Design Yearbook 2021
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<strong>2021</strong><br />
School of Architecture, Planning and Landscape<br />
Newcastle University
Contents<br />
Welcome<br />
BA (Hons) Architecture<br />
Stage 1<br />
Stage 2<br />
Stage 3<br />
BA (Hons) Architecture & Urban Planning (AUP)<br />
Stage 1<br />
Stage 2<br />
Stage 3<br />
Master of Architecture<br />
Stage 5<br />
Stage 6<br />
Research in Architecture<br />
BA Dissertation<br />
AUP Dissertation<br />
MArch Dissertation<br />
Linked Research<br />
Taught Masters Programmes<br />
PhD / PhD by Creative Practice<br />
Architecture Research Collaborative<br />
3<br />
5<br />
52<br />
68<br />
134<br />
Contributors<br />
Sponsors<br />
Student Initiative<br />
NUAS / Signal<br />
Black Initiative<br />
NCAN<br />
180<br />
181<br />
182
Welcome<br />
Juliet Odgers – Director of Architecture<br />
I took this photograph on the second day of teaching this academic<br />
year, Tuesday 20th October 2020. After much anxious deliberation and<br />
strenuous shifting of furniture, the studio is prepared to receive students to<br />
their Covid-safe, socially distanced allocated space – complete with shelves<br />
for models, two-metre distanced desks, sanitation stations equipped with<br />
paper towels and disinfectant, and notices (‘don’t sit here’, ‘wash your<br />
hands’, ‘up only’, ‘wear a mask’). Eight months later, the usual maelstrom<br />
of modelling detritus and abandoned remnants of later night snacking<br />
that usually enliven the building at this time of year is entirely missing.<br />
Indeed, the image of studio is not much altered. I never thought I would<br />
miss abandoned sandwich wrappings. Though we have been able to return<br />
to studio to an extent, even providing 7 day a week access in these last few<br />
weeks, there has been no continuity and, consequently, no ‘nesting’ this<br />
year. And yet, now that the work is in, it is clear that it is just as inspiring,<br />
engaged and accomplished as in more ‘usual’ years. This is a testament to<br />
how well everyone has confronted the challenges of lockdown and how<br />
much we have achieved, both in academic and personal terms.<br />
There have been some good developments this year alongside the onerous<br />
challenges. We have welcomed our first two students on the Building<br />
Futures bursary (supported by the Blueprint for All charity, formerly<br />
known as the Stephen Lawrence Trust) . We have also opened the door<br />
to our first cohort of students enrolled on the new accredited Master of<br />
Landscape Architecture degree. The refurbishment of the Henry Daysh<br />
building has progressed to the point where we can move back in and<br />
construction work on the Farrell Centre is due to start in a few weeks.<br />
The experimental house, the OME, built by our Hub for Biotechnology<br />
in the Built Environment is in the final stages of snagging and will shortly<br />
be ready to receive experimenters and experiments in highly innovative<br />
biologically-underpinned building technologies. There is much to be<br />
proud of and to look forward to.<br />
We decided that we would mount both a digital and physical exhibition<br />
this year. How could we neglect the digital, given that many of our<br />
students have perforce worked at a great distance from Newcastle,<br />
connected only by the umbilicus of Zoom and Canvas, and how could<br />
we resist the temptation of a physical show, given that government<br />
restrictions appear to be easing quite considerably? I hope that you enjoy<br />
both. You will find work from our RIBA/ARB accredited degrees at BA<br />
and MArch; and the Architecture and Urban Planning undergraduate<br />
