First published in 2013

University of Greenwich

School of Architecture, Design and Construction

Mansion Site

Avery Hill Campus

Bexley Road

London SE9 2PQ

Copyright University of Greenwich

All rights reserved.

No part of this publication may be reproduced or

transmitted in any form or by any means, electronic

or mechanical, including photocopy, recording or any

information storage and retrieval system without

permission in writing from the publisher.

ISBN: 978-1-909155-03-9

A catalogue record of this book is available from the

British Library

Editorial: Mike Aling, Nic Clear, Corine Delage,

Simon Herron and Neil Spiller

Design and Layout: Mike Aling

Set in Open Sans

Printed in the UK by Astra Printing Group,

Devon EX15 1AP

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[CONTENTS ]

LANDSCAPE Introduction by Dr Corine Delage

BA (HONS) LANDSCAPE ARCHITECTUREYear OneYear TwoYear Three

CERTIFICATE IN LANDSCAPE DESIGN

MA / DIPLOMA IN LANDSCAPE ARCHITECTUREAdvanced Landscape Design Landscape Assessment and Design

Theme Project Urban Development Project

Living Wall Project

Desert Restoration ConferenceDruk White Lotus School ProjectGIS+ Conference

Lille Esquisse

Centre for Alternative Technologies

MSc Architectural Design

New School Building - Stockwell Street

Index

Introduction to the Department of Architecture and Landscape by Nic Clear

ARCHITECTUREIntroduction by Simon Herron

BA (HONS) ARCHITECTURE - ARB/RIBA Part IYear OneDegree Unit 1Degree Unit 2Degree Unit 3Degree Unit 4Degree Unit 5Degree Unit 6Degree Unit 7Degree Technology Degree History and Theory

DIPLOMA IN ARCHITECTURE - ARB/RIBA Part IIDiploma Unit 15Diploma Unit 16Diploma Unit 19Design Realisation Open Technology lectures 2012-13Diploma Histories/Theories/FuturesOpen Lectures 2012-13

GREen Project Office

PDAP - ARB/RIBA Part III

Spaces for Architectural Education ConferenceFuture Cities 2: Other Worlds Conference

Imagine Exhibition, Bahrain

London Festival of Architecture 2013

NIC CLEAR

Head of Department

Architecture and Landscape

June 2013

elcome to the University of Green-wich Department of Architecture and Landscape. Over the past

sional criteria that are part of the professional accreditation of our programmes, we should not simply emulate or pander to the profes-sion. One of the roles of academia is to devel-op critical positions with respect to the nar-row set of imperatives that the professions operate under. This is done through research and through the speculative use of design, technology and theory. Academia should be showing the profession alternative strate-gies for its development and the strength of our programmes is not simply measured on what happens inside the institution but on the ability of our students graduating from Greenwich with skills and attitudes that al-low them to flourish beyond the University.

Too much has been made of the distinctions between Architecture and Landscape. At Greenwich we see it as important that the disciplines represented by our programmes are part of a wider discourse of integrated spatial design. Going forward, it is our inten-tion that there should be even greater syner-gy and collaboration across the Architecture and Landscape programmes to reinforce the strong overlap in the fields of urbanism, ar-chitecture, landscape, garden and interior de-sign. We must not let ourselves be trapped by outmoded silo mentalities, but look to create genuinely multi- and interdisciplinary design.

With our move to Stockwell Street in Sep-tember 2014, the Department has one very simple aim: to be a world-class department of Architecture and Landscape where excel-lence in design is at the heart of what we do.

year we have been making major changes at all levels across the Department. This re-structure has allowed us to reposition our programmes and refocus our values, trans-forming the aspirations and ambitions of staff and students. Through the changes to our programmes we not only support and nurture traditional skills, but encourage speculation and radical new approaches to design, technology and theory.

Following this long overdue overhaul, the Department can now boast some of the best teachers in Architecture and Landscape an-ywhere in the country. Our students have responded by raising their commitment and engagement and we are all rightly proud of the quality of the work produced this year, only a fraction of which is contained in this catalogue and the exhibition. These chang-es were essential given the uncertainties in the professions of Architecture and Land-scape Architecture. The Department can now be sure that its programmes are fit for purpose and that they are agile enough to respond with appropriate aesthetic, tech-nical, cultural and political concepts, whilst educating students in the rich histories of our disciplines. Furthermore, our pro-grammes address a range of outcomes, including actual, augmented and virtual possibilities, that is essential in the C21st.But academia is not the profession: while our courses need to address the relevant profes-

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[INTRODUCTION ] [NEW ARCHITECTURES: NEW LANDSCAPES ] [NIC CLEAR ]

SIMON HERRON

Academic Leader in

Architecture

June 2013

1 Woods, Lebbeus, MEGA

II - ORIGINS, Architectural

Association (London),

1985, p.55.

This catalogue accom-

panied his first exhibi-

tion of drawings of

ink on paper in London;

earlier in September

1984, an opening article

in AA Files No7, Archi-

tecture Consciousness

and the Mythos of Time

introduced Four Cities

and Beyond

he ancient forms appear again as in a dream mandalas, cabbalistic meta-phors of a secret god, the cloud-cham-

At the start of this academic year, the Ar-chitectural Programmes hosted a one-day conference titled Spaces For Architectural Ed-ucation (see pages 118 > 119), in anticipation of our forthcoming move to the new build-ing in Stockwell Street. The event provided a speculative programme-wide forum to criti-cally debate current and emerging attitudes and trends in contemporary Architecture, with contributing speakers from within the school and the broader international archi-tectural community and profession alike. The accompanying conference booklet and course guide mapped out the programme from Year One through to final year Diplo-ma, across all of the interconnected courses of Design, Technology, Theory and Practice. The Architecture Programmes are presented as a unified whole, collectively seen through a single pedagogical lens. Architectural Technology and Theory were not arranged in convenient isolation, or held within their traditionally closely guarded tribal bounda-ries. Instead, the Architecture Programmes are presented as an intricately interwoven complex of interconnected fields. These parallel and complimentary strands of syn-ergistic tissue run vertically throughout the school, providing a contextual framework di-rectly linking with the Studio Design culture throughout the Architecture Programmes.

The aim is to invent and service the needs, wants and mores of an unimagined near future. Andy Warhol famously asked, What can we do for art? - we should ask what could we do for Architecture?

bers of infinite certitude granted to Chinese geomantic priests, and to the prophets of the precessional equinox, locked in the spiral rooms, descendants of an intrepid race ele-ments in a dream of space and time continuous and infinitely delayed. The forces play among perfect forms as fire among the crucibles of Jove, wherein are distilled the base materials of sep-arate worlds, moulded by thoughts relativity.

- Lebbeus Woods, ORIGINS 1

Looking through my copy of ORIGINS by the late Lebbeus Woods, transfixed by the sheer craft of the drawings, the potency of writing, adrift someplace between science and the unconscious at the moment of pure creation. A conscious decision was made to reject the now tired strategies of the past and con-formative rhetoric of the (then) present, to challenge preconceptions and the inevitabil-ity of things. In this discourse, Woods pre-sents a delirious treatise to the unknown. Suggesting that architecture could define how we live, providing clues to unimagined possibilities, and embracing a sense of un-paralleled strangeness. Woods asks us to first build buildings, then discover how to live, use and work in them - a conscious, back to front, inside-out way of working. Within this constructed model, Architecture provides a contingency for the unknown, a speculative imaginary vessel unlocking new uses and new meanings appropriate to the second decade of the 21st Century.

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[INTRODUCTION ] [OBJECTIVITY OF THE UNKNOWN ] [SIMON HERRON ]

he BA (Hons) Architecture programme is the first step in a professional ca-reer in architecture. Our programme

year out practice in the architectural profes-sion leading to advanced level study in ARB/RIBA Part II (Diploma) in Architecture.

To develop skills and knowledge of architec-tural design, practice and technology; while stimulating critical analysis and speculative exploration of a range of methodologies and critical positions, through the unit system.

To develop communication skills through drawn, visual, verbal and written representa-tions of architectural propositions and their cul-tural, professional, and technical implications.

To provide a forum for research, debate, and critical thinking.

YEAR ONE DESIGN CO-ORDINATOR: Susanne Isa

YEAR TWO & THREE DESIGN CO-ORDINATOR:Max Dewdney

YEAR ONE TECHNOLOGY CO-ORDINATOR:Dr Shaun Murray

YEAR TWO & THREE TECHNOLOGY CO-ORDINATOR:Rahesh R. Ram

UNDERGRADUATE THEORY CO-ORDINATOR:Dr Marko Jobst

YEAR THREE DISSERTATION CO-ORDINATOR:Dr Corine Delage

offers students a range of approaches to de-sign through studio-based tutorial groups. Each Design Unit explores diverse aspects of architecture, ranging from rapid techno-logical changes, emerging social conditions and contemporary cultural contexts to more abstract aesthetic and theoretical concerns.

Tutorial groups are supported by studies in the history of architecture, sustainability, practice, cultural context and technology, all of which are integrated with an understand-ing of the development of a design project. The design projects develop abilities and skills in creating and communicating archi-tectural ideas. Students explore the visual and tactile world, learning visual and draw-ing skills and the use of computer software.

