Northumbria architecture interior architecture 2017 compressed

I SBN n u m b e r: 978- 1- 86135- 474- 7

Northumbria Projects 2017

Northumbria Projects 17

“The quality of work I witness coming out of the School at Northumbria remains high for both Architecture and Interior Architecture streams – from the sites and briefs selected for projects, the critical support from dedicated teaching staff to the maturity of the investigations, development and communication of design projects by the students.

I continue to believe the intellectual agenda of the School, coordination with technical disciplines and the breadth of the programme produce some excellent graduates. We regularly employ Northumbria students as they make very good Architects in Practice.”

Richard Collis Feilden Clegg Bradley Studios

Northumbria Projects 2017

Image: Northumbria University

So Long, Benjamin Elliott Ben Elliott joined the staff of Northumbria University Architecture in 2007, having previously worked for several years with Feilden Clegg Bradley Architects in Bath and Ian Simpson Architects in Manchester.

Ben’s award-winning projects in practice included the Yorkshire Sculpture Park, Merton Abbey Mills, URBIS, and No. 1 Deansgate. He completed his Part 1 and Part 2 studies at Manchester School of Architecture, and his Part 3 course at Bath.

Image: Crook Hall Cafe and Apartment - Elliot Architects

Having taught part-time at both Bath and Manchester Universities, Ben joined Northumbria University as a full-time academic staff member and quickly became an indispensable art o t e team c ie y as a studio leader but also as a key contributor to taught modules history and theory, technology and environment, and practice management and law.

In his decade-long practice in academia, Ben developed and delivered several key initiatives for t e be efit o t e stude t e erie ce.

He produced and edited the student workbook over several years, documenting this annual catalogue of our graduates’ achievements; he established key relationships with FCBS, the Northumberland National Park Association, RIBA North-East, the North East Timber Trade Association, the Byker Community Trust Housing Association, as well as numerous regional, national and international architectural practices. Such outreach activities led to a variety of student awards, prizes, workshops, events, lectures a d field study isits. s leader of the BA Architecture award year, he continually developed and honed the syllabus to ards e celle ce ma y of his students were consequently recipients of numerous awards including the RIBA Hadrian Medal and

t e er ea t ard or in Drawing (Part I).

celle ce

Concurrently, Ben established the practice Elliott Architects with his wife, Lynsey. Over the last decade, t eir o fice as de elo ed a re utatio for high quality residential designs that respond sympathetically to the Northumberland landscape.

The practice now has a substantial portfolio of award-winning projects; t ese out uts are e em lary i bot a roac a d e ecutio see www.elliottarchitects.co.uk).

Ben has recently elected to devote his efforts to the continued success a d de elo me t o t e o fice a d has left Northumbria University after a decade o e celle t ser ice. e architecture team at Northumbria wish Ben and Lynsey every success with their practice, and we look forward to continued collaborations with Elliott Architects in the years to come.

Copyright Š 2017 University of Northumbria at Newcastle All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, including electronic, mechanical, photographic reproduction or otherwise without permission.

Design + Editorial: Jake Feeney Faye Sedgewick Peter Holgate Department of Architecture and the Built Environment Faculty of Engineering + Environment Ellison Building Northumbria University Newcastle-Upon-Tyne NE1 8ST T: 0191 227 4453 F: 0191 227 4561 For more information please look at the following web addresses: http://www.northumbria.ac.uk http://architecture-northumbria.tumblr.com/ www.twitter.com/NUArchitecture www.twitter.com/ArchSocNU

Introduction This publication is more than a catalogue of 133 student projects, it is the culmination of up to 6 years of learning, research and development.

Thousands of hours of study have produced a group of graduates charged with diverse abilities, skills, and personalities.

Northumbria Projects 2017 showcases the talent and dedication of this years graduating part 1 and part 2 architects, Interior Architecture and the school’s commitment to the highest standard of architectural education.

Contents Foreword Awards and Prizes 2017 RIBA Presidents Medals Silver Award Nominee 2017 RIBA Presidents Medals Bronze Award Nominee 2017 RIBA Postgraduate Hadrian’s Medal 2017 RIBA Undergraduate Hadrian’s Medal 2017 Ryder Architecture Prize for Outstanding Postgraduate Project Ryder Architecture Prize for Outstanding Undergraduate Project Ryder Architecture Prize for Outstanding Interior Architecture Project Feilden Clegg Bradley Studios Prize for Outstanding Undergraduate Design Project Ibstock Postgraduate Prize for the best use of brickwork Ibstock Undergraduate Prize for the best use of brickwork Trada NETTA Prize Northern Architectural Association Glover Prize 2017 3D Reid Prize 2017 Shortlist Velux Prize for Best BA (Hons) Architecture Studio Project National Trust Gibside Heritage Adaptation Award for Outstanding Interior Architecture Project Gagarin Studio Award for Creative Writing Interior Educators National Student Award 2017 for Outstanding Interior Architecture Project BA (Hons) Architecture Year Three: Leaping the Fence

09 13 - 15 17 - 19 21 23 25 27 29 31 33 35 37 39 41 43 45 47 49 53 55 - 129

Interior Architecture Year Three: Gibside Stables Revisioning

135 - 155

Postgraduate Certificate in Interior Architecture Young Lit & Phil

157 159 - 163

133

Master In Architecture Year Two: Landhaus Polyark IV: Fun Palace Futures Angel: The gap between the industrial and the information age Urban Stitching Free projects

169 - 183 185 - 193 197 - 209 211 - 231 233 - 259

The Bigger Picture

261 - 301

Award Winners

303 - 309

Index and Acknowledgements

311 - 313

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We would like to thank all the staff and contributors to our Architectural Courses, as without their help and dedication throughout every academic year, the quality of work evident in this yearbook would not have been achieved.

Dean of the Faculty of Engineering + Environment: Glen McHale Head of Department of Architecture and the Built Environment: Ruth Conroy-Dalton Director of Architectural Programmes / Professor of Research Informed Teaching in Architecture: Paul Jones Director of Learning & Teaching (ABE): Peter Holgate Director of Portfolio Development, Review and Approval/ Programme Leader PG Certificate in Interior Architecture: Paul Ring Director of Postgraduate Research: Rosie Parnell Director of Recruitment, Participation: Kelly MacKinnon

Outreach

&

Programme Leader BA (Hons) Architecture: Oliver Jones Programme Leader BA(Hons) Interior Arch: Andrea Couture Programme Leader Master of Architecture: Manuel Cresciani Architectural Staff: Zaid Alwan Sandra Costa Santos Peter Dixon Ben Elliott Bob Giddings David Hunt Tim Ingleby Steve Lockley Lesley McIntyre Sebastian Messer David Morton

Widening

Steve Roberts Kyung Wook Seo Alice Vialard Associates: Tim Bailey Peter Beacock Chris Brown Laura Brown Will Campbell Grace Choi Leighton Cooksey Ben Couture Ian Crow Paul Crowther Danilo Di Mascio Ceri Green Mostafa Ibraheem John Lonsdale Matthew Margetts Will Mawson Leo Moreton Karen Nugent Stuart Palmer Georgi Rennison-Rae Nigel Scorer Alison Thornton Sykes Nicky Watson Richard Watson Shaun Young External Examiners M Arch: Professor Nick Dunn: Lancaster University Professor Karim Hadjri: Sheffield University Michael Trigg: Dixon Jones Architects BA(Hons) Arch: Richard Collis: Feilden Clegg Bradley Studios Dr Rachel Sara: University of West of England BA(Hons) Interior Arch: Gayle Appleyard: GAGARIN Studio PG Cert Interior Architecture: Richard Collis: Feilden Clegg Bradley Studios

Foreword Welcome to Northumbria Projects 2017, the yearbook of the Architecture and Interior Architecture programmes at Northumbria University. This document celebrates the work of our award-year students in the BA (Hons) Architecture, BA (Hons) Interior Architecture, the Postgraduate ertificate i terior rc itecture as well as the Master of Architecture programmes. Our courses continue to synthesize the recording and analysis o co te t a d locale it creati e architectural imagination, celebrating our student body’s diversity and skills.

The studio remains at the centre of the Northumbria Architecture community of learning, and future estate developments are in place to upgrade our learning spaces whilst maintaining the uniquely close relationship of students, staff and collaborators that shape the quality of our work.

This continuing engagement with clients, contractors, charities, local government and non-governmental organisations supports the authentic learning opportunities that are

embedded within our curricula.

This year has seen our students engaged with various ‘live’ projects, at local, regional, national and international levels. We continue to develop collaborative projects with partner institutions around the world, towards the production of a broad array of scholarly outputs related to architectural education. This eclectic ractice re ects t e di ersity o sta fi i t e ro rammes a d t e ariety o skills e ertise a d specialisms that they offer. As in previous years, student engagement with the co-construction of the curriculum, the provision of dedicated studio spaces and workshop facilities, and continuing staff commitment to teac i e celle ce combi e to e sure continual improvement of the student lear i e erie ce. ur ultimate aim is to ensure that our graduates emerge with a wide suite of skills, attributes and knowledge that can lead them to fi d outsta di career a d academic opportunities in the UK and around the world.

Professor Paul Jones Director of Architectural Programmes

“Its my first year as external examiner for Architecture at Northumbria University and I have been hugely impressed with the work I have seen here. Students graduate with an ability to craft buildings to a high degree of sophistication and to communicate design proposals in imaginative and creative ways. There is a consistently high standard of design work generated in the graduating years that is a testament the clarity and ambition of the course as a whole.”

Dr Rachel Sara University of the West of England

Awards and Prizes 2017 RIBA Presidents Medals Silver Award Nominee 2017

Ibstock Postgraduate Prize for the best use of brickwork

RIBA Presidents Medals Bronze Award Nominee 2017

Ibstock Undergraduate Prize for the best use of brickwork

RIBA Postgraduate Hadrian’s Medal 2017 RIBA Undergraduate Hadrian’s Medal 2017 Ryder Architecture Prize for Outstanding Postgraduate Project Ryder Architecture Prize for Outstanding Undergraduate Project Ryder Architecture Prize for Outstanding Interior Architecture Project Feilden Clegg Bradley Studios Prize for Outstanding Undergraduate Design Project

Trada NETTA Prize Northern Architectural Association Glover Prize 2017 3D Reid Prize 2017 Shortlist Velux Prize for Best BA (Hons) Architecture Studio Project National Trust Gibside Heritage Adaptation Award for Outstanding Interior Architecture Project Gagarin Studio Award for Creative Writing Interior Educators National Student Award 2017 for Outstanding Interior Architecture Project

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RIBA Presidents Medals Silver Award Nominee 2017: Taylor Grindley

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RIBA Presidents Medals Silver Award Nominee 2017: Tom Hewitt

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RIBA Presidents Medals Bronze Award Nominee 2017: Charles Benjamin

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RIBA Presidents Medals Bronze Award Nominee 2017: Kane Wong

02

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03

RIBA Postgraduate Hadrian’s Medal 2017

01

01. Matthew Glover - Highly Commended 02. James Edwards 03. Joss Ryan 04. Louise Ryder

04

02

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03

RIBA Undergraduate Hadrian’s Medal 2017

01

01. Bor-Ren Hui - Winner 02. Ben Bresloff 03. Charles Benjamin 04. Hyesung Lee

04

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Ryder Architecture Prize for Outstanding Postgraduate Project: Matthew Glover

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Ryder Architecture Prize for Outstanding Undergraduate Project: Charles Benjamin

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Ryder Architecture Prize for Outstanding Interior Architecture Project: John McGrath

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02

Feilden Clegg Bradley Studios Prize for Outstanding Undergraduate Design Project 01

01. Daniel Finney - Winner 02. Levi Sibthorpe - Commended

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Ibstock Postgraduate Prize for the best use of brickwork: James Edwards

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Ibstock Undergraduate Prize for the best use of brickwork: Daniel Finney

03

Trada NETTA Prize 01

01. Harrison Lowthrop - Winner 02. Levi Sibthorpe - Second Place 03. Alice Langstaff - Third Place

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02

“This work demonstrates richness in the design research – exploring cancer types, causes and treatments; consequences; healthcare and health tourism, including the current health tourism model; the state of healthcare environments; and scenarios for recovery through holistic therapies, therapeutic environments, and communal healing. Joss identifies the harsh synthetic environments that exacerbate stress levels within patients, effecting their mental and physical well-being. He notes that a vicious circle has emerged where patients are being treated by inefficient methods, in facilities that do not promote quick and effective recovery. His proposed model is to promote holiday style treatment where patients can enjoy access to complementary therapeutic environments.�

- Prof. Bob Giddings, Trustee of the Northern Architectural Association

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Northern Architectural Association Glover Prize 2017: Joss Ryan

3D Reid Prize 2017 Shortlist: Oliver Hopwood

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“The 3D Reid student prize is the largest independent award in the UK for Part II students, and nominations have been submitted from twenty-four schools of architecture for the 2017 award. Northumbria has previously succeeded in supporting winning and commended submissions for this prize, and Oliver’s Campus for Planet Critical Technologies is our choice for 2017, exhibiting the breadth of enquiry and response that typifies the diversity within our Master of Architecture programme.”

- Peter Holgate, Director of Learning & Teaching (ABE)

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Velux Prize for Best BA (Hons) Architecture Studio Project: David Ogbe

02

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01

02

National Trust Gibside Heritage Adaptation Award for Outstanding Interior Architecture Project: 01

01. Allard Newell - Winner 02. Oran Cowell-Fergusson - Runner Up

01. Max Ansell-Wood Memory and Alterations is a er e ami es t e s ecific role memory lays i t e desi rocesses or t e ada tatio o e isti buildi s. t does so it a em asis u o t e e ca atio a d subse ue t a alysis o a sites palimpsest, its layers of historic fabric that disclose occupation, violation and narratives. The work dra s u o t e t eoretic ro ositio s o ia carlo de arlo amely readi a d t e e a si e critique of such ideas by Graeme Brooker (2004) and Fred Scott (2007) to develop the validity of building adaptation as a practice and the subsequent tactics employed when doing so. The paper uses key precedent as primers for the critique, including Carlo Scarpa’s Castelvecchio, whilst asking questions of t e rocess to at e te t do site memories i ue ce t e crucial bala ce bet ee a e isti buildi and its alteration? What is valid memory? How does building adaptation form future memories? The a er summarises t e sub ect o memory s ecifically it i t e co te t o buildi s a d t eir i teriors it s emer i aut ority as a art a d t e role e osed material culture lays o tra sce di time it i previous and future memories of an interior space.

De Carlo, G (1995) Reading and Design of the Territory, Space & Society Vol 71 rooker . to e .

e eadi

s terior rc itecture a d t e esi

ri ci les o emodelli

isti

uildi

s o do

ter rises

Scott, F. (2008) On Altering Architecture New York: Routledge

02. Chloe Lane The Role of Design in Education Spaces

Malcolm Seaborne (1971). Primary School Design. London: Routledge & Kegan Paul Ltd. Mark Dudek (2008). A Design Manual: Schools and Kindergartens. Basel: Birkhauser.

Gagarin Studio Award for Creative Writing: 01

. a sell ood i er 02. Chloe Lane - Commendation

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is a er e lores t e ysical ature o educatio buildi s i terms o bot t eir i terior s ecifically and architecture more broadly and the way in which they contribute to the quality of education that children receive. This highly topical subject is looked at through an analysis of policy and approach on a national level, key design strategies employed and the legislation used in an attempt to tackle observed and evaluated failures. A review of the Malcolm Seaborne’s (1971) critical analysis supports the paper and concludes on the lamentable need for teachers to be the adjusters and improvisers of their learning environments, whilst observing Pamela Loeffelman’s (2008) critique of a lowest common denominator approach to school design and the tyranny of the average. The paper summarises with a design methodology for an effective learning environment with an emphasis placed upon the role of the interior condition as a facilitator and an enricher of learning.

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Interior Educators National Student Award 2017 for Outstanding Interior Architecture Project: Runner Up - John McGrath

Image: Northumbria University

BA(Hons) Architecture 2017 Graduates

BA(Hons) Architecture The Architecture programmes at Northumbria University are fully accredited programmes by both professional bodies for the discipline, the Royal Institute of British Architects and the Architects Registration Board. Our programmes of study are recognized internationally for innovation it i t e field o arc itectural education, and there is a continual commitment to enhancing the uality o t e stude t e erie ce.

Consequently, our students are highly employable, with numerous atio al a d i ter atio al firms returning to Northumbria as their first ort o call or e raduates.

The curriculum is underpinned by a wider engagement between our students, our staff and a wider range of practitioners, partners and academics to provide holistic learning opportunities. Throughout our programmes, this engagement is manifested by design projects which seek to address authentic issues, utilising a diverse range of regional sites to provide a rich co te t or i uiry a d desi .

Our suite of programmes are designed to provide our students it a e em lary ra e o skills knowledge and attributes that can be employed in a career in architecture and beyond.

Image: Alice Langstaff

The studio is at the heart of our teaching practice, and design projects constitute at least half of the syllabus. The associated taught modules of architectural communications, technology and environment, history and theory, and practice management and law, are strategically delivered throughout the three years of the BA (Hons) Architecture course in order to successively underpin and strengthen the quality of the student design work. The programme seeks to build u o t e e isti skills and interests of each student, in order that every graduate takes increasing ownership of their personal learning journey. This

strategy is supported by a teaching team comprising professional arc itectural e erie ce teac i e ertise a d researc roficie cy these academics are drawn from national and international practices and universities. Students also be efit rom state o t e art model making facilities and construction laboratories, supported by a friendly team of skilled and professional technical staff.