course. At graduate level, there is work from our landscape programmes;<br />
the MSc in Advanced Architectural <strong>Design</strong> and more. Enjoy the imagery<br />
and, please, visit our exhibitions.<br />
In conclusion, I feel some thanks are due. My first thanks goes to our<br />
students. As we know, for the most part younger people who contract<br />
COVID-19 emerge relatively unscathed, and yet they have been called on,<br />
time and again, to exercise restraint, stay at home, forego a normal social<br />
life, and make the most of a distanced university experience. In doing so,<br />
they have sacrificed a lot for the wellbeing of older generations, many of<br />
whom sit squarely in ‘vulnerable’ or ‘highly vulnerable’ groups. We have<br />
noticed and we are grateful. As for the academic staff, I know what you<br />
have put into teaching this year - overhauling the presentation of the entire<br />
curriculum with great ingenuity and adaptability at almost no notice,<br />
and doing so after scarcely any summer break; coping with yet another<br />
hour of Zoom teaching whilst your children run amok in the next door<br />
room rather than settling down to their home-school tasks; and, like the<br />
students, surviving social isolation, sometimes at great physical distances<br />
from family and friends. My thanks to you too. Last, and certainly not<br />
least, my thanks to the Professional Services staff, those who keep the<br />
whole ship afloat with their tireless attention to the administration of the<br />
School, those who support our students in pastoral matters, those who<br />
run the workshop and the website – where would we be without you?<br />
Sunk! That is where we would be. No one could say that this year has been<br />
easy and yet look at the success that, together, we have made of it.<br />
3
BA (Hons) Architecture<br />
Samuel Austin – Degree Programme Director<br />
What a year it has been! The pandemic has disrupted so much of what we would usually<br />
see as essential to our BA architecture degree at Newcastle. New students have joined<br />
the course without experiencing the bustle, creative clutter and shared endeavour of<br />
studio life. Access to our workshop and highly skilled technicians, so crucial to the<br />
School’s energetic culture of making, has been much more limited. Final year students<br />
who would typically travel all over Europe on studio trips have had to find inspiration<br />
in other ways. Instead of being immersed in the diverse, unfamiliar contexts of projects,<br />
we have come to know our own living-working spaces all too well.<br />
In the face of these challenges, our students have shown incredible ingenuity and<br />
adaptability. Our RIBA Part I accredited programme aims to support students<br />
to develop their own interests and approaches to architecture; that self-directed<br />
resourcefulness has proved invaluable in every aspect of work this year. Tables have been<br />
transformed into DIY drawing boards; those isolating without access to materials have<br />
achieved incredible effects drawing with coffee and modelling with soap and spaghetti.<br />
The collaborative character of the course has endured through Zoom studios and Miro<br />
boards, uniting distant time zones across often unreliable connections. Students in<br />
Newcastle have pooled their first-hand analysis of sites, as those studying remotely have<br />
shared their research. Deprived of access to archives and often unable to visit key sites,<br />
dissertation students have managed to track down a wealth of authoritative resources<br />
online, or pursue the same themes closer to home, culminating in an exceptional body<br />
of work.<br />