The context for design work is set at the start of each term; critiques of student work are made at the middle and end of each term. Visits to art galleries, museums and im-portant buildings and lectures by eminent speakers are vital to the programme.

The aims of the programme are:

To provide a broad and inspiring architec-tural education to a diverse group of stu-dents, within the structure of an ARB/RIBA accredited programme at Part I level.

To prepare students for progression into

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[ARCHITECTURE ] [BA (HONS) ARCHITECTURE ]

Special thanks goes to:

Dimitris Argyros (Arup Associates)Jo Dejardin (Herzog & De Meuron)Niall Gallacher (Combined Effects)David Gloster (Director RIBA Education)Simon Herron (Academic Leader, Greenwich)Manon Jenssens (Exhibitions and Archive Manager, Zaha Hadid Architects)Heather Macey (John McAslan and Partners) John Man (Make)Tim C Matthew (Architect) Liz May (A.P.T)David McClean (Robert Gorden University) John Norman (Mustard Architects)Pernilla Ohrstedt (Pernilla Ohrstedt Studio)Ricardo de Ostos (Naja de Ostos)Camila Sotomayor (Bartlett, UCL)Neil Spiller (Dean of School, Greenwich)Dr Ayman Wanas (Arab Academy for Science and Technology, Cairo)Elizabeth Anne Williams (Unit 19, Greenwich)Simon Withers (Unit 15, Greenwich)Emily Yeung (AHMM)

YEAR ONE 2012 > 13:

Y1 UNITS 1 > 4:

STUDENTS

Sara Al Amandi

Craig Alexander (PT)

Dzjawglan Bud-Dzaw

Ummuhan Calli

Matthew Forbes-Yandi

Jade Giannadrea

Martin Hall

Daryl Harvey

Elbert Marzanganov

Kieran Peart

Parisa Shahnooshi

Dovydas Talacka

Saied Tahgahvi_

Nathan Abraham

Peter Efe

Beeza Habeeb

Oscar Humnicki

Anna Kakara

YEAR ONE STAFF:

YEAR ONE DESIGN CO-ORDINATOR: Susanne Isa

DESIGN TUTORS:Y1 UNIT 1: Tim Norman & Mark Hatter

Y1 UNIT 2:Jonathan Hagos & Ben Masterton-Smith

Y1 UNIT 3:Lawrence Lek & Mike Dean

Y1 UNIT 4:Max Dewdney & Jen Wan

YEAR ONE TECHNOLOGY CO-ORDINATOR:Dr Shaun MurrayLuke Olsen (technical support)

YEAR ONE HISTORY & THEORY:Dr Marko Jobst

he Year One studio aims to prepare students for the changing world of ar-chitecture through innovation and ex-

Group 3 explored Public Assembly, consist-ing of new forms of micro-scale manufac-turing within the former Bishopsgate Goods Yard. Students engaged with architectural notions of metamorphosis and designed live-work spaces for East Londons new cre-ative producers such as photographers, de-signers, weavers, artists, filmmakers, metal-workers, carpenters and sculptors.

Group 4s site was located within Dept-ford Creek, South East London. The pro-ject addressed the need to reinvent the sites industrial past to meet the needs of a 21st century hybrid city ecology, in-formed by the sites archeology and lost cultural landscapes.

Students are presented throughout the year with a series of interactive and crea-tive workshops that equip them with rigor-ous design tools for 2- and 3-dimensional spatial thinking and communication. From year one, Design is integrated with Cultural Context and Technology, which helps foster critical debate, innovation and collaboration within the design studio.

Students work both individually and in groups, with the aim to continually strive for unforeseen consequences and new opportunities.

For further information on Year One, please visit our blog at:

greenwichyearoneblog.blogspot.co.uk

perimentation, in order that they can meet the challenges of becoming creative design-ers and thinkers in the 21st century. Year One is taught across four design groups, each with differing agendas and scope, en-couraging students to engage with a variety of ways of seeing.

Initial projects explored the relationships between objects, text, place, the body and the city. Students developed forensic, doc-umentary recordings and cartographic projections as a basis for creating weara-ble 1:1 architecture as both performance and choreography.

The main project of this year was for the de-sign of a complex building across the follow-ing four London sites and themes:

Through the exploration and charting of the tidal powered landscape of Three Mills, Group 1 set out to discover phenomena - natural, artificial or fictional - and unveil these happenings or events through the articulated and misty lens of the Museum of Curiosity.

Students in Group 2 examined innovative trends in earlier periods, spurred on through a history of migration and fabrication in Brick Lane. The projects proposed paper architectures that posit visceral visions of making as theatre.

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[DEGREE YEAR ONE ] [BODY AND PLACE ] [SUSANNE ISA et al. ][BODY AND PLACE ]

Izzad Khodabocus

Suheb Miah

Vlad Mone

Darin Nikolov

Thomas Norris

Ishita Ruchchan

Jennifer Scarfe (PT)

Thomas Whipps

Emeli Yakimova_

Evana Ahamed

Georgi Arnaudov

Sandra Asante

Chester Field

Daniel Holloway

Alistair Karim

Haseeb Majeed

Daniel Meredith (PT)

Tiberiu Moise

Hanan Perveen

Radostina Stoyanova

Vida Tankas

Kim Lian Tee

Charles Worman_

Aysum Ahmed

Joseph Burgess

Artur Edman

Emma Frankel

Kureys Gozubuyuk

Cezara Maris

Abdul Mujahid

Oleg Pavlov

Lisa Pigot

Chase Prosser

Fariz Serbest

Tianchi Zhang

[016 > 017 ]

[BODY AND PLACE ]

[018 > 019 ]

[DEGREE YEAR ONE ] [BODY AND PLACE ][BODY AND PLACE ]

[BODY AND PLACE ]

UNIT 1 2012 > 13:

YEAR THREE:

Farzana Choudhury

Galen Eker

Emmanuel Fonkwen

Sathien Ganesan

Evangelia Iliopoulou

Elena Liskova

Kinga Matura

Lyuba Pekyanska

Sarala Perera

Baboo Rughoo

YEAR TWO PT:

Ireneusz Lisiecki

Ross Sadler

YEAR TWO:

James Ashenden

Kamila Broniszewska

Sinem Camur

Nabil Ebrhimgeel

Jessica Hlavackova

Aysenur Macit

Balraj Rai

Mohammad Uddin

1 Coupland, Douglas,

Generation A,

Random House Canada

(Canada), 2009.

efore machines the only form of enter-tainment people had was relationships.

- Douglas Coupland 1

1.0 THE COMPONENT: Our journey began with a boat trip up the River Thames to the River Lea Delta. We registered, recorded and researched details; then designed, devel-oped and made innovative components.

2.0 THE SYSTEM: Using these new compo-nents, students designed and made a sys-tem to engage with the Delta. Built at 1:1, this system was tested and evaluated by the people, environment and circumstances of the River Lea and its fringes.

3.0 THE X-FACTORY: The major building pro-posal was for an X-Factory for the near future. The architectural agendas born of the com-ponent and system guided the major build-ing proposal sited in East London. Year Two students developed the program of a Fac-tory, whereas Year Three students defined their own program according to their indi-vidual agendas developed through the year.

Unit 1 is experimental. We mistrust draw-ings without knowledge and aim to equip students with the tools, techniques and awareness to be able to design and make in-novative architectures using contemporary digital technologies alongside the traditional craftsmans gen.

Unit 1 would like to thank David Morley Archi-tects (practice support: Chris Roberts), along with our guest critics: Alexander Ball, James Brown, Simon Herron, Tereza Kacerova, Rauri McCance, Ho-Yin Ng, Ed Pearce, Enric Ruiz-Geli, Gabby Shawcross and Chloe Sheward.

This year we turned the traditional design process on its head; we began with the de-sign detail and then moved out into the stra-tegic systematic consequences generated from this simple beginning. Our brief was to propose an innovative architecture through the construction, assembly and siting of a series of components that form an auton-omous system to engage, adapt and learn with the people, place and environment of the River Lea Delta.

Our literary guide this year was Generation A by Douglas Coupland. Set in the near future, a group of individuals from random locations on earth are stung by honey bees, months after the bee population was thought to be extinct. This seemingly arbitrary event brings the individuals together to an IKEA-like room, to tell stories and to define a new way of living.

The unit field trip was a bus trip to working factories across Great Britain, where we learnt directly from makers. These included the AA Hooke Park Workshop in Dorset; Pet-ter Southalls I-Tre Workshop in Beaminster; the Whitechapel Bell Foundry - the oldest working bell factory in the world; the Port-land Stone Quarry Trust in Portland; and the Morgan (Bespoke) Car Factory in Malvern.

