strategies developed and will be disseminated through the School, working with Stage One tutors, presenting to staff and students at crit sessions and reported on at Education Committee meetings. This year the pedagogy students brought knowledge, enthusiasm and experience to the first year tutorials and have been invaluable to both first year students and the Stage One tutors. Their workshops ranged from concept and narrative in the design process, photography in architectural education, the value of model making, making a section of a 1:1 wall to digital painting, the representation of atmosphere in architecture and memory recall and note-taking.

REBECCA HOBBS module convenor


Kathryn Rackett As the increase in diversity in Higher Education continues to present challenges, it is recognised that teaching and learning methods need to offer flexibility to anticipate future needs. A theoretical study was conducted to evaluate the benefits and challenges of applying Universal Design for Learning principles (UDL) to the existing Stage 1 educational framework at the Kent School of Architecture (KSA). Nine students were chosen from a design group to complete both workshops. Brief one was designed as the control case, similar to the existing project briefs given at the KSA. The three principles were then applied, resulting in brief two. The subject of study and the learning objectives remained the same in both. The outcomes were compared against the individual and across the group. The results of the workshops demonstrated that student attainment and self-confidence increased when the principles were applied. However, it was discovered that when students were presented with choice, they chose the option they felt most comfortable with. Therefore, further research is proposed to investigate the boundary between the comfort, learning and panic zone, to determine if UDL principles are detrimental to the student’s overall development.


Samuel Plank This research applies the VARK (‘Visual’, ‘Aural’, ‘Read & Write’ and ‘Kinaesthetic’) learning styles to notetaking formats and memory retention to understand their relationship. Three workshops identified and tested the learning styles of first year students at the Kent School of Architecture. The initial workshop identified learning styles and applied them against notetaking methods; listening, reading & writing and drawing. Each student identified as a multimodal learner, someone who has a preference of at least two learning styles. Engagement was observed during the learning exercise, quantified by the act of concentrating on the task without getting distracted. Other workshops tested memory of the learnt material to gauge the best notetaking method for each learning style. This generated a reference sheet for notetaking methods for different learning styles depending on short and long-term memory. It also highlights the different learning style characteristics for tutors to identify students’ best ways to learn.

Allan Ossa Responding to a general consensus across the RIBA calling for the improvement of teaching technical and practical skills at architecture schools. A pedagogical research study into how learning through building at full scale could better implement the teaching of technical knowledge at the Kent school of architecture was carried out. The study proposed a teaching model tested through a building workshop, challenging first year students to build a brick and blockwork cavity wall, learning the Time lapse of technical build up through its construction. wall construction


Edward Hobbs This study sought to explore how a student’s use of unconventional modelling materials during the concept design phase would impact their ability to express abstract ideas such as volume, light and void. It was established in the autumn term through surveying the students that the majority preferred to use conventional materials such as foam board and card. This was in recognition of their ease of use and ability to translate standard built elements such as walls and floors into model form. The rectilinear nature of these materials, however, often saw students fail to push beyond a conformist approach resulting in uninspired designs. In the spring term, a workshop was devised to encourage the use of recycled materials as an alternative for the development of concept models. Given such materials have no predetermined use for model making, students had to engage and reflect as their work progressed leading to a vastly more creative approach.

Karly Chung Concept and narrative have always been an integral part of design projects, both in education and in practice. However, there is no teaching framework for it. The autumn term explored student’s understanding of concept and narrative within a design process. From the analysis of the student’s design brief and individual design processes, the results implied that students who had a better understanding of concept and its importance in design process generally developed a more refined design. Two workshops were held to expose students to different concept types not covered previously. Further observations and analysis showed that students will reflect on every design project and develop their own design process through an iterative method. It is apparent that all students have their own approach to designing and none have the same design process. This is despite all the briefs emphasising the same concept types and starting the project with a site visit and site analysis.



LUKE GOLDING Historic Buildings: Restoration or Preservation Identifying Critical Factors Influencing the Decision This dissertation explores how the different factors used to justify the conservation of a building affect the choice of methodology used. This can either be restoring the original form and attempting to ensure that any new elements are indistinguishable, or preserving the building in the current form with contrasting new additions. The dissertation discusses two case studies. Clandon Park, an 18th century manor house by Giacomo Leoni, which was gutted by a fire in 2015. This is currently in the design phase for major repair work lead by Allies and Morrison. The decision was taken not to attempt to restore the building’s original appearance. Instead the focus has been placed on preserving the history of the building, undertaking a modern refurbishment, differentiated from the original building fabric. Christ Church, Spitalfields, built by Nicholas Hawksmoor in 1729, which was neglected throughout the 20th century. Here the decision was made that the most important message the building had to convey was Hawksmoor’s original intentions when he designed the Church. When conservation work was carried out from 2002-2004, led by Andrew Mason, the ambition was to re-create a unified appearance of Hawksmoor’s original design. Based on the analysis carried out on these case studies, the dissertation hypothesizes that the most prevalent factor in the decision of conservation methodology is the architect’s reputation. Buildings that benefit from an illustrious architect will be subject to restoration favouring a unified appearance, whereas the opposite approach will be prevalent where the architect is not now well known.


CHARLIE WHITTINGTON This paper seeks to establish a base knowledge of the relatively new sociological concept of Body Cuture. Identifying the importance of its application in todays society. Having established the base theory, the research forms a frame work for investigation using Bourdieu’s concepts of Habitus and Psycical and Social Place as well as Focaults’ Power and Discipline and his spatial concept of Heterotopia. This framework is then be used to carry out a spatial investigation into the body culture of Muay Thai, Thailands’ national sport and greatest cultural export. The investigation will attempt to uncover how Thai culture and society manifests itself in the movements of the Muay Thai body, through the appropriation of the standardised boxing ring space. Speculating how the complex layering of sociocultural structures transform a “space” to a “place”.

LEONIE PERRIN Pollution and the City: How legislation and structures confront the effects of air pollution in London. This dissertation traces the advance of air-born man-made pollution from its start in the Industrial Revolution, when it became a serious threat to human health, through to the present day and looks at future developments. With the World Health Organisation’s stark statistic that air pollution caused around 7 million premature deaths in 2012 internationally, this research looks at the difficulties facing large cities with specific reference to London and the way it has responded with legislation, social policy and urban design. With the death toll and health damage at such a high level, planners and legislators cannot ignore the grim evidence and this dissertation looks at air pollution today in London and our understanding of its consequences. This research describes the challenge for architects and urban designers to ensure the best antipollution practices are adopted, particularly for large population centres where huge amounts of energy is required to maintain concentrated industrial and residential activity.


MATTHEW GREENWOOD Humans and Technology What is the impact of delegating urban navigation to digital wayfinding devices on the user’s understanding of space and the consequent reaction of their environment? Humans in transit have been supported by a toolkit of navigational aids through their rural and urban habitation. Aids such as the compass, sextant, paper map and signpost have developed with the proliferation of digital technology in the Twenty-First Century. This thesis introduces human navigational strategies and digital wayfinding technology to understand the impact of the use of turn-by-turn GPS navigation to provide wayfinding directions on the user’s perception of their urban environment. Through the discussion of case studies on the integration of virtual infrastructures to the physical world; comparisons are made to suggest the implications of GPS use on urban space. It is found that the alteration of perspective and delegation of decision making to the device decreases attention given to the physical environment, and reduces the associated memories required for the formation of place. The representation of the digital map is found to give increased prominence to businesses over public entities within urban space. Conversely, the technology assists the user through revealing hidden information and deepening their understanding and opportunity in connecting to space and other users within it. The use of the device advocates a flexible urban space where a range of activities, de-territorialised from their traditional locations can take place. The priority of expedience by the device could be alleviated through the increased provision of rest areas, whilst attention to the physical space is recaptured through increased visual prominence and tactile intervention. The public urban environment should provide and support opportunity for engagement, discourse and discovery.


FRANCESCA HOPKINS Visions of a Vitreous Future: An investigation into the Utopic proposals of the Crystal Chain to establish their belief that glass architecture could act as the catalyst for social change in post-war Germany. The Crystal Chain was a clandestine correspondence group of architects instigated by Bruno Taut, brought together to speculate on methods to improve society through architecture, communicating under pseudonyms to exchange illustrated letters. The collective began following the end of the First World War, envisioning an idealistic European society, united to build crystalline communes constructed from coloured glass! The name ‘Crystal Chain’ refers to the group’s preferred material, glass; which was chosen as the group had a shared belief that a building’s material could influence the character of its occupants. The use of glass was intended to embody the notion of transparency, both in the literal and phenomenal sense. From the outset members were resigned to the fact that their work would remain on paper; devoting time to solving the structural issues would have been superfluous. This allowed them to be unconstrained from real world pragmatism and speculate the unbuildable. The drawings and manifestos functioned as a tool to introduce new ways to think about architecture, sparking a conversation rather than striving to resolve the issue. The notions discussed by Taut and his contemporaries provide a unique insight into the preoccupations of individuals at the forefront of the German avant-garde at a turbulent point in modern European history. No tangible artefacts were produced, nevertheless, the exquisite sketches and descriptive manifestos are an inimitable expression of the members aspirations to salvage a community torn apart by war. Although the movement was small in size, the ideas that circulated were grand.