Our amazing team of tutors have similarly found new opportunities in pandemic<br />
constraints as they’ve been called on to rethink teaching methods at speed. Elaborate<br />
rigs of screens, webcams and tablets enabled distanced sharing of ideas through<br />
drawing. Remote working has inspired us to take a closer look at spaces nearby. Stage 1<br />
students used their own Zoom room to explore varied recording and representational<br />
techniques, while Stage 2 projects have worked with overlooked communities and<br />
ecologies around Newcastle. History modules have embraced the chance to diversify<br />
the curriculum, inviting students to research and interpret buildings and places close<br />
to them, while theory lectures have escaped campus to explore how issues play out in<br />
the city itself.<br />
The pandemic has brought new focus to our efforts to adapt the course to address the<br />
growing environmental, social and political challenges of our time. Our research-led<br />
studios in Stage 3 continue to engage with complex and urgent issues in architecture and<br />
society, including dementia care, redevelopment of high-rise housing and community<br />
regeneration, with the climate crisis an overriding concern. More than ever our students<br />
have been eager to take a strong ethical position, to set out their view on what should<br />
be built, for whom, and with what priorities. This year’s graduates have had to contend<br />
with innumerable personal difficulties, as the pandemic has impacted each of us, our<br />
families and communities differently. As we celebrate their incredible achievements<br />
against the odds and reflect on new digital skills gained, we are also reminded of the<br />
importance of working together in buildings and spaces, and of making and testing<br />
out ideas by hand.<br />
5
Stage 1<br />
From the outset, Stage 1 Architecture students are taught to observe, record, respond to, and represent, a wide variety<br />
of contexts and conditions ranging from small hand-held objects through to city mappings and wide-open sea vistas.<br />
Rather than simply teaching theory, the emphasis throughout is on experiencing and communicating architecture in a<br />
personal and meaningful way. As well as introducing constructional, environmental and structural design principles, the<br />
Technology modules provide an insight into how different architects engage with the making and crafting of architecture.<br />
Likewise, the Introduction to Architecture module introduces history and theory but also invites students to tell their own<br />
story by planning a personal architectural history walk. The Architectural Representation modules teach a wide spectrum<br />
of analogue and digital skills including measuring, drawing, modelling and photography, with a focus on the appropriate<br />
use and application of these in different design project contexts. The Architectural <strong>Design</strong> module builds in complexity<br />
through the year, commencing with small modelled explorations of architectural languages that lead quite naturally to a<br />
first ‘proper’ design project - the creation of a small single-room space for a human proponent centred on a daily routine<br />
or ritual such as bee-keeping, coffee-making or music rehearsal. This then leads to a rather more complex and longer<br />
Semester 2 project to design a small outward-bound activity centre located on a sloping coastal edge site and providing<br />
opportunities for both prospect and refuge. In addition to preparing them for the remainder of the degree programme, we<br />
hope the year encourages students to be outward looking and questioning - more aware of their own surroundings, and<br />