Unit 1 engaged in 3 progressive projects:

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[DEGREE UNIT 1 ] [THE X-FACTORY ] [LUKE OLSEN & JAMES WIGNALL ]

[THE X-FACTORY ]

[026 > 027 ]

UNIT 2 2012 > 13:

YEAR THREE:

Humma Akram

Gunes Bagdali

Razna Begum

Thomas Brown

Dominic Davis

Natalie Hawkins

YEAR TWO PT:

Maria Georgakaki

Kirsty Phipps

YEAR TWO:

Abbas Akbarally

James Crocker-White

Bilal Hasan

Rafael de la Hoz

Tsvetlina Todorova

1 Jacob and Wilhelm

Grimm, Devil with the

Three Golden Hairs,

1812, in The Complete

Fairy Tales (Trans. Jack

Zipes), Vintage (London),

2007, p136.

he boy set out with his letter but lost his way, and at night he came to a great forest. When he saw a small light in the

The new is never new enough and the old is rarely too old to terminate or too well built to destruct, leaving us sitting on mountains of cultural leftovers that need to be processed, stored or disposed of. Unit 2 have looked a further 100 years ahead into a potential post-digital age, to speculate on what may become. Berlin, the destination of our unit field trip and site for the projects, has been a hub of cultural, political and social change over the last 2 centuries and will no doubt be a centre of change and innovation in the century to come.

The Grimms Household Stories, an antholo-gy of German tales, is an archive in its own right, documenting over 200 folk tales. Starting the year with a week-long inten-sive workshop, students have familiarised themselves with the tales in order to col-lage and manipulate its fundamentals into a future scenario.

The enduring nature of these tales allows them to be re-contextualised and projected into the future; Unit 2 have used the tales as a catalyst of conversation for a future Ber-lin archive, which aims to accommodate the remnants of a culture of greed and envy, but also of fantasy and innovation.

Unit 2 would like to thank David Morley Architects (practice support: Mark Davies), along with our guest critics: Mike Aling, Diana Cochrane, Kate Davies, Lorene Faure, Simon Herron, Tom Hillier, Susanne Isa, CJ Lim, Peter Sharpe, Bob Sheil and Martin Tang.

darkness, he began walking towards it and soon reached a little cottage. Upon entering, he dis-covered an old woman sitting by the fire. She was startled by the sight of him and asked Where did you come from and where are you going?

- Jacob Ludwig Karl Grimm 1

200 years ago the Brothers Grimm published their first edition of the Household Stories.

As part of aural tradition, tales have shaped society whilst also offering a reflection of it. But who invented them? Despite being edited by the Brothers Grimm, the author-ship and responsibility of these tales re-main collective; tales are common property. Stripped of any temporal or geographical references, the tales are de-contextualised stories, which stand the test of time and seem as relevant today as ever, often out-lining the causes and consequences of in-herent human traits such as greed, jealousy and megalomania, whilst often featuring magical interventions.

Over the last 200 years the world around us has shaped itself into an electronic and digital landscape via industrial and techno-logical revolutions. A constantly changing topography of knowledge and object has resulted in our unquenchable thirst for the new and seemingly better, leaving be-hind a trail of information and artefact of unprecedented scale.

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[DEGREE UNIT 2 ] [GRIMM ARCHITECTURES 2112 ] [CAROLINE RABOURDIN & PASCAL BRONNER ][GRIMM ARCHITECTURES 2112 ]

[030 > 031 ]

[DEGREE UNIT 2 ] [GRIMM ARCHITECTURES 2112 ][GRIMM ARCHITECTURES 2112 ]

[032 > 033 ]

[DEGREE UNIT 2 ] [GRIMM ARCHITECTURES 2112 ][GRIMM ARCHITECTURES 2112 ]

UNIT 3 2012 > 13:

YEAR THREE:

George Aboagye Williams

Sahar Allahverdi

Bianca Baciu

Joshua Browning

Thomas Farquhar

Surajpal Gadar

Thomas Phillips

Danielle Purcell

Christopher Singh

Murat Surucu

Sharis Valdez

YEAR TWO:

Kyriakos Eliades

Evgeny Korchevstev

Patrick Mawson

David McAlpin Pow

Siyana Petrova

Ainsley Pretlove

Alexander Varvantankis

he future still isnt here! 100 years on and the levers of Marinettis algorithm are still jammed on and set to faster,

is beginning to play as an instrument of demographic transition. Through both in-stinctive and deliberate observations and recordings, Peckham is imagined as a mi-crocosm of the city over time. The proposals establish a considered and critical response to the question of technology; its inherent propensity for error and accident, and its capacity to modify existing traditions of be-haviour. A series of short experimental pro-jects served as theoretical and technological catalysts to inform a final brief focused on the rhythm and ritual of regular and organ-ised public assembly. Year Two students, also in Peckham, focused on the subject of health in the post NHS landscape of 2026, re-imagining Scott-Williams and Pearces 1926-1936 experimental model for com-munity healthcare: The Peckham Experiment.

In contrast to our high-speed operations in Peckham, the unit explored Andaluca and witnessed the more enduring architecture of the Islamic Empire and the Kingdom of Cas-tile, witnessing buildings asserting transfor-mation in cultural identity and architecture re-appropriated to align with shifting politi-cal and religious motivation.

Unit 3 would like to thank Wilkinson Eyre Architects (practice support: Robert Haworth, James Barrington and Marwan Abdo), along with our guest critics: Mike Aling, Toby Car, Rut Cuenca, Mike Dean, Simon Herron, Giles Martin, Nick Masterton, Toby Neilson, Vidhya Pushpanathan, Phil Watson, Vincent Westbrook, Chris Wilkinson and Maria Zunica.

leaner and more efficient; the subsequent evolution of design-life shifting the status of new-architectures role in the city from per-manent to temporary. From Londons tallest building to the Grand White Mosque in the Middle East - waiting for new buildings is no longer acceptable. The architect has accept-ed marginalisation, protectively clinging onto The Sketch and conceding that his value is in flicking the planning switches with shapes and pictures, while scientists in the factories take over to add the bones and remove the fat.

Unit 3 acknowledges the potential of com-putational design as a common language to re-engage with the process of fabrica-tion and embrace the social potential for high-speed assembly. We recognise the spatial, social and political value of design beyond form and material and will adapt our methodologies to remain connected to the process. We hypothesise that there is opportunity for fast/digital architecture to be surprising, enabling, liberating and the-atrical. We propose that while fabrication is speeding up, the processes of architecture are incremental and continue to effect influ-ence at varying speed.

We focused our research in Peckham, an area with a large multi-faith / multi-ethnici-ty immigrant majority teetering on the edge of gentrification. We considered the role that a new high-speed, guerrilla architecture

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[DEGREE UNIT 3 ] [ARCHITECTURES OF VARYING SPEED ] [MEL CLINCH & HARRY BUCKNALL ][ARCHITECTURES OF VARYING SPEED ]

[036 > 037 ]

[ARCHITECTURES OF VARYING SPEED ]

UNIT 4 2012 > 13:

YEAR FOUR PT:

Matthew Oliver

YEAR THREE:

Muhammad Abd Rahman

Hasan Chattun

Sandra Ebuzoeme

Dunya Hatem

Arshad Mahmood

Siobhan Odjevwedje

Anthony Pyke

Rohan Siddiqui

Amar Vara

Dawid Wojcik

YEAR THREE PT:

Sam Guidotti

YEAR TWO:

Martin Aberson

Tosin Kale

Hristiana Kirova

Timothy Ng

Steven Roe

Ioana Tamas

Iulian Vifor

nit 4 is interested in architectures ability to be complex and ambigu-ous, to be strange and to tell stories.

home of the Emperor Hadrian. Individ-ual ruins were strategically chosen (we knew they would later inform a compo-nent of our main projects) and re-im-agined through the lens of our evolving architectural strategies.

The Square Mile inside Londons medieval walls is the financial centre of the world. 3trillion flows through it daily. It exerts an influence across the globe out of all propor-tion to its physical size. It manages to do this anonymously, its actions can trigger tumul-tuous events around the world but leave no physical trace on site. If it has an architectur-al face it is mostly, incongruously, a variation of the modernism originally developed to a socialist agenda.

The site for our main project was its south-ern boundary, the liminal zone where the ossified architectural apparatus of high-fi-nance fractures and, in the tidal flows and shifting sediment, gives way to something altogether more temporal. The brief was to design a house for a banker. They wont be retreating in anonymity to the countryside, their house will be in The City. Through ar-chitectural storytelling we endeavoured to make real what was virtual, to manifest the invisible, to bring to light all that should have remained hidden.

Unit 4 would like to thank Make Architects (practice support: Jonathan Mitchell), along with Jordan Waid for his assistance in tutoring during Term 1.

We think architecture is first and foremost a cultural practice, capable of representing more than its own silent self. Like songs and monasteries, architecture can be a repository for the fragile stories and con-ditions that would otherwise be lost. Our version of architecture is not dependent on technology, or site, or brief, but it does require students to take full authorship of their work. We prioritise the formation of design strategies and creative narra-tives prior to engagement with the site. The friction caused ensures the resultant architecture is not a slick splicing of brief and site - it is a fractious and spiky affair, an imperfect artwork.

The year was structured through a series of connected projects, each brief building on the previous one. For the first project, we imagined extensions to the houses of famous architects. Our designs were both material and conceptual. Hybrid strategies were applied as we merged ideas inherent in the existing work with new ones, found through the interrogation of artefacts from the British Museum.