In Year One, students are introduced to key principles of design and communications, and the comprehensive syllabus is delivered to both architecture and interior architecture students to ensure all students receive a thorough grounding in this essential knowledge. Fundamental concepts of geometry, scale, proportion, er o omics bala ce are e lored through a variety of two and three-dimensional assignments, and design projects increase i ro ressi e com le ity a d challenge throughout the year. ear o stude ts are e ected to become increasingly selfdirected in terms of knowledge and skills acquisition. The studio environment supports a range of collaborative tasks and individual ro ects a d t e critically ustified application of taught content to studio design projects becomes increasingly important throughout this stage. A wider appreciation o co te t articularly la dsca e and urban design, is encouraged through design tasks and theory assignments. This understanding of the urban scale is supported by a field study isit to a ma or European city, enabling comparison with UK urban history and development. Projects continue to i crease i sy t etic com le ity a d a ro imate aut e tic brie s common to architectural practice. ear ree t o com le a d authentic design projects provide

summative challenge to students of architecture at Northumbria. The first ro ect res o ds to a ti t urba setting, wherein a comprehensive brief demands that students address spatial and structural requirements, planning constraints, and constructional and sustainabilty demands through criticallyustified co te tually se siti e a d imaginative proposals. This work is supported by the production of synoptic reports that seek to validate the technological choices, environmental approaches, and regulatory responses incorporated into this design. The second project allows for greater poetic a d artistic e ressio e erally set within a natural landscape, the second project directly responds to historical, cultural, environmental a d social i ue ces o t e locale through the personal interpretation of the student. As such, this work presents a holistic culmination of the student’s skills, knowledge, abilities and interests, representing a key point in the professional development of the architect.

Additionally, the course continues to strengthen its association with key clients, practitioners, and partners. Recent years have seen notable successes that go beyond the theoretical nature of architectural education by means o real li e sce arios. e celle t e am le o t is is t e ill isitor Centre in Northumberland (see p. 278), which can be viewed as the culmination of co-operation between Northumbria University, the Northumberland National Park Authority, and JDDK Architects. For several years, the Part I programme has run a visitors centre project for this unique geological feature of the Northumberland landscape. Over time, the three parties successfully established a case for the building of this project, culminating in the opening of this ÂŁ14.8 m project in July 2017.

Leaping the Fence

Image: William Scovell

Year Three Architecture (BA Hons) projects continue the programme’s philosophy of regional engagement.

To celebrate the 300th anniversary of Lancelot Capability Brown and his Northumbrian birthplace, projects situated within his lesser known “Northern Landscapes” of Alnwick Gardens and Wallington Hall investigate inherent themes within

his work and the wider landscape theories of the Eighteenth Century.

Projects realised two ambitions.

Firstly, the creation of a national archive for the recording, appreciation and interpretation of Brown’s life and work. Secondly, the proposition of a legacy, a thematic response to a chosen contemporary issue through which Brown’s memory will endure.

The Alnwick Biophilic and Physiotherapy centre aims to combine nature and human interaction in order to enhance our learning and well-being whilst embracing the Alnwick Landscape. Adjacent to a Brown Landscape, a national archive will conserve his remaining work whilst the physiotherapy centre will become available to the public, introducing a new way of utilising the landscape without damaging the overall picturesque landscape. The building is submerged and reflects nature, maximising the concept of Biophilic design.

Larissa Banks The “Capability” Alnwick landscape, gives an insight into nature and creates a link between the people, the landscape and the rich history of Lancelot Brown. The proposed scheme aims to encourage the local communities to engage with the naturalistic surroundings through the celebration of nature, wildlife and the appreciation and interpretation of “Capability” Browns work. It also creates an opportunity for visitors to feel connected with the outdoors through its panoramic views of the landscape and outdoor educational spaces. Relinking them to nature.

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David Alvan

e l ick esearc e tre took a stro i ue ce from the way Capability Brown manipulated bodies of water to create ‘endless’ rivers and wider spaces. The organic nature of the building matches perfectly with the lasting legacy and the landscape as the building almost glides not cutting in at any point.

Charles Benjamin Creating a Garden themed national archive is one huge step towards celebrating and preserving Capability Brown’s legacy as well as his huge body of work. The task of designing a building related to the preservation of his work into one of his landscape at Alnwick Castle constitute one important step towards giving back to Brown the visibility his creations deserves.

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le a der Barnes

James Bennett The stunning ‘Brown’ landscape has a wildly different atmosphere depending on the time of year one visits.

The flourishing trees of spring dissipating into the skeletal branches of winter. This change has been recreated with the ever-changing building to reflect the site. With a similar ethos in mind, the vegetable growing school has been established to spread the knowledge of when and what can be grown sustainably in the UK climate.

The Alnwick Garden is a complex of formal gardens adjacent to Alnwick Castle in the town of Alnwick, Northumberland. One of the main premises behind Capability Brown’s landscape designs, was to create a journey within the landscape. It was to modify and recism the landscape in such a manner, that the modification of the landscape seems absolutely normal - as if nature itself had created it. The design scheme of The Capability Brown Leisure Centre follows the same concept of creating a journey through a space. This journey would end at the Duchess Point, from where the expanse of the Capability Brown Landscape can be enjoyed and experienced.

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Shantanu Bhatt

Ryan Braithwaite The Living Archive is derived from opposition to the Brownian landscape of Alnwick. An axial form confronts the flow and subtlety of Brown, whilst the harshness of the building is contradicted by the program. The build provides a communal and self managed documentation of plants and trees. Trees that spill out of the building, returning to the landscape.

The scheme is composed of a mortuary and an educational building. Both elements of the scheme culminate at a moment, revealing the landscape.

The deceased will have the option to be buried in the landscape, with a tree planted in their memory. The trees contribute to the expansion of Wallington and this is in tune with the legacy of landscape designer Lancelot ‘Capability’ Brown. In order to retain unity within the scheme, users can circulate via the processional walkway.

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Ben Bresloff

Wallington Hall situates itself in the beautiful woodland nature. Its concept is to experience the journey that nature has provided. The meditation centre seeks to create a building that can minimise the idea of ‘framing’ areas of the landscape. Allowing the user to explore the spaces and nature by themselves, whilst combining the art and nature in architectural condition.

Wai-Man Chan The archaeology of the site evokes the passage of time, concentrated in the layers of the Earth that little by little have formed the thick walls of history. The Archaeology Centre is designed as a journey through Brown’s works.

The layers within the building show the vertical depth and age of the artifacts within the exhibition.

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Sze Chan

The Walkers Hub at Rothley seeks to bring visitors to a remarkable and largely overlooked landscape just north of the Wallington Estate. Characterised by grit stone crags and coarse grasses, the hub will nestle into the earth, marking the landscape. Based on the ideas of Capability Brown and the subtractive, sunken architecture of ancient peoples, the Hub will provide shelter and a feeling of place in the wilderness surrounding it inhabits.

Thomas Chuter This scheme aims to create a spotlight for Lancelot Brown’s work, in tandem to an activity centre intended to allow youths the opportunity to experience the outdoors and partake in various activities they may never have experienced. The design was formed from Brown’s ideal that his work should look as natural as possible so the building emerges from within the ground as a heavy, petrous, presence- as one with the adjoining cliff faces.

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Daniel Charlton

Ryan Davies

A series of modular units constitute the basic framework of the building; volumes repeat and rotate consecutively in order to facilitate movement and provide elevated views of the surrounding landscape. The manipulation of volume responds to the rolling topography of the site, ere t e e isti co tour li es sta d as t e arameter it i ic orm may materialise. e fi al resolutio takes the form of a sculptural entity which appears to rise from the ground.

As one passes through the building, they are taken on a step by step journey; Growth/Harvesting, Education, Preparation and Eating/Dining. Each stage allows for various amounts of interaction for the visitors, from harvesting the plants to eventually eating the food in ic t ey a e at ered a d re ared. e t ree a ial forms intersect to allow for a circular route through the building, with views being directed out towards la dmarks it i t e e ter al la dsca e.

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Patrick Davies

Amy Docherty

Sophie Drury A celebration of ‘Capability’ Brown and his values, situated just from the heart of Alnwick. Derived from Brown’s values, the rehabilitation centre promotes natural healing and general wellbeing to all by heightening the users senses by the integration of sensory gardens. Three access ‘pathways’ allows for different experiences of movement with the needs of the most vulnerable being the driving point of the scheme.

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Taking influence from the built up Morpeth town centre and contrasting green, The Four Merles Theatre is an atmospheric reference to those features it represents through the use of contrasting light and dark, lightweight and massive elements which form trajectories for the user to be guided throughout the atmospheric building.

Considering Brown’s principles and allowing the building to become a part of its surroundings, enhancing rather than interrupting the sites natural beauty, the Alnwick Botanical Centre is a collection of pavilions and spaces which encourage visitors to engage with the landscape and its views in varied and playful ways.

Kyle Elcock Daniel Finney Nestled within an existing tree line, the Sustainability Capability Centre creates an environment for the community to celebrate creativity and design.

Celebrating and housing Lancelot ‘Capability’ Brown’s work.

The famous landscape architect’s design motifs influence the building form and function. By framing the view into the surrounding woodland the buildings create intimate spaces for learning.

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To celebrate a site so heavily enriched by its refined history and magical views, the current owner of the Wallington estate, the National Trust, seek to create a Visitor and Education Centre. Alliances made with the local community and the Northumberland Education Action Group have developed a programme that respects and preserves the enchanting atmosphere of the walled garden.

A toast has been made to one of Northumberland’s most notable sons, and the most sought after Landscape Designer in 18th Century England, Lancelot “Capability” Brown.

The whole driver behind this brief has been to create something permanent to respresent someone temporary. However the brief goes deeper than that. As it’s not just the person, but also what they created. Their legacy. This aspect of the brief is what has driven this design.

There is an existing walking route through Rothley and up to Rothley Castle. The chosen site creates the opportunity to make the most of this route and create a link between Browns Landscapes and incorporating more of the landscapes surrounding Rothley, including the Rothley Castle Ruin, Codgers Fort and Rothley Hall.

Adam Green ‘Lost in the Trees’ was designed from the ideals of ‘Capability’ Brown, who made the non-natural landscapes look natural, preserving and respecting the land. This was the concept of the scheme, designing a complex that fitted and weaved within the trees, preserving and respecting Brown’s Landscape in Alnwick.

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Andrew Gibbard

Replicating the context and the surrounding rock formation is the principle with this design along with bringing the formations internally continuing the landscape. The artificial landscape can be used to manipulate a sense of one, a whole at which nature is reflected within the artificial. With this a natural journey will be created due to the positioning of the site within a valley that leads directly to the castle ruin.

Karan Haveliwala Wallington Heritage Estate. A scheme that celebrates the history on which it was built. A journey is created to appreciate both Brown and the families which owned the estate. The visitor centre is the first stop, followed by a series of experiential art pavilions to celebrate the great past of Wallington.

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Emilie Hakner

“The creativity and rigour through which students across both the BA (Hons) and MArch programmes at Northumbria University engage fully and innovatively with complex site conditions in order to develop sophisticated design responses that demonstrate their environmental and social responsibility is to be highly commended.�

Professor Nick Dunn Lancaster University

Image: Liam Wall

Liam Hawthorn The physical context of Rothley has influenced the design development for this project. Oppositional elements are used to help create spatial experiences within the Archive Centre. These elements also influence the form of the building to have a rhythm and reciprocal relationship between programme and nursery.

Capability Brown’s landscapes whilst not only beautiful and rich in splendour, created a multitude of habitats which 100 years on have benefited diminishing local wildlife. The Wallington Wildlife Centre proposes to continue this process and encourage the people of the North East to recognise the importance of biodiversity in an ever-encroaching urban landscape. The centre will host the Capability Brown archive and will provide educational programmes and activities where visitors can explore and research what the Wallington grounds have to offer. By encouraging local involvement and awareness, the declining species of honeybee, red squirrel, and crayfish will reap the benefits of the wildlife centre and will continue Browns legacy through the years.

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Madeline Howell

Bor-ren Hui Educate to innovate is the motive of Wallington’s new Botanical Garden for Plant Preservation, which strives to educate the public on the importance of plant preservation by showcasing end educating visitors on plants which are unavailable under British weather conditions.

Celebrating Capability Brown’s legacy, the Wallington estate’s picturesque views and atmospheric journeys is the ideal landscape for a visitor’s centre to honour Brown’s famous landscape design, in a place he grew up. The site situated in the east gardens of the Wallington estate establishes a clear route from the walled gardens through the beautiful fields - a journey through the landscape. Walking through the set routes of the east gardens, the spaces quickly switch from lightness creating comfortable environments, to darkness, creating sublime environment, these ideas originate from the ideas of artist in England during the 17th century such as Turner paintings, the sublime, the picturesque and the beautiful. The conceptual elements of the visitor’s centre celebrate this idea, of moving through layers of light which forces the viewer to feel differently, controlled by natures light. The visitors centre also aims to celebrate Brown’s ideas through use of his devices such as framing important views and creating journeys, through time, light and atmosphere.

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Sara Hurley

Malak Hussein The design strategy is to create an aggregated landscape design incorporates Capability Brown’s techniques.

By creating a seamless design which doesn’t take the attention away from Browns’ Landscape, to achieve this the facade shape flows with the contour lines in the landscape. The design also has a Ha-Ha wall to create boundaries. The program of the site is a cycling centre and provides archiving facilities on Capability Brown work.

The proposed scheme aims to follow the idea or concept of Capability Brown on how he designed the landscape and the placing of the buildings into the landscape. The ideal of putting people closer to the nature.

There are 2 main buildings in my scheme, building 1 will provide space for exhibition area , archival room to keep all the historic painting and auditorium. The building sits above the water line with glazing openings to the façade which allow people to look onto the nature.

Building 2 will house an educational space where students can learn to grow vegetables, a library on the first floor and a restaurant area with terrace seating to enable visitors the enjoyment of viewing the landscape.

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Pitichon Jarujinda

Lyndon Jessop Developing a language that reflects the significance of the landscape in a scheme which celebrates Capability Brown’s historic landscapes, the architectural forms are articulated as inextricable elements of the land, connecting seamlessly to their surroundings. Materiality also communicates a dichotomy between heavyweight landscape elements and constructed lightweight additions.

The Lancelot Institute provides a new facility that unites the understanding and investigation of the organic world with the appreciation of a Brownian landscape. Through revealing the research process via a public promenade, the scheme aims to passively educate visitors as they circulate between pre existing routes across the Brown landscape. Framed in response to the river and trees the Lancelot Institute reads as part of the vocabulary within the landscape, employing architectural devices including the ‘bridge’ and ‘folly’ to establish moments throughout the countryside.

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Alastair Kinnis

George Knipe

Tanuj Kohli In celebration of the theatre’s 150 year anniversary the proposed scheme will restore and regenerate the historical site and theatre by providing a broader performing arts, and community based facilities.

Over the 20th century the Tyne Theatre saw it’s mixed functional use evolve the structure into a cluster of buildings which portray a unique architectural palimpsest and layering of history. The parasitic structure will reveal the existing spatial conditions of the site by intervening with contemporary materials to contrast and frame the architecture of the Tyne Theatre.

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The brief for this project was to design a new cultural centre and theatre that would provide a gathering place for local community groups. The design proposal needed to encourage participatory workshops and community activities while building upon the historical value of the town.The site is located in Morpeth.

Morpeth is a small market town located 20 minutes’ drive north of Newcastle. It is a commercial and social hub for the surrounding villages, and is often visited by residents of Newcastle to escape the city on weekends.

The site itself is situated along the main axis between the market square and the park, which exist on either side of the river Wansbeck. The main concepts that informed the design of the theatre were derived from the neighbouring motte-and-baily castle, built in 1095.

Alnwick’s landscape was designed by Lancelot “Capability” Brown. The scheme celebrates the life and works of Brown, whilst educating visitors on horticultural issues, focusing on the risks regarding Red Squirrel population around Northern England. It is split into an Education Centre, Visitor Centre and Red Squirrel Protection Centre, located on the landscape and along the Alnwick woodland.

Richard Lamming Considering nearby contextual, vernacular architecture, the design implemented illustrates a division between materials, with the use of drystone walling connecting to the earth in a stereotomic fashion as prefabricated, modular timber forms rising above. Light walkways touch the ground in and amongst the buildings, connecting the scheme on multiple levels.

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Anna Lacey

Alice Langstaff The National Trust at Wallington is keen to celebrate its connection to Capability Brown. Therefore, two buildings are proposed - an archive and ‘legacy’ - linked by the River Walk on which visitors experience the Brown landscape. The archive records, protects and exhibits Brown’s work and the ‘legacy’ is centred around food production, inspired by Brown’s ideal that his landscapes be productive agriculturally as well as ‘an ornament to the eye’.

In the project, a journey is realised in the landscape based on the interpretation to the history of Northumberland and Picturesque movement adding follies on the garden and creating visual engagements.

The deep frames enhance the feel of perspective and they are extended as structural elements to sustain entire structure. Internally, the row of glulam frames creates enfilade that gradually reveals the next space.

The gap between massive walls plays a role as the starting point of the pilgrimage leading visitors into the landscape and the view to the landscape bursts through the corridor.

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Hye Sung Lee

Morgan Livesey

Alastair Lock In the project, a journey is realised in the landscape based on the interpretation to the history of Northumberland and Picturesque movement adding follies on the garden and creating visual engagements. The deep frames enhance the feel of perspective and they are extended as structural elements to sustain entire structure.

Internally, the row of glulam frames creates enfilade that gradually reveals the next space. The gap between massive walls plays a role as the starting point of the pilgrimage leading visitors into the landscape and the view to the landscape bursts through the corridor.