those of others, but also better equipped to start imagining opportunities for appropriately engaging with them.<br />
Year Coordinators<br />
Kati Blom<br />
Simon Hacker<br />
Students<br />
Abdulaziz Alabdulwahed<br />
Adam Cameron Rush<br />
Ahmed Kooheji<br />
Alice Gascoigne<br />
Allan Shibu<br />
Amber Grace Hastings<br />
Amy Bradley<br />
Anastasia Edmunds<br />
Andrew Watson<br />
Angus Robinson<br />
Anne - Joke Andrea Dijkstra<br />
Anushka Bellur<br />
Anya Siddiqui<br />
Anzhela Sineva<br />
Araminta Mills<br />
Arina Khokhlova<br />
Aung Swan Htet<br />
Benjamin Edward Staveley Parker<br />
Bibiana Mireya Shea<br />
Callum Hinton<br />
Cameron Chun Ho Lai<br />
Campbell Carmichael<br />
Caspar Constantin Barker<br />
Cavan Smith<br />
Charlotte Bezant<br />
Chee Kit Wong<br />
Chen Xu<br />
Chi Tung Hui<br />
Chun Him Wu<br />
Connaire Moorcroft<br />
Courtney Thompson<br />
Crystal Grimshaw<br />
Dahna Castrignano<br />
Daniel Doherty<br />
Daniel-Iulian Branciog<br />
Darcey Louise Naylor<br />
Diana Vedmedovska<br />
Eirini Tsiakka<br />
Eleanor Heisler<br />
Eleanor Louise Delaney<br />
Elizabeth Jane Esau<br />
Ella-Jade Chudleigh-Lyle<br />
Emily Priestley<br />
Erick Ivan Verduzco Valdes<br />
Ethan Seow Ping Chew<br />
Euan Francis Ellis<br />
Eva-Maria Radoslavova Dudolenska<br />
Gabriel Hodgkins-Webb<br />
Gabriel Moore<br />
George Bong<br />
Georgia Scobell<br />
Grace Imogen Haigh<br />
Grian Summers<br />
Guy Michael Waddilove<br />
Hanna Oxana Choi<br />
Hannah Innes<br />
Harrison Michael Wade<br />
Harvey Baines<br />
Hector Emery<br />
Helena Zofia Bolek<br />
Henry Barlow<br />
Hiu Sum Leung<br />
Hon Lam Yip<br />
Hooman Valizadeh<br />
Ioana Manoli<br />
Irel Dzhan Kirazla<br />
Isaac Samal Smith Yahya<br />
Isabelle Waha<br />
Jasmin Mary Yeung<br />
Jasper Luca Weening<br />
Jiarui Shi<br />
Joseph Kit Rowlinson<br />
Josie Hackney-Barber<br />
Ka Hei Leung<br />
Kar-Yan Phan<br />
Kayvee Abdullah<br />
Kin Kei Karina Hung<br />
Laiba Javed<br />
Lara Sinclair-Banks<br />
Leon Henry<br />
Leticia Rohl Rodrigues<br />
Lewis Adam Evans<br />
Liam Sephton<br />
Libby Madeleine Metherell<br />
Louis Gardener<br />
Lucy Hutson<br />
Luke Rae<br />
Maria Lisnic<br />
Maria Savva<br />
Maria-Dionysia Axioti<br />
Martin Chavez<br />
Maryam Saleh Salem Yosuf Hanashi<br />
Melissa Meizi Streuber<br />
Mian Muhammad Arham<br />
Min Kiat Shannon Tan<br />
Misela Benina<br />
Molly Gregory<br />
Muhammad Irsyad Ridho<br />
My Emma Olsen Sivertsen<br />
Nathan David Metcalfe<br />
Navandeep Chahal<br />
Nicole Judith Miriamele Pfeifer<br />
Nok Ting Sarina Wong<br />
Nontanit Panyarachun<br />
Odaro Jamali Omonuwa<br />
Oliver Clemetson<br />
Oliver James Walsh<br />
On Yi Lee<br />
Oruaroghene Aruoriwo Okeoghene<br />
Obi-Egbedi<br />
Owen Mark Browning<br />
Phoebe Lucia Barnes-Clay<br />
Phoo Myat Nay Chi Lwin<br />
Poppy Beardsell<br />
Rahul Zane Patcha<br />
Rhiannon Chloe Williams<br />
Rohan Smith<br />
Ruixue Wu<br />
Said Salim Saif Salim Al Kalbani<br />
Samuel Millard<br />
Samuel Read<br />
Samuel James Rainford<br />
Sangmin Lee<br />
Shivani Patel<br />
Shuntaro Moriyama<br />
Sinead Mary Holdsworth<br />
Sophie Katrina Newbery<br />
Stephen Teale<br />
Sumaiya Aziz<br />
Supparat Surachit<br />
Sze Lok Justina Leung<br />
Tamar Sarkissian<br />
Thomas William Babington Boulton<br />
Tianhao Zhou<br />
Toby David Snoswell<br />
Tomi Gidzhenov<br />
Tsz Ying Hui<br />
Ursula Blyth Morter<br />
William Tate<br />
Wing Tung Cheng<br />
Yee Ching Tang<br />
Yee Man Pang<br />
Yina Gu<br />
Youjing Liu<br />
Yu-Chieh Kuo<br />
Yuxuan Chen<br />
Zaki McGarragle<br />
Contributors<br />
Adam Fryett<br />
Adam Sharr<br />
Alex Blanchard<br />
Andrew Ballantyne<br />
Anna Cumberland<br />
Armelle Tardiveau<br />
Assia Stefanova<br />
Becky Wise<br />