RIBA President’s Medal Part 1 - Bronze Medal for Design Portfolio Two Nominees announced at the End of Year Show

Part 2 - Silver Medal for Design Portfolio Two Nominees announced at the End of Year Show

President Medal for Dissertation One Nominee from Part 1 or Part 2 to be announced at the End of Year Show


MArch - External Awards Purcell Prize

Awarded to Stage 5 students for the best project involving a historic structure or setting. Nominees -

Samuel Martin Mai Nguyen Brewster Surridge Charlie Whittington

RIBA Kent West Prize Nominees -

Joe Bosson Sam Hope Anqi Li Charn Murphy-York

3D REID Prize Nominees to be announced at the End of Year Show 2019

RIBA PART 2 MArch - Stage 5 Internal Awards Artefact Prize Nominees -

Jordan Crompton Sam Hope Ed Sutcliff

Dissertation Prize Nominees -

Matthew Greenwood Timur Lablokov Charlie Whittington


Architectural Pedagogy Prize Nominees -

Karly Chung Edward Hobbs Kathryn Rackett

Design Portfolio Prize Nominees -

Jordan Crompton James Cotton Sam Hope Fergus Littlejohn Mai Nygen Samuel Plank Kathryn Rackett Edward Sutcliff

Technology Portfolio Prize Nominees -

James Cotton Sam Hope Fergus Littljohn Mai Nygen Samuel Plank Kathryn Rackett Edward Sutcliff Martyn Tundridge

RIBA PART 2 MArch - Stage 4 Internal Awards Employability Prize Nominees -

Sojia Johnson-Thomas David Norman Chandni Patel Edward Roberts


Cultural Context Prize Nominees -

Samar Al-Haddad Sude Akdeniz Bethany Elmer David Norman Ottavia Profumo Mhari Stevenson Emilia Osho-Williams

Technology Prize Nominees -

James Bearman Bethany Elmer Charlotte McEwan David Norman Ellisha Seagroatt Vi Vien Teo Michelle Winkler

Design Process Prize Nominees -

Bethany Elmer David Norman Ottavia Profumo Ellisha Seagroatt

Design Realisation Prize Nominees -

James Bearman David Norman Mhari Stevenson Aubin Torck


RIBA PART 1 BA (Hons) - External Awards HMY Design Guide Prize

Awarded to Stage 2 Students for their Collective Dwelling Module. The work submitted for the prize includes historic building survey drawings and a design guide. Nominees -

Max Arnold Erland Birkeland Adam Dudley-Mallik Adam Fergusen

Stefan Ilsei Ryan Isbell Sam Siltanen - Tinsley Shannon Wade

Gravett Prize

Awarded to Stage 2 Students for best observational drawing(s) of existing buildings or structures. Nominees -

Nuriye Celik Victoria Dolfo Rebecca Jilks Matthew Manganga

Felicity Pike Ayako Seki Alaxandra-Stefania Barbu Michael Zapletal

Winner - Ayako Seki

Purcell Prize

Awarded to Stage 3 students for the best project involving a historic structure or setting. Nominees -

Edoardo Avellino Ben Child Josefine Calmels

RIBA Kent West Nominees -

Josefine Calmels Frederica Suvanto Billy Wongkar


Lauren Drummond Megan Griffiths Dilushanan Selvarajah

Bond Bryan Prize

Awarded to Stage 2 or 3 students who has demonstrated the best integration of technology and environmental strategies within architectural design. Nominees -

Emilie Indrebo Luca Luci Senjeeven Mungapen Michaela Petkova Billy Wongkar

Eliot College Prize

Awarded to the students for best working model, and final models. Winner to be announced at the End Of Year Show 2019

Women in Property (South East Region) Prize Highly commended: Samantha Green (Stage Two)

RIBA Part 1 BA(Hons) - Internal Awards Dissertation Prize

Awarded to Stage 3 students for the best dissertation / artefact. Nominees -

Callum McLaughlin Vin Phuc Nguyen Billy Wongkar

Stage Three Architecture Portfolio Prize

Awarded to Stage 3 students for the best project design from a combination of either of the design modules. Nominees -

Eduardo Avellino Josefine Calmels Ben Child Megan Griffiths

Dilushanan Selvarajah Joseph Singleton Roksana Wyrwa Thomas Zhang



Ba (hONS)



We attract students from an unusually diverse range of backgrounds to our Architecture BA, and the evident variety in their design work is testament to the broad international and social mix we represent here at KSAP. Our school prides itself in its multicultural, flexible and outward looking approach, wherein difference is celebrated and experimentation is encouraged. Our simple ‘horizontal’ approach to design teaching design - whereby each cohort is set the same design brief across the year group - allows students the agency to develop their own personally distinctive ethos in relation to the brief, untethered from any notion of a ‘studio diktat’.

We continue to build on our strong regional approach to design projects, with Kent and Medway operating as a live test-bed for placing our notional, or live, interventions. This south-eastern corner of the UK offers a socially, economically and historically rich environment for developing a strong understanding of context on a variety of levels.


Stage One took a fresh direction this year under the authorship of its new Stage Coordinator, Rebecca Hobbs. The design projects were based locally in Whitstable and Canterbury, and utilised the strong artisanal culture of the region to devise a set of linked briefs designing spaces for the local artistic community. Stage Two was also under new authorship, with Timothy Brittain-Catlin taking the helm. Timothy’s stewardship saw the spring term design project ‘Collective Dwelling’ take on a new dimension with a strong focus on developing a scholarly and inquisitive understanding of local vernacular domestic architecture, based in the richly historic town of Sandwich. Stage Three meanwhile, took Margate as its focus, riding on the wave of regeneration being stimulated by coastal funding opportunities. The adaption of the Pettman building into an art school epitomising the creative community stoically emerging in this disremembered coastal resort. And we are of course incredibly proud of our cultural context programme on our BA, where our world class researchers provide our students with a rich and dense theoretical core of architectural history and design teaching, spanning from our practically based Modern House lecture and model-making module in Stage One through to our Twentieth Century Architecture lecture series and exam in Stage Three. Our theory modules actively encourage drawing and modelling as an important tool for observation and understanding, underlined by this year’s prestigious Gravett Award, which was based on the sketchbooks produced by Stage One under Nikolaos Karydis’s Ancient and Medieval Architecture module. 2018 also saw KSA launch their first ‘big debate’ evening; a joint event of KASA with CREAte, the School’s Centre for Research in European Architecture. The event was initiated and planned by Timothy Brittain-Catlin and Jef Smith, and marked the launch of a series of research / teaching evenings intended to enrich the learning experience at the School. This evening was launched by a presentation prepared by the architect Richard Reid, and with contributions from Charles Holland, Catherine Slessor and Ruth Lang. This brought out into the open a much needed first discussion about style, beauty and the role architects can play in creating friendly, attractive places in towns and cities. Talks by Barbara Penner of the Bartlett on Cuddlefication and by Alan Powers on architectural education followed in the Spring.

CHLOE STREET-TARBATT Lecturer & Programme Director












The concluding year of Our BA (Hons) degree involved developing core design skills in complex conditions. Two projects set in Margate, Kent, examined ideas of intervention and adaptation on two different sites with a vision of building upon the growing cultural, leisure and artistic identity of the town. Studio work is supported by a range of activities including a personal dissertation, taught components in Management, Practice and Law, convened by Peter Wislocki, and continued modelling, drafting and software training. Offering a broad scope of study, Stage Three prepares our undergraduates for those diverse and exciting future challenges that lie beyond the confines of academia.


Continuing the now well-established practice, both major Stage Three design projects share the same urban setting. Through sustained critical engagement with one place, a more in-depth understanding of particular conditions can be uncovered, while simultaneously interrelating these to broader architectural, urban and social issues. Over the autumn term, the themes of intervention and change were explored at different design scales in the adaption and extension of the Pettman Building in the Cliftonville area of Margate, under the aegis of Nikolaos Karydis. The brief for this former furniture depository and prominent Victorian landmark, now home to the creative professionals’ collective Resort, involved the consolidation and expansion of the existing workspaces with the addition of an art school, theatre and associated living accommodation. Ranging from urban design to construction detailing, this project encouraged a diversity of design responses, allowing the individual student the opportunity to evolve their own particular areas of interest, resulting in the rich variety of the year group’s design responses. The final design project, convened by Jef Smith, invited our students to deepen their investigation into the Margate context, creating a new bespoke home for the National Centre for Circus Arts (the UK’s preeminent institution for the development of circus arts education and performance) on a prominent seafront site close to that of the previous term’s project. The underlying intention of the programme was to accommodate the ‘native citizen’ alongside the ‘urban nomad’; recognising the enduring appeal of a shared visceral experience of production and performance, in a brief combining utility with delight, as a counterbalance in our increasingly IT-dominated lives. Stage Three Tutors: Gerry Adler, Felicity Atekpe, Timothy Brittain-Catlin, Peter Bus, Silvio Caputo, Timothy Carlyle, Andrew de Carteret, Chris Gardner, Ben Godber, Don Gray, Howard Griffin, Manolo Guerci, Rebecca Hobbs, Francesco Incelli, Nikolaos Karydis, Marialena Nikolopoulou, Fiona Raley, Giridharan Renganathan, Khaled Sedki, Jef Smith, Henry Sparks, Tom Sweet, Ashvin de Vos, Richard Watkin, Peter Wislocki.