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The proposal will encourage exploration throughout the site and the location will allow the landscape to become an exhibition in its own right forming a threshold for the first hand appreciation of Lancelot “Capability” Brown’s work. To ensure that Brown’s legacy, which stems from his namesake, of seeing the capability of a landscape continues an additional craft village will be established in order to preserve the diminishing rural crafts that use and give back to the land as well as to educate future generations on the crafts and techniques. The Craft Village will consist of a series of “huts” and an exhibition hall to allow for the art of dry stone walling, green wood working, clay pottery and hedge laying/coppicing, each exhibiting and demonstrating these lost traditions to highlight the importance of regional craft to the public.

Joshua Lockwood

Harrison Lowthrop The project is split into two main elements. The first takes the form of a dedicated national archive to celebrate and exhibit Browns works to members of the public, and the second is centred around creating a legacy to Brown - primarily focusing on his sustainable approach to landscape management and aim to work alongside an environment as opposed to leaving it simply as an aesthetic feature.

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Capability Brown, a pioneer who was seen to sculpt the English landscape in the 1700’s. The main feature which inspires the outcome of this scheme is the appreciation of control and guidance within a landscape though the use of ‘devices’ (trees) to enhance the users views and experience. Conceptually the proposal is trying to depict a sense of movement and journey through the architectural form reinterpreting styles and notions Brown used to harvest his masterpieces. The idea of manipulating a user’s experiences in a place just by the careful positioning of ‘Devices’ (buildings) provides an engaging response to browns work. In conjunction with creating a journey through the form, the piece of architecture is designed to work with the landscape.

Through the use of pieced geometries and opening this allows glimpses of Browns landscape to be framed, captured and celebrated.

The green roaring landscape in Alnwick, Northumberland with clusters of trees and running river is a spectacular view to and from the Alnwick Castle sits opposite side of the river Aln. This project is the design of nursery and archive facilities in the landscape in Alnwick, these were to be a 21st century addition to the 18th century landscape. 600 trees for commercial growing takes up massive space on the landscape, and it creates the place for people to learn more about English landscapes and trees.

Daniel Marcus The Wallington Hall Arts Centre allows a mixture of professional and amateur artists to integrate with the wildlife and nature that surrounds the site. Features of the building are closely linked with the famous figure, Lancelot “Capability” Brown. This is what gives the structure its “Organic”, flowing form that makes the connection to the artist studios.

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Shing Ma

Christophoros Michailidis The nature reserve in Rothley, is an area of land that is protected in order to keep safe the animals and plants that live there. To do so, the building is located on the forest green area, close to the lake, so the people can observe the forest in multiple directions, from terrestrial telescopes at buildings first floor.

The landscape of which Rothley Castle is situated reveals a vast number of crags and boulders embedded within its undulating terrain. Rothley Outdoor Activity and Visitor Hub aims to embrace these key aspects of the land as well as the works of northumbrian landscape designer Sir Lancelot Brown. Aside from visitor accommodation, the proposed journey within the landscape enables visitors to experience progression ; starting with arrival and ending with climatic views.

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Shalin Mistry

The ABC Centre aims to create a space that celebrates and records ‘Capability’ Brown’s life and work as one of the greatest british landscape architect and architect.

The second ambition of the project is the photography studio which is inspired by experience within the site and aimed to create a space for people who love nature, wild life and architecture to gather.

Jacob Nicol The scheme can be considered a meeting of two philosophies. The past and the future. The past is a dedicated exhibition and historical archive celebrating the work of Northumberland’s Lancelot ‘Capability’ Brown, whilst the future (the legacy) looks at the protection and well-being of the wildlife that live in his landscapes. The aim is to allow the centre to form the present aspect within the proposal.

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Pan Ng

David Ogbe Alnwick observatory towers is an educational community aimed at exploring the variety of learning experiences through a journey of spaces. This series of buildings work together to create a legacy for capability brown through the unique mode of landscape exploration. This design houses four identical towers with observatory pods at each top with construction strategies aimed at giving its users a controlled overall view of the landscape.

The site is in partnership with the local community and the national trust both wanting to preserve archaeological finds and bringing back culture and historic importance of capability brown. The site contains an organic narrative through boulders representing stereotomic, elements that are taken underneath ground level and nature, moss representing tectonic and the evolution of age and the effect of life and decay upon material. This led to an architecture that meditates the upper and lower landscape enhancing the narrative of embedment. This led to the activity of geology centre intending to restore heritage back to the community through archaeological findings and works of Lancelot Capability Brown which has taken a key impact in the Rothley area. The following proposal aims to celebrate the works of Capability Brown framing the landscape and engaging visitors with the rawness of nature.

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Estefany Oropeza

Images: Faye Sedgewick

Nicholas Rainford

Elevated up into the tree canopy, a series of walkways take visitors on an exciting , educational journey. The scheme is comprised of two parts, a horticultural education center, focusing on Capability Browns work, and a forest school, both of which give visitors a unique experience of nature and wildlife. When embarking on the journey around the walkways the public will meet a series of buildings and activity spots that will provide education on horticultural issues.

The building is to celebrate the life of a famous landscape designer, Lancelot Brown. Offering opportunities to learn about his work and providing the practice and education on wildlife conservation. The Brown landscape is such a historical part of this site so it was neccessary to ensure that every aspect of the building was designed to minimise the structural and visual impact.This is achieved by the choice of material and its formation around the existing trees.

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Aimee Patterson

The Wallington Viewpoint exists to celebrate the work of Capability Brown through embracing and becoming a part of the landscape that influenced him. Situated on a sloping site above Wallington’s walled garden, the Viewpoint allows visitors to be inspired by the same majestic views that captured Brown’s imagination. The ascents, turns and reveals experienced in the Viewpoint echo those of a Brown landscape. A new productive garden for community food growth accompanies the existing adjacent walled garden, while new dedicated space for Wallington’s gardeners facilitate both the productive and walled gardens.

Douglas Riley The horticulture centre embraces the long history of botanical research and takes visitors through distinct zones with exhibits from the past, present and future. It sits very low to the ground to minimise the impact it has on the surrounding woodland, while taking advantage of the stunning views of Alnwick’s Brown landscape.

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Harry Riddick

William Scovell The scheme centralises around the concept of a Nest which provokes strong ideas of storing and protecting delicate content inside. Situated in the West Wood of the Wallington Hall Estate, which is one of many National Trust sites across the UK, the Nest is positioned to become a new gateway and visitor attraction.

The Wilds of Wannie Retreat aims to merge with the landscape, providing a seamless blend between the heavy stereotomic nature of the crags and the lightweight tectonic composition and materiality of the scheme carefully placed within the landscape.

The Observatory not only provides 360° radial views but shelter from the elements and the relentless southwesterly Northumberland winds. The Bothies provide an additional layer to the occupational palimpsest of the sites heritage. Connected via a series o ele ated timber alk ays ro idi sel su ficie t accommodatio or ikers a d isitors e lori t e t e surrounding landscape, as well as participants of the crafts village.

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Jake Senior

The Archers Retreat responds in an axial nature, offering a sunken approach from the nearby castle.

The retreat articulates a differed outlook of the surrounding landscapes, and frames key views whilst elements of programme extend outwards in response to the adjoining fields. The concrete mass of which the building sits upon is set deep into the hillside, and offers an equivalence to the rocky slopes whilst the dynamic qualities of Archery are embodied throughout the design.

Catherine Sinclair The Capability Brown Visitor Centre and Skyspace is made up of an Archive, Exhibition Space, a series of Observatories and Skyspaces. Using an existing castle for the Observatory and the form of the land for the Archive Centre allows both sets of buildings to integrate into the existing landscape. The spaces are connected by a series of pathways, the route determined by major constellation patterns creating a sympathetic and poetic addition to the site.

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Levi Sibthorpe

Rebecca Smith Alnwick Eco-Build Centre was designed in response to the lack of current Alternative Building schools within the North-East. The strategy of the scheme was to coherently combine unrelated programmes including both an external building courtyard and an archive and exhibition space for Lancelot ‘Capability’ Brown, to celebrate his Northern roots as a successful Landscape Gardener. The scheme itself places great emphasis on alternative building using Rammed Earth as the key material choice within the scheme.The Eco-Build school will enhance the knowledge surrounding alternative building and living to residents and visitors to the NorthEast while also acting as a catalyst for the National Trust situated in close proximity to both Alnwick Castle and Gardens.

The concept of the project was to take the user on a journey to the site and frame the view of the landscape, also the construction of a lightweight structure which touches the ground lightly. The cross bracing structure is offset from the main building envelop to create shelter, which together with the heavyweight load-bearing rear wall, allows for a lightweight glazed external skin. In contrast to the dominant steel structure, the observation tower has timber slats pinned to a lightweight steel frame, to express a sense of slenderness. The facades which face the courtyard are all glazed. The abundance of natural light and views of the sky help create a comfortable environment for working or relaxing.

Some areas feature a dark colour palette that focuses attention on the views of the surrounding landscape, while others celebrate the daylight by utilising lighter materials.

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Toby Smith

Tobi Sobowale Located in Alnwick, the proposal sits in the Brown landscape so users of the space can have a first hand appreciation of Brown - a landscape architect’s - work.

Depending on one’s relationship to the building, it appears discreet and from other angles more prominent to create an illusion of the proposal coming up and out of landscape and framing views. The design has reinterpreted Brownian devices - the haha wall and the placement of trees - in order to accentuate this concept.

The building sits along an existing path that creates three main divisions in the building programme. The shared space, the visitor centre and the thermal baths.

Deep in the midst of the vast Northumbrian landscape, lies a quaint picturesque community named Alnwick.

With all the sandstone brushed qualities of a typical old English village. The small town hosts Alnwick Gardens, one of 250 attributed and definite landscapes in the UK to be rightfully assumed as being artificially engineered

by Lancelot Capability Brown.

To commemorate his 300th birthday, the archives of Lancelot Brown’s life work will be transported back to and permanently beside at his birth place in the North East of England, to be displayed in an educational exhibition. A seemingly perfect location for the archive exists on a steep contoured verge south of river Aln. It provides paramount, articulated views of the engineered Brownian landscape on the northern side.

Panoramically framed, the awe-inspiring view of the continuous northern sky, rests peacefully on evergreen fields of elegance.

The vast exposed skyscape gave inspiration for an observatory lower which would further add to the educational purpose of the building.

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Heather Stimpson

Jake Tamminen

Joshua Thompson Alnwick Observatory, in Alnwick sits itself on the edge of some of the darkest skies in Europe and the third largest protected Dark Sky reserve in the world will offer the chance for the public to become involved in the global discussion. This new Dark Sky Site will aim to attract a large public audience within the North East and the country as the proposed (Orion Class) Observatory will be easier to access than the current Kielder Observatory which is located within Kielder Forest near the Scottish border.

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Rothley Castle sits proudly in the Northumberland landscape atop a large rock formation. With strong links to local history, the site sits in-between the Lancelot ‘Capability’ Brown linked sites of Wallington Hall and Rothley Lakes. The proposed National Archive and cycle centre draws inspiration from the landscape to form a monolithic structure that sits proudly in the landscape.

As well as storing and displaying valuable documents, the scheme will provide an in depth look at Capability Brown and natural conservation through the library, education spaces and auditorium. The cycle centre doubles up as a rest stop for local cyclists and a continuation of the education on Brown’s work, offering cycling tours to the local landscape. These tours will give visitors a firsthand experience of the Brownian designed scenery.

Thomas Tse The Wallington Heritage Centre is intended to preserve and celebrate the legacy of Lancelot ‘Capability’ Brown. Housing an archive and exhibition dedicated to the celebration of Capability Brown’s life, and the appreciation of his work. As a legacy programme, the heritage centre provides an educational kitchen and greenhouse for local schools and community to promote home grown food and develop cooking skills.

Situated in the grounds of Alnwick Castle, the project brief marks the return of Brown to the place he carried out major landscaping works in his signature ‘natural’ style around 1760. Today, many of brown’s alterations to the landscape remain, contributing to an incredible panorama, which the scheme pays homage to at every opportunity.

Adjoined to the archive, a seasonal glasshouse exhibits a range of floral species commonly planted by Brown, which serves to entertain and educate the public. Below ground a research laboratory works in aid of disease prevention, in an effort to sustain the longevity of tree and plant species currently under threat.

Throughout the project, Brown’s relationship with nature has been a constant influence and pivotal to define the three key strands of the scheme: Preservation, through the Capability Brown Archive; Education, through the library and education centre; Research and Prevention, though the research laboratory. Nestled amongst these strands, attached to all, is the Glasshouse.

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Alexander Turner

Ethan Vickers An omnipresent giant strewn from the earth stands alongside a light timber structure and is unified by a raised stone plenum. The scheme draws influences from the likes of Lorraine, Ruskin and J.M.W Turner to create an educational typology that is an organic embodiment of the picturesque and romanticism movement. The new intervention aims to attract young adults to join with Alnwick Castle’s existing, wide programme of activities by introducing hands-on constructional workshops.

The Alnwick Archives is a visitor centre dedicated to housing a repository of drawings, associated documents and records of the famous landscape designer Lancelot “Capability� Brown. As a direct response to Alnwick and the landscape the design takes its form from a telescopic lens, framing views at various distances which is represented by the length of each of the buildings. The building sits on a natural path around a hill which provides a clear vantage point and sets up photographic opportunities of the landscape and the castle. The teaching and archiving of photography within the building will establish a record of how the landscape changes as more images are added to the archives whilst still providing visitors the history of the landscape they walk on.

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Liam Wall

Amy Weston The creation of a scheme that follows the idea of Brown’s routes through the landscape will provide an architecture that has direction and movement. The journey through the landscape between the forest and the castle will provide a way of linking the two environments together.

In particular interest to the walkers the visitor centre will become a rest or gathering point of interest on their way towards the end point of the castle.

The Project aims to create a focus for the celebration and recording of Lancelot “Capability” Brown’s life and the appreciation and interpretation of his work, in particular his Northumbrian landscapes. Located adjacent to a Brown’s landscape (the Rothley Lake) the proposal will also form a threshold for the first hand appreciation of his work. Secondly, a series of land art workshops will be applied, emerging the characteristic of the adjacent landscape. The related education and training for the next generation can be achieved by those workshops . A series of workshops and programs will be created along the suggested route by the totally 11 pavilion scale of blocks. The flowing circulation allows visitors to freely walk between the interior, exterior spaces, the courtyard and the art works. To explore the landscape in a natural way. It is about revealing different elements in the landscape to recall and celebrating the design concept of Lancelot “Capability” Brown’s landscapes. The buildings as part of the “land art” situated at the site humbly.

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Sung Wong

The tree has a natural sense of shading, offering wonderful feeling of sitting under the tree. The combination of branches and trunks is like roofs and columns forming the spacial volume. The proposal of tree like structure is introduced to create this kind of atmosphere: human activities such as meeting, studying and eating will more like taking place under trees rather than in a building. The whole building is based on grid system and the column is the main load bearing structure which is like a tree having four cantilevered beams with various height.

Ovidija Zemaityte The centre’s interior of large open spaces and varying platform heights replicate the open, precipitous Lancelot Capability Brown’s engineered rolling hills and the white steel columns which separate the diverse programme; ranging from a national archive to yoga studios, creating ‘zones’, mimic the shelterbelt. The spaces were then united in a shell of in-situ concrete in the form of a pitch roof house, in keeping with Alnwick town typology.

Vertical larch cladding assists the transition between the two context settings.

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Nan Yin

Image: Northumbria University

BA(Hons) Interior Architecture 2017 Graduates

BA(Hons) Interior Architecture This studio based programme is concerned with the creative reuse, adaptation and rehabilitation of buildings, be they old, new, forgotten, redundant or in disrepair.

It is concerned with the manner by which interiors are conceived and integrated into the existing site, with an emphasis placed on the recognition of built fabric and site narratives as precursors to the development of an adaption. The programme uses the design project as the central vehicle for learning and is designed to stimulate and provoke imaginative responses to the re-use and adaption of existing architectural space.

Image: Sze Wei Lai

In Year One, key architectural principles and processes are examined, exploited and framed within the context of the interior.

Students work together within an open studio culture where skills, ideas and attitudes towards Interior Architecture are developed, discussed and acted upon in context. In Year Two, students enrich their learning and use design projects to test and advance key strategies for adapting and

occupying existing buildings. In Year Three, design projects present opportunities for a deeper critique of the subject and are both directed and self-initiated.

Alongside studio projects, students examine both academic and practical aspects of Interior Architecture such as its history and theory, as well as associated construction, sustainable design and management principles. These subjects are critically aligned to studio based project work, and provide valuable preparation for work in practice.

Students have undertaken live projects with national organisations and charities; current year 3 students have worked with the Newcastle Arts Centre and the National Trust at Gibside, in Gateshead, learning to work with existing heritage buildings.

Live projects enrich the authentic learning experience for our students and place the programme at the centre of a national debate on adaptation and the formation of interiors.

The programme now offers students alternative modes of study; they can study the 3 year programme or add an study abroad year between years 2 & 3 to their learning, which can be done on application or during their study. This exciting opportunity allows our students to develop their subject knowledge and their cultural and personal skills towards becoming rounded specialists and can forge connections for future professional life.

Our PG Cert Interior Architecture programme has just celebrated the success of its second graduating cohort. This unique, 60 credit Post Graduate top up programme allows successful Northumbria Interior Architecture graduates to advance their studies within an Architects Registration Board (ARB) accredited programme to achieve Part I status.

This ground breaking initiative enriches the offer to our students as it forms a future definition of creative reuse specialists within architectural practice and allows our graduates to broaden their career paths.

Gibside Stables Revisioning

Image: Northumbria University

Situated in the Derwent Valley, Gibside has been recorded in connection with the Bowes family since 1400s. The Bowes family, after a long and illustrious history, reached its greatest wealth and i ue ce i t e ei tee t ce tury.