Brandon Few<br />
Carlos Calderon<br />
Cassie Burgess<br />
Chloe Gill<br />
Damien Wootten<br />
Daniel Mallo<br />
David McKenna<br />
Ed Wainwright<br />
Ewan Thompson<br />
Henna Asikainen<br />
Jake Williams-Deoraj<br />
James Harrington<br />
James Morton<br />
James Street<br />
Jay Hallsworth<br />
Jianfei Zhu<br />
John Kinsley<br />
Juliet Odgers<br />
Karl Mok<br />
Katie Lloyd-Thomas<br />
Marina Kemp<br />
Michael Chapman<br />
Nathaniel Coleman<br />
Neil Burford<br />
Neveen Hamza<br />
Nick Clark<br />
Noor Jan-Mohamed<br />
Olga Gogoleva<br />
Peter Kellett<br />
Peter St Julien<br />
Prue Chiles<br />
Ruth Sidey<br />
Samuel Austin<br />
Sana Al-Naimi<br />
Sneha Solanki<br />
Sonali Dhanpal<br />
Sophie Cobley<br />
Tara Alisandratos<br />
Taz Naseer<br />
Tom Parrish<br />
Tracey Tofield<br />
William Knight<br />
Zeynep Kezer<br />
6 Text by Simon Hacker Opposite - Ioana Manoli
Semester 1<br />
ARC1001: Architectural <strong>Design</strong> - Projects 1.1 and 1.2<br />
Project 1.1 introduces students to architectural design by first asking them to compose using each of three spatial languages - open frame,<br />
planar and volumetric. The application of these to a common shape or form encourages consideration of the limitations and potentials<br />
afforded by these distinctly different spatial paradigms. Lock-down resulted in some highly creative exploration using house-hold materials,<br />
such as the volumetric soap model - shown below. Project 1.2 sites the students on an imagined plot in a fictional location. They create<br />
a small structure to house or amplify a specific daily ritual and are invited to consider how the evocative nature of their new intervention<br />
affords, offers, invites and unconsciously provokes a variety of actions, reactions and interactions.<br />
8 Top Left - Tsz Ying Hui , Anne Dijkstra Middle to Right - Harrison Wade, Lara Sinclair-Banks Bottom - Ioana Manoli, Tamar Sarkissian
Semester 1<br />
ARC1017: Architectural Representation 1 - ‘Zoom Room’ Elevations & ‘Street View’ City Drawings<br />
Top - Leticia Rohl Rodrigues, Anne Dijkstra Middle - Melissa Streuber Bottom - Melissa Streuber<br />
9
Semester 2<br />
ARC1001: Architectural <strong>Design</strong> - Project 1.3 ‘Prospect and Refuge’<br />
Prospect-refuge theory was first postulated by the British geographer Jay Appleton, an alumnus of Kings College, Durham – now Newcastle<br />
University. It sets out to explain why we are often attracted to places that afford us a wide and sweeping view without wanting to be un duly<br />
‘on show’ ourselves. At the outset of the project, students are invited to represent a childhood memory that evokes these twin phenomena<br />
(top, below) before exploring how they might apply these conditions to the design of a small outward-bound activity-focused provision,<br />
located on a coastal-edge site, with expansive views over the North Sea.<br />
10<br />
Top - Anne Dijkstra, Sinead Holdsworth Middle - Nicole Pfeifer, Maria Lisnic Bottom - Yee Man Pang
Semester 2<br />
ARC1014: Architectural Technology 1.2 - Coursework precedent models<br />
These large-scale explorations - often assembled without glue - allow students to engage with materials, to encounter the relationship<br />
between space and structure, as well as encouraging the exploration of experiential qualities including air-movement and light.<br />
Top Left - Ioana Manoli Middle Left to Right - Thomas Boulton, Gabriel Hodgkins-Webb Bottom - Chloe Leung<br />
11
Stage 2<br />
Falling between the first and final year of the BA programme, Stage 2 is a year of transition for many of our students.<br />
Building on the learning and skills acquired in Stage 1, the structure of the year provides a firm footing for each student to<br />