ELIZABETH AKAMO, Stage 3 My final project explores the idea of Appearance vs Reality through playing with light and thresholds. People centred architecture is something I have always been drawn to and in this project I was able to have fun with my ideas and create a playful yet elegant space in harmony with its context.



MONA ALAWADHI, Stage 3 This is a modern concept of constructing a National Centre for Perfomative Circus Arts which integrates with the surrounding community of Cliftonville, Margate. The design concept fuses the two fundamental aspets of the circus school which are designed to further improve on the human skills needed in a modern cirus school.1- The mind, which focuses on the educational aspect of the school. 2- The body which focuses on the physical& technical skills needed to develop this fantastic school. 167


ALANOUD ALHAMDY, Stage 3 The Circus School Proposal aims to revive the historic richness of Cliftonville and Margate by restoring the 20th Century townscape character of the Clifftop by displaying a continuous path of greenery. Neighbouring Victorian and Edwardian buildings, the site proposal provides an appealing path towards conserving the history of the location.



EILIDH ALLAN, Stage 3 THE CIRCUS IN THE SKY The circus is designed around the concept of flight - the flight of the aeriel performances is represented in the form of the building. The building is lifted a minimum of 10 metres above Margate, allowing everyone to be included in the action of flight.



AISHA ANUAR, Stage 3 The main focus of my final year project is the revigoration of Cliftonville, Margate through the introduction of the Circus School and the Art School which hopes to bring communities together and celebrate the artistic aspirations of the city.



EDOARDO AVELLINO, Stage 3 The Moonshine Rum Distillery utilises Swanscombe’s position along the Thames to take advantage of the cargo routes that operate under the Port of London Authority. Importing Sorghum cane from the adjacent Tilbury Dock, the Distillery takes an inexpensive material used for animal feed and vastly increases its value for exportation.



HANNAH BARDWELL, Stage 3 ‘Bridging the Bedrock’ scheme opens a new circus school and rock climbing centre in cliftonville. my concept was to create a simple ribbon of circulation bridging the cut in the bedrock, which holds the two ‘gems’ of spaces. Exploring and extending the angles of the streetscapes and dalby square gardens enabled the excervation and shape of the building to progress. This created a synthesis of spaces easily connecting across the cut to form one whole. 177


THALIA BARRETT, Stage 3 Elements (left) is a circus school in Margate which experiments with building underground and creating tension between geometric and organic shapes through the introduction of a kayak facility. Pettman School of Arts (above) introduces a glass urban corridor, creating dynamism in the urban grid, exploring negative spaces and volumes in the design.



MICHAEL BLADEN, Stage 3 In my design for the new NCCA building in Cliftonville, Margate, I tackled the challenge of placing a tall circus building on a generally flat, green site which runs along the exposed Cliftonville cliff edge. My solution envisions a circus building which would subtly rise from the ground, respecting the greenery and openness of the site. The building’s form itself takes inspiration from classic circus, tent-like curves, whilst holding on to the longitudinal character of the site. 181


BRUNA BORGES JOAQUIM, Stage 3 The Margate Centre for Circus Arts proposal is more than just a circus campus. Its ‘mini-circus’ daycare centre ripe with changing and interesting activities, tackle the lack of facilities for Cliftonville’s younger people. It inspires the next generation of performers while providing childcare for young parents. Its form is inspired by the spiralling movemovent of a hoop gymnast meanwhile the green roof’s walkable cliff-landscape acknowledges the building’s location within the Coastal Park Initiative. 183


IRAM BOXWALA, Stage 3 My final year project aims to redevelop Cliftonville in Margate. The circus school is inspired by the Clifftop Architecture and Landscape whereas the Art School is planned based on zoning and the overall masterplan of Margate.



DANIEL BUNKHAM, Stage 3 By introducing a traslucent skin, opaque internal modules and complete axial visibility, each space and node within the building has its own visual layers depending on where one stands. The building employs primary colours suppressed by a translucent outer boundary with the aim of enticing people to explore within.


2 188


Adapt Extend


CALMELS Josefine, Stage 3

JOSEFINE CALMELS, Stage 3 the fluidity off the cliffside landscape, the art school pays tribute to the existing The purpose of the two projects was to regenerate the area of Cliftonville by introducing a new circus and art school. Whilst the circus school is inspired by the fluidity off the cliffside landscape, the art school pays tribute to the existing Pettman building with its brick facade and arches.



BEHJAMIN CHILD, Stage 3 The proposal was generated by overlaying grids upon one another, creating interactions at their point of collision and intersection. The grids were drawn using conditions which exist on the boundaries of the site, integrating the scheme within its context yet retaining its own identity. Certain axis were emphasised through the buildings structure, channelling views and paths.



JIAN CHIN, Stage 3 The celebration of movements was the key theme of my work. Movement was explored through many layers. From human circulation to the evolution of time and transformation, movement was used to synthsise abstract concepts and architectural form to create a coherent design.



CRISTINA COCIER, Stage 3 The aim of the project was to revive Margate by creating a place that would improve the quality of the cliff. The design aim was to accentuate the organity of the site and to create a place which will permit to engage the school with the local people. The site taken from the locals in this way is given back. The design improves the quality of the promenade without disturbing the rhythm of it. 195


INES COMBALAT, Stage 3 This Project, inspired by Bernard Tschumi’s Folies and Vasily Kandinski’s Composition VIII, explores the rejuvenation of Cliftonvile with the development of a National Centre of Circus Arts. Recognizing the area’s need for a public space suitable for both adults and children, the scheme incorporates an outdoor playground/gym.



KAYLA DABU, Stage 3 RESURFACE the undergound city of Margate. Margate Caves . The Underground Lido . The Shell Grotto. The beauty of the enclosing caves; its rounded vaults and unfamiliar volumes. Echoed in the development of the DOME-sti-CITY for the school and people of Cliftonville. To create a family, a home; what the circus becomes for the individual. 199


WILLIAM DEWAR, Stage 3 Just as Margate’s Dreamland was known as the “Palace of Fun”, so the circus arts centre, with its light and glass façades enabling the public to look into the building to watch rehearsals and performances by the students, will bring fun back into Margate, reviving and rejuvenating the area.


































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LAUREN DRUMMOND, Stage 3 The shadows of a thriving, prosperous past echo within the architecture of Cliftonville providing the essential skeleton for a new creative hub. These two projects focused on the integration of the current society and amelioration of living standards such as with open public spaces and more leisure activities available. The projects became cohesive in their design and played with height, scale and space; one reaching extreme heights of the pinnacle and the other extreme depths of a subterranean world. 203


DANIEL DUARTE, Stage 3 Throughout the two last semesters of 2019 I developed a school for circus arts. I first solidified the tent-form, impermanent aspect of traditional circuses to a monolithic, heavyweight complex of forms. The volumes and voids are old ‘ghost forms’ adapted to modern tectonic language. A terrace sunk into the site accentuates the different heights of surrounding volumes and tunnels through the chalk cliff, protruding northward as a Corbusian flying balcony. 205


DANIEL FRENCH, Stage 3 Margate’s new ‘National Centre for Circus Arts’ is a mixed-use proposal that aims to create connections between the typically private aspects of a school and the public realm, through the use of zones dedicated to listening, writing, watching and reading available to both students and visitors. The fusion of public and private becomes amplified in the ‘Public Performance Space’ on the south facade, which allows performers and the public to interact through the floor slabs on a much more intimate level. 207


SARA GOLNABI, Stage 3 In designing a Circus Arts School in Cliftonville, Margate, it was most important to maintain the urban fabric and community within it. To provide safe spaces for the locals, accommodate the emerging artistic community and encourage interaction between the two, focus was placed on thresholds between public and private. Surrounding the solid circus school facilities there is flexible performance and play space, encapsulated by a floating, translucent shell, which minimizes the impact on the surrounding landscape. 209


GIORGIA GOLZIO, Stage 3 This project introduces the circus as an opportunity for a new urban corridor in Margate, thus allowing for the circus to be an urban experience. The project also explores how we perceive and interpret space by looking at Margate through Dumbo’s eyes, where everything is distorted in terms of function and form.



MEGAN GRIFFITHS, Stage 3 The main concept of this project was to create a new chapter to Margate’s notoriety and an extension to it’s underworld. I wanted to create a circus school that enhanced and nurtured imagination, a space that provided an unprogrammed possibility.



GEORGE HARRIS, Stage 3 The aim of my proposal for the National Centre of the Circus Arts, Margate, was to design a building that is both a creative hub for performing arts and a new interactive centre that will regenerate the surrounding deprived area. Dalby Square has been extended through the site leading pedestrians from the Upper Newgate Promenade to the Lower Promenade. The design has been divided into five modular forms housing Education, Performance, Circulation, Dance and Drama. 215


SALLY-ANN HO, Stage 3 The main focus of my final year project is the revigoration of Cliftonville, Margate through the introduction of the Circus School and the Art School which hopes to bring communities together and celebrate the artistic aspirations of the city.



ANGELIQUE HOARAU, Stage 3 The concept was inspired by the vibrant, colourful and eccentric nature of the circus and the work and techniques of abstract artists extracting lines and forms. Abstracting the lines and shapes from the movement of circus acts, Margate’s topography and geographical schema, I combined these elements, using the discrepancies and anomalies to find shapes, volumes and circulation.