Within a century and a half the descendants of the Bowes were no longer and the twentieth century saw Gibside in ruins.

time at the family estate as a child.

She handed the estate over to the National Trust in 1966, visiting for the last time in 1968.

The 1700’s however, saw the reatest e a sio s o t e estate and the most illustrious parts of the family’s histories. Notably, Mary Eleanor became involved with a former Irish Lieutenant named Andrew Robinson Stoney who tricked the unfortunate Countess into marriage and became notorious as ‘Stoney Bowes’.

This story became a national scandal and the focus of recent literary fictio .

An imaginative, speculative and meaningful solution for the National Trusts development plans to improve and build upon isitor ro isio a d e erie ce.

Individually determined within the thematic narratives of each site, placing the visitor at the centre of the proposal. Consideration of t e s ecific istoric to o ra ic genealogic, literary, architectonic, narrative and wildlife and natural co te ts a e bee catalysts or the development of a proposal and programme.

Lady Elizabeth Bowes-Lyon, who became the Queen Mother, spent

An intervention to alter, re-inhabit, and re-use the stables within the Gibside to help the National Trust revision how the stables could become a secondary hub to the wider estate.

a Ansell-Wood Vicky Bain In this proposed design, even those who choose to enter t e stables ill co ti ue to e erie ce t e e ius loci of Gibside and the natural world. Although the structure offers shelter and warmth, walking into the redesign of t e ibside stables ill be a e erie ce surrou ded by greenery and natural wonders.

Offering a place for the general public to dwell and learn in, and for Gibside volunteers to spend a night.

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This proposal strives to tell the otherwise overlooked celebratory story of Mary Eleanor Bowes and her keen interest in botany, allowing visitors to observe and consume botanical infusions within the historic Stables ile e coura i t em to e lore ider bota ical co te t o t e estate.

Movement and process of botanical infusion and opacity directly informs insertion designs throughout t e e isti buildi ile res ecti a d rami its grand phenomenon.

Woodcraft and bushcraft focus on the knowledge and skills of living with nature. Through low impact and sustainable activities, such as crafting with natural found objects and camping in the great outdoors, oodcra t romotes bot ysical e ercise a d a greater appreciation for the environment.

The facilities on offer include an activity hall, workshop spaces for crafting, hostel-like accommodation and a large café which doubles as a performance space. loratio o t e e isti buildi s structure ocussi on it’s timber columns, the journey from tree to post has been investigated and a concept of bringing surrounding woodland into the stables has been adopted with the idea of erecting indoor treehouses within the building.

Philip Black Offers a working kitchen garden, restaurant and cookery school and specialist food counters for visitors to e erie ce a d use. is ro ides a e a ceme t o visitor knowledge on growing, preparing and cooking food and saving food waste.

The proposal draws upon the estates design principles of Le Ferme Ornee, Stephen Switzer and Lancelot ‘Capability’ Brown, where an estate should be as equally beauti ul as it is rofitable i sustai i t e amily.

The phenomena of natural light and being able to dwell in spaces within the landscape informs the user journey, a d e coura es e e erie ces bet ee t e t o functions.

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James Battye

Janet Chok Gibside provides a pleasant habitat to different species of wildlife animals and it develops a closer relationship between visitors and the natural environment. This idea drives the concept behind the design of the Gibside Wildlife Centre.

The centre is equipped with a small-scale veterinary os ital a d laboratory or e ami atio o ildli e a imals e ibitio area a d trai i ce tre or lear i purposes, a cafĂŠ and hostel rooms for residential rela atio .

The rural location at Gibside initiates a sense of e loratio a d arri al or urba ite isitors t e route taken is “a journey�. e atio al rusts commu ity i ol eme t i ue ces our memories at Gibside and are instrumental in shapingand creating personal memoirs. e ideolo y o ca turi e ressi e memories take from the site can systematically inform its design.

Gibside Stables can become a bank of memories stored in various mediums such as; visuals, spoken, word of mouth and literature.

The design encapsulates this with allocated areas for each medium of memory while simultaneously allowing for the observation of human activity within, capturing the sense of shared memories.

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Oran Cowell-Fergusson

Katherine Fung

Sze Wei Lai The idea of an observatory inside the stables, a unique and eminently landscaped object located in a stunning 18th century landscape and Georgian design estates. is ro ect is about t e e erie ce o etti closer to t e ature allo a e c a e o i ormatio bet ee the visitors, local communities and enthusiast.

The project also includes a walkway between the stables and observatory through the cafĂŠ as a resting ub a ter t e e loratio o ibside.

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e ro osal i ites isitors to e erie ce t e ric histories and culture within the Gibside estate, in particular, Lady Mary Eleanor Bowes passion for collecti e otic la ts a d s ecime s. e sc eme e coura es isitors to e lore lear a d disco er t e wonders of botany within the rich, natural cultures of the Gibside Estate. Workshops allow visitors to create products such as perfumes and soaps whilst interactive arde s e ric t eir se sory e erie ce. abs also allow researchers to discover new uses of botanical la ts or t e be efit o t e ider uture.

The courtyard’s interactive gardens act as a beacon for visitors when travelling from afar and houses a variety of plants which are harvested and used within the site.

Gibside Live

Images: Northumbria University

Gibside Hall and Estate sit to the south of the Derwent Valley on the Derwent River, a tributary of the Tyne, and is managed by the National Trust. The Hall (and estate) is the ancestral home of the Bowes Lyons, linking it to the current royal family. Mary Eleanor Bowes (1785) was a keen botanist and establsihed an impressive collection within Gibsides esteemed walled garden.

Working in partnership with the National Trust, our Year 3 students embarked upon a live funded project during year 2, to develop ideas that resulted i a e ibitio i situ last year and a selected scheme on site this summer. The pavilion opens to

the public on July 2017 and will be used to communicate the walled gardens past, present and future.

The National Trust decided to develop the ideas of Allard Newell’s pavilion; ‘despite every design proposal having their own unique relevant ideas and concepts, Allard’s proposal offered the greatest e ibility to meet a de elo i brief’.

with Allard, Northumbria’s Interior Architecture Team and The National Trust to develop the design into a feasible, cost effective pavilion.

The proposal undertook numerous design iterations with Allard being central to the process. Projects of this type offer an additional learning opportunity outside of the traditional studio project, enriching t e stude ts e erie ce a d knowledge of the design process.

One of the North East’s leading progressive design and production consultancies, Jardine Couture was appointed to work closely

Source: http://www.nationaltrust. org.uk/gibside http://www.jardinecouture.co.uk tt .field desi .com

Chloe Lane Combining birdwatching and reading, the Stables becomes a hub for Gibside Estate which encourages visitors to take part in mindful and quiet activities, whilst shelters located around the estate encourages further e loratio a d a reciatio o t e surrou di s.

Design features seen are derived from the concept of structure and patterns within bird feathers, linking back to the use of birdwatching as well as the high presence of Red Kites and Swallows at Gibside.

The proposal consists of an education centre and event space within the historic stables building, an art studio and glasshouse in the blacksmiths ruin and shelters around the estate.

The scheme aims to educate visitors about British ildli e a d e coura e curiosity e loratio a d t e appreciation of nature. is is ac ie ed usi ta idermy i teracti e e ibits a d s elters ic romote e loratio o t e ider site.

The wider aims of the scheme are to stimulate interest in the natural world and the work the National Trust carries out to conserve the landscape and wildlife.

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Alice Lockhart

Tatiana Maio Olival Gibside Stables is surrounded by native fauna, becoming a location of biology education. Enabling both students, researc ers a d isitors to e a d t eir k o led e of plant biology and initiate a better understanding of nature: through touch, vision and sound.

The site also becomes a place of gathering for the commu ity suc as t e ca e a sio a d e isti crafts studio relocation to be acknowledged by visitors.

Gibside Estate is one of Capability Brown’s masterpieces, the engineering of the landscape to achieve symmetry within the avenues.

Symmetry is a key narrative in the design proposal, as suc t e ce tre as take desi cues rom a mi o rules o oto ra y a d rom t e e isti buildi s on the site, many of which employ symmetry as a key component of Palladian style. e e tre is a e loratio ub or oto ra ers a d ublic to la t eir tri s arou d t e e a si e site. loratio is a key com o e t o t e master la o the scheme with several bothies and hides scattered around the site allowing for shelter from the elements a d rame a ta e oi ts ma imisi t e e ius oci of the site.

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John McGrath

The National Trust specialises in preserving local history by opening it to the public. The proposal allows for traditional crafts, including weaving, spinning, woodworking and basket weaving to be performed and celebrated in one of best preserved buildings on the Gibside estate. The new design language form is inspired by the crafts that are performed in the structure as well as inspiration from coal mining, which provided the wealth for the estate to be built. The scheme includes craft studios and educational facilities to allow people to lear about t e local istory t rou e erie ce.

Allard Newell The proposed schemes aim is to bring woodland craft back to the heart of the Gibside Estate.

The schemes aim is to run courses on green woodwork and wild foraging for schools and private groups alike, providing accommodation and living spaces within the stables.

Satellite woodcraft studios and the restoration of the old blacksmiths into a new rangers hub enrich the scheme. e e a sio o t e ca e a d roductio acilities allows the stables to be used for other events, such as weddings and functions, providing additional streams of income to the estate.

151

Connar Milner

Melissa Sacharov Joseph Spour The design of this scheme aims to encourage further e loratio o ider ibside state as a seco dary ub.

It does this by revealing glimpses of the estate itself to isitors t rou a se sory e ibitio . isitors see the estate through its sights, sounds and smells that are collected from satellite bothies and hides which transmit data this back to the hub.

In doing so, the Hub becomes a gateway to further e loratio i situ a d isitors ca become acti e participants in data collectino and analysis.

The proposals language is derived from natural forms and is constructed from low-tech and low-cost materials.

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Gibside Animalium aims to engage visitors, drawing focus and attraction to the stables currently whilst also forming individual connections to its history. e ro osed sc eme is directly i s ired a d i ue ced by the concept ‘The Cycle of Life’ as the stables will be an envelope for life and metaphorically imitate the life cycle. e fi e sta es o li e i ic ill be re rese ted a d e erie ced it i ibside stables are irt ild ood Adulthood, Old Age and Death.

The zones in the building begin as light and open in space and gradually progress around the building clockwise developing and evolving into more intricate and detailed spaces, just as an animal matures and orms i to a more com le fi ure t rou out its li etime.

Leandros Tsouramanis The new intervention for The Gibside Stables aims to create a small community in order to attract people of all ages to a craft and active environment. The center provides services such as pottery making, blacksmith, woodworking, horse riding, wall climbing, hiking and e lori .

It offers an intimate atmosphere with a restaurant ro idi local roducts a bar a d seco d oor accommodation for schools and for families.

A space to learn, volunteer and get involved. Inspired

by Gibside’s spirit of place and community involvement, the centre encourages the user’s to directly engage with the site and its local community alike.

Boasting learning and development resources tailor made to accommodate all ages and abilities, outdoor activities scattered across the site and not to mention volunteer opportunities within. The Activity Centre connects the neighbouring buildings and surrounding la dsca e at ibside e ibiti t eir u usual istory and utilising their resources.

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Bethany Wright

Postgraduate Certificate in Interior Architecture

Image: Alasdair Graham

This is the second academic year of this ground-breaking programme, which is currently unique to any school of Interior Architecture in the United Kingdom. The singlesemester course is aimed at Northumbria University’s Interior Architecture graduates who wish to achieve ARB part 1 recognition; this enables successful students on the PG Cert IA programme to join the Master of Architecture course (Part II) at Northumbria.

Building upon the knowledge, skills and processes embedded in the undergraduate course, students develop proposals for a free-standing architectural project t at i cor orates ustified a d comprehensive approaches to site analysis, urban design, landscaping, structural design, envelope choice, fire strate ies tec ical detaili and environmental servicing.

Students on this course are generally employed in architectural and design practice. They are therefore encouraged to support their directed and independent studies by utilising professional practice and real-life projects as learning resources. This blend of academic and professional learning requires skills of critical judgement and appraisal on the part of the candidates, attributes to be e ected o asters le el i uiry and synthesis. Students are also encouraged to share resources, to critique one another’s proposals, and to work collaboratively where applicable. Simultaneously, they are encouraged to develop personal interests and specialisms towards shaping their own career paths.

This synthesis of architectural design prowess, building upon t e stude ts e isti abilities with the creation of interior

environments and the imaginative re use o e isti abric i es t ese graduates a unique skills set that ensures their employability in a range of practices.

The following pages demonstrate the quality of these student’s design works. These projects are supplemented by comprehensive design, technology and environmental reports which ro ide a ric ustificatio o t eir responses to the brief, the site, regulatory requirements, and technical standards, as well as a critical discussion of the thematic content of their proposals.

The elevated first floor is chamfered away to allow southern sunlight to penetrate the under-croft at ground floor level. A central core supports the cantilevered floor panes and houses the services and circulation for the building in a neat floorplan. This open-plan, open to the elements ground floor allows for a variety of activities. Market stalls and events can take place on the new city square. Mobile food banks such as the peoples kitchen (which currently uses the shelter of the tunnel on Trafalgar street) can use the sheltered area as a new centre and indentity for the homeless community.

The imposing brick facade restricts and reveals views when it deems necessary. The materiality references the Bridge hotel and the form sits within a number of grand and imposing buildings. A viewing platform to the rear makes the most of the quayside views.

An external elevator bridges the connection between Newcastle’s high and low levels and enforces the Young Lit & Phil attitude to accessibility.

Peoples Kitchen on Trafalgar Street

From left: Newcastle’s Old city Library, Swan House, MEA House

Structural Concept

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External Lift-

The new external Lift shaft bridges the connection be tle’s city centre level and the quayside. In the past T lifts running within its towers but these have not be number of years.

Image: Northumbria University

Alasdair Graham

There is currently no accessible connection for disa

The Literary & Philosophical Society (Lit & Phil) in Newcastle was founded in 1793 as a liberal, enterprising and inquisitive college of thought.

Demonstrations of technologies, such as George Stephenson’s miners’ safety lamp in 1815 and the establishment of The Newcastle upon Tyne Society for the abolition

of Slavery in the British Dominions are just some of the Lit & Phil’s si ifica t erita e.

Grade II* listed, the building is at capacity and the following proposals seek to imagine a speculative ou it il to ouse a s ecific collection and to accommodate the

needs of a self-determined user group. The site abuts the Bridge Hotel, opposite the Castle Keep.

The very origins of the city emerge rom t is site it t e e ta t ee dating to 1100’s; the site is afforded prominent views of the Tyne.

Social justice underpins the ethos of this development.

The centre seeks to address the increasingly dispossessed underclass of Newcastle upon Tyne, providing physical and emotional shelter to the homeless and underprivileged. These people face being North Elevation ejected and barred from the increasingly privatised public spaces of the city. The formal ambition of the THE YOUNG & PHILto the optimism of 1960’s project makes LIT reference COMMUNITY SUPPORT LIBRARY - USE e castle u o y e a d t e a ed yet as iratio al The Young Lit & Phil Main focus is to facilitate the needs of the charities it will work with. It will cater to soconcept of ‘raising’ people through architecture, above cial events and meetings of the different societies and members of the library. The internal spaces include work environments. Fold away tables and a great deal of storage allow the open plan interior to be aflexible d out o t eir mu da e e iste ces. as flexible as possible.

The exterior is a more resilient reflection of the interior. The large open plan square will facilitate urban activities and offers Newcastle City a new public square within its old castle walls. This homeless friendly building offers shelter to all and even includes a concrete seat along its structural wall heated with an underfloor heating system. The intent is a different attitude from that of the adjacent, exclusive, Vermont hotel.

All are welcome to use as they see fit.

As the lift is entirely external it can be used out of hou

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Young Lit & Phil

East Elevation

Kevin Li

Photography and cinematography has successfully recorded the development of Tyneside through the past two centuries, and the works of artists and collectives such as Sirkka-Liisa Konttinen and Amber Films co ti ue to re ect t e area a d its society. te ded display space for professional and amateur images is engineered through the circulation ‘chares’ of this project, referencing the famous passages that link the banks of the Tyne with the City above. The centre seeks to promote a closer engagement with the region and its filmic s aces resisti t e dis osability o social media imagery.

Augmented and virtual reality are becoming ever more commonplace and intertwined with the everyday lives of people. By combining technology such as Oculus i t eadsets it t e istorical co te t o y eside as progenitor of the industrial revolution, the Virtual Centre of Newcastle seeks to re-establish the city as a creative ub. e mai le els o t e e ibitio orie t t emsel es relative to three of the creative engineers of the area; Robert Stephenson, Joseph Swan, and Charles Parsons.

Engagement with their real and virtual creations seeks to i s ire t e e t e eratio o tec olo ical i o atio in the region.

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Connor Hewison

Ashleigh Peacock e site orms t e co ue ce o t e medie al astle Keep, Stephenson’s High Level Railway Bridge, and the end of Westgate Road, following the route of the Roman Wall. As such, this key location drives the proposal to document and map the city through its built form, orienting the visitor towards the geography, history and landmarks of Newcastle upon Tyne. The display is continually interspersed by framed views of the city, bri i t e e ibitio to li e t rou direct com ariso with the locale.

The original Literary and Philosophical Society of Newcastle upon Tyne was founded on a principle of the ‘conversation club’ – the direct use of dialogue to disseminate and debate ideas and values. This scheme provides a wide range of opportunities for encouraging the spoken word, from the provision of internal and e ter al auditoria at a ra e o si es to t e i timate bar room discussions enabled through the connections to t e rid e otel. e e isti s uare t ereby becomes Newcastle upon Tyne’s 21st Century equivalent of Speaker’s Corner, activating this lost space for public be efit.