experiment, explore, and realise a range of socially, ecologically, and critically engaged design propositions.<br />
The projects presented on the following pages describe the outcomes from two semester long design projects. Each project<br />
expands students’ knowledge of architectural design, encouraging thoughtful inquiry and dialogic learning to aid the<br />
development of a meaningful design process that reflects the personal interests, ethics, and values of our diverse cohort.<br />
Year Coordinators<br />
Jack Mutton<br />
Kieran Connolly<br />
Rosie Parnell<br />
Toby Blackman<br />
Project Tutors<br />
Anna Czigler<br />
Christos Kakalis<br />
Dan Sprawson<br />
Daniel Mallo<br />
Gillian Peskett<br />
Harriet Sutcliffe<br />
Hazel Cowie<br />
Jack Scaffardi<br />
John Kinsley<br />
Luke Rigg<br />
Oliver Chapman<br />
Rumen Dimov<br />
Sebastian Aedo-Jury<br />
Stella Mygdali<br />
Stuart Hatcher<br />
Project Contributors<br />
Catherine Bertola<br />
Dwellbeing<br />
Emily Speed<br />
Joe Shaw<br />
Julia Heslop<br />
Leah Millar<br />
Paul Merrick<br />
Rosie Morris<br />
Tess Denman-Cleaver<br />
Students<br />
Adam Bashir Ramadan Hawisa<br />
Adam Michael Schell<br />
Adel Wahab<br />
Afiqah Binti Sulaiman<br />
Afopefoluwa Oluwatamilore Carew<br />
Aijia Zhang<br />
Ailish Niamh Burger<br />
Alma Eliza Shiamtani<br />
Alyssia Constance Thompson<br />
Amy Louise Baynes<br />
Anastasia Dombrovskaia<br />
Anastasiia Tymkiv<br />
Anastassiya Galkina<br />
Aris Skenderis<br />
Auguste Baranauskaite<br />
Augustinas Zaromskis<br />
Ayesha Lyn Miraflores Isahac<br />
Bertha-Maria Paun<br />
Bethany Sprigg<br />
Cameron Dryden Straughan<br />
Cameron Reiss Clark<br />
Chaehyun Cho<br />
Charlotte Louise Brooks<br />
Chenghao Xu<br />
Cheuk Tin Constantine Kwan<br />
Chi Wun Rex Cheng<br />
Conan Michael Quigley<br />
Dana Sikman<br />
Daniel Hodgson<br />
Daniel Maarten Bird<br />
Djiesica Carennia<br />
Dominique Romero<br />
Dylan Charles Young<br />
Elena Isabelle Crockett<br />
Eliza Grace Creedy Smith<br />
Elliot Stirman<br />
Elsa Sophie Mills<br />
Emily Rose Millward<br />
Emma Jane Willis<br />
Esmeralda Hysen<br />
Fai Mak<br />
Fangxu Zhu<br />
Fay Harvey<br />
Gabija Jasiunaite<br />
Gabriel Cheuk Sum Au-Yeung<br />
Gabriele Dauksaite<br />
Genesis De Los Angeles Bravo Sanchez<br />
Genevieve Penelope Clare Sligo-Young<br />
George Douglas Bennett<br />
George Francis Decker Whipple<br />
George Joseph Avery<br />
George Oliver Watson<br />
Georgia Doireann Minson<br />
Georgie Tallulah Richardson<br />
Haekal Dzikri Ananta Putra<br />
Hakyung Song<br />
Hawraa Ali Abdallah Al- Alawiya<br />
Hei Ka Tang<br />
Ho Man Ng<br />
Ho Wing Tam<br />
Hoi Ting Chloe Tam<br />
Hoi Yan Lam<br />
Ian Mellish<br />
Iason Bezas<br />
Isra Mohammed Osman Hassan-Ibrahim<br />
Ivan Malov<br />
Jaewon Jeong<br />
James Robert Charles Skinner<br />
Jedd Howie Manlulu<br />
Jemima Tiger Droney<br />
Jiahui Yao<br />
Jing Hao<br />
Jingqi Li<br />
Jirong Peng<br />
Jonatan Peter Muller<br />
Joseph Alexander Kavanagh<br />
Josh Gordon Stanton<br />
Joshua Simmons<br />
Justyna Nowosad<br />
Ka Chuen Chan<br />
Kacper Roman Brach<br />
Kathryn Ann Patterson<br />
Kayleigh Louise Metcalf<br />
Laurence Beau Bonson Evans<br />
Lily Alexandra Kerr<br />
Lily Belle Elgood<br />
Lixuan Huan<br />
Long Ki Wong<br />
Luke Samuel Pearce<br />
Magdalena Katarzyna Mroczkowska<br />
Maisie Emily Church<br />
Marianne Mikhail<br />
Maryam Humaira Binti Ahmad Amer<br />
Matas Janulionis<br />
Max Dexter Friedman<br />
Mingyeong Kim<br />
Mohamed Moustafa Mohamed Aly Hassan<br />
Monserrat Brenes Mata<br />
Morgan Elizabeth Cockroft<br />
Muhammad Zaki Agung<br />
Mustafa Cem Tole<br />
Nadia Iskandar<br />