SARAH HUNT, Stage 3 Both the Margate Circus School and the Pettman Urban Intervention were moulded by their surrounding environments and shaped through the requirements of the people. The projects focus on the more intimate human spaces; places to gather, reflect and enjoy.



EMILIE INDREBO, Stage 3 The project aims to revive the previously prosperous Cliftonville by integrating the client, NCCA, with the context through the provision of public space. Sustainable construction and economic strategies have been integrated to provide alternative incomes for the school through allotments, rentable spaces, public market, solar panels, bee hives and cafĂŠ.



FAY KAZROONI, Stage 3 When designing a circus school, I explored various form finding techniques, resulting in a design that combined the cliffs of Margate with the horizontal planes of the land and sea. The building invites the local community to engage with it and its fluid circulation accommodates the complex program needs.



ROBERT KEEN, Stage 3 Design work taken from Modules AR:558 Architectural Design,whic combines a new National Centre for Circus Arts with a ‘wildcard’ element; and AR:545, an extension to Rochester Guildhall and Museum.



KIRN KHAN, Stage 3 The project invited us to create a scheme that interacted with the cliffs of Margate, designing a centre for circus arts in a the growing creative community of Cliftonville .



KERIM KUROGLU, Stage 3 This is an eco-friendly proposal to the new Circus School in Margate. All the activities are occuring underground however, the skylights are giving the opportunity for people to appreciate what is going on inside. This cave-like design and the playful landscape is trying to gather people and reintroduce what they already know about Circus Performance Arts.



SHU KAI KWOK, Stage 3 The project of an National Circus School in Margate was inspired by the concept of traditional circus tent. The building features a unique tensile roof evocative of a circus pavilion and providing a central circular space for a variety of cultural performances and events



TAO LIAO, Stage 3 In this project, I tried to create multiple views through my architecture, to contrast the plain concrete materials with colourful reflective diachronic glass enhancing public space. The basement training space explores the Margate historical underground smuggler and a unique angle for visitors to look downwards.



JAGODA LINTOWSKA, Stage 3 I wanted to focus particularly on the historical context of Margate and the relationship between the site and the cliff. I created a story about a Victorian folly accommodated by the circus school. The building extends out to the sea connecting the clifftop to the promenade, offering the experience of rock and water.






LUCA LUCI, Stage 3 Discovering the nuances of the coastal town of Margate resulted in a set of three projects; the retrofit of a warehouse into an art school, the transformation of a Victorian home into a public theatre, and the creation of an inflatable circus school. These schemes are tied together by a general sense of down to earth playfulness imbued in the work.



JOANNA MARTIN, Stage 3 Displayed are my two third year design projects. On the left, a circus school and on the right, a school for the arts, both to be built in Cliftonville, with the purpose of regenerating Margate. While the circus school relates to strength and fluidity of the cliffs, the art school aims to create tension.



ISABEL MCCAULEY, Stage 3 This Circus School aims to create ties between the community and the environment, through the use of materials, landscaping, and the surrounding natural habitat. Washed up seaweed, seen as a local constraint, has been turned into an opportunity. Seaweed will be used as compost, fertilizer, and also within the brick, concrete and ETFE construction materials.



KYLE MCGUINNESS, Stage 3 A program sequentially expressing the displacement of mass, structure and movement. The proposed circus school, located in Cliftonville, Margate, is a result of interacting geometries and forms, establishing the intervention discretely within its context.


The Art School acknowledges its context through the strategic placement of a large brassclad tower, which recalls the two nearby church towers on each corner leading East of the main road on which the school is situated.

‘ART NOW’ Art School and Residences

The semi-translucent circulation tower ‘advertises’ the actions of the school as surreal shadows are cast onto the facade as people pass by.

‘ART NOW’ Art School


The Funicular Cafe and circus school designs are heavily influenced by the work of architect: Jean Prouve. The use of bent beams is coupled with pin-joint structural methods which pay reference to the kinds of machines that would be required during [necessary] site excavations.

The Funicular CafĂŠ

NCCA School Section

CALLUM MCLAUGHLIN, Stage 3 Both projects , situated in the Cliftonville area of Margate, employ similar geometrical and material disciplines which ultimately contribute to the contextually appropriate redevelopment of the coastal area.



DEVASHISH MEHTA, Stage 3 An inception of behavioural informality with intention to break commonly perceived methods in living be re-enacting a nostalgic traditional landry activity display in architectural form, presents a wild interference of excitement into ordinary practices. Percussion and the reverberant of a move. Morphed along the anthropometry of circus cabaret, waves of action carves out the spaces from a plain block just by being epically human. 251


SENJEEVEN MUNGAPEN, Stage 3 This project aims to revive Margate through a surging creative sector. The idea of follies (whimsical/strange structures- built for pleasure through an intelligent control of madness) has created a landmark for Cliftonville, eventually arousing interests and curiosity from locals and International creatives. This scheme provides a fun and interactive environment, encouraging exploration and discovery. 253


VINH NGUYEN, Stage 3 Educational insitutions are inspiring subjects in architecture that we were able to explore in the final year. In the first project, the theme of local fairground is embodied in the programme of an art school to promote art education through enjoyment and amusment. The final project is a new campus of NCCA (National Centre of Circus Art), where the insitution is a hypothesis of a transformation from merely a circus ground to a shcool of circus. 255


JAKE OBICHERE, Stage 3 From 1° to Another - Cliftonville’s Panoptic Circles. A new home for the National Centre for Circus Arts(NCCA) and Cliftonville’s art community. An array of Panoptic experiences that break through the barriers of space, engaging a public realm into an architectural composition befitting of Cliftonville’s cultural heritage.


N CC A M A R G AT E national centre for circus arts


MELISSA OR, Stage 3 The NCCA’s prominent site and scale determined its crucial role in Margate’s redevelopment. The building is a celebration of circus arts, while the landscape contributes as a new tourist attraction. Collectively, it serves as a new social hub for the community of Margate.



ATINUKE OSIN, Stage 3 The concept behind this design is the sense of community, giving creative students a social hub where they create, practice and interact. It brings colour and vibrancy to the site whilst welcoming a new wave of people to the community with the new aquarium.



MARK PALMER, Stage 3 The large spaces required in the brief for this New Centre for Circus Arts has definitely encouraged us to think big with our last project. The fins of my scheme frame the relationship between the sea and the interior cliff. My personal addition to the brief has been an exhibition about the wind farms visible from the site and wind energy in general.



MIHAELA PETKOVA, Stage 3 The proposal explores the idea of monthly events that take place in the building boundaries and its landscape and their accentuation via metal ribbon cladding. The internal volumes interact with each other within the general structure that is additionally characterised by undefined spaces activated by the circus students.



ALEKSANDEAR PILYOV, Stage 3 The National School of Circus Arts in Cliftonville, Margate cloaks around two conceptual elements “connection” and “disconnection”, a synthesis to develop a circulating mechanism for both interior and exterior space. The concrete panelled building consists of three levels that permit access across the site in correspondence to the circus programs.



TASAWAR RAHIM, Stage 3 The Loop Building is the new home of National Centre for Circus Arts. Its form follows the historic urban grain of the site. Health and well being is central to the scheme thus, this scheme proposes a social prescribing centre for the wild card component of this brief to deal with people suffering from mental health problems as a result of the high levels of unemployment, illiteracy and alcoholism in Margate. 269


SVEDHA RAJAN, Stage 3 This project involved designing a new National Centre for the Circus Arts (an institution that builds on circus arts education and performance). This included creating an urban hybrid typology that bridges the gap between Margate’s existing economically imbalanced population and the emerging creative arts community, through a sustainable design.



BEATRIZ RIBEIRO DA CRUZ COST, Stage 3 This architectural proposal intends to house the National Centre for Circus Arts whilst integrating the community and fighting the current lack of productivity in the site. Dalby square will become an extended avenue leading up to coastal activities, including a public library. The design developded by scaling down the ‘suspended oblong’ concept. Cantilevers are proportionally sized so they effectively provide shelter, and level changes, such as the balcony, helping link the interior and exterior. 273


QIFENG RONG, Stage 3 Margate national circus art school project was developed base on the concept of harmony between nature and human. The design followed organic and open planning strategy, divide the space into static and dynamic areas, aim to promote economy and social community in Margate.



MARIA RYBARCZYK, Stage 3 The design for the Circus Arts school explores the relationship between the private and the public, blurring the line between the two. Working with the context and connecting to the local community was the main focus of this project. It’s form is intended to be a statement of inclusivity.



BANTE SAZER, Stage 3 The aim of this project was to create a suitable space for the students of the NCCA, that the local community could also benefit from. In order for the building to accomodate for the needs of the circus school without disruptng the views of the residents nearby, a majority of the building is underground, creating an “iceberg� effect. The rooms behind carved out of the chalk also pays homage to local chalk caves. 279


DILUSHANAN SELVARAJAH, Stage 3 Urban Intervention (left) - adapt and extend existing repurposed depository in the heart of Cliftonville. Inspired by the industrial history of Margate and exposed architectectural elements of the Pettman building, the proposal attempts to create a canopy that preserves the existing and houses the new to form a Creative Arts Centre. Architectural Design (right) - proposal for a circus school showing the sequence of Learning to Practise and Performing highlighted by Bauhaus influenced design language. 281


JOSEPH SINGLETON, Stage 3 UP and UP 2.0 are based on the same form-generating concepts of the shared experience of a place. The focus within each project lies in the interactions between private and public and how built spaces can become extensions of the public realm without compromising their privacy.