These emerging architectural ideas were then distilled and taken with us to Rome, to be played out on a new site. After 3 days of being inspired by everything from the high baroque to fascist follies, we headed to Vil-la Adriana, the sprawling second-century

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[DEGREE UNIT 4 ] [IN EVERY DREAM HOME A HEARTACHE ] [ADAM COLE & GEORGE THOMSON ]

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[DEGREE UNIT 4 ] [IN EVERY DREAM HOME A HEARTACHE ][IN EVERY DREAM HOME A HEARTACHE ]

UNIT 5 2012 > 13:

YEAR THREE:

Megan Ellis

Aimilia Fragkedaki

Michaela Hammond

Natacha Hutchison-Fuat

Alexandra Okoh

Christopher Parker

Eleni Triantafyllidou

YEAR THREE PT:

Mustafa Raee

YEAR TWO:

Dogus Akin

Elise Alden

Aisha Bashir

Martha Carini

Theodoros Constandinou

Stephanie Finch

Parisa Ghorani

Serhat Gok

Waqas Javed

Malgorzata Malus

Mohammad Nejad

nit 5 have explored the role of the architect as the idealistic and prag-matic polymath: artist, historian, tech-

The major project, EXCHANGE, explores a future addition to the daily life of the City of London by proposing a modern EX-CHANGE: a building to house a business or social process, with a functional programme and a physical form that confirms a view on how the daily activity of the City might trans-form and adapt. What type of EXCHANGE is pertinent to the current or future life of the City?

The EXCHANGE will be accommodated on a site central to the City, at King William Street, currently occupied by a 1990s office build-ing, soon to be demolished. The site is an AHMM live project, and the subject of real constraints and drivers of redevelopment. The Unit has engaged with these constraints to formalise a theoretical position. The City of London has always evolved to accommo-date the needs and ambitions of its inhabit-ants - buildings come and go. The Unit has proposed the next layers of physical and functional EXCHANGE.

Unit 5 has had a series of encounters with London players throughout the year and we would like to thank the following people: Mike Gosling, Scott Grady and Timo Haedrich (Haptic Architects), Suria Ismail, Michael Jack, Murray Kerr (Denizen Works), Lee Mallet (Urbik), Ben Moss and Gethin Rees (ARUP), Andrew Stafford, Matt Ward (Goldsmiths).

We would also like to thank Simon Allford, Will Lee, Paul Monaghan, Andrew ODonnell and Matt Thornley of AHMM for practice support.

nologist, sociologist, economist, bon viveur and above all as the proponent of change.

We have engaged with England in general and with the City of London in particular. From Wren to Rem, the walled city of the 16th century has evolved into a mono-cul-tural financial capital, synonymous with the riches and predicaments of recent times. How might the City be re-invented as a cul-turally richer place, where we live and play as well as work? Led by Philip Turner and Ben Gibson of Allford Hall Monaghan Morris Architects (AHMM), Unit 5 aims to establish a conversa-tion between education and practice. A series of short briefs have explained a set of real constraints and opportunities re-imagined in an academic context. We have explored the City of London: its buildings, streets and activities in a series of short projects: PLAN, SECTION and ELEVA-TION have encouraged the proposition of flexibility and change.

From Pepys to the present day, the City of London provides us with a contained ac-count of the cultural and commercial history of the country, how it has evolved and how it continues to change. Unit 5 also visited Venice to observe a once-rich city that failed to cope with change.

[046 > 047 ]

[DEGREE UNIT 5 ] [USE, CLASS AND ORDER ] [PHILIP TURNER & BEN GIBSON / AHMM ]

[USE, CLASS AND ORDER ]

[050 > 051 ]

[USE, CLASS AND ORDER ]

UNIT 6 2012 > 13:

YEAR THREE:

Salwa Al Waili

Jack Baron

Jake Brockwell

Andrew Brown

Sarah Dowdall

Inese Kalnberza

Dean Kirby

Petya Nikolova

Zaheer Varyawa

Matt Wells

YEAR THREE PT:

Michael O Donnell

YEAR TWO:

Larisa Dobie

Simona Fratila

Ed Grace

Vlad Ion

Nick Shackleton

Dimittrios Sifakis

Dan Trenholme

1 Sala, George Augustus,

Twice Round the Clock,

or, The Hours of the Day

and Night in London,

Houlston and Wright

(London), 1859.

wish you to see the monster LONDON in the varied phases of its outer and inner life, at every hour of the day-season and

Despite this, the market is still subsidised by the City of London and, in turn, Londons booming financial markets. It needs to find new ways to survive and adapt as a place of exchange and trade in the 21st Century.

A Working Spectacle at the Edge of Town asked students to explore contemporary and his-torical notions of trade and exchange. The unit explored hybrid programmatic solu-tions and explored the market of the future as a place of exchange, not only of mate-rial commodities but of ideas and experi-ences. Students interrogated the potential thresholds, boundaries and collisions of different programmatic elements and their resultant timescales and rhythms. Students were encouraged to draw on the unexpect-ed architectural delights that the hybrid can produce.

The response to the brief was diverse, re-flexive and inventive. Projects include a fish market and ballroom hybrid; a Benedictine monastery in two parts; a Chinese embas-sy and trade exposition; a memorial to the dead at sea; a modern luddite community; a fishermans university; a new pier for Bil-lingsgate; and a pearl factory and integrated pearl exchange.

Unit 6 would like to thank Grimshaw Archi-tects (practice support: Joe Laslett), along with our guest critics: Edwin Burdis, Max Dewdney, Simon Herron, William Higham of The Next Big Thing, Dr Jonathan Hill, Adam Shapland and Neil Spiller.

the night-season; I wish you to consider with me the giant sleeping and the giant waking; to watch him in his mad noonday rages, and in his sparse moments of unquiet repose. You must travel TWICE ROUND THE CLOCK with me; and together we will explore this London mystery to its remotest recesses - its innermost arcana. To others the downy couch, the tasselled nightcap, the cushioned sofa, the luxurious ease of night-and-day rest. Ours be the staff and the sand-alled shoon, the cord to gird up the lions, the palmers wallet and cockle-shells. For, believe me, the pilgrimage will repay fatigue, and the shrine is rich in relics.

George Augustus Sala 1

This year Unit 6 asked students to reinvent and propose new possibilities for Londons Billingsgate Fish Market. The citys most ancient market has formed a crucial part of Londons trade culture since the 11th Century and shaped the fabric of London it-self. From its original site on Lower Thames Street (formally established in 1850 by an Act of Parliament), it now sits adjacent to Canary Wharf, the financial heart of Lon-don, stranded on a bleak outpost between busy motorways and the glittering towers of Canary Wharf.

Today the market survives through adaption and specialisation, providing more unusual fishes to Londons immigrant population that London supermarkets do not offer.

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[DEGREE UNIT 6 ] [A WORKING SPECTACLE AT THE EDGE OF TOWN ] [RAHESH R. RAM & MELISSA APPLETON ][A WORKING SPECTACLE AT THE EDGE OF TOWN ]

[A WORKING SPECTACLE AT THE EDGE OF TOWN ]

UNIT 7 2012 > 13:

YEAR FOUR PT:

Kevin Baker

Romana Bellinger

YEAR THREE:

Margarita Andreeva

Jordaan Clarke

Timothy Evans

Duaine Gayle

Amanuel Ghebrehiwt

Armand Layne

Hannah Theodorou

Billy Valencia

Deyi Zhang

YEAR TWO:

Oliver Cannon

Bozhidar Georgiev

Jelena Malyseva

Malesela Molekoa

Marie Nihonyanagi

Tran Mai Tran

magine our colossal landfills in the UK as sensible resource sheds to build our future urban spaces, where eventually the future

architectural potentials. The objectives were to reveal an ecological set of relationships from satellite imagery, GPS tracking, tidal flows, topology, bathymetry, precipitation, temperature and chemistry.

STAGE 2: POSSIBILITIES enabled the de-velopment of a building design from initial findings. Students produced a three-dimen-sional ecological assemblage of nine com-ponents (stair, wall, roof, etc.), where build-ing is continuous with the way that it might be occupied, attrited and even abandoned.

STAGE 3: IMPLEMENTATION of the design project through technological and environ-mental techniques. A series of workshops were set up at All Design to develop each project and focus their amazing potential. The projects are embedded into a complex ecological field of shifting relationships that far exceed the territories of the site. Nothing has, any longer, ever been finished. The built world vaporizes in soft apocalypse.

It was a delight to observe a group of students who indulged their imagination and wit with such responsibility on a piece of the neglected earths surface which requires love.

- Professor Will Alsop RA OBE

Unit 7 would like to thank All Design (prac-tice support: Professor Will Alsop RA OBE and George Wade), along with our guest crit-ics: Nic Clear, Adam Cole, Bastian Glaessner, Kevin Green, Simon Herron, Diony Kypraiou, Juan Ignacio Oyarbide and Simon Winters.

of architecture and design can make no distinction between waste and supply. The global issue of urban compression in the fu-ture of our cities has led Unit 7 to investigate new interventions that operate through in-tuitionism and novel methodologies of prac-ticing architectural design in our built envi-ronment. Cities are the absence of physical space between people and technology, they enable us to work and play together, and their success depends on the demand for physical connection. We propose an extend-ed city reconstituted from its own ground materials, a remaking of the city by utilizing all the materials entombed in the unground-ing process of construction. Proposals were crafted from materials exhumed from the ground to construct different material combinations to serve different purposes in the design. What if architectural design was no longer legitimated through a prom-ised structure or even an imagined one, but was instead to reach absolute continuity, in which construction constructed itself?