163

Peter Winterburn

Image: Laurie Blower

Master of Architecture 2017 Graduates

Master of Architecture: MArch s t e culmi atio o fi e years full-time architectural education, or si years art time t e fi al year of the Master of Architecture at Northumbria University allows the students to develop two sustained pieces of work over the course of the academic year. These comprise of a year-long Design Thesis, nominally sub-divided into “problem-setting” and “problem-solving” and, in the first semester a tude t elected Investigation (SSI). The SSI is an academic research project equivalent to a 9000 word dissertation. The SSI is like a microscope, it asks the students to look deeper into their topic. Whereas the Design Thesis is akin to a telescope, it challenges them to look out... The SSI can be a stand-alone piece of work or it can provide a parallel, theoretical investigation underpinning the Design Thesis.

Image: Matthew Glover

The students are also asked to maintain a blog throughout the year to record their inspirations, work-in-

progress and to share and comment upon each other’s projects.

relative to each of the following four headings:

t t e be i i o t e first semester, a range of ‘provocations’ are proposed for the Design Thesis.

Alternatively, students can propose a “free project”; addressing particular interests or specialisms that they wished to investigate. Around a third of projects this year began either as a “free project” or as a hybrid of two or more of the initial ‘provocations’. However, irrespective of the starting point, ultimately every project becomes a “free project” as the students take ownership of the studio ‘provocation’ and develop their own, personal Thesis over the course of the year.

01. Site

t esis is defi ed as a s eculati e proposition defended by argument – in this case that ‘argument’ is in the form of the design proposal – so each student is asked to consider and ‘frame’ their emerging proposition in a Design Report during semester one

02. Process/ Programme 03. An Abstract Idea (e.g. a theory, a narrative, a hypothesis) 04. Typology In the second semester, the students resolve their brief holistically.

Integral to the design process, the structure, construction and material technologies and environmental services are considered.

Understanding and creativity, neither lip-service nor slavish adherence, are e ected i addressi bot sustainability - in the widest possible defi itio s o t at ord a d t e re ulatory co strai ts i ue ci the design and procurement of their propositions.

Landhaus

Image: James Edwards

is year e a e e lored at it means to make a Landhaus.

Here, building and land enter into a ceaseless and reciprocally conditional dialogue with one another. With this in mind, we have surveyed a very particular series of contemporary landscape conditions and attempted to make meaningful building propositions relating directly to the concrete places we have come to know.

power to move us just enough to be noticeable. The train moves from housing estates on the edge of farmland, to farm buildings in the middle of farmland, to industrial estates on the edge of water filtratio la ts to retail arks o the edge of bastard-countryside, to housing estates on the edge of park and ride plateaus. Often, a work of creativity is needed to give meaning to the quotidian.

at er t a a site e a e e lored a territory that is loosely structured by the route of the railway between Newcastle and Morpeth. This territory is similar to so many of t ose laces e e erie ce by trai in the West; a landscape between places, not beautiful, but with the

We have talked-walking about potential building propositions from the start and have learnt to see through propositional eyes. Projects are carefully sited and incorporate e isti buildi s structures landscapes, and gardens into their new compositions.

James Edwards

171

e site as it curre tly e ists orms a ra me ted ed e of Jesmond Dene following the demolition of the plant nursery. Through the re-establishment of gardens and the spacious placement of high quality, multigenerational residential villas and a range of public facilities, the relationship between the local community and the natural landscape is restored. Restoring the former plant nursery will encourage the local community to interact with the residents and promote the conservation and enhancement of Jesmond Dene.

The design responds to the range of architecture e ibited t rou out t e e e it articular re ere ce to the 19th century grand Arts and Crafts buildings. jamesedwardsarch.tumblr.com

Lucy Gallagher

173

The current facilities for Morpeth First School, located in Morpeth town centre, are over 100 years old, the site lacks e ter al s ace a d layi field ro isio as well as the structure being costly to maintain and uneconomic.

In 2012 the Environment Agency Board approved u di or a m ood alle iatio sc eme or or et and its surrounding parishes. As a result of the newly im leme ted ood de e ces a umber o ri erside sites, are now available for development.

In order to provide a physical environment to enhance the teaching currently on offer, it is proposed to utilise Morpeth’s newly available riverside sites and relocate Morpeth First School to a new facility. lucygallaghernorthumbria.tumblr.com/

Tom Hewitt

175

e t esis co ti ues e loratio i to alki as a desi met odolo y. te si e alked e uiry i to e castle s edgelands revealed a latent mining infrastructure, e erie ced rimarily ia lo li ear a o ays.

The Seatonburn Waggonway is particularly prominent where it bisects Killingworth Moor, a strategic site allocated for 2000 houses, two schools and 17 hectares of employment land.

The proposed research facility manipulates the landscape “artefacts” which constitute the moor: waggonway embankment; hedgerows and irrigation letches; pylon “furniture”; and material traces dating as far back as the Iron Age. Long linear buildings “make boundary”, protecting historic edges; their layered co structio re ects t e layered readi o t e landscape. Within this boundary, an earthwork building “makes ground” and acts as a public interface. tomhewittarchitectureworkshop.wordpress.com/thesis/

Daiana Ionescu

177

The project aim is to respond to this question and reveal the ‘Beauty of the Manors Brutalist Car Park’ through its redevelopment. The project proposes the ‘transformation of a building for cars to a building for people’ .

The development will integrate the Manors Car Park as the main building, the old Manors Station, and the Remains of the Bank of England building. These will be repurposed in three programme phases: phase 1- The reat ibitio o t e ort ase t e rt ub or the relocation of the Newbridge Artists, stage 3 – the first t o sta es ill allo or uture de elo me t.

The project will revive the whole area, by reconnecting it with the rest of the city and other communities, it will transform this city zone from a negative landmark to a positive one. daianaionescu.tumblr.com/

Naveen Jayasinghe

179

The design thesis is based upon the concept to propose an ‘Architectural Training Centre within the picturesque landscape of Mitford, Northumberland. The thesis attempts to establish this relationship by identifying arious ieces o e isti i rastructure a d ot er characteristics.

The proposed ‘Agricultural Training Centre’ is strategically located within the landscape of Mitford Village and its historic settlements. The sites have been dispersed to eradicate any architectural density in order to establish relationsips and engagement with the e isti armi commu ity. naveenjay.tumblr.com

Laura Mills

181

The thesis project is based in Morpeth, Northumberland.

The physical form of the town contained in the loop of the river, with the town towns motto being “Inter Sylvas et Flumina Habitans”- “Living amid the Woods and Waters”.

The building form was derived from investigating the topography of the land and how people currently move through the area. I conducted a series of precedent studies on the work of Donald Judd and investigation of the Morpeth Flood Alleviation Scheme. e roo structure mimics t e la d a d o o t e ri er sitti abo e t e im osi rou d oor structure. e buildi sits er e dicular to t e e isti ood alleviation tree screen, providing rowing facilities and ca e. e u er oor due to its t i ess li t ess a d horizontality, the ensemble almost disappears as it recedes i to t e la dsca e. e sacrificial rou d oor is much heavier, standing against the temperamental river lauramills-architecture.tumblr.com

Rebekah Stott

183

Located on the former site of the Dudley Colliery, the Coal-Ective scheme proposes introducing a new LiveWork community into the heart of a tiring village.

The project aims to fully integrate itself within the e isti commu ity t rou t o key i itiati es irstly to ro ide t e e isti reside ts it t e key amenities they currently lack, (such as a market hall, day care & club house). Secondly, creating 20 new live/ work dwellings of varying sizes, thus drawing in new, creatively driven families and individuals to repopulate Dudley’s dwindling numbers.

The Live/Work scheme will provide on-site opportunities for the community, especially the young, to raise their aspirations though access to the creative industry and other career opportunities. r-stott.tumblr.com

Polyark IV: Fun Palace Futures The genesis of Polyark as a collaborative project lies in Cedric Price’s 1966 idea for a National School Plan, which he enacted with his studio at the Architectural Association in the early 1970s. Price proposed a school of architecture should be more than a building… a double decker bus was converted to a nomadic school of architecture picking up and dropping off both students and lecturers who contributed to a meta-project as the Polyark bus travelled from city to city.

Image: Taylor Grindley

The RIBA’s ambition for Polyark IV: Fun Palace Futures is to build the largest, globally convened, collaborative studio,

design project ever attempted, with 30+ participating schools of architecture.

Northumbria University (UNN) partnered with Xi’an Jiaotong-Liverpool University (XJTLU) and the University of Architecture and Urbanism “Ion Mincu”, Bucharest (UAUIM).

Each school proposed a “Cultural c a e a c arrette brie a potlatch - a festival in which gifts are bestowed on the guests and property is destroyed by its owner in a show of largesse, to honour the guests, who later attempt to surpass this with their own gifts… these were shared by the students and discussed across time zones via Skype.

Matthew Glover

187

PRIMEART is a cultural and architectural regeneration of the former Odeon Building in the East Pilgrim Street Development Area, Newcastle. The project will provide the opportunity for the arts and the audience to work a d lay i a e erime tal alace o art commu ity a d e c a e. e artists commu ity t at e ists i the East Pilgrim Street area is predominantly due to the temporary leases that have transformed empty o fice buildi s i to mea ile s aces o creati ity and community. The scheme provides an opportunity to culturally regenerate the city centre of Newcastle by creating a permanent sustainable solution for the established artistic community and encouraging public i teractio a d e c a e it t e arts. matthewcglover.tumblr.com

Taylor Grindley

189

Microcosms for Immersion: The Childhood Factory e lores disco ect it i society it a criti ue o consumerism in order to propose a parasitic response, providing an opportunity to address the underlying mental health issues which avert us from meaningful encounters in society. Our ability and readability of memories being placed within objects has been overruled by conscious consumption. This thesis is not an attempt to reduce consumerism, but to create a discussion of memories and stories within an isolated society so t at e ca be i to e tract mea i ul information from each object that we purchase, in an attempt to bridge social relationships through a mutual aid of shared memories and a realisation that imperfection is accepted. taylorgrindley.co.uk

Gustavo Mansur

191

The current Bigg Market is notorious for Newcastle’s night time economy, the proposal hopes to increase the range of entertainment, cultural and social opportunities of the area. Purpose built facilities for social and artistic organisations hopes to encourage the constant occupation of the site through a layered live-work program. Social and cultural enterprises such as Broadacre house and the Newbridge project occupied buildings in the city centre on a precarious basis des ite t e be efit t ey brou t to t e area. e proposal hopes to create a more permanent place for these to operate from, while building on the range of activities currently possible in the Bigg Market through the course of a day. The site re-establishes the historic ‘Middle Street’ between Cloth and Groat Markets and restores the socio-cultural role the site once held within the city. grpmansur.tumblr.com

Ben Weymes

193

The Ouseburn Valley in Newcastle upon Tyne is home to a thriving community of artists, musicians and designers. As this previously dilapidated area has become up-cycled these cultural groups and their spaces, particularly their music venues have been forced into closure and relocation as new accommodation developments have been erected in what is a 3rd wave o e trificatio .

This proposal for a new hub in the valley provides contingency for these communities as well as interstitching the surrounding neighbourhoods into this location. In the spirit of the Ouseburn, the site makes use of an unoccupied building to provide a vibrant series of performance and cultural spaces. bweymes.tumblr.com

SAFFAhaus, Lux Guyer, 1928

belongs to the concept of a landscape in transition instead of a specific landscape typlology. The immediate relationship between the house and the land has proved vital in the retention of the fundamental qualities of Guyer’s design. As the surroundings have evolved and densified, the character of the original SAFFAhaus has sustained, primarily through the retention of an oasis of picturesque scenery set amongst the toil of industry. The perpetual character of the SAFFAhaus and the retention of a connection to nature is influential when considering the creation of new architecture in existing parkland.

SAFFAhaus 1928

SAFFAhaus 1937

ma e le rski e

Image: James Edwards

ma e le ur iss

Angel: The gap between the industrial and the information age

Image: Leanne Barlow

is year e a e e lored t e geographic, social and cultural territory that surrounds the “Angel of the North� by the artist Antony Gormley. Millions of visitors have viewed Gateshead’s iconic structure since its opening in 1998, perhaps, making it the most important contemporary sculpture in the world. Data gathered by Gateshead Council suggests that the Angel represents many different things to those who have visited it. Some see it purely for its artistic value and others for its engineering prowess. It is recognised as a

mark of regional pride and some even see it as having religious and commemorative value. Gormley conceptualised the work to have multiple readings, but primarily as a structure that protected the region as it transitioned from an industrial powerhouse into an uncertain future.

The thesis project challenges the students to develop individual schemes of work that respond to the Angel, presenting positive futures for the Northeast.

Leanne Barlow

199

Mental health problems are a growing concern, with statistics revealing the overall prevalence of long term mental illness in Gateshead, is not only higher than the average in England but is also increasing. However, mental health is still a taboo in which people dismiss and would rather not discuss.

The scheme aims to incorporate a number of prevention and promotion techniques designed to not only provide support for the community of Gateshead, but also encourage individuals to come together as a community to tackle the issue of mental health. lmbarlow.tumblr.com

Between the homes, the landscaped communal gardens provide spaces for the veterans and their families to relax and socialise. he raised allotments allow for egeta les and flowers to e planted and maintained the families.

Upon entering the Education Zone of the Community Hub, the triple height, ply-lined Atrium Ring draws the user further into the building.

Accessed via the open kitchen and living room, the balcony gives residents their own piece of outdoor space whilst still maintaining a connection with the community gardens.

Sectional Perspective 3 Bedroom Homes

Laurie Blower

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The warehouse, attached to the rest of the collage via a glazed corridor, is a bustling environment where veterans can use their new knowledge to physically manufacture structurally insulated panels (SIP’s).

People using the classrooms on the ground and first floor can look into the warehouse through the full height windows to see the manufacturing process in action.

201

Leaving the armed forces can mean leaving an entire su ort et ork be i d. ometimes e ser ice personnel need a helping hand to enable them to fully integrate back into society and live independent and ulfilli li es. e core strate y or t e ro ect co ce t is s lit i to t o as ects t e first bei a a ordable development of pre-fabricated houses for struggling veterans. This carefully designed community promotes mental wellbeing through communal integration and social interaction which allows for collaborative healing.

Communities are formed from military veterans and their families. The second aspect focuses upon a central educational facility which provides the veterans with the o ortu ity to lear skills s ecified i t e co structio industry as a method of enhancing their future employability. The facility focuses upon construction techniques, in particular the design manufacturing and eventual construction of their own prefabricated home. laurieelizabethblower.tumblr.com

Sam Dugdale

203

The scheme is situated at the Angel of the North in Gateshead, and responds to a number of perceived “opportunities� at the site. The proposed scheme aims to strengthen the historical awareness of the region, whilst boosting the economic prospects, skillsets and innovation in the area.

The project has three components; a museum that del es i to t e si ifica t mi i erita e o t e ort East, a visitor’s centre to provide much desired facilities and an innovation hub containing 3D print workshops and cutting edge technology. Aspiring to take the visitor on a physical and metaphorical journey through the past, present and future of the rich site, the project u ta oses stereotomic a d tecto ic arc itecture to individually respond to the two different typologies contained within scheme. samdugdalearch.tumblr.com

le a der Erskine

205

‘Wor School’ (Our School – North East Dialect) aims to ulfil t e educatio al i dustrial a d social eeds o the North East. Through focusing on the teaching of the various applications of digital fabrication into the re io s e isti i dustries t e sc eme aims to ro ide a workforce that can establish a regional specialism t at ro ides i dustrial e ibility a d eco omic stability that the region desperately needs. Using practical project based learning to establish an educational model that suits the demands and needs of the regions industries and students. Open studio spaces blend with workshops, laboratories, classrooms and discussion spaces provide a diverse range of collaborative and collateral learning spaces. aderskine.tumblr.com

Sarah Kidd

207

ood me tal ealt is a se se o ell bei co fide ce and self-esteem� .

With areas in the North East of England showing levels o ell bei alli si ifica tly belo t e atio al average, this thesis looks to rectify these statistics, s ecifically i ates ead by ro idi alter ati e methods of therapy to improve well-being.

Utilising the positive effects of community involvement and art as a form of therapy, the project provides workshops for local residents to build on or learn new skills, become part of a group, lose themselves in the creative process or relieve themselves of everyday economic stresses. For referred patients, the Art Therapy Centre provides individuals with a platform for beginning their personal journey of healing, helping them cross that threshold from isolation to health and happiness. sarahnkidd.tumblr.com

Sek Lee

209

Deriving from the site in the past, the translation of vertical linear mine shaft which used to transport miners from ground to underground become a horizontal linear pathway to visitor centre entering from in front of Angel.

The pathway is sided with corten steel sheet (same material as Angel) with miner’s name carving on it to commemorate the past. e e tracted coal c ambers i or a ic orm t e turned into volumes as gallery spaces housing the history information of industrial revolution particularly i t e ort ast re io t e or a ic layout te turise linear shaft are the resemblance of underground mining concept.

At the end of gallery chambers, a large chamber as an atrium which gives vertical access from underground to top level by a ramp demonstrating the transition, the architecture between lower volume and upper olume are i e treme co trast re ecti t e co ce t of underground mining and industrial structures aboveground. leesekkuan.wixsite.com/architecturemaking

Urban Stitching This studio investigated the physical and temporal layering of Newcastle that led to the disconnections between the city centre and the quayside. These physical disconnections are the result of the overlapping over time of man-made gestures and urban infrastructures onto a naturally steep topography. The stitching of the title refers to the attempt to rejoin the two neighbourhoods.