DISSERTATION - Nostalgic Playhouse

FREDERICA SUYANTO, Stage 3 ‘The clown is coming to town’, situates in Margate’s reserved cliff coast. The project’s aim is to revive Margate to its fullest potential. ‘A trip down memory lane’, the nostalgic playhouse is an installation that could engage young adults with the feeling of childhood nostalgia.



MIA TOBUTT, Stage 3 The Cliftonville Centre for Circus Arts aimed to invigorate the area whilst simultaneously allowing the community to stay involved with the design process. Transitioning the site from a ‘domestic’ scale to a ‘circus’ scale chalk facades, community allotments and public exhibition foyers characterised the domestic scale while oversized virendeel trusses, exposed steel frames and large training spaces emphasised the obscurities of the circus through the building. 287


PETROS TSIFOUTIDIS, Stage 3 Minimal elegance is my moto and it is represented in both my design and illustration. The proposal for the Margate Circus School utililizes hard and social capital through its many functions (hydroponics, hotel, student housing, circus) to materalize a utopian vision of self sustainability.



THURA TUN, Stage 3 This design proposal picks up the elements of existing site context such as the rhythm of housing grids, homogenous housing facades and proportions, axial axes of site and typical urban blocks, combining them with a modern twist. “it is like series of houses with functional boxes inserted with a modern twist..... like a three dimensional puzzle pieces�



BIANCA TURNEA, Stage 3 The Evolutionary Circus School is not only a circus school is an educational facility from which can benefit both students and the entire community of Margate. The public library is the main element that creates the connection between them and brings people into the site. The views people have into the performance and practice spaces show what it takes to become a performer. The outside ice rink, new bicycle route and the park are new urban spaces from witch people can enjoy the beautiful cliff side Margate has to offer. 293

View from the beach

Site plan


North Elevation





Sectional perspective

COLOMBINE VAILLAUD, Stage 3 For this project, I focused on the natural quality of the site. Located on the edge of an imposing white cliff, it is possible to see the superimposed layers of sedimentary rock, formed over time. I took a piece of land and “elevated� it, showing to the world the beauty of this stratum white rock.



JO VOON, Stage 3 This scheme aims to create a new social hotspot for locals and tourists alike as part of the regeneration of Margate. By attracting people to the cliff’s edge, it reinforces the significance of the sea in Margate. This is achieved through the use of framed views, a light installation and the integration of building into landscape.



DARIENNE WHALEN, Stage 3 Creating inspirational spaces for training and performance, and exciting public spaces, were important throughout the design process. A sloped landscape covers the site, and a green roof continues this public outdoor space over top of the building. The performance space cantilevers over the cliff, creating an exciting space with great sea views, and a new local landmark.



MARION WIBAUX, Stage 3 Broken down into two adjoining sections, this project first delt with the refurbishment of the old Pettman building into an arts school. The second part of the design then focused on the development of apartments for the artists in residence and a performing arts theatre. The main concept was to create internal and external spaces that would encourage social interaction and personal artistic growth. Inspired by Cliftonville’s rich history, the shape of the plans represent Margate’s desire for development and revival. 301


CHRISTINE WONG, Stage 3 Creating aesthetic emotions in the atmosphere through incorporating movements onto many aspects of my design. Concept derived from the flexibility of an acrobat, imprinting her poise onto elements of the building, the shadows, the walls, and the plans.



BILLY WONGKAR, Stage 3 About eight out of ten people in Cliftonville claimed that strong sea breeze is one of the significant factors influencing outdoor recreation participation around the coastline. This condition drives the form of the building to create an outdoor wind-free zone. Functionally, the building is divided into 3 zones to support the circus performance (Source: an accommodation for international performers & office for financial backing; Process: circus school for student training; Product: circus theatre). 305





ROKSANA WYRWA, Stage 3 The proposed Centre for Circus Arts aimed to regenerate the once highly popular coastal destination of Cliftonville. The scheme merges the divided community, of newcomers and locals, into the new cultural landscape. This was enabled by the sites key features of a fun fair, an amphitheatre and a 40 meters high library tower out at sea, inspired by lighthouse designs and local heritage of Margate. 309


SHANE YEUNG, Stage 3 The new circus school aims to spark interest from cosmopolitan day-trippers and locals by combining historic icons of Margate (Martello towers, bandstands, the white cliffs and the sea) with the colourful and dynamic traditional circus. An integrated Creative Hub serves to contribute to the local community.



THOMAS ZHANG, Stage 3 The project explores Margate’s resurgence through the growing creative sector, which leads to the development of a national centre for circus arts. The scheme interacts with the cliff face through protrusions that define a hierarchy of training and learning spaces. The space frame roof serves to deliver large open spans in the building and provides the rigging infrastructure.



XIAOLIN ZHANG, Stage 3 This project is aim to create a symbolic circus building such as the shape of the sail and the sea wave, which also reflect to the great storm happened to margate beach 40 years ago.





In 2018-19, Stage Two students worked on design projects that challenged them to engage with some of the most important contributions that architecture can make to a balanced, happy society. The Autumn term Architecture and Landscape project, convened by Felicity Atekpe, was based on a green site in St Stephen’s Hill in Canterbury, to the west of the mediaeval church and beside the arts-and-crafts church hall, and called for designs for a sanctuary and retreat set among landscaping at the centre of this village-like corner of the city. As this project reached its conclusion, everyone was invited to KSA’s first big debate evening, back up the hill for a fascinating and pertinent discussion on urbanism and aesthetics.


The second design project of the year, Collective Dwelling, convened by Timothy Brittain-Catlin, was based on a site right at the centre of Sandwich which has been described as ‘the completest mediaeval town in England’, and which has in it many beautiful sixteenth and seventeenth-century houses. Here the aim was to design an accessible housing scheme which complemented its rich urban context. The project was divided into three equal parts: the creation of survey drawings of historic houses in the area, and their details; the preparation of an urban plan; and the detailed design of the houses themselves. The first stage, although once an important part of architectural education, was for many a welcome novelty. Early in the term we were taken on a tour of the award-winning Horsted Park estate near Chatham by Stephen Proctor of Proctor and Matthews. The very high standard of the historical survey drawings and the sensitivity of the urban design schemes to the scale and the grain of the adjacent townscape attracted a great deal of praise from our professional partners. The design modules were complemented, as always, by courses on architectural history, and studies in environmental and constructional design.

Stage Two Design Tutors: Haval Abdulkareem, Felicity Atekpe, Timothy Brittain-Catlin, Jasmine Davey, Lawrence Friesen, Chris Gardner, Manolo Guerci, Francesco Incelli, Tanya Kalinina, Nikolaos Karydis, James McAdam, Parin Mohajerani, David Moore, Patrick O’Keeffe, Giovanna Piga, Sukanya Ravi, Julia Ratcliffe, Nathaniel Seall, Ben Tosland, Richard Watkins, Benjamin Wood



Fig. 1: Fig. 2:


Georgia Steele Charlie Perry

Fig. 3: Fig. 4:

Angelica Scorgie Ryan Isbell




Autumn: Form Finding The year began with the first assignment, the building of an imaginary city based on an extract from Italo Calvino’s, ‘Invisible Cities’ which describes ‘Zenobia’. Each student read the extract, designed a building and then made a model of it to form a collective community on the green outside. It highlighted the role of the imagination within the design process and it manifested itself as an eclectic, imaginative and joyful place to be. The second assignment was a ‘Tiny House’. A small prototype house [5 x 5m], for particular clients located on a tight site in the seaside town of Whitstable. Its focus was based on the Japanese concept of ‘Ma’, the space in-between parts. The proposals were a place to celebrate the sea and the sky. 320

The last assignment was ‘Boat House’. Attributed to Mies van der Rohe’s ‘Less is more’, the boathouse was in response to a need in the City of Canterbury. The River Navigation Company has four punts on the River Stour, which needed housing for repairs and a customer reception. The brief emphasised lightness, transparency and fluidity. Spring: The final project of Stage One, Building Design, is a brief that considers 19th, 20th and 21st century art and its place in Kent. Artists associated with Kent formed the basis of the project. They ranged from JMW Turner, Thomas Sidney Cooper, Henry Moore, Tracey Emin and two artists who teach at The School, Patrick Crouch and Julie Mecoli. Students were asked to design a gallery to house a selection of their work on a small peninsular in Canterbury. The study of light in relation to the artwork was a key aspect of consideration. In parallel to the design modules was Light & Structure, which required students to design a structure to withstand the weight of a brick using sticks and thread. ‘Light’ involved an investigation of natural daylight and its effect on a piece of sculpture. Building Envelope also tackled the construction and environmental aspects of the students’ proposal gallery. The Modern House module is a study of a 20th Century house. Each student writes a contextual and analytical essay on a particular house accompanied by a scale model. At the other end of the historical spectrum, the Ancient and Medieval Module offers an insight into the historical design process, it is examined and analysed through the study of text and drawings and prepares the students for an examination in June. Folio is the key module that straddles the whole year and enables all students to develop a wide range of skills. The module is taught to encourage students to communicate their ideas with confidence through sketches, life drawing, orthographic drawing, model making, sculpting, digital drawing, modelling and 3-D renders. Finally, the field trip was to Paris in February. Beautiful spring weather provided the backdrop to many building visits but in particular to the Louis Vuitton Foundation, the Louvre via IM Pei’s pyramidal entrance, the newly refurbished Picasso museum, Corbusier’s Villa Roche and Jean Nouvel’s Philharmonie de Paris.