Unit 7 designed an environmental testing centre for Dartford marshes, England. All projects went through three clear stages:

STAGE 1: UNPACKING the complexities of Dartford marshes through communicating the geological, technological and environ-mental constraints. Sets of drawings were pro-duced at various scales to explore different

[058 > 059 ]

[DEGREE UNIT 7 ] [SITE CONSTRAINTS AND MOBILE HORIZONS ] [DR SHAUN MURRAY, YORGOS LOIZOS & ED HOLLOWAY][SITE CONSTRAINTS AND MOBILE HORIZONS ]

[060 > 061 ]

[SITE CONSTRAINTS AND MOBILE HORIZONS ]

[062 > 063 ]

RAHESH R. RAM

Year Two & Three Technology

Co-ordinator

June 2013

PRACTICES INVOLVED

WITH YEAR TWO OFFICE

VISITS:

Barr Gazetas

Battle McCarthy

BPTW

David Morley Architects

Gruff Ltd

Hutchinson Kivotos

March Design Associates

ORMS

RcKA

Robin Partington Architects

Sheppard Robson

Stanton Williams Architects

Stephen Davey Peter Smith

YEAR THREE PRACTICE

SUPPORT & CONSULTANTS:

AHMM

All Design

David Morley Architects

Grimshaw Architects

Make Architects

Max Fordham

Wilkinson Eyre Architects

here is a recurring question of how to educate students on architectural technology. Behind the pedagogic de-

The department understands the needs of the profession and the reciprocal role it plays. As part of a RIBA initiative, Year Two students visit prominent architectural prac-tices, where they are taken through live pro-jects by senior members of staff. For Year Three students, the University of Greenwich employ six practices to become consultants to help the students deliver their final pro-jects. In the second term, Year Three stu-dents visit their practices on a weekly basis, the result of which can be seen in their im-pressive Integrated Technology and Profes-sional Practice Report submissions.

This relationship with professional practice continued with the Open Technology Lec-ture Series. Carefully chosen practices and other related professionals lectured on spe-cific projects that threw light onto different aspects of technology and practice.

The outcome of the technical submissions shows that the students rose to the chal-lenge of revealing their technological under-standing with enthusiasm and creative origi-nality. 2012 > 13 was a very good year for the undergraduate technology courses.

Sincerest thanks to our practice lectur-ers: AHMM, Amanda Levete Architects, Arup Associates, The Concrete Cen-tre, Knight Architects, Max Fordham, Price & Myers, Renzo Piano Building Work-shop, Rogers Stirk Harbour + Partners, Enric Ruiz-Geli, Stanton Williams Architects and Wilkinson Eyre Architects.

livery of the course there must be a clear un-derstanding of how a students knowledge of technology should evolve throughout their architectural education - the gradient of technical learning for a student from the first to the third year of their course must be carefully mapped out. The direction for teaching and learning must stem from the question about what kind of students we want to nurture. Inquisitiveness is a hard trait to teach but the take of the department is to inspire, and open the door to possibilities.

In the face of the ever-changing trajectory of technology, its teaching becomes complex and intricate. Students are keen to deal with current issues, current technologies and possible futures. This is something that the University of Greenwich savours. To encour-age this youthful enthusiasm, the university strives to provide the bedrock of basic un-derstanding, and the tools with which stu-dents can then tackle current technological challenges with confidence.

Year One of technological learning is a year of introductions - introductions to structures, constructions and the environment, as well as an introduction to CAD and 3D Laser Printing. Year Two is a year of experimentation and building an understanding of the profession in a wider context. In Year Three, students ap-ply their accumulative knowledge to deliver a comprehensive professional technical report.

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[RAHESH R. RAM ][DEGREE TECHNOLOGY ] [YEAR ONE > YEAR THREE TECHNOLOGY ][YEAR ONE > YEAR THREE TECHNOLOGY ]

DR MARKO JOBST

Undergraduate Theory

Co-ordinator

June 2013

he degree History and Theory cours-es help students develop a thorough understanding of architecture, its con-

questions based on the themes covered in the lectures.

In Year Two the historical survey continues with Architecture and Landscape 1750-1970, which traces the emergence of modern-ism in architecture. This traditional view of architectural history is then expanded and critically questioned in Contemporary Theo-ries of Architecture, which covers the rise of architectural theory and investigates its rela-tion to history, as well as architectural prac-tice. Group work is encouraged throughout Year Two in the form of small, thematically related research clusters.

This serves as the testing ground for the Ar-chitectural Dissertation, which takes place in Year Three and leads to the production of an individual essay, 5000-7000 words in length. Students are offered a choice of distinct re-search themes, each supported by a disser-tation tutor, and focus on the study of archi-tectural precedents, historical studies and theoretical ideas. Students are challenged to consider their dissertation topics in con-junction with the design work. This year the themes on offer included questions on public space, contemporary art, the city, research as curatorial practice, architectural representa-tion and a critical look at architectural theory.

Dissertation Co-ordinator: Dr Corine Delage

Dissertation tutors 2012 >13: Melissa Apple-ton, Nicholas Boyarsky, Dr Corine Delage, Mark Garcia, Dr Marko Jobst, Caroline Rabourdin.

texts and histories, and perfect the research skills needed to critically appraise the disci-pline and its current production. Students are taught how to do in-depth research and write in a number of formats that are rele-vant both to the academic context and be-yond. The courses are designed to form an organic whole across the three years, with the theoretical knowledge and skills inte-grated with design thinking, culminating in the production of a dissertation at the end of Year Three.

In Year One we start with the Cultural Contexts of Architecture course, in which the students of Architecture and Landscape Architec-ture study the social, political and econom-ic forces that shape the built environment. We test research techniques and academic writing through a series of individual exer-cises and group workshops. This years fo-cus was on architectures overlap with the arts and the study of Bankside, its urban character and recent construction projects. The course includes site visits and first-hand experience of architecture and contempo-rary art, and culminates in the production of an individual essay. This is followed bya sustained focus on architectural history in History of Architecture and Landscape, which provides a global and multicultural over-view of the discipline up until the 18th cen-tury. Students are individually supervised and develop clearly articulated research

[068 > 069 ]

[DR MARKO JOBST ][DEGREE THEORY ] [YEAR ONE > YEAR THREE HISTORY AND THEORY ][YEAR ONE > YEAR THREE HISTORY AND THEORY ]

PETYA NIKOLOVAA Tryptich of the Notion of Informe in Litera-ture, Art and Architecture

Tutor: Dr Marko Jobst

The aim of this dissertation is to investigate Georges Batailles notion of informe, and to study the way it unfolds and extends influ-ence over the fields of art and architecture.

This essay is also motivated by the desire to reveal the terms revolutionary dimensions. Bataille, Bacon and Tschumi are seen here to be united by the common methodology in their works, which stems from the ques-tioning of past conventions. So, in terms of what could be perceived of it, informe has many functions but is, first of all, an oper-ation of resistance and opposition. Bataille, Bacon and Tschumi are understood to have worked within the realms of the undefined, undecided and unstructured, which allows their literature, art and architecture to be freed from the power structures of conserv-atism and tradition. And perhaps, the very idea of living in the uncertainty of an unde-fined world may be the only way through which creativity in literature, art and archi-tecture can be released. Some of the pieces of work discussed here were borne out of the same preoccupations and obsessions which we saw in Bataille, the creator of in-forme, and the dissertation aims to reveal that the power of informe is still in its very Bataillean definition: a slippery, yet produc-tive tool for revolutionary projections.

[070 > 071 ]

MICHAEL ODONNELLLighting Public Space

Tutor: Dr Corine Delage

This dissertation discusses the key attributes of public lighting installations. Even though it is an essential component of the experi-ence of architecture, urban lighting is still routinely overlooked and considered as an afterthought to design.

The work of artist James Turrell is exam-ined here alongside Frank Lloyd Wrights vision for ideal urban lighting, in particu-lar the way in which Turrell heightens sensory experiences. The work of Olafur Eliasson and Dan Flavin is called upon in support of the notion of civic illumination of a kind that exceeds that of mere utility (J.C.Bell). The River Of Lights project in the city of Valladolid and the Barbican com-plex serve as case studies, in order to ar-gue that a review of the work of Turrell and others ultimately leads to an appreciation of the work of bodies and institutions such as the Congress for New Urbanism and the Luci Charter on Urban Lighting, all of which reinforce the simple proposition that the aesthetic illumination of public spaces is an essential component of urban design but that this needs to be understood in the context of the design of sensory expe-riences. The dissertation concludes with an illuminating interview with Dr Cliff Lau-son, the curator of the Hayward Gallery exhibition Light Show.

TIMOTHY EVANSNano-Technologies and the Future of Architec-tural Design

Tutor: Mark Garcia

With the ever-increasing demand on new building developments, how can emerg-ing nano-technologies such as molecu-lar assemblers, Nano-scale robotics and self-replicating machines allow for an evolving architecture?

Over the last few years, major developments have been made through the bottom up approach to Nano-design in both mechani-cal and organic systems, and it is suggested that future proposals of architecture look into a unison of cellular based assemblers and mechanical constructs. In advanc-ing our understanding of the nano-world, could we develop new possibilities in terms of architectural concepts, design and the construction of buildings?