Namo Hong<br />
Neelam Sangeeta Priyanka Majumder<br />
Niamh Hannah Kelly<br />
Nicholas Barker<br />
Nicole Law<br />
Nikolay Tinev<br />
Nok Fai Nathan Yuen<br />
Noor Khalid H M Al-khayat<br />
Oi Yan Li<br />
Olivia Emily Roberts<br />
Patrikas Areska<br />
Paworaprat Phinyo<br />
Phoebe Amelia Powers<br />
Pooja Lade<br />
Prajwal Balija Pradeep<br />
Quynh Anh Nguyen<br />
Rachel Lauren Baldwin<br />
Rafaella Barahona Maldonado<br />
Ruby Marie Lovatt<br />
Ruoxuan Jiang<br />
Salma Hussameldeen Sayed Abdelghany<br />
Sam Austin Hudson<br />
Samuel Barker<br />
Samuel Duncan Hewitson<br />
Samuel William Stokes<br />
Sandhy Thaddeus Sumadi<br />
Sandra Sara Muzykant<br />
Sara Fahmi Moh’d Bassam Yaish<br />
Serena Kathryn Martineau Walker<br />
Sin Yu Soe Chan<br />
Sofia Peracha<br />
Sophie Caroline Daisy Robson<br />
Sophie Stubbs<br />
Stephanie Alice Freeland<br />
Taichen Jiang<br />
Tanisha Jain<br />
Thomas Rhys Smith<br />
Tiffany Angel Fang<br />
Ting Cheung Lam<br />
Trina Andra Zadorojnai<br />
Troy Vimalasatya Rahardja<br />
Tsz Ching Wong<br />
Vicente Theobald Baum<br />
Xingjiang HU<br />
Xiwen Xu<br />
Yan Yu Natalie Yau<br />
Yaqing Tu<br />
Yat Tung Lam<br />
Yi Chun Kuo<br />
Youngchan Choi<br />
Yuheng Zhang<br />
Yuk Ying Ho<br />
Yuqing Liu<br />
Zainab Fatima<br />
Zuzanna Iga Zapart<br />
Special Thanks<br />
to Shieldfield<br />
Residents<br />
Alison<br />
Irene<br />
Jill<br />
Ken<br />
Valerie<br />
12 Text by Kieran Connolly, Rosie Parnell Opposite - Beth Sprigg
A Shieling for Shieldfield<br />
Kieran Connolly, Jack Mutton, Rosie Parnell<br />
For our first project in Stage 2, students explored housing design and its role in shaping communities. Working outwards from the historical<br />
idea of the ‘shieling,’ a shelter for shepherds made from found materials and rooted within its surroundings; projects offer a range of<br />
explorations and ideas for a small-scale housing scheme located in Shieldfield, a dense inner-city neighbourhood located just to the east of<br />
Newcastle city centre.<br />
Thinking carefully about the social and cultural context of the existing community, proposals have been thoughtfully developed to support the<br />
rituals and activities of domestic life, whilst also being carefully stitched into the physical, social, and ecological fabric of Shieldfield.<br />
14 Above - Neelam Majumder
Top - Adel Wahab<br />
Bottom - Sam Barker<br />
15
Species & Spaces<br />
Toby Blackman, Kieran Connolly, Jack Mutton, Rosie Parnell<br />
For the second project of the year, students have explored ways of cultivating ecologically responsive design practices in a direct response to<br />
the ever-more urgent global climate emergency.<br />
Working on a selection of sites across North Shields, projects offer propositions for a small-to-medium-sized public building, with spatial<br />
programmes developed around a sequence of spaces for dissemination and learning. Importantly, each project has been designed for both<br />
human and non-human users. From kittiwakes to butterflies, salmon to sea squirts, design propositions seek to cultivate an approach<br />
to architecture that promotes reciprocity and co-existence between human and non-human through the adoption of sensitive and more<br />
ecologically sustainable approaches to designing and building.<br />
16 Above - Beth Sprigg
Top - Nicole Law<br />
Bottom - Yuheng Zhang<br />
17
Stage 3<br />
Stage 3 this year has been delivered remotely but the year-long studio model has continued from<br />
previous years. Whilst there have been inevitable challenges around travel, model-making and material<br />
experiments our students and teaching team have shown admirable resourcefulness in adapting to<br />