Fig. 1: Fig. 2:


C. Potter Emanuele A Cirello

Fig. 3: Fig. 4:

E.T.Jashanica Anthony Tse









The MA Architecture Visualisation course introduced a number of evolutions to the curriculum this year, maintaining the focus on key employability skills. Digital Architecture Setup morphed into a new larger module, Digital Architecture Portfolio, spanning across the autumn and spring terms. The new module, which promotes the acquisition of 3D modelling, lighting and texturing skills, aims to equip students with a portfolio of work ready for employment in the visualisation industry. The work that you see on the following pages is produced through this module. My thanks must go to Paul Roberts from iToo Software, who has helped deliver the teaching, this year. His addition to the course has further cemented links with the profession.


In March, students participated in the launch of the Gulbenkian Theatre’s 50th Anniversary celebrations by creating a series of projection mapping animations. Following the theme of Union, the projected works celebrated the 50-year legacy of the theatre, drawing links between the political upheavals of the late 1960s to today’s polarised society, whilst eagerly looking forwards to the next 50 years. Students prepared for this work by taking part in Fright at the Museum at the Beaney Institute in Canterbury. Celebrating Halloween, the library and museum opened its doors to the public during the evening, with the students’ projection providing a suitably scary backdrop for the visitors. The annual field trip to Lyon in France to witness the Fêtes des Lumières in December helped students to understand the ways in which projection mapping can skew the built environment around us. This experience contributed to the ambitions of their Gulbenkian Theatre work. Examples of the students’ work can be seen in the end of year show. Displaying their work in photography, compositing, visualisation and projection mapping, the show is a fitting testament to their time at Kent. However, their ‘time’ is not yet up. All students this year have elected to undertake work placements for their 3-month dissertation project. Using their portfolio work to secure placements, students will be working at a number of city-based visualisation companies, building on the skills and knowledge from the course. With employability being a central feature of the Architecture Visualisation course, these students will be in an ideal position to become part of this thriving industry.

Architecture Visulisation Students: Talal Ali, Tobiah Dawkins, Cansu Dolek, Jonny Lee, Kayleigh Nicholls, Paul O’Toole and Oleg Stathopoulos. Additional Tutor: Paul Roberts



Fig. 1: Fig. 2:


American Diner by Talal Ali Wooden Building by Oleg Stathopoulos

Fig. 3: Fig. 4:

Canadian House by Kayleigh Nicholls Lounge by Tobiah Dawkins


Fig. 1: Fig. 2:


Architectural Photography by Jonny Lee Wooden House by Paul O’Toole

Fig. 3:

Spa Exterior by Cansu Dolek




As an urban species, growth and quality of human habitat are some of the biggest issues we face today. The challenge that this programme poses is how we can create quality places where we can live, work and play and yet successfully accommodate growth? In other words, we study how to turn the issue of growth into an opportunity for place-making. 2018-19 saw another fascinating year for the MAUD programme, with our UK-based students being joined by international students from Italy, China and Turkey. In the Autumn term, the MAUD students collaborated to develop a conceptual masterplan for a new coastal park along the seafront of the Kentish town of Margate. From its beginning as a resort, Margate has been a place of escape from the oppressive and constricting aspects of the capital city. 332

It is to Margate where Karl Marx and TS Eliot came when they were ‘blocked’ in the creation of their major works, and where the concept of ‘The Lark Ascending’ first occurred to composer Ralph Vaughan Williams. All three of these major cultural figures found their way forward in the town. JMW Turner, Thomas Rowlandson, Walter Sickert and Marie Lloyd chose the town as their ‘spiritual home’. Today, some see Margate as becoming the ‘contemporary art capital of Britain’. During the Spring Term, the students studied the role that the natural landscape play as the primary infrastructure of Paris. All great cities have a very legible infrastructure of commerce, community, movement and architecture that is very much a construct of human endeavour. Paris is most treasured for its grand boulevards, formal gardens and majestic palaces, yet the natural landscape from which it was derived would appear to have been lost. The objective of the design module was to understand the role that natural landscape can play in ‘placemaking’. This knowledge was used to shape new urban interventions within this historic city through imagining the restoration of one of the ‘lost’ rivers of Paris. To provide context for this study, in February the students went on a field trip to Paris where they undertook research into the underlying landscape from which Paris is derived, to reveal how it has shaped this great city. Whilst there we found traces of medieval Paris that had escaped Hausmann’s remodeling and like true psycho-geographers we explored the ‘lost’ valley of the Bièvre river. We also visited the University of Kent Paris campus and the offices of architects and urban planners Arte Charpentier. In parallel with the design modules, history, theory and research modules were run by programme teachers Nikolaos Karydis, Timothy Brittain-Catlin and Gerry Adler, who provided essential background and context to all of the students in both the Autumn and Spring Terms. We are most grateful to real-life clients Nick Dermott and Louise Oldfield in Margate, and expert London-based urbanists Richard Portchmouth and Steve Smith, for acting as external critics at reviews.


Fig. 1: Fig. 2:


Sofia Granato Kefan Yan

Fig. 3: Fig. 4:

Filippo Bosco Reyyan Ceren Bilen




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


The varied curriculum of the course reflects the multi-disciplinary nature of conservation. During the autumn term, students gain a critical understanding of historic buildings through an introduction to conservation philosophy and policies. This is followed by the study of practical survey and preservation techniques during the spring term. Case studies and workshops, carried out in collaboration with Canterbury Cathedral introduce the students to the properties of historic building materials and the techniques employed in the repair of historic buildings. This year, our students surveyed a wide range of historic buildings in London and Canterbury. Buildings investigated this year include Sir John Soane’s Museum, King’s Cross station and St. Paul’s Cathedral. The students also surveyed a series of streets in the historic centre of Canterbury. In the spring term, we worked on the restoration of the Infirmary of Canterbury Cathedral. This involved studying the history of this outstanding building, and surveying its remains, which are currently in an advanced state of decay. These preliminary studies formed the basis for the elaboration of new conservation plans and the design of restoration proposals that promise to save this seminal building and infuse new life into it. At the same time, the students explored the structural aspects of conservation by working on projects based in Canterbury. The students are currently working on the dissertation module, which enables them to study an aspect of the conservation cycle of their choice.


Fig. 1: The proposed contemporary design for the infirmary chapel mimics the proportions of the historic structure, utilizes traditional materials, and displays the preserved ruins. The building will serve as a museum and activity space and includes a virtual reality pod. Fig. 2: Proposed structure encloses the chapel of the infirmary within timber and glazing walls and a lead roof. The ashlar masonry walls and tile roof of the aisle encase and restore the historic appearance (which was altered significantly post-dissolution, during the construction of houses).


Fig. 3:

Current state of ruins on the site after the removal of post-dissolution houses and substantial decay.

Norman and gothic infirmary hall and chapel circa 14th century based on archaeological evidence, historic drawings, and on-site observation.

Fig. 4:


Fig. 1: Proposed design encloses the highly significant and preserved chapel and chancel ruins. The infirmary hall arches will be preserved and converted into a garden space with outdoor seating.

Fig. 2:

From the centre of the chapel nave, the infirmary ruins are currently exposed and decaying.


Proposed design restores the interior space and allows views of the preserved 12th century arches and details and 14th century wall paintings, chancel arch, and tracery windows.

Fig. 3:





It has been another great year for our Master’s prorgamme and it is extremely satisfying watching our cohort continuing to go into successful jobs across different sectors in architecture and consultancy, or returning for a PhD. This year, we have benefitted from a range of field trips to investigate different aspects of the built environment, observing some of the more challenging aspects of developing truly sustainable buildings. In autumn, Dr Julie Futcher, independent applied urban climatology consultant, organised for us one of her famous urban climate walks, ‘Walking amongst Giants’ at the City of London. Through a carefully planned walk, she engaged everyone acknowledging the effects of tall buildings on the urban microclimate and the role of urban morphology, accompanied by great discussions before watching the sunset over St Paul’s cathedral. In the second term, we witnessed the paradigm shift required with a visit to a passivhaus building under construction in Maidstone. 342

Doug Smith, Principal Director of tp bennett invited us and along with his team they explained to our students every step of the journey from planning application, when our own Henrik Schoenefeldt assisted the process, to the challenging construction detailing required as the building is nearing completion. Continuing with a visit to the Pines Calyx Building in St. Margaret’s bay, everyone appreciated the thermal stability and warm conditions offered by the very efficient construction, on a very cold winter day, while marveling at the extent to which natural materials have been employed throughout the building. One of the highlights of the year is always observing the real impact our students are having. A dynamic cohort, with different individuals involved as part of the incubation team at the enactus regionals competition where they won and got through to nationals; or invited to speak at the international conference ‘Africa Talks’; we highlight a success, resulting from their work on one of the taught modules, AR829: Monitoring and Modelling of Environmental Performance. Anne Ainley and Huda Elsherif monitored extensively two flats at The Tannery development in Canterbury by Bellway Homes. They communicated the real issues with the range of environmental problems they identified at a meeting with the Town & Country Housing Association, and persuaded them to undertake comprehensive and expensive repairs. It was a fantastic achievement for all, particularly the residents, that Anne and Huda convinced all those responsible who committed to fix all the faults documented in their report. Well done to all our graduates, believe in yourselves and step by step you can truly change the world!