This essay connects the physics of new possibilities with the world of architecture to combine form and function as we con-verge on the singularity. It investigates the impact of nano-technology in each field of design, exploring the advantages and dis-advantages of a nano-system. Will these new technologies allow our buildings to grow and evolve, as we do automatically, or will it lead to the Grey-Goo principle, devouring the planet as depicted in many science fiction stories?

EVANGELIA ILIOPOULOUDecoding the City with Urban Exploration

Tutor: Nicholas Boyarsky

Go behind locked doors, step over ropes, live the experience. Urban explorers enjoy what the built environment has to offer, disre-garding the constraints of the city. They re-claim the right to an authentic experience. The activity of entering disused or inacces-sible urban areas and their infrastructure is practiced by those whose aims and tactics might differ, but all of whom document their explorations, mainly through photography. They celebrate the beauty of dissolution in a way not unlike that of artists since the 18th century. Akin to the avant-garde ur-ban theorists, to the Dadaists and Surreal-ists, modern explorers redefine the urban environment and develop new modes of art and architecture.

The unique aesthetics of these derelict places is perceived to be outside the realm of history and the charming feature of Ur-ban Exploration is the insight it offers into hidden urban spaces. Yet this is not ruin porn, a fetishisation of dereliction; it is a critical and agentive practice. The explor-er of the abandoned space, the infiltrator, forms new norms and values exploration as a viable, alternative way of decoding and exposing the masked realms of the city, a tactic to produce space and assign new value to that which is perceived to be mundane or abandoned.

[DEGREE THEORY ] [YEAR THREE DISSERTATION ][YEAR THREE DISSERTATION ]

he Diploma in Architecture pro-gramme is for graduates of archi-tecture with ARB/RIBA Part 1 who

DIPLOMA DESIGN CO-ORDINATOR:Mike Aling

DIPLOMA TECHNOLOGY CO-ORDINATOR:Luke Olsen

DIPLOMA THEORY CO-ORDINATOR:Mark Garcia

wish to gain exemption from ARB/RIBA Part 2. Our aim is to combine academic and practice teaching to support the stu-dents. The programme regularly attracts prize winners, and many of our graduates go on to receive awards and prizes for their research work.

Year One Diploma design work is about de-veloping representational and urban tactics that can be applied to a building project through a professionally tutored Design Re-alisation report. The advanced Year Two de-sign work takes the work to a higher practice and academic level. The part-time students develop this thesis design over their final two years. The part-time mode is intended for students working in a supportive architec-tural practice and requires attendance one day and occasionally two days a week over three years. We have had remarkable suc-cess with our part-time students. Students may change from full-time to part-time or vice versa by arrangement with the School.

All students choose a design unit in which to undertake their design work, each group having a different emphasis across the themes of landscape, technology, digital and biological, movement, film, fabrication and culture. Students also have the option of pursuing an MA in Advanced Architectural Design, a 60-credit part-time top-up after graduating from the Diploma programme.

[072 > 073 ]

[ARCHITECTURE ] [DIPLOMA IN ARCHITECTURE ]

UNIT 15 2012 > 13:

MA:

Vimbai Caroline Gwata

YEAR THREE PT:

Fizaa Esmail

Carolyn Garden

Adam Leatherbarrow

YEAR TWO:

Charlie Barnard

Tommy Clarke

Vipin Dhunnoo

Laura Edwards

Madonna Florides

Ross Galtress

Chris Kelly

Constantina Makridou

Kieron Peaty

Neil St John

Panagiota Tzivani

Prince Yemoh

YEAR ONE:

Hafiz Ali

Salima Benjelloul

Alvin Chu

Sofia Kanarelli

Kate Lynham

Nikolajs Maksimenko

Olutomi Owolabi

Seung Jong Park

Malgorzata Starzynska

YEAR ONE PT:

Natasha Clarke

magine that you are on a rock that is ro-tating at 652mph and travelling through space at 67,000mph.

Welcome to Unit 15.

This year Unit 15 developed Time Machines; from the outset students were advised not to simply consider time as something fixed and quantifiable, but as something dynamic, mutable and speculative. Time was approached not as ordinary but extra-ordinary time.

These Time Machines, developed throughout the year, are located in and around the vicin-ity of the London Docklands Light Railway. Students drew, modeled and animated with time to create their spatial and temporal proposals; fantastic architectural proposi-tions that move in and out of time, through and along time.

Unit 15 specialises in using film, animation and motion graphics to generate, devel-op and represent architectural and spatial concepts and interventions.

For further information on Unit 15, and for links to all of the student blogs, please visit: unitfifteen.blogspot.co.uk

Unit 15 would like to thank Waugh Thistle-ton Architects (practice support: Marie Ab-ela, Rachel Cozier, Angela Hopcraft, Alastair Ogle, Kieran Walker, Andrew Waugh and Tom Westwood), along with our guest crit-ics: Aaron Betsky, Jono Gales, Mark Garcia, Jim Hobbs, Chris Lees, Shaun Murray, Kim Quazi, Kibwe Tavares, George Thomson, Lucas Tizard, Neil Spiller and David Watson.

Imagine that this rock is 4.54 million years old, has a mass of 5.9 x 1018 tonnes and is home to 8.7 billion different species.

Imagine that you are located somewhere on that rock within an area of 610 sq miles that is home to 13 million of the rocks most advanced species.

Imagine that your specific location ena-bles you to move freely for over 21 miles at a maximum speed of 50mph and potential-ly brings you into contact with 192,000 of these advanced life forms every day of every month of every year.

Imagine that you are asked to analyse and record that location with respect to move-ment, space, and time.

Imagine that you can slow time down or speed it up, or even stop it completely: that you can travel forwards or backwards in time, or create endless loops of time.

Imagine that you select a specific part of that location and propose an intervention that constitutes a Time Machine.

Imagine that within your Time Machine you have the capacity to construct spatial nar-ratives that inherently communicate your values as a designer.

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[DIPLOMA UNIT 15 ] [TIME MACHINES ] [NIC CLEAR, MIKE ALING & SIMON WITHERS ]

[TIME MACHINES ]

UNIT 16 2012 > 13:

YEAR THREE PT:

Joseph Edwards

Adam McLatchie

YEAR TWO:

Rosa Couloute

Matthew Gaster

Ryan Holland

Carl Pike

Will Tsan

Nick Varey

Alex Winter

YEAR TWO PT:

Adam Bell

Hayley Poynter

Sarah Primarolo

YEAR ONE:

Shaun Corey

Harry Day

Sarah Dubouni

Nick Gibbs

Barbara Kowalska

Alex Nikjoo

Simon Phung

Henry Puryer

Alex Tarr

Laurence York

YEAR ONE PT:

Jamie Alston

James Furzer

he Marble Monuments & Memories of well deserving Men, wherewith the very high wayes [in antiquity] were strewed on

readings and in turn creating New thoughts for the empire, New thoughts for state.

As agents of change we undertook a critical survey of this lost territory, looking below the surface to develop new cartographies and projections in order to develop independent trajectories of thought and enquiry whilst contributing to a collaborative resource for interpretation as the New Common-Wealth.

First year students used their findings to inform and develop an alternative propos-al for the National Gallery extension site as their major building project for the year. This project formed the basis for the Design Real-isation technical and professional study.

Final year students further developed initial critical interpretations at the heart of Empire to act as a catalytic generator to drive the principle thesis project for the year.

Our field study trip this year was to Berlin, where we explored the hidden traces of cold war paranoia and the state-engineered fun of the Spree Park, an abandoned former East German amusement park from the post-war era.

unitsixteen.blogspot.co.uk

Unit 16 would like to thank Hopkins Ar-chitects (practice support: Tom Jenkins and Adam Swain-Fossey), along with all of our guest critics who very kindly donated their time.

each side was not... or onely a gentle deception of Time... But also had a secret and strong In-fluence, even into the advancement of the Mon-archie, by con-tinuall representation of vertu-ous examples; so as in that point Art became a piece of State.

- Henry Wotton, The Elements of Architecture [1624]

Unitsixteen continues to explore the myths of the near future. Returning to the heart of the metropolis, we have interrogated the boundaries between wealth and pow-er at the center of the Common-Wealth, reflecting on both the physical and imma-terial fabric of state. Trafalgar Square has been the focus of our study, previously im-agined as a public space by John Nash, Sir Charles Barry and most recently re-mod-eled by Sir Norman Foster. A complex paradoxical landscape surrounded by the symbols of lost tribes, failed ideologies and faded power.