Image: Harvey Cullis

The problematic was initially elaborated upon by the ‘simple’ act of crossing the 160 meters between Carliol Square (in the city centre) and Manor Chare (which leads to the Quayside). The journey entails either a walk through underground tunnels or the use of an overpass, navigating through a carpark, a iaduct or u der a o fice buildi

rom t e e erie ce o t is com le layering of systems, different types

of stitching were proposed in response to on-site observations.

The type of stitching proposed ranged from physical stitching by facilitating pedestrian, bicycle, or public transportation access or by creating visual connections; to historical stitching, by revealing the e isti erita e ile uestio i their relevance (medieval tower, 19th century railway station and viaduct, or modernist carpark); to social stitching, by providing a place for artistic or student communities, or for the reintegration of the homeless community.

The proposition had to respond to t e urba roblem first a d foremost so that, if the building changes function in the future, it would still be relevant to, and play its role, at the scale of the city.

Kieran Cronin

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A Breath of Fresh Air design thesis focuses on cleaning the polluted air in the centre of the city. This lightweight structure is ome to a bota ical arde s a d filtratio system t at se uesters t e carbo dio ide a d soot directly from the most air polluted area of the city. is i ly sustai able buildi collects filters a d stores: water, sunlight (as electricity and heat energy), as well as CO2. As a direct result of this process: food is grown, jobs are provided, electric vehicles can be powered for free, rehabilitation opportunities are i troduced a d t e air ollutio is si ifica tly reduced. This will be the starting blocks for initialising an environmental healing process for Newcastle and introducing the idea of closed loop systems into the city. the-future-is-biomimicry.tumblr.com

The project aims to secure the future of North East rail o t o ro ts t e first to rede elo t e e isti Manors Station, which is an essential investment in Newcastle’s rail infrastructure due to the reinstatement of the old Ashington, Blyth and Tyne Line which will bring an estimated 100,000 commuters from South East Northumberland and North Tyneside areas to Newcastle City centre. Thus, the Station will act as a city gateway (East) receiving passengers from this service and connecting them to Newcastle’s Business, Civic and Retail cores in addition to providing multi modal transport links such as Manors Metro and local bus services.

The second is to provide a dedicated training facility for the North’s Rail industry, providing a world class institute for Rail Engineering. The Rail Institute will work with the rail sector to deli er a e er more moder a d e ficie t railway through the development of a highly skilled and productive workforce.

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Harvey Cullis

Emily Fiddes

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To the South of Newcastle City Centre lies a place where vehicles dominate and pedestrians are an afterthought; co fi ed to dee sub ays belo t e motor ays.

By utilising underused buildings and rediscovering forgotten routes, this project aims to address the need for creative workspace in the city of Newcastle, whilst creati a e edestria li k a imated by t e e citi processes and ventures happening along its perimeter.

A creative incubator ‘cultivates’ creative talent in the North East by providing the necessary amenities whilst adaptable studios and live/work units provide spaces for ‘creation’. A central taproom at the intersection of the proposed streets illustrates the concept of the project through the celebration of the creative process of brewing beer, whilst providing a space for ‘communication’. emilykatefiddes.tumblr.com

Yick Fong

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treets are al ays a re ectio o social roblems. or instance, people with economical issues would end up living on the street. Poor waste recycles and disposal strategy leads to accumulating of garbage on the street.

Newcastle is suffering from deteriorating economy and environment which is originated from the neglecting infrastructure and poor design of urban space. The poor street condition could also be the cause and result at the same time for the urban issue and create a vicious cycle of negative urban street life. Instead of having activities indoor, architecture shapes more space e ter ally. y e coura i eo le to e oy t e outdoor environment, provoking human interaction and socialise on the street level, a street, by contrast, can perform an equally important role as an artery for movement and a lace defi ed a d a imated by its buildi s. oreo er the streets eventually nourish active communities and support diverse commercial activity. oliverfongyw.tumblr.com

Elena Ionescu

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The ‘Collective Intelligence Research Centre’ project responds to the problem of fragmentation of the building industry in case of United Kingdom. It tries to promote the implementation of collaboration between different professional bodies to break down the hierarchy which UK is confronting. The project wants to make a statement about the opportunities of collective intelligence by bringing different professional bodies together to collaborate through research based on policy development and design themes which respond to the problems that the world is facing. This will give the possibility to establish a body of knowledge as a joint tank with all resources of the disciplines which ca i ue ce t e build e iro me t a d i crease t e importance and awareness of the society towards them.

The Collective Intelligence Research Centre Project represents a pilot project done in Newcastle with the sco e o e a di t e researc commu ity already e isti ere a d el t e city de elo as a creati e a d innovative cluster of the building industry. elenaionescu.tumblr.com

Yuk Lee

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The Winter Garden will be a spectacular public space in the heart of the Newcastle city centre at the East il rim treet. te si ely la dsca ed it li i ati e North East region and British Isles plants, an indoor park will provide an important amenity for the public. As the location of the site has the potential to be a green gateway connecting Tyne to Town Moor, with a proposed buildi ei t o metres it ill become a e celle t local leisure and educational building and an icon for the city. Meanwhile, the garden also provides a home for seaso al ree e ibitio mus room arm a d o ers a welcome stop for coffee and light refreshments as well as an outdoor urban park, making the heart of the city a truly unique place. kerryleeyt.blogspot.co.uk

Daniel Rush

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The Permeable Stitch is an opportunity to reconnect two main areas of Newcastle (City Centre and the uayside to et er. is is due to t e com le ity o t e topography and infrastructure which create problems for pedestrians. The A167(M) appears to create a physical barrier which eliminates direct access for pedestrians between Carliol Square and Melbourne treet. e e isti routes i ol e c a i le els through bridges and underground passages that does not allow access for everyone. This project will address the poor pedestrian access between Carliol Square and Melbourne Street which will connect the city centre and the Quayside together. darush9.tumblr.com

Marian Stancescu

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The project proposes re-using the Manors car park, adjacent to the A 167M Road. The site represents an opportunity to create a new, clear route through the building, which would not only provide a better co ectio t rou t e multi layered com le built environment and infrastructure situated between Carliol Square and Melbourne Street, but would also add a permeable character to the design, allowing the project to give back part of the land to the community, thus responding to the City Council’s concern regarding new student accommodation developments. A series of public spaces are ensuring constant footfall on the route. rstancescu.tumblr.com

Melissa Tang

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The lack of strategic urban planning and the desperation for modernisation in the 20th century Newcastle resulted in broken urban fabric, immense visual disconnection and the obliteration of its rich history.

This design project proposes a ‘hub’ at the disused Old Manors East Station to bring back the identity of the site as a transition space to the locals through converting t e statio i to a eatery a d to rede elo t e e isti metro statio . e ro ect e lores t e art o stitc i through architectural design. Whether it is historical stitching, urban stitching or topographical stitching, it challenges us to celebrate the inherent and in-built qualities of a site through architecture to embrace and e a ce t e e isti urba eleme ts a d to ultimately transcend a ‘space’ into a ‘place’. e buildi orm e resses circulatio as it stitc es the visual disconnection and broken urban fabric caused by the viaduct. tmelissabk.tumblr.com

Sophie Thompson 231

omeless ess is a ro i co te tual roblem i Newcastle, occurring once in every ten people. Around 275,000 people turned to their local authority in the last year alone to seek assistance. This scheme addresses not only the architectural problems of homelessness; number of houses etc, but the mental and physical health problems that result in homelessness. The scheme is broken down into progression stages that have been designed to rehabilitate and integrate people back into society. sophiethompsonarchitecture.tumblr.com

Free Projects

Image: Oliver Hopwood

Students can also propose their own “free project� brief. This enables them to develop a specialism, for e am le i a buildi ty olo y technology or design methodology; or to undertake a critique of a particular issue.

Hassan Al Raisi

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The project in hand aims to create a healing and friendly environment for cancer patients in the north east, in an attempt to change the mind-set of society about healthcare facilities. Also, supporting all the needs of the patients, whether psychological or clinical treatment, giving patients hope and strength to overcome the disease a d im ro i t e o erall treatme t e erie ce. ro idi a mi ed u ctio buildi ro ides a buildi with a less clinical feel, and allows patients to participate in various activities and distractions from the treatment.

Similarly, to the Maggie’s centres, it will create a hybrid typology which mainly focuses on patients, although treating them less like patients, but more like the social ma ority. ese recreatio al acti ities ould be efit all users, and create a positive environment for the treatment as well. thehassanblr.tumblr.com

Auckland NU:Craft Centre aims to bring together Newcastle’s history through celebrating the town’s rich industrial culture, the thriving manufacturing industry, the revival of the Castle and the town’s new found arts culture. The celebration seeks to educate the town’s younger generation.

The project is predominantly an institute which offers craft education to young people in Bishop Auckland and the wider region. The educational scheme is split into two sectors: heavy crafts e.g. woodwork, metalwork etc. and light crafts e.g. upholstery and print making.

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Victoria Armstrong

Dementia is a growing epidemic which poses problems for everyday independent living. rou a e loratio o t e models o care em loyed in the UK, care homes, care in the community and family care, were found to not work as intended. As part of a family which cares for somebody with dementia, I have e erie ced t e c alle es o amily care first a d a d ould like to use t is desi t esis to e lore a solution which could ease these pressures of dementia care whilst providing the highest quality of life possible to people with dementia. This proposal investigates a dementia respite facility which aims to promote activity for people with dementia who remain living independent within their community, whilst easing the burdens of family care. by offering short term residential opportunities.

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Lauren Di Pietro

Laurence Elsdon

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The Palace of Westminster is currently facing “an impending crisis which we cannot responsibly ignore�.

The current proposal to restore the Palace for use by arliame t is e ected to cost . billio . is t esis therefore investigates the possibility of relocating the House of Commons to a new site within Whitehall that will provide signi cant social, economic, and environmental bene ts for the MPs, the public, and visitors. While the Palace of Westminster is a great icon of the traditions of Parliament it has a signi cant number of failings that the new scheme addresses.

Once vacated the Palace of Westminster can then be restored at a measured pace, to be opened as a cultural destination and funded by its legacy function. blog.studiole.uk

View of aquaponic murals Udsigt over akvaponisk vĂŚgmaleri

R e s i d e n t accommodation units

Fish tanks containing the fish for the aquaponic system

Green walls to cultivate seasonal bush an berry produce

Aquaponic perspective of aquaponic unit p r o d Sectional uction units Deleperspektiv af akvaponisk enhed

Ballast tanks filled with water from the aquaponic System

During the summer of 2016 research with the CRIR was taken to study the effects of normalisation on the oldest squatter settlement in Europe Freetown Christiania, Denmark.

An issue found, was the effect of tourism and inability to be sel su ficie t. s a arc itectural solutio a modulated, low cost unit could provide both accommodation space and aquaponics production for a self-sustainable industry.

The live/work unit’s simple construction of timber frame and sip panel cladding enables self-build and community co-operation, whilst scaffolding allows affordability and e ibility o use. e system is desi ed to c a e a d adapt as requirements of the community does.

View From New Noma Udsigt fra nye Noma

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le Furniss

Robyn Harrison

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The scheme began as a way of reconnecting the areas of Carliol Square and Manors for pedestrian use, removing the destruction that the motorway system running through this area has created, and allowing pedestrian circulation to become prevalent. By implementing the principles of place-making, several destinations are created on the site, making it a desirable area of t e city. e e isti buildi s it i t e sc eme are repurposed as an urban farm, providing healthy food to the city of Newcastle with hydroponics, a sustainable supermarket and local food retailers amongst several areas on interest. robynharrison.tumblr.com

Oliver Hopwood

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An alternative restoration strategy for the abandoned otto e ur ace i e eatures bot a e te sio to Northumberlandia Landform Park; and the Centre for Planet Critical Technologies. Public engagement with the site is created through Land Art & through recreation, with the key features of the mine being preserved as an epitaph to mining history. The scheme seeks to heal the ecological scars caused by the mining through increasing habitat & biodiversity and by putting in place a long-term strategy for contaminated mine water. olieclimbdesignlive.tumblr.com

ell Los

The ‘Northern Powerhouse’ proposal is to boost the economic growth in the North of England. The proposal is based on urban agglomeration and through devolution of powers, aims to re-balance the UK Economy. It focuses on improvements to transport infrastructure, and investment in Science & Innovation, Arts & Culture.

Located in Hull, one of the most economically deprived cities in the north of England. The proposed site for the Northern Assembly Building is located on the west bank of the River Hull, and consists of three dry docks.

The concept for the Northern Assembly Building draws from Hull’s shipping industry. The cylindrical Debating Chamber, the focal point of the building is suspended abo e t e ce tral dry dock mimicki a s i oati i the dock. Its location and dramatic form emphasises the importance the old dock system had to the City. The heavy brickwork facades of the NMP’s & Public buildings, located either side of the central dock draws inspiration from the brickwork warehouse of the northern cities, and dramatically contrasts the lightweight façade system of the debating chamber suspended between.

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a

Henrietta Pissarro

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besity as bee ide tified as a orld ide e idemic and is particularly prevalent in the North East of England. This thesis proposes a multifaceted approach to addressing the preventable issue of obesity. The proposal aims to encourage both children and their families to improve their lifestyles, diet and levels of physical activity by utilising a variety of fun, engaging and practical learning methods. The project aims to serve the local community through providing new skills, promoting a healthy lifestyle and access to locally produced sustainable food. henriettapissarro.tumblr.com

Joss Ryan

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Health tourism has grown in popularity over the last decade, with people (particularly in the west) regularly travelling to other countries, even continents, for medical procedures.

The majority are cosmetic, and the motivation for tra el co ti ues to be or fi a cial reaso s. e e health tourism concept introduced at Harrison’s Point, arbados ar e ceeds t e e eral u dersta di o the term. Designed principally for prostate and breast ca cer atie ts t is ealt care e erie ce combi es ground-breaking Civa-String LDR source brachytherapy treatme t it rest a d rela atio at a dedicated 5-star resort set within the beautiful surroundings of the Caribbean. This innovative care model looks to demedicalise the treatment process; holistic well-being is paramount, enabling the patient to better deal with the medical procedure and process of getting well. joss-ryan.tumblr.com

Louise Ryder

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‘Conservation For The Future’ concerns conservation as a response to changing city character in Newcastle.

The project facilitates the city being the museum, showcasing the multi-layered heritage that has shaped the urban fabric and using the city as a guide to learn from and develop the future of Newcastle. The proposal aims to tackle the current conservation issues surrounding public disinterest, lack of funding and unsustainable heritage in Newcastle City Centre. The proposal will be a multi-layered museum incorporating e castle s ast t rou museum e ibitio s rese t through an observation tower and future, by education and research into conservation. louiseryder.tumblr.com

Hayley Stafford-Jones

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The primary aim of this project is to unlock the potential of both people and place. Providing new opportunities for creatives of all levels, while reconnecting an underused and absent area of Newcastle back to the surrounding city.

This proposal contains a series of creative platforms for makers, designers and entrepreneurs. It will act as a central creative hub for all creative locations in the city, providing meeting places, through permanent conversation spaces and a series of ever changing events, talks and festivals that seek to bring together creative people from all industries, promoting connectivity, collaboration and the sharing of knowledge. hayleystaffordjones.tumblr.com

The primary aim of this project is to unlock the potential of both people and place. Providing new opportunities for creatives of all levels, while reconnecting an underused and absent area of Newcastle back to the surrounding city.

This proposal contains a series of creative platforms for makers, designers and entrepreneurs. It will act as a central creative hub for all creative locations in the city, providing meeting places, through permanent conversation spaces and a series of ever changing events, talks and festivals that seek to bring together creative people from all industries, promoting connectivity, collaboration and the sharing of knowledge.

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Madeline Wallace

The Bigger Picture Alumni Evening March 2017 - Carpenters Arms London

Images: Fabian Danker - Destinations of Northumbria Architecture Graduates

Architecture at Northumbria University encompasses a wider range of activities, initiatives and engagement than the delivery of an educational syllabus. Students, staff and partners continually collaborate on a number of ventures that contribute to a rounded curriculum, capitalising upon the various opportunities that arise from Northumbria’s high standing with practice, academia, the public sector, and charitable organisations. is breadt o e erie tial lear i and engagement contributes to a wider education for our students, enabling them to make decisions regarding their own personal and professional development within and beyond the discipline of architecture. The following pages present some of our joint activities in the academic year 2016-2017.

The student learning journey acts as a framework for our a roac e e a e e te si ely with schools and colleges to promote architecture and interior architecture as a possible career path, running workshops and presentations to champion creativity and communications skills. The first eeks o i ersity are a

important time to meet friends and e a e it t e sub ect e ce field study tri s to e erie ce t e re io and its landmarks are arranged at t e outset o t e first year. imilarly t e o erseas field study tri is organised as a vehicle to link the undergraduates with masters-level students, through tours of key European cities. As a number of staff have studied, worked, or were raised in these cities, we have an e te si e et ork o arc itectural partners who contribute to the events. Our students are particularly proactive in shaping their own education, and the awardwinning Northumbria Architecture Society demonstrates their drive and initiative, through the selforganised trips, events and lectures.

Additionally, our students are encouraged to enter architectural competitions and awards, and t ey te d to e cel i t ese are as.

Northumbria Architecture maintains strong links with the RIBA in providing additional presentations and talks, as well as having a wider engagement with other schools of architecture through the Northern Soul and Cross-Crit initiatives. Our commu ity o lear i e te ds beyond the completion of our

students’ studies, and we maintain a strong alumni network that spans t e lobe e am les o alum i successes are highlighted in the following pages.