Prof. Marialena Nikolopoulou with some of our MSc group visiting the Passvihaus dwelling under construction in Maidstone along with Doug Smith, Principal Director of tp bennett LLP





This new MSc programme is for built environment professionals, recently graduated students of architecture and those interested in pursuing a design and management of the built environment specialism to Masters level, with clear relevance to both future practice and doctoral study. The programme will provide students the skills and know-how to practice architecture at the cutting edge of digital design. The programme is designed to provide a theoretical basis of Computer-Aided Architectural Design as an academic discipline while simultaneously teaching the use of the computer for analysis of design problems and a tool for the generation of space and form.


The principle of self-organisation is fundamental to new understanding of morphology and students will explore natural processes of pattern formation and growth to investigate emergent architectures of form and space. This Masters course will combine biological theory with computing know-how to explore architecture as a form of artificial life. Exploring mechanisms of feedback in systems, parallel simulation and principal ideas in artificial life developed by zoologists, biologists and computer scientists students will investigate building generative and evolutionary models as a way of understanding space and form. The programme merges advanced computer-aided design skills with concepts from other fields pertinent, yet traditionally separate, to architecture; such as biology, psychology, computer science and philosophy. By integrating practice and theory students will be better able to think about the role of the computer in architecture and urban design, and approach alternative ways of thinking about space, form and structure to advance architectural knowledge and design practice. The programme reflects the interdisciplinary character of avant-garde architecture and the computational design field, and is delivered by research-active staff with extensive experience in the field of computer-aided architectural design. Students will be introduced to computational methods of form generation and spatial configuration, to explore how to use the computer as an aid to developing architectural designs at the conceptual level. They will study processes of growth and pattern formation in nature and investigate ways of replicating these computationally to generate architectural scenarios. The underlying theme is to make a connection between understandings of form and space in architecture and natural processes of generation, to explore and innovate methods of form finding and spatial configuration in architecture and urban design, and investigate how these might inform and offer creative solutions to contemporary problems. The emphasis will be on the notion of emergent constructs of form and space, underpinning an interdisciplinary outlook informed by computation, science, biology, philosophy, design and digital fabrication technology.






The Kent School of Architecture & Planning’s new MA in Urban Planning & Resilience has been put together with contributions from academics and practitioners in response to the global challenges of globalisation, urbanisation, digitisation and climate change. The aim of the Programme is to provide students with the academic and professional core knowledge, understanding, skills and experience that are necessary to practice professionally as global urbanists and practitioners helping and enabling cities and city leaders to tackle problems and find solutions for those 21st century challenges.


This new Programme at the University of Kent provides a challenging, exciting and dynamic learning experience, building on students’ and staffs’ experiences and backgrounds and drawing heavily on the School’s work in the University’s European campuses and study centres. We do this as a collective in order to develop the students’ research and analytical capabilities appropriate for Masters Level stud. We also do the following: • Develop an understanding of the planning profession with reference to how people and places interact by taking account of unique needs and characteristics of different places and people through working with city teams in Canterbury and European campuses; • Develop a range of problem solving, interpersonal and teamwork skills across the modules which complement the theory and enhance its application in practice; • Develop the ability to work effectively within business, private practice, social & technological enterprise and neighbourhood forums to produce graduates of value to the region and nationally. The ambition of the Kent School of Architecture & Planning and the University of Kent is to set up a Centre and an accredited School of Town Planning. A pivotal building block in this process is this new MA Programme. The Programme’s specialism is ‘resilience’ and the educational philosophy has been modelled on the following: • The development of a research informed and enhanced curriculum designed around definitions of resilience and building city capacity to respond to shocks and stresses; • Active engagement with professional bodies, national & regional strategies, initiatives in higher education learning and teaching, and international bodies and forums; • Structured staff development and CPD opportunities for local authority staff working in partnership with leaders and trailblazers in the field; • Supporting key institutional priorities at the University of Kent in widening participation, economic and social engagement and building inclusive, healthy and resilient communities; • Recognising the primary importance, and diversity, of students’ learning experiences and ways of learning. The Programme can be completed over one year full-time or two years parttime, or day release. The programme is divided into two stages. Stage One comprises modules to a total of 120 credits and Stage Two comprises a 60-credit dissertation module.





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

their own environment. Equally, they also work with the research centres to deliver thematic events and talks. The School has a wide range of expertise, from the history and theories of both polite and vernacular buildings and landscapes from across the centuries, through planning and design in the twentieth century, to thermal and environmental comfort, urban environments and housing sustainability, and digital architecture. As we grow with new members of staff either enhancing the expertise of our established research centres, or contributing to the development of new ones such as ‘DARC’, the centre specialising in digital architecture, so will the community of our research students, which continue to thrive. Equally thriving is the appointment of scholars to our yearly bursaries, from the Vice Chancellor Scholarship, to ‘CHASE’ (the Consortium for the Humanities and the Arts South East England’ of which Kent is a leading member) to, as of this year, the Global Challenges Doctoral Award, secured by one of our Masters student. This growing and diverse community is active in our own professional and academic networks, and join their supervisors at international conferences and in the national amenity societies in which they are themselves involved. Indeed, all PhD students are invited to attend the annual conferences organised by the research centres, which are often major international events. With rising numbers and challenges, KSAP prides itself for the dedication of both academic and admin staff, with a dedicated Director of Graduate Studies as well as a Graduate Assistant, instrumental, together with the Student Support Officer and the whole team in the smooth running of the programme. Thanks are due to all of them, and to our supervisors, who make the school a stimulating and friendly work place. Equally, I thank the PhD community for their contribution, be it at our regular graduate research seminars, or the various post-graduate activities such as the recent post-graduate festival, where KSAP was very well represented.









The CASE team conducts collaborative research and development, and contributes significant knowledge and understanding to enhance sustainable design. Our focus for a long time has been on environmental sustainability. However with the incorporation of the urban planning discipline and diversification of school’s academic profile, we are now moving into social sustainability as well. This new scholarly environment has brought in the capabilities of looking into not only environmental sustainability but also more inclusive sustainable design. Within this premise we are one of the leading research centres in the South East of England and more specifically in the county of Kent. We have started looking into the sustainability issues relevant to this region through projects such as ‘Climate change adaptation and intergenerational living in a heritage townhouse in Margate’ (Heritage Lottery Fund and Townscape Heritage Initiative) and we will be giving greater emphasis to this realm in the coming years, more specifically in collaboration with our new medical schools. As a group we are open to new ideas and collaboration. As part of this ethos, during each year we invite leading researchers in the field of sustainable design to deliver lectures at the KSAP open lecture series. Last year we had eminent scholars like Prof. Sue Roaf, Prof. John Mardaljevic and others to enlighten us.


We are conducting collaborative research with both local and European universities. Our members have also initiated research collaboration with leading universities in Brazil, China, India, Sri Lanka and Mauritius. Our research funding portfolio has grown gradually in the last five years (https://research.kent.ac.uk/ case/145-2/) , especially the AHRC Fellowship funded project looking into ‘Between Heritage and Sustainability – Restoring the Palace of Westminster’s nineteenth-century ventilation system’ and the large EPSRC grant which investigates ‘urban albedo in high latitude location’ have given a major boost. The centre was able build its equipment portfolio through these grants, e.g. securing a sophisticated Q-Sun Xe-1-S weathering chamber to test the aging of building material. More recently, SUGI funded ‘The Few Meter’ and the EU funded Marie Sklodowska-Curie ITN European Industrial Doctorate have been added into the portfolio. These projects will advance our research contribution and open new opportunities for post graduate researchers. The CASE is looking for highly motivated and dynamic PhD candidates to join our scholarly team to contribute to our ever growing research portfolio. We wish our 2018-19 graduates a bright future!


Director Centre for Architecture and Sustainable Environment (CASE)




This has been another busy and productive year for CREAte members. In addition to planning the successful series of research / teaching events, with participation from Charles Holland, Richard Reid, Catherine Slessor, Ruth Land, Barbara Penner and Alan Powers, members have been active developing and presenting their ideas across the globe. Many CREAte members specialise in the history and interpretation of architecture and urban design, and often play an active role in seeing their work brought to a wider audience. The publishing highlight of the year was the appearance of Professor Gerry Adler and Dr Manolo Guerci’s book Riverine, by Routledge last December, which includes chapters by contributors to CREAte’s 2014 conference of the same name, and much more is on the way. Dr Nikolaos Karydis spoke about his recent reconstruction of the lost church of the Holy Apostles at Constantinople to an audience in Warsaw; Dr Timothy Brittain-Catlin presented the Twentieth Century Society’s recent successful campaign to protect postmodern buildings at the Preserving the Recent Past three Conference in Los Angeles; and this July Dr Tim Ireland will present a paper to the 2019 Annual Gatherings in Biosemiotics in Moscow. Later in the year, Dr Peter Buš will talk about ‘Large-scale prototyping utilising technologies and participation’ at the eCAADe SIGraDi 2019 taking place in Porto this September, and Howard Griffin, Director of the MA Architectural Visualisation programme, has been invited to speak about his research into projection mapping at the Lyon Light Festival Forum in December. CREAte was joined this year by Dr Ambrose Gillick, whose expertise includes housing, grassroots participatory design, and recent developments in inner cities. We welcomed Dr Davina Jackson as our first Honorary Academic, and congratulate her on the appearance of her book Data Cities, which is already arousing great interest. CREAte doctoral students who have submitted their theses during the current year are Ben Tosland and Tim Fox-Godden. Both have played an active role in the life of the school, its teaching and events, and we wish them every success.