Restoration was a collective call to challenge and re-imagine the utility and function of the institutions of state, to reject traditions and propose new futures for social change, de-mocracy and protest. Unburdened by rhet-oric, liberated from conventional modes of practice and forgetting any received mean-ing or function, we abandoned the merely ra-tional, re-visited the familiar, unraveled com-plex histories, constructing in their place new

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[DIPLOMA UNIT 16 ] [RESTORATION ] [SIMON HERRON, SUSANNE ISA & JONATHAN HAGOS]

[082 > 083 ]

[RESTORATION ]

UNIT 19 2012 > 13:

YEAR THREE PT:

Derick Ansong-Nimo

Asif Khan

YEAR TWO:

Robin Bennet

Eleana Beruka

Oriana Koumbarou

Dorine Huei-Ping Kuok

William Lamburn

Chandni Modha

Abraham Oppong

Benjamin Strangeways

Niels Wergin-Cheek

YEAR TWO PT:

Rosica Kirkova

YEAR ONE:

James Eagle

Maryam Gomary

Nassos Hadjipapas

Ching Long Ho

Christopher Mccurtin

Konstantinos Mouzakitis

Mervyn Tasker

YEAR ONE PT:

Donna Staples

his year we were interested in how things look. How we represent that look, how we communicate that look

The project revels in the light and darkness of the phases of the moon. Resultant archi-tectural compositions are the sum of the interplay of these dark and light realities. The moon tells a fundamental story of birth, growth, fullness, decay, death and rebirth. Symbolic references of mortality are linked to lunar phases: New Moon, Waxing Cres-cent, the Waning Crescent and the rebirth of the New Moon. These realms are the basis for a theory of Sublunary Architecture and its drawn representations. The drawings illus-trate the architectures extraordinary mate-riality and quality as optical machinery with attendant semiotics and deep connection to the changing angles of the moon over time.

Chris McCurtins work is based on the philo-sophical insights provided by Rene Daumals great, unfinished, surrealist novel Mount Analogue. The novel, architecture and draw-ings are an allegorical tale of an uphill jour-ney to find oneself. The project is conceived as a series of architectural encrustations of myths, psychologies and semiotics. Its ar-chitectural materials are asphalt, bronze, leather, wind, water and entropy.

There is much still to do. By limiting our thoughts, we limit architecture and its ability to respond to the trials and tribulations of an ill-defined and dangerous future. The draw-ing is a magic wand with which to conjure this future. Nothing is impossible.

Unit 19 would like to thank Arup Associates (practice support: Kim Quazi), and Aaron Betsky.

and how we build that look. We are interest-ed in the art of architectural drawings. We are particularly interested in how the virtual and biotechnological world will impinge on the architectural drawing in the twenty first century. We look at architecture as function-al yet semiotically readable experiences. Our work is not mute but mutable, surfing cybor-gian geographies and cartographies. Our ar-chitectures are themselves yet dovetail into their sites with the seamlessness and lack of friction of a watch part contributing to ambi-ent conversations and symbolic echoes.

Students who undertook Design Realisation this year designed a new home for the RIBA/V&A Architectural Drawings collection at the crescendo of Nashs plan for Regents Street, Portland Place in Regents Crescent. Final year students were free to fly in all manner of strange terrains as they explored their own preoccupations, fetishes and delectations. The year has produced some extremely im-portant work in the twenty year history of Unit 19. We pick out two students in particular that have really pushed the envelope, although many others have far exceeded expecta-tions and produced some exquisite work.

William Lamburns work explores the con-struction of a sublunary architecture, an architecture of the night, of wax and wane, death and rebirth on a near monthly cycle, engagingly titled A Piece For Assorted Lunatics.

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[DIPLOMA UNIT 19 ] [A HOMAGE TO THE GOLDEN AGE OF APPEARANCES] [PROFESSOR NEIL SPILLER, PHIL WATSON, ELIZABETH

ANNE WILLIAMS & DR RACHEL ARMSTRONG ]

[A HOMAGE TO THE GOLDEN AGE OF APPEARANCES]

[A HOMAGE TO THE GOLDEN AGE OF APPEARANCES]

[090 > 091 ]

LUKE OLSEN

Diploma Technology

Co-ordinator

June 2013

esign is a funny word. Some people think design means how it looks. But of course, if you dig deeper, its really how

As is the reality of the design process, each student gains the opportunity to work with their own design team. The specific inves-tigation and development of research of the DR report is determined by the unique design scheme.

The coherent understanding, management and design of materials, energy, environ-ment, construction, economy, urban and social systems have far reaching conse-quences for which architects are to assume responsibility. DR acts as a bridge for stu-dents arriving from a year or more working in professional practice to venture deeper into the experimental and creative thinking undertaken in Diploma.

The DR lecture series runs over the first two semesters. Lectures are given by world re-nowned architects and engineers who have recently completed highly imaginative build-ings. Please refer to the Open Technology lecture posters on pages 103 > 107 for the full list of speakers. Lectures are open to all students and run in tandem with the Year Three Technology lecture series.

We would like to sincerely thank the 2012 > 13 DR Lecturers: Tim Lucas, William Mat-thews, Paul Monaghan, Chris Neighbour, Ho-Yin Ng, Hareth Pochee and Enric Ruiz-Ge-li; our Practice support from Hopkins Archi-tects, Waugh Thistleton Architects and Arup Associates, and the engineers from Arup, Max Fordham and Price & Myers for their erudite, urbane and enlightening influence.

it works. The design of the Mac wasnt about what it looked like, although that was part of it. Primarily, it was how it worked. To design something really well, you have to get it.

- Steve Jobs, Wired, Feb 1996

Design Realisation [DR] allows Year One Diploma in Architecture students to thor-oughly describe innovative building propos-als. DR asks students to develop an original architectural idea in a site context and to then follow it through to its (sometimes il)logical conclusions. DR asks students to consid-er their projects from a broad perspective, to speculate on the detailed questions and to validate answers of significantly selected lines of inquiry.

DR calls for a passionate commitment to un-derstanding, the ability to identify key tech-nical issues, navigation through complexity, leading a design team, managing risk, em-bracing diversity, accepting reality, deter-mining iteratively and resolving advanced building proposals.

DR is taught through lectures, seminars, crits and tutorials. Students are asked to writea report about their major building project in Year one of Diploma. DR is taught through the Design Units with the support of leading professional practices, structural engineers, service engineers and specialist consultants assigned directly to each student.

[092 > 093 ]

[LUKE OLSEN ][DIPLOMA TECHNOLOGY ][DESIGN REALISATION ] [DESIGN REALISATION ]

[PRACTICE SUPPORT / OPEN TECHNOLOGY LECTURES]

[OPEN TECHNOLOGY LECTURES 2012 > 13 ]

MARK GARCIA

Diploma Theory

Co-ordinator

June 2013

THESIS TUTORS:

Mike Aling

Dr Rachel Armstrong

Nic Clear

Mark Garcia

Jonathan Hagos

Simon Herron

Susanne Isa

Luke Olsen

Professor Neil Spiller

Phil Watson

Elizabeth Anne Williams

Simon Withers

iploma Histories/Theories/Futures con-sists of two taught courses on the cen-tral philosophies and theories of archi-

The courses explore a holistic range of innova-tive and state-of-the-art positions and projects spanning the fundamental concepts and para-digms of knowledge, methods and methodolo-gies as well as more forensic case-studies, prac-tices and designers. Students interpret and test a variety of significant, radical and avant-garde histories, theories and futures and are required to anticipate, predict and pre-empt other pos-sible spatial ideas, designs and conditions. In the first-term Diploma Year One course, students complete two written assignments, a critical analysis reviewing the beginning-of-year Conference and a longer Essay based on the research within their Design Units. For students in their final year, the Thesis focuses on Tech-nology, Theory or a mix of both. The written component of the Thesis comprises a Research Methods and Methodology Statement and a 6000-8000 word text (supplemented with a va-riety of multimedia artefacts) based on an in-dividually chosen research project. Developed with a specialist Thesis Tutor and supported by a team of Unit tutors and Technical and/or His-tory and Theory Co-ordinators, students devel-op their thesis in synergy with their final Major Design project. The more evidence-based Tech-nical Thesis can take a number of forms e.g. pro-gramming and scripting; interactive media; in-stallations and other types of experimental and self-reflective inquiry. In all Thesis options stu-dents learn to interrogate, apply and verify their own and others histories, theories and futures and to imaginatively and creatively critique and evolve their work as personally, professionally, socially empowering and ameliorative research.

tecture. Topics address the historical and con-temporary concepts and contexts of the critical media, processes, structures, organizations, products and questions of spatial design to pro-vide students with advanced skills and knowl-edge of key architectural texts and discourses.Teaching and learning activities range from Diploma-wide weekly lectures and Design Unit-based workshops, reading groups and semi-nars to student-led presentations and individu-al written assignments. The courses begin with a Conference introducing students to current controversies and debates across architectur-al theory, design and technology. The weekly Histories/Theories/Futures lecture series is delivered by academic faculty from the School of Architecture, Design and Construction and is supplemented by guest-lecturers from interna-tional academia, professional practice, publish-ing, media and the arts. The Design Units also run a parallel program of weekly seminars and tutorials that explore the readings, precedents and critical approaches of their specific agendas. The courses integrate mainstream and interna-tional histories and theories of architecture and space with a mix of alternative, speculative, pro-spective and emerging criticism. Whilst a focus on interior, architectural, urban, landscape and other spatial design disciplines forms the core of this program, this is augmented with ideas from the sciences and technology, cultural and visual studies, digital and interaction design, fine art, humanities, critical theory and social sciences.