Further information regarding the bigger picture of Northumbria can be found via the following links: Facebook (Northumbria Architecture Society): https://en-gb.facebook.com/ NorthumbriaArchitectureSociety/ Twitter (Northumbria Architecture Society): https://twitter.com/ archsocnu?lang=en NUS: https://www.mynsu.co.uk/ getinvolved/society/architecture/ Twitter (Northumbria Architecture): https://twitter.com/NUArchitecture Tumblr (Interior Architecture): http://interiorarch-northumbria. tumblr.com/ Tumblr (Architecture): http://architecture-northumbria. tumblr.com/

Image: Faye Sedgewick

Images: Northumbria University

t t e start o t e first semester Year 1 Undergraduate and Masters students visited Kielder Observatory, set in the heart of Northumberland.

This competition-winning project, designed by Charles Barclay rc itects e em lifies ort umbria rc itecture s et os o co te tual response, and capitalises upon the

dark skies that accompany this forest setting. Kielder itself is a remarkable locale, incorporating the biggest man-made lake in Northern Europe and the largest working forest in England. Twenty artworks are located around Kielder Reservoir and throughout Kielder Forest, including James Turrell’s Skyspace

and Studio Weave’s Freya’s Cabin. is field study isit comme ced the academic year for all new and returning students, encouraging a range of sketching, painting and photography, as well as initiating discussions between students and staff regarding critical approaches to arc itecture a d its co te t.

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Kielder Observatory

Images: Northumbria University

is series o lectures e lored t e links, tensions, and opportunities found in the work of practitioners who maintain strong connections with academia and studio teaching. rese ters e lored t e a licatio o re ecti e ractice to t eir professional and academic roles, and the reciprocity between these dual identities.

Themes of authenticity and speculation, reality and imagination,

constraints and criticality permeated the presentations.

Similarly, contributors highlighted their own theoretical positions on key criteria within architectural education, namely methods of making and production; the incorporation of materiality and sustainability; the applications of history and research; social and artistic engagement; and alternative models for architectural practice and education.

The presenters spanned a variety of nations, practice types, teaching institutions, and generations, including our own alumnus Holly Galbraith.

The lecture series was curated by Shaun Young in conjunction with Northumbria Architecture Society, with special thanks to Rebecca Smith and le ur er.

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Teaching Practice Lecture Series

CrossCrit 2017

Images: Northumbria University

With Easter occurring late in the academic year, and responding to previous participants’ feedback that it would be even more useful earlier in the semester, CrossCrit took place on Tuesday, 21 February at the Henry Moore Institute...

Consequently, all the work was at a e citi ly asce t sta e it t e lum y first a ro imatio s yet to

be fi essed a ay u ta osed it careful observations of site and a keen, critical interest in the socioeconomics of “white elephant” legacies, urban regeneration and the ugly things that lie behind the facade…

Representing Northumbria University, Taylor Grindley presented his delicate, narrative models developing a treatment centre for conspicuous consumption i filtrati a city ce tre mall a d Tom Hewitt spoke eloquently about the concept of Landhaus and his beautiful documentation of the “bastard countryside”, edgeland la dsca e e lored i o er

miles of walks which the studio took collectively on Fridays and Sundays in Semester 1.

Northumbria University Students: Taylor Grindley Tom Hewitt Leeds Beckett University Students: Abdullah Alkooheji “Stadio Babylonia” Luke Hirst “Soundspace” ufi a a o a ocolate actory for Kazan” Daniel Pound “Marseille Housing” Rebecca Phythian “Abstract Machines” addressing the Japanese crisis of an aging population uddersfield i ersity tude ts Owen Tracey “Bethnal Green youth offenders theatre” Rhul Velji “The Olympic Legacy” Tutors: Sebastian Messer, Shaun Young, Keith Andrews, Vijay Taheem

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The 4th annual CrossCrit was hosted this year by Leeds Beckett i ersity. ross rit e ables fi al year Masters students to share and discuss their design thesis projects whilst they are still workin-progress. This gives unique insights into the similarities of the student’s concerns and differences of architectural and theoretical approaches across different Schools of Architecture.

erime ts i a i ess as a site s ecific i e rt esearc project led by artist Amy Lord and produced by Mint Moon over three storeys in a building on Newcastle’s Grey Street. The event resulted in 591 attendees and presented 15 new artistic pieces over the two evenings of the Newcastle Gateshead Late Shows 2017. Artworks and other i teracti e e erie ces ere made in collaboration with local artists, including Maria Abbot, Rosa Poselthwaite, Lizzie Klotz and Zoe Murtagh. First year Master of Architecture students, Joe Chandler, Katy Jacka and Liz Morgan, designed and built the pop up bar and a variety of spaces for feedback activities: Images: Northumbria University

“After depositing your mobile at the phone crèche, head into The Happy Place bar serving a variety

of cocktails in a mood-enhancing environment. To your left, as you e ter is a mysterious bo o le s.

This is our Silent Bar. The Silent Bar e okes t e e eryday e erie ce o the regular customer at ‘your local [pub]’. When you walk in, Joe the bartender has your drink already waiting for you. Put down your £1 coin and take your drink. But you’ve not been here before tonight; the familiar ritual is suddenly rather uncanny… Settle down with your drink in whimsical base-camp and prepare to have your sense reality skewed amidst fantastical talks and performances. An unconventional o ortu ity to e ress yoursel is also presented to you here. Move through into a blank canvas where your inner child can be released. ick u a brus a d e ress your emotions by playing with colourful ai t as you see fit lso lease

e lore our lay ul ort te t like structure e te di rom t e all ere you may re ect a d res o d urt er to our e e t. iti t e feedback room, walk to the left of the column to return to The Happy Place bar or walk on the right of the column to enter the video booth to leave a message: “Say what you have always wanted to say” anonymously. No interruptions and no judgement, but what is said cannot be unsaid…”

The project used science, psychology and philosophy to e lore t e idea o a i ess a d mood.

The project was supported by Arts Council England and the Sir James Knott Trust.

Source: http://www.amy-lord.com/ latest/#/eih/

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Experiments in Happiness

The Izone Gallery and Cultural Quarter

Images: Northumbria University

Over the last three years, these organisations have worked together (funded in part by the British Council) to design appropriate spaces and facilities for Izolyatsia’s eeds. ay a e ibitio was curated at the Izone Gallery, showcasing the proposed scheme produced by Northumbria University Master of Architecture

students, supervised by Professor Paul Jones. These proposals included the refurbishment and e te sio o t e e isti acilities in addition to a number of new buildi s desi ed to e a d t e scope and possibilities of this arts organisation. This display was accompanied by a supporting e ibitio o t eoretical a d speculative projects produced by architects, academics and students from Northumbria University that are set within, and derive inspiration from, post-industrial landscapes of North-East England. Shaun Young and Joe Wilson also created a poetic narrative of photographic and etched artefacts that sought to e ress t e as ou d beauty i t e industrial forms and details within the vicinity of the Izone Gallery. The com leted e ibitio establis ed parallels between the postindustrial landscapes of the Ukraine and those of the North of England, and provided speculative responses that could support the cultural rebirth of these lost locales.

The project is part of a long-term initiative ‘Architecture Ukraine’, initiated by Izolyatsia in 2015. To date, this has supported this latest e ibitio as ell as a i ter atio al artist-in-residence programme in the city of Mariupol, two pop-up e ibitio s a d a collateral e e t at the Biennale Architettura 2016.

Source: https://www.facebook. com/IZOLYATSIA/ Contributors include: Professor Paul Jones, Professor Nick Dunn, Shaun Young, Joe Wilson, Joss Ryan, Matt Glover, Taylor Grindley, Bart Vautravers, Harvey Cullis, Sarah Kidd, Laurie Blower, Sophie Thompson, Lauren di Pietro, Naveen Jayasinghe, Marian Stancescu, Elena Ionescu, Daiana Ionescu, Joe Crinion, Jonny Flavin, David Hunt, Chris Permain, Marion Price, Mark Todd, Mark Whiting, Aaron Young.

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This project is an international collaboration between the Ukrainian Arts organisation, Izolyatsia, Northumbria University and Lancaster University. Izolyatsia is a i ter atio ally si ifica t arts organisation that runs workshops a d e ibitio s or artists a d designers from around the world.

In 2014 Izolyatsia were evicted from their home in Donetsk, as a consequence of the Russian occupation of Eastern Ukraine.

They subsequently moved to Kiev, occupying a redundant factory building set within the shipyards located on the River Dnieper, which was renamed the Izone Gallery.

Images: Northumbria University

s art o t e ultural o te t module i t e first year o t e Master of Architecture programme, students were invited to deliver a series of public lecture to their peer group and the wider public on their emerging themes from the wider arts and sciences and how these may effect the future practice of architecture. These presentations took place over a number of evenings at the Literary and

Philosophical Society of Newcastle, one of the city’s architectural and educational jewels. The ‘Lit and Phil’ historically provided a stage for such luminaries as George Stephenson and Joseph Swan. e rese tatio s re ected Northumbria Architecture’s commitment to diversity and the self-authorship of students’ learning journey. The wide-range

of topics presented evidenced the Master of Architecture students’ personal interests, and a plurality of approaches that engage architectural education with broader agendas. Themes discussed included ‘Wabi-Sabi’ and ‘Hygge’, branding and consumerism, com le ity a d arrati e t era y and virtue, phenomenology and notions of craft amongst many more subjects and concepts.

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Future Thinkers of Architecture

Images: Matthew Glover & Taylor Grindley

Taking inspiration from Safdie’s Habitat, some 30 entrants used Norbord’s SterlingOSB to create a vibrant and varied assortment of affordable living spaces, each designed to meet the demands of li e i t e moder city. te si e deliberation by the panel of judges arro ed t e list do to fi e proposals that all saw the potential of SterlingOSB to inform the debate on affordable inner-city housing.

In the end, two entrants were considered the most successful at

ulfilli t e c alle i brie .

MawsonKerr Architects’ Low Rise High Density was declared the winner, with Sarah Wigglesworth Architects’ Stepping Stone Home named runner-up. Matthew Glover & Taylor Grindley’s M/O Living (as pictured), DLA Design Group’s Colony and Andrew Henderson’s Multi-Flat were all commended.

Source: https://www.behance.net/ gallery/40590953/MO-LIVINGLondons-New-Affordable-Housing

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RIBAJ Habitat competition

ODIN’S RELIC

Vantage point

Skylight

Brass-plated Vantage point protrusion

Skylight

A symbol of IcelandicBrass-plated cultureprotrusion

Cross-laminated timber prefabricated panel Cross-laminated timber prefabricated panel

Hatch access

Odin was a great wanderer. Like modern-day visitors to Iceland, he trekked far and wide to gain clarity, knowledge Hatch access and experience. A series of structures using natural materials combining the elements of shelter, community and tradition provide a sanctuary and vantage point for today’s wanderers.

Water processing and storage

Charred timber shingle

Water processing and storage

Charred timber shingle

Rigid insulation

WC and wash room

Rigid insulation

WC and wash room

Storage

Storage Storage

Storage Individual look-outs

PLAN: GROUND FLOOR Cross-laminated timber bunks in panel Cross-laminated timber bunks in panel

Individual look-outsPot-belly fire: heat energy source, Pot-bellywater fire: heating and heat energy source, communal focus water heating and communal focus Adjustable rock anchors Adjustable rock anchors

Rainwater and snow capture Rainwater and snow capture Water filtration Water filtration Cold water storage Cold water storage PLAN: 1ST FLOOR Hot water heating from flue coil and storage Hot water heating from flue coil and storage 4

3

2

1

ON SITE ASSEMBLY

Pot-belly fire: heat energy source Pot-belly fire:and water heating heat energy source and water heating

Heat energy source and water processing Heat energy source and water processing

PLAN: ROOF PLAN: GROUND FLOOR

ma es le tur er et a y cott

dre ibbard

“Odin’s Retreat”, le ur er Bethany Scott and Andrew Gibbard’s entry to the Iceland Trekking Cabins International Competition was selected or o e o si o ourable mentions. The team’s competition sponsor, lecturer Andy Stoane,

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Iceland Trekking Cabins International Competition noted they were the only student team selected from amongst an i ter atio al field o ro essio al architects.

Source: icelandtrekkingcabins. beebreeders.com PLAN: 1ST FLOOR

Images: The Sill Landscape Discovery Centre by JDDK Architects - Ruth Dalton

Images: Northumbria Archiecture Society

Designing for Heritage: Contemporary Visitor Centres

As a result of our continuing engagement with this relatively new building type, Professor Ruth Dalton has analysed twenty case-studies t at e em li y best ractice i t e field i er latest book ‘Designing for Heritage: Contemporary Visitor Centres’:

it tourists e ecti i er levels of service, information and retail opportunities, visitor centres have become a vital component in providing access to heritage sites, historic buildings, landscapes of natural beauty and monuments.

As a consequence, numerous architecturally renowned centres have been designed and built in recent years. It is perhaps no surprise that many have been featured in architectural awards, as they not only offer a ‘jewel’ of a project to architects, being small i scale but i i rofile but the buildings must also respond sympathetically to a rich physical a d cultural co te t. is book e ami es t e e ome o o t is

relatively new, but increasingly popular, building type.’

Of particular note, one of these case studies is the ‘Sill’ (pictured abo e t e first atio al a dsca e Discovery Centre in the UK. This ro ect e em lifies state o t e art’ visitors centre design, and has particular resonance with Northumbria Architecture through long-standing relationships between the school, the Northumbria National Park Authority, and JDDK Architects.

Source: https://www. lundhumphries.com/ products/78139

Reprogram: A 24 Hour Design Competition In October 2016, Northumbria Architecture Society organised and ran a competition entitled ‘Reprogramme’, with the support of FaulknerBrowns Architects and RIBA North-East. The competition was open to students of architecture from both Northumbria University and Newcastle University.

A brief was released online at midday, with the deadline for submissions closing just 24 hours later. The brief called for the reimagining and re-purposing of one of Newcastle upon Tyne’s numerous multi-storey car parks, in order to accommodate a function and a purpose of the participant’s

choice that addressed the need to re-conceptualise the city without its current deference to the car. The strict one-day deadline provided a learning opportunity for students to develop and communicate their concepts within a tight time-frame, and the competition produced an array of imaginative and unique submissions that successfully captured the brief.

The jury comprised Nicky Watson (Director, JDDK Architects), Nathalie Gilbert-Grey (RIBA NorthEast / FaulknerBrowns Architects), Lee McLaughlin (Partner, FaulknerBrowns Architects) and le ur er ort ast

Northumbria Architecture Society).

A proposal entitled ‘Maslow’s Hub’, from Northumbria Architecture students Josh Thompson and Alastair Lock, was chosen as the overall winner. The judges describing the submission as ‘a u a imous i er t at e lored t e programmatic opportunity of the competition and clearly articulated and grounded in theory, this entry has resulted in a comprehensive proposal that has been well de elo ed a d e ecuted it a strong architectural agenda.’

Source: https://www. nascompetition.com/

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Northumbria Architecture continually seeks to record, interpret a d res o d to co te t i a ariety o readings; physical, social, political, historical, environmental and so on.

Design projects throughout the suite of programmes seek to capitalise upon the rich potential of locale, and the Visitor Centre has become a particularly apposite typology for this approach.

Alumni Successes - Jayne Rosen

Upon graduation, she joined Tony Meadows Associates in London, where her professional e celle ce as bee rece tly recognised through her success as Joint Winner of the 2016 ‘AJ/ Curtins Inspiring Graduate Prize’.

This award seeks to applaud Part I or Part 2 graduates who

demonstrate entrepreneurialism and professionalism in developing business opportunities within their practices.

The judging panel praised Jayne’s submission which demonstrated that she had ‘developed specialist knowledge in a niche sector, winning the trust of senior colleagues and key clients and opening up new strands of commercial work for her practice’.

Following this success, Jayne’s abilities were recognised again when she was nominated as a fi alist i t e ‘Women in Construction and Engineering Awards – Best Woman Architect’.

“I work in an unusual niche within architecture, the strategic planning of transport infrastructure.

I’m passionate about puzzles, u ta li t e com le ities o London’s transport network and the social a d eco omic be efits t at these projects bring. I have gained a breadth of specialist knowledge from the engineers and clients that we work with, which has opened up new strands of work for our architecture practice. By taking part in these awards, I hope I can show that there is a diverse range of specialisms available beyond the traditional role of an architect.”

Jayne Rosen Architect - TMA

Images: Luke Willett 281

Jayne completed her Master of Architecture (Part II) studies at Northumbria University in 2012, graduating with Distinction. Her thesis project for a furniture design ce tre at t e usebur e em lified her holistic approach to design, encompassing themes of social sustainability and community engagement.

Alumni Successes – Luke Willett Alumni Luke Willett has been invited to present “Northanhymbre”, his 2015 Master of Architecture Design Thesis project, at the Nordic Summer University’s Winter

Symposium in Wroclaw, Poland 2426 February 2017.

Source: nordic.university

George Bradford Smith and Victoria Leyland graduated from Northumbria’s BA (Hons) Architecture course in Summer 2016.

Images: George Bradford-Smith & Victoria Leyland

While working in practice in London (at Robin Partington & Partners and Lendlease respectively) they successfully collaborated on the Non Architecture competition for ‘Training’; this ideas competition sought alternative designs for

sports facilities, that critically questioned the typologies of pools, gyms, etc. as adequate facilitators of well-being for the general public.

George and Victoria’s project, ercise ress as a arded an ‘Honourable Mention’ for its imaginative consideration of transport for London: Source: http://www. nonarchitecture.eu/portfolio/ e ercisee ress

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Alumni Successes – George Bradford Smith & Victoria Leyland

Alumni Successes – Maral Tulip

aral o ractices at site architecture, an award-winning young practice in Newcastle upon Tyne, and she was elected as one of the twelve RIBA role models in 2016, ser i as a e am le o di ersity a d e celle ce i t e ro essio .