Images by CREATE graduate student Tim Godden, who has submitted his doctoral dissertation Designing Memory: war experience, memory and design in the cemetery architecture of the Imperial War Graves Commission Fig. 1: Fig. 2: Fig 3:

Hedge Row Trench Cemetry New Munich Trench Cemetry Voormezele Enclosures No.1 and No. 2


director CREAte: the Centre for Research in European Architecture




The Kent Architectural Student Association (KASA) is a student run body which has developed alongside the school since its inaugural year in 2005. As always, KASA focuses on the students of the school and strive to provide lectures and events that enrich the prescribed curriculum. We aim to strengthen the community that KASA has formed over 14 years and we provide a platform which encourages students to get involved and to enhance their architectural development. Each year KASA aims to provide a series of lectures that are presented by a range of practising architects, research bodies and professional societies. The aim of these lectures are to provide an insight into the varied fields of architecture which in result helps broaden students’ knowledge. This year we were delighted to welcome talks from Fred Pilbrow from Pilbrow and Partners, Matthew Butcher and CJ Lim. CJ Lim hosted the most successful lecture which left no empty seats in our lecture theatre, and he has agreed to start off our string of lectures next year in September based on his new book ‘Smartcities: Resilient landscapes and eco-warriors (second edition)’. We would like to take this opportunity to thank all of the guest lecturers for the 2018-19 academic year. The social calendar has also been busy this year, starting off with a quiz on the first day of term as an ice-breaker to then celebrating the Stage One’s first module of the term (Invisible Cities). KASA has concluded the year with the annual black tie summer ball held at Westgate Hall in Canterbury city centre. The event featured fine dining and a live jazz band, providing an event to allow the students to celebrate and unwind after the completion of a successful academic year at KSAP with the rest of the school and staff. This year’s catalogue design competition featured a high number of high quality entries across all stages. A special thanks to the Stage Three students; Luca Luci, Ben Child, Callum McLaughlin, Kyle MGuiness, Edoardo Avellino and Thomas Zhang who were announced as the winners of the competition and all collaborated together to design and help produce both the show invitations and this catalogue. The End of Year Show has been the result of a fantastic team effort and on behalf of KASA we would like to thank all of those involved. Finance Officers: Bethany Elmer and Charlotte McEwan Lecture Team: Edward Roberts Events & Media Team: Lisa Edwards, Ottavia Profumo and Aubin Torck Support Team: Erlend Birkeland, Andy Kong and Luke Tampling Vice President (Stage Two): Harry Cooper Chandni Patel and Stephanie Tillman KASA Presidents 2018/19




MarLT1 MarLT1

17:30 DRINKS 17:30 DRINKS 18:00 LECTURE 18:00 LECTURE


‘Inhabitable Structures’ books will be available to purchase at the reduced price of £20 - cash only. KASA is pleased to announce that Fred Pilbrow; one of the founding partners of Pilbrow & Partners will be hosting the first lecture run by a practice this year. This lecture will be insightful for all years to have an understanding of working within architectural practices after university. Fred has over 25 years’ experience working in sensitive historic environments and with listed buildings in the UK and abroad. Besides the mixed-use urban masterplan in Birmingham with a Grade I listed train station at its heart, the practice is restoring Sir Christopher Wren’s Grade I listed St Mary’s Somerset in the City of London and the Grade II* listed Walthamstow Granada Cinema. He has also been responsible for designing a number of significant London projects including the Heron Tower in the City of London whilst a Partner at KPF and the Francis Crick Institute at St Pancras whilst a Partner at PLP Architecture. Fred currently chairs the Design Review Panel of Hammersmith & Fulham and teaches at Yale University.



ACKNOWLEDGEMENTS Academic Staff Professor Gerald Adler; Acting Head of School

Dr Tim Ireland; Senior Lecturer, Director of Digital Architecture, MSc Bio Digital Architecture Programme Director

Professor Don Gray; Departing Head of School

Dr Nikolaos Karydis; Senior Lecturer, Programme Director: MSc Architectural Conservation, Ethics Representative

Professor Samer Bagaeen; Professor of Planning, Programme Director: MA Urban Planning and Resilience

Professor Marialena Nikolopoulou; Programme Director: MSc Architecture and the Sustainable Environment, Director of Research

Keith Bothwell; Honorary Senior Lecturer

Dr Giridharan Renganathan; Senior Lecturer, Chief Examiner, Director of CASE Research Centre

Dr Timothy Brittain-Catlin; Reader, Stage 2 Coordinator: BA (Hons) Architecture, Director for the Centre of Research in European Architecture (CREAte) Peter BuĹĄ; Digital Architecture Lecturer Dr Silvio Caputo; Senior Lecturer Dr Luciano Cardellicchio; Senior Lecturer, Leverhulme Research Fellow, Research Leave (2018/19) Professor Gordana Fontana-Giusti; Associate Dean: Graduate Studies, CHASE Kent Academic Lead, Professor of Architecture and Urban Design Dr Ambrose Gillick; Lecturer Howard Griffin; Senior Lecturer, Programme Director: MA Architectural Visualisation, Director of Graduate Studies (PGT) Dr Manolo Guerci; Senior Lecturer, Director of Graduate Studies (PGR), Erasmus Coordinator Rebecca Hobbs; Lecturer, BA (Hons) Architecture: Stage 1 Coordinator, EDI and Outreach Project Lead Francesco Incelli; Lecturer 358

Michael Richards; Senior Lecturer, Programme Director: MArch Dr Henrik Schoenefeldt; Senior Lecture, AHRC Leadership Fellow, Research Leave until 2019/20 Jef Smith; Lecturer Chloe Street Tarbatt; Lecturer, BA (Hons) Architecture Programme Director, e-learning Champion Dr Richard Watkins; Lecturer, Senior Tutor, DIrector of Education, Partner College Liaison Officer, Chair of Disciplinary Committee

Associate & Assistant Lecturers Felicity Atekpe; Design Tutor Mark Coles; Design Technical Tutor Patrick Crouch; Design Tutor Ben Corrie; Design Technical Tutor Jasmine Davey; Design Tutor Andrew de Carteret; Design Tutor

Michael Holmes-Coats; MArch Unit Leader & Design Tutor

Stuart Flower; Finance and Resources Coordinator

Lee Jesson; Design Tutor

Joanna Green; Clerical Assistant, PA to Head of School

Dr Alkis Kotopouleas; Research Associate

Hannah Huxley; Research Support Officer (Maternity Cover)

John Letherland; Design Tutor Yorgos Loizos; Design Tutor

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

David Moore; Design Tutor

Charlotte Malkin; Administration Officer

Alessia Mosci; Design Tutor

Ben Martin; Student Experience Manager

Fiona Raley; Design Tutor

Ellie Mascall; Recruitment Admissions and Marketing Manager (Maternity Leave)

Elena Rueda de Watkins; Research Associate Henry Sparks; Design Tutor Tom Sweet; Design Tutor

Emma Nevill; Recruitment and Marketing Manager (Maternity Cover) Amber Shepherd; Administration Assistant

Oliver Watson; Design Technical Tutor

Technical Team

Peter Wislocki; Design Tutor

Colin Cresser; Workshop Technician

Benjamin Wood; Design Tutor

Neil Evans; Studio and Facilities Technician

Matthew Woodthorpe; MArch Unit Leader, Design Tutor

Christopher Jones; I.T. Technician

Ashvin de Vos; Design Tutor

Professional Administration

Kevin Smith; Workshop Manager Julien Soosaipillai; 3D CAD Technician Brian Wood; Technical Resources Manager

Natalie Conetta; School Administration Manager Rianne Dubois; Research Support Officer (Maternity Leave)




catalogue team Chandni Patel

m.arch unit coordinators

Stephanie Tillman

Samuel Plank; Unit 1

Edward Sutcliff

Chandni Patel & Samuel Martin; Unit 3

Samuel Martin

Edward Roberts & Bethany Elmer; Unit 4

Edward Roberts

James Cotton; Unit 5

Charlotte McEwan Bethany Elmer

signage & media Luca Luci

exhibition coordinators

Ben Child

Chandni Patel

Callum McLaughlin

Stephanie Tillman

Kyle MGuiness

Edward Sutcliff

Edoardo Avellino

Samuel Martin

Thomas Zhang Samuel Martin

BA (Hons) coordinators

Edward Sutcliff Bethany Elmer

Harry Cooper; Stage 1 & 2 Edward Roberts; Stage 3 361

Kent School of Architecture & Planning Marlowe Building Canterbury Kent CT2 7NR 01227 824689 www.kent.ac.uk/architecture architecture@kent.ac.uk printed by CSP Ltd 01622 716636 info@csp.co.uk

Copyright Kent School of Architecture & Planning 2019 All Rights Reserved

ISBN 978-1-5272-4286-9

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