[100 > 101 ]

[MARK GARCIA ][DIPLOMA THEORY ] [HISTORIES/THEORIES/FUTURES ][HISTORIES/THEORIES/FUTURES ]

UNIT 15:

Charlie Barnard, I Shop Therefore I am: Alternative Choices to Hyper-Consumerism

Tommy Clarke, Nanotechnology to Na-noarchitecture

Vipin Dhunnoo, Future Game Space

Laura Edwards, Irrational Architecture

Fizza Esmail, - Bank - Beckton - A Jour-ney Through the Subjective Experience within the Third Space Capsule

Madonna Florides, Down the Rabbit Hole in Bullet Time: A Spatial Analysis of The Matrix

Ross Galtress, Interface Architec-tures: Spatial Narratives in Augmented Realities

Carolyn Garden, Indexing the Cine-matic City: Kino-Collage Techniques in the Urban Environments of Digital Cinema

Chris Kelly, Time and Relative Di-mensions in Space [TARDIS]: The Possibilities of Utilising Virtu-al[ly Impossible] Environments in Architecture

Adam Leatherbarrow, Are We Archi-tecture?

Constantina Makridou, Nicosia: The Dead Zone

Kieron Peaty, Memoirs of a 21st Cen-tury Cyborg

Neil St John, The Augmented Carnival: Geo-Locatable Augmented Reality, the Body and Time

Prince Yemoh, After Earth: A Technical and Illustrative Guide on How to Build an Orbital Space Settlement with Tech-nologies at the forefront of Scientific Research

UNIT 16:

Rosa Couloute, How Do Women of Postcolonial Nations Recolonise Their New Spaces?

Joseph Edwards, Digital Wilderness Green Paper: Tangible-Data-Access, Through a New Government Architecture

Matt Gaster, Fire and Architecture

Ryan Holland, The Expo: An Opportu-nity Missed

Adam McLatchie, CC: The Values of Archi-tecture in the Age of Digital Reproduction

Carl Pike, Pervasive Advertising and Robotics in the Public Realm

Will Tsan, 3D Printing: Augmenting the Design Paradigm

Nick Varey, Adapted Approaches to Fu-nerary Architecture in Western Europe

Alex Winter, Architectural and Digital Spaces of Government 2.0

[THESIS ][DIPLOMA THEORY / TECH][THESIS TITLES 2012 > 13 ]

UNIT 19:

Derick Ansong-Nimo, The Architect And The Rioter In the Manner of Leb-beus Woods

Eleana Beruka, Setting the Ground for a Restless Terrain: Geomorphic Condi-tions in Architectural Design

Asif Khan, The Third Principle: A Cri-tique of Lebbeus Woods

Oriana Koumbarou, The Sense of Poet-ry and Time in the Creation of a Potent Architecture in the 21st Century

Doreen Kuok, The New Romantics

Will Lamburn, Sublunary Architecture

Chandni Modha, Jane Bennetts Vi-brant Matter as a Contemporary Tech-nology in the Production of Architecture in the 21st Century

Niels Wergin-Cheek, The Future of the Past: 20th and 21st Century Monuments

[104 > 105 ]

CHRIS KELLY, Unit 15Time and Relative Dimensions in Space [TARDIS]: The Possibilities of Utilising Virtual[ly Impossible] Environments in Architecture

Tutors: Mike Aling, Luke Olsen

Our understanding of space is not a direct function of the sensory input received from our sense organs but a perceptual undertak-ing in the brain where we are constantly mak-ing subconscious judgements that accept or reject possibilities supplied to us from our sensory receptors. This process can lead to illusions or manipulations of space that the brain perceives to be reality. Much of the re-cent research in this field utilises virtual re-ality (VR) immersive environments to create spaces that would be impossible in the phys-ical world. Neuroscientists and psychologists are using these spaces to conduct further research into how far our perception can differ from the measured reality of our sens-es. This ability to manipulate the illusion and perception of presence and space within an environment provides interesting opportu-nities in the field of architecture. This thesis brings together current and past research in the fields of neuroscience, psychology, physiology and philosophy. It examines the current and developing technology for the creation of immersive virtual environments (VEs) and their subsequent overlapping with the physical world, and applies these find-ings to an architectural context, speculating on the possible opportunities for a virtually-augmented built environment.

ROSA COULOUTE, Unit 16How Do Women of Postcolonial Nations Recol-onise Their New Spaces?

Tutors: Mark Garcia, Jonathan Hagos

Despite Western Architectures belief that it continues to challenge the environments that we inhabit, the topic of female post-colonial spatial design has remained un-der-researched. These spaces are at best trivialised as internal domestic habitats, or at worse, ignored as having little relevance in postmodern times. By applying postcolonial feminist theory alongside fine-art, and archi-tectural discourses around postcolonial aes-thetics, this study seeks to investigate how women of postcolonial nations re-colonise their spaces.

This thesis applies three distinct research methods; the analysis of a range of theo-retical texts through practitioner-research-er-grounded theory methods, the use of semi-structured interviews where my Grand-mothers Best Room becomes the primary site and focus of research, and detailed case studies of design precedents from around the world.

The results appear to suggest that existing postcolonial feminist spaces emanate from the most unlikely of places, and contain a rich source of design that is vehemently de-fiant. This thesis is an attempt to bring such a discourse to the attention of current archi-tectural ideology and praxis.

CHANDNI MODHA, Unit 19Jane Bennetts Vibrant Matter as a Contempo-rary Technology in the Production of Architec-ture in the 21st Century

Tutors: Dr Rachel Armstrong, Phil Watson, Eliz-abeth Anne Williams

Vibrant matter is a philosophy explored by political scientist Jane Bennett that seeks to empower non-human bodies. Bennett rec-ognises the qualities possessed by agency that emerge in an assemblage of human and non-human bodies to suggest three key prin-ciples: slowness, porosity and strange attrac-tion (Jane Bennett, 2011). This underpins an ecological agenda and provokes new ideas for addressing sustainability. Vibrancy harnesses properties of living systems and is viewed not only as a philosophy but also investigated in a context where its principles can be realised as a material or technological practice for archi-tectural experiences. These qualities are test-ed in practices such as Biodesign, where eco-logical principles are worked with on a human scale. These practices engage lifelike chemis-tries, multi-cellular organisms and biological structures as model systems for design. While aspects of biology appear in the projects and are inherently vibrant, the interest here is with matter that is not technically alive. Biological matter itself has many disadvantages in an urban context, for example it possesses of a mind or will of its own and is not yet a devel-oped design practice, and the rate of growth must be taken into consideration, along with its need to be gardened and nurtured. Dy-namic chemistries are explored as they are able to work with an ecology of agents, which reside in a new form of computing where matter and information are entangled. This can be used to cultivate life-like materials, for example the synthetic soil structures of Phillip Beesleys Hylozoic Ground, where ecologies of organic and inorganic matter work together. The thesis creates a system that considers a spectrum of scales from micro, including both architectural and landscape practic-es, to develop a radical material complexity that speculates on future architectures. De-sign principles can be extracted from Vibrant Matter to propose bespoke architectures that embrace ecological approaches, result-ing in the production of synthetic ecologies.

NIELS WERGIN-CHEEK, Unit 19The Future of the Past: 20th and 21st Century Monuments

Tutor: Mark Garcia

This thesis investigates monuments since 1900 and speculates about their futures. In the first half of the 20th century, there was strong criticism of the practice of monumentbuilding. More recently there has been a re-vival, a veritable boom of monuments and memorials. In opposition to traditional mon-uments, most recent examples are not cele-bratory in character but memorialise events such as genocides or the casualties of war.Monuments are an interesting topic of study in contemporary spatial design be-cause they are repositories of civic and/or national memory (Benton-Sort, 2008) and as such they form a link between the past and the future (Lger et al. 1943). They are interesting from both a socio-political and an architectural point of view as indicators of political hegemony (what gets memorial-ised?), and can be a test bed for new trends in architecture and design (how is the monu-mentalised represented and realised?).

This thesis focuses on Holocaust memorials, a relatively new type of monument, different from most traditional monuments because they are not celebratory in nature. This is in-teresting, as admonishing designs tend to be very different from celebratory designs and they question the notion of monumentality itself. Through a diagrammatic taxonomy and classification of monuments (based on eleven charac-teristics) the thesis analyses the evolu-tion of the monument. These characteristics are divided into two groups three relating to the genesis of monuments (how they are conceived), and eight related to the design of monuments. Based on this, 34 categories of modern monument are proposed. The thesis concludes with a discussion on the nature of future monuments, taking into account new technologies such as 3D-printing and new ma-terials such as biosynthetics. It speculates on possible changes in the monumentalised and examines five possible drivers for the design of future monuments: new topics, new materials, new technologies, new locations, and new ap-proaches to memorialisation through design.

[DIPLOMA THEORY / TECH] [THESIS ][THESIS ]

[106 > 107 ]

CARL PIKE, Unit 16Pervasive Advertising and Robotics in the Public Realm

Tutors: Mark Garcia, Jonathan Hagos

At present, advertising fights for our atten-tion across the urban street-scape. 5.1% of all advertising consumed in the UK is out-door (Internet Advertising Bureau, 2009). Unlike advertising on the internet, this is mostly passive and can be ignored, just as we can choose not to notice a billboard ad-vertising perfume.

In the very near future, accepting progress in the fields of robotics and computing, these adverts are likely to come to life and poten-tially interrupt our own. Through the use of facial recognition and social media, the ad