Images: Maral Tulip

Most recently Maral has entered the limelight, having starred in recent episodes of the CBBC series ‘The Dengineers’, where her skills and abilities have been showcased to bot t e e eral ublic a d t e e t generation of architects.

“I became involved with CBBC’s ‘The Dengineers’ programme on the back of RIBA Role models in late 2015 when a CBBC producer approached me and asked if I would be interested in getting involved by becoming one if their designers for their new series. The programme is about designing and building amazing dens for deserving children across the UK. The Kids apply to the programme with an idea of a den and the reasons why they need a den. Last year CBBC had over 5000 kids apply to which they only could pick 10 ( the series is around 10/11 episodes). I was in charge of 2 dens on series 2, The magical library den and the Hollywood den.

Series 2 was a great success and the production was commissioned to go straight to series 3. I has bee e isti to be asked a ai to be involved in series 3 this year to which I have been in charge of 4 dens one of which is as part of a series of collaborative dens for the Claire House Children’s Hospice

in Liverpool. The production is curre tly bei filmed a d is due to broadcast in November 2017.

This is one of CBBC’s most popular programme and it has been a great learning curve and at the same time a fun way of using my architectural skills in a different manner. The kids I met along the way have been an inspiration to the dens that I have designed for them. The kids have been intrigued by my profession and have been full of questions which has been a great opportunity for me to be able to talk to them about architecture and what they can achieve when they are focused and ambitious. It has been an honour for me to have been able to represent my profession in a way that has suc a direct i ue ce to you people’s lives.”

Maral Tulip Architect - XSite Architects

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Maral graduated from Northumbria University’s Master of Architecture (Part II) programme in 2010, receiving a Commendation for her work. Her project for an Alternative Therapy Centre in Teesside, presented a critical alternative to the default instrumentalism of current healthcare policies and carefully integrated her interests in art and well-being into a framework for social equity.

Image: Northumbria University

Images: Simon Ward

In 2016, Simon Ward, a graduate from Northumbria University’s Master of Architecture programme, added to Northumbria Architecture’s e te si e atio al a d i ter atio al successes in architectural awards and competitions by winning First Prize in the Association of Project Safety National Student Designer Awards.

He was invited to a ceremony held at the House of Commons, where Jane Duncan, President of the Royal Institute of British Architects, and Danny Coomber, Director of Butler & Young, presented Simon with his award.

Northumbria University graduates have won in each of the four years

that we have entered this event.

Simon is also the second First Prize winner to come from Northumbria Architecture, following the success of John Kemp in 2010.

Source: http://newsroom. northumbria.ac.uk/pressreleases/ the-future-of-architecture-is-in-safehands-at-northumbria-1690103

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Alumni Successes – Simon Ward

northumbria architecture _ interior architecture

Alumni Talks Image: Darren Hancock

* NOW WITH ADDED WINE *

Alumni Talks: Return of the Natives

Image: Jonathan Mole Architects

Date Monday 06 February 2017

Time 18:00 – 21:00

Where Ellison A003a/b Northumbria University

Northumbria Architecture’s number successful alumniof our architects; and graduates had We present an evening of alumnia talks fromofrecent graduates BA Architecture, BAwho Interior commitment to developing the returned to Northumbria to present chosen alternative career paths to Architecture and MA Architecture programmes, aimed at sharing insight into and experiences of employability of our graduates has their potted professional histories, normative architectural practice. postrewarded university and professional Alumni will share project work been year-upon-year, with life. as Our ell as to field uestio s a their d to experiences is e e t oncofinal te tualised our and exhibiting, CV and folio making, interview tips and working in the profession.

Their our students starting their careers provide sound advice. prospective graduates’ experiences learning by at local, national andpaths international establishing relevancehere of our and professional are diverse and inspiring; from small to large scale the practices, and practices. included recent the syllabus to church professional abroad, making and setting up a Presenters practice; more so, they illustrate broad that ispractice. making architecture graduates in both It also presented wider career spaces and the wide range of opportunities your design education provides you with.

As part of a suite of initiatives to Part I and Part II employment; opportunities for consideration prepare undergraduate students interior architecture graduates i fields beyo d t e arc itectural This Interior evening Architecture of talks is aimed final yearforstudents, from both undergraduate and postgraduate, of and at working esteemed national profession.

Architecture for the worldthat of work, ersand rece tly in ualified and will cover issues are bothractitio generic specific each instance. As you commence final

project work, begin to think about practice and professional life and begin to consider strategies for your future beyond university, this evening of talks will help you to plan, make decisions and learn from the experiences of our alumni and your peers.

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Speakers

Alasdair Graham _ www.monumentltd.co.uk Darren Hancock _ www.darrenhancock.co.uk Emma Weeden _ www.ryderarchitecture.com Ella Foster _ www.faulknerbrowns.co.uk

Jonathan Mole _ www.jonathanmolearchitects.com Oliver Sturdy _ www.mawsonkerr.co.uk Image: Northumbria University

Image: Faye Sedgewick

Berlin Study Trip

Images: Northumbria University

As one of the most vibrant European capitals, Berlin offers a unique repertoire of modern and contemporary architectures.

The structure of the visits encompassed common themes for the three cohorts of students (Interior Architecture, Architecture Part I and Architecture Part II).

Several unmissable buildings were compulsory for all student tours, including the Berlin Philharmonie

Concert Hall (Hans Scharoun, 1963) and the Neues Museum (Friedrich Stueler, 1855, re-built by David i erfield i . t er tours ere s ecific to the different cohorts and their current studio projects. While the undergraduate students could fi ally a reciate some o t e masterpieces discussed and presented in the history lectures and studio tutorials, Master of Architecture students followed a more urbanistic approach, tracing the lineage of the 19th Century Hobrecht plan through to the interventions of the Hansaviertel Interbau of 1961 and the Internationale Bauausstellung (IBA) Berlin of 1987. These key developments showcased works of some of the most notable 20th

Century architects, including Alvar Aalto, Mario Botta, Peter Eisenman, Herman Hertzberger, Arne Jacobsen, Oscar Niemeyer, Aldo Rossi, and James Stirling.

Overall the visit was a great success, supported by the truly enthusiastic participation of students and staff who managed to enjoy the multiple opportunities that Berlin provides both day and night.

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Berlin, a city ‘condemned forever to becoming and never to be’ was the destination of the 2017 Study trip for the Interior Architecture and Architecture Programmes. The study trip was partially sponsored through the generous contribution of Ibstock Brick Ltd, and the visit was meticulously organised by Dr Rosie Parnell.

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Image: The Jewish Museum Berlin

Image: Kirche am Hohenzollernplatz

Image: The Neues Museum

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Image: The Neues Museum

Image: Konig Galerie, St Agnes Church

Image: The Jewish Museum Berlin

Image: DZ Bank Building

“The MArch course at Northumbria University continues to provide students with an excellent understanding of architecture. There’s a strong studio culture supported by enthusiastic and experienced tutors who encourage students to pursue a broad range and depth of research and development within their work. Project briefs explored many themes within challenging sites and the proposals were thoughtful, creative and skilfully presented using both analogue and advanced digital techniques during the evolution and the final communication. Overall the work was a delight to review.”

Michael Trigg Dixon Jones Ltd

Image: Taylor Grindley

Degree Show 2017

Images: Northumbria University

Images: Northumbria University

Images: Northumbria University

“I was very pleased by the organisation of the programme and dedication of staff in ensuring the learning and teaching is exemplary and the student experience is positive and rewarding.

The studio culture ensures studio-based learning is the heart of the programme. This is evident by the quality, depth and breadth of students’ work that was exhibited for us.”

Professor Karim Hadjri The University of Sheffield

Image: Northumbria University

Interior Educators Exhibition at Free Range 2017

Images: Northumbria University

Ryder Architecture Prize for Outstanding Postgraduate Project: Matthew Glover

Award Winners

Velux Prize for Best BA (Hons) Architecture Studio Project: David Ogbe

Gagarin Studio Award for Creative Writing Winner: Max Ansell-Wood

Feilden Clegg Bradley Studios: Prize for Outstanding Undergraduate Design Project Winner: Daniel Finney

Ibstock Postgraduate Prize for the best use of brickwork: James Edwards

Ryder Architecture Prize for Outstanding Interior Architecture Project: John McGrath

National Trust Gibside Heritage Adaptation Award commendation: Oran Cowell-Fergusson

RIBA Undergraduate Hadrian’s Medal 2017: Bor-Ren Hui

Ibstock Undergraduate Prize for the best use of brickwork: Daniel Finney

Northern Architectural Association Glover Prize 2017: Joss Ryan

Gagarin Studio Award for Creative Writing Commendation: Chloe Lane

National Trust Gibside Heritage Adaptation Award Winner: Allard Newell

Feilden Clegg Bradley Studios: Prize for Outstanding Undergraduate Project Runner-Up: Levi Sibthorpe

RIBA Postgraduate Hadrian’s Medal 2017: Matthew Glover

Index de

Image: Taylor Grindley

Hassan Al Raisi 235 a Ansell-Wood 47, 136, 304 David Alvan 56 Victoria Armstrong 237 Vicky Bain 137 Larissa Banks 57 Leanne Barlow 196, 199 le a der Barnes 58 James Battye 138 Charles Benjamin 17, 23, 27, 59 James Bennett 60 Shantanu Bhatt 61 Philip Black 139 Laurie Blower 201, 271 Ryan Braithwaite 62 Ben Bresloff 23, 63 Sze Chan 64 Wai-Man Chan 65 Daniel Charlton 66 Janet Chok 140 Thomas Chuter 67 Oran Cowell-Fergusson 45, 141, 306 Kieran Cronin 213 Harvey Cullis 210, 215, 271 Patrick Davies 68 Ryan Davies 69 Lauren Di Pietro 239, 271 Amy Docherty 70 Sophie Drury 71 Sam Dugdale 203 James Edwards 21, 33, 168, 171, 195, 304 Kyle Elcock 72 Laurence Elsdon 241 le a der Erskine 194, 205 Emily Fiddes 217 Daniel Finney 31, 35, 73, 305, 306 Yick Fong 219 le Furniss 195, 243 Katherine Fung 142 Lucy Gallagher 173 Andrew Gibbard 74, 277 Matthew Glover 20, 25, 166, 187, 271,275, 303, 309, Alasdair Graham 156, 159

Adam Green Taylor Grindley

75 13, 184, 189, 267, 271, 275, 292, 310 Emilie Hakner 76 Robyn Harrison 245 Karan Haveliwala 77 Liam Hawthorn 80 Connor Hewison 160 Tom Hewitt 15, 175, 267, 312 Oliver Hopwood 41, 232, 247 Madeline Howell 81 Bor-ren Hui 23, 82, 307 Sara Hurley 83 Malak Hussein 84 Daiana Ionescu 177, 271 Elena Ionescu 221 Pitichon Jarujinda 85 Naveen Jayasinghe 179, 271 Lyndon Jessop 86 Sarah Kidd 207, 271 Alastair Kinnis 87 George Knipe 88 Tanuj Kohli 89 Anna Lacey 90 Sze Wei Lai 132, 143 Richard Lamming 91 Chloe Lane 47, 146, 308 Alice Langstaff 37, 52, 92 Hye Sung Lee 23, 93 Sek Lee 209 Yuk Lee 223 Kevin Li 161 Morgan Livesey 94 Alastair Lock 95, 279 Alice Lockhart 147 Joshua Lockwood 96 a ell Los 249 Harrison Lowthrop 37, 97 Shing Ma 98 Tatiana Maio Olival 148 Gustavo Mansur 191 Daniel Marcus 99 John McGrath 29, 49, 149, 305 Christophoros Michailidis 100 Laura Mills 181 Connar Milner 150

Shalin Mistry Allard Newell

101 45, 145, 151, 309 Pan Ng 102 Jacob Nicol 103 David Ogbe 43, 104, 303 Estefany Oropeza 105 Aimee Patterson 108 Ashleigh Peacock 162 Henrietta Pissarro 251 Nicholas Rainford 109 Harry Riddick 110 Douglas Riley 111 Daniel Rush 225 Joss Ryan 21, 39, 253, 271, 307 Louise Ryder 21, 255 Melissa Sacharov 152 William Scovell 54, 112 Jake Senior 113 Levi Sibthorpe 31, 37, 114, 308 Catherine Sinclair 115 Rebecca Smith 116, 165 Toby Smith 116 Tobi Sobowale 118 Joseph Spour 153 Hayley Stafford-Jones 257 Marian Stancescu 227, 271 Heather Stimpston 119 Rebekah Stott 183 Jake Tamminen 120 Melissa Tang 229 Joshua Thompson 121, 279 Sophie Thompson 231, 271 Thomas Tse 122 Leandros Tsouramanis 154 le a der Turner 123, 265, 277, 279 Ethan Vickers 124 Liam Wall 79, 125 Medeline Wallace 259 Amy Weston 126 Ben Weymes 193 Peter Winterburn 163 Sung Wong 127 Bethany Wright 155 Nan Yin 128 Ovidija Zemaityte 129

External Examiners ayle leyard tudio ali a ro essor arim ad ri i ersity o e field ic ael ri i o o es rc itects o do Professor Nick Dunn: Lancaster University Dr Rachel Sara: University of West of England Richard Collis: Feilden Clegg Bradley Studios, Bath External Studio Tutors and Reviewers Alison Thornton Sykes: JDDK Architects Ben Couture: Jardine Couture Ltd Ceri Green Danilo Di Mascio: Northumbria University Georgi Rennison-Rae: Contents Design Grace Choi: Grace Choi Architects Graham Baty: RBS, Northumbria University Grant Sellars: Ryder Architecture Ian Crow: Ryder Architecture John Lonsdale: Jonny Seebacher: Ryder Architecture Karen Nugent: Page & Park Laura Brown: Northumbria University Leighton Cooksey: FaulknerBrowns Architects Leo Moreton: Newcastle College Marco Cimillo: Northumbria University Mark Clasper: Ryder Architecture Matthew Margetts: EDable Architecture Mike Jeffries: Northumbria University Mostafa Ibraheem Nicky Watson: Director, JDDK Architects Nigel Scorer: Contents Design ik arrera ocial Paul Crowther: FaulknerBrowns Architects Pedro Montero Gosalbez Peter Beacock Richard Watson: BIM Academy Shaun Young: Northumbria University Steve McIntyre: Faulkner Browns Architects Steve Miller: Miller Partnership Stuart Palmer: Studio SP Architects im ailey site rc itecture Will Mawson: Mawson Kerr William Campbell: Feilden Clegg Bradley Studios Friends and Contributors le ore i le rice rice ore Amanda Kahn: RIBA North East Andrea Cooley: Ibstock Amy Tomlinson: RIBA North East Andie Harris: Heritage Skills Initiative Caroline Cope: Northumbria National Parks Association Chris Bryant: alma-nac Christopher Permain: RCKa Professor Christophe Hoelscher: ETH Zurich Claudia Westermann / Aleksandra Raonic / students: Xi’an Jiaotong-Liverpool University Corrinne Greener: Auckland Castle Trust Dan Dinoiu / Marina Mahaila / Stefan Dorin / students: Ion Mincu University of Architecture and Urbanism Image: Tom Hewitt

Acknowledgements

Dan Kerr: MawsonKerr Architects Darren Kearns: Saint-Gobain Glass UK Professor David McLean: Robert Gordon University Dave Spears: Spear Scaffolding Deborah Hunter Knight: National Trust, Gibside Derek Draper Douglas Barber: The Quality of Life Partnership Giles Reid: Giles Reid Architects Gillian Mason: Wallington Hall Professor Graeme Brooker: Royal College of Art Grant Dyble: Architects Registration Board Holly Galbraith: Níall McLaughlin Architects Ingrid Petit: Feilden Fowles Jake Goodall: Field James Lloyd: Tyne Theatre and Opera House James Southern: MH Southern &Co Ltd Jane Kennedy: Purcell John Ruddick: Ibstock Jonny Briggs: Field Design Joseph Wilson: Edinburgh College of Art Judith King: Arts & Heritage Ltd. Justine James: National Trust, Seaton Delaval are ickso ra ebo Kate Aldred: RIBA North East Kathryn Smith: NU Library and Leaning Services Keith Andrews: Leeds Beckett University Lloyd Langley: Wallington Hall Professor Lorraine Farrelly: University of Reading Louise Stott: Alnwick Garden Lucy Winskell: Pro Vice Chancellor Business and Engagement, Northumbria University aral uli site rc itects Mick Wilkes: National Trust Mike Tiley: Newcastle Arts Centre Mike Oades: Mura Mullan: JDDK Architects Muriel Campion: Northumbria University Northumbria Architecture Society Paul Scott: Gateshead Metropolitan Borough Council Peter Stark OBE: The Mining Institute Pierre d’Avoine: Pierre d’Avoine Architects Richard Marsden: BDN Richard Williams: VELUX Rutter Carroll am ass ell le a k ass ell a k rc itects Simon Brookes: North East Institute of Mining and Mechanical Engineers Simon Hartmann: HHF Architekten Simon Thompson: Wallington Hall Steve Dickson: FaulknerBrowns Architects Steve Larkin: Steve Larkin Architects Professor Steve Lockley: BIM Academy Stuart Evans: Northumbria National Parks Association Takeshi Hayatsu: Kingston University / Central St Martins, UAL Professor Thomas Albrecht: Hilmer & Sattler und Albrecht Architects Tim Belden: TRADA Will Pirkis: Caruso St John Architects

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