the ‘new normal’. As such our students are emerging with a new skillset which includes the ability to<br />
teamwork remotely, and enhanced virtual and digital presentation skills. Much use has been made of<br />
digital collaboration platforms such as Miro and all studios have included group outputs. Focus has<br />
remained on context – despite the challenges of students not always being able to visit their sites – and<br />
innovative ways of exploring and mapping have been developed.<br />
This year has also seen an increased focus on sustainability with all studios being asked to take their<br />
own perspective on the climate crisis, so studios have included digital environmental modelling,<br />
opportunities to refurbish existing buildings, low carbon technologies, design for deconstruction and<br />
increased awareness of embodied carbon. We are also pleased to see more projects with a strong social<br />
agenda. Studios this year have also typically had a more local or regional focus which has also provided us<br />
with new opportunities to reflect on our North Eastern culture, heritage and post-industrial challenges.<br />
Year Coordinators<br />
Matthew Margetts<br />
Cara Lund<br />
Studio Leaders<br />
Andrew Ballantyne<br />
Cara Lund<br />
Craig Gray<br />
Harriet Sutcliffe<br />
Hazel Cowie<br />
Jack Mutton<br />
Jess Davidson<br />
Jianfei Zhu<br />
Josep-Maria Garcia-Fuentes<br />
Kieran Connolly<br />
Luke Rigg<br />
Matthew Margetts<br />
Neil Burford<br />
Neveen Hamza<br />
Sophie Baldwin<br />
Stella Mygdali<br />
Steve Ibbotson<br />
Stuart Franklin<br />
Tom Ardron<br />
Students<br />
Abigail Elisabeth Hawkins<br />
Afnan Iman Bin Abdul Halim<br />
Agata Malinowska<br />
Agatha Delilah Barber<br />
Aikaterini Passa<br />
Aleema Hira Aziz<br />
Alexander Jacob Caminero McCall<br />
Alexander John Thompson<br />
Anastasia Asenova<br />
Anna Toft<br />
Aurelia Thompson<br />
Aya Rose Mordas<br />
Aysen Neslisah Cakmakkaya<br />
Banuchichak Imamaliyeva<br />
Benjamin Galvin<br />
Benjamin Michael Rene Osta<br />
Benjamin Timothy Franklin<br />
Benoit William Rawlings<br />
Bethany Grace Valerie Rungay<br />
Brian Ethen Cox<br />
Catherine McConnachie<br />
Chao Jung Chang<br />
Charles William Kay<br />
Chi-Jung Lee<br />
Ching Yee Jane Li<br />
Christian Thomas Davies<br />
Christopher James Hegg<br />
Chui Lam Yip<br />
Chung Hei Mok<br />
Colin Rogger<br />
Daniel James Andrew Bennett<br />
Daniel Mijalski<br />
Dawei Zhao<br />
Dk Noor ‘Ameerah Pg Kasmirhan<br />
Dominika Kowalska<br />
Dongpei Yue<br />
Edward Harry Salisbury<br />
Edward James Frederick Bousfield<br />
Ehan Harshal Halimun<br />
Eleanor Lindsay Jarah<br />
Eleanor Victoria Mettham<br />
Ella Lucy Freeman<br />
Ella Madeleine Ashworth<br />
Eloise Sian Macdonald Littler<br />
Emily Tamar Ducker<br />
Emma Louise Beale<br />
Faith Mary Hamilton<br />
Fanny Lovisa Kronander<br />
Gabriel Dominic Saliendra<br />
Gloria Sirong Hii<br />
Grace Carroll<br />
Guoyi Huang<br />
Hana Mahmoud Elfakhr Elrazy<br />
Baraka<br />
Hannah Grace Fordon<br />
Hannah Maria Batho<br />
Harriet Roisin Harrington Allen<br />
Harun Kilic<br />
Hei Lok Hong<br />
Hereward Percival H Leathart<br />
Hiu Tsun Michelle Mok<br />
Hon Ying Chow<br />
Hong Tung Chau<br />
Isabel Maria Mora Rubio<br />
Isobel Ann Prosser<br />
Jack Martin Callaghan<br />
Jacob Bowell<br />
Jacob John David Hughes<br />
Jacob Timothy Weetman Grantham<br />
Jamie Ryan Bone<br />
Jehyun Lee<br />
Jemma Louise Woods<br />
Jenna Goodfellow<br />
Jessica Charlotte Dunn<br />
Jessica Helena Eve Male<br />
Jiahan Ding<br />
Jingci Yeong<br />
Jiri Stanislav Goldman<br />
Jiwoo Kim<br />
Jiyeon Ryu<br />
Jordan Niels Patrick Shanks<br />
Joshua Alexander Jones<br />
Joungho So<br />
Julian Nyalete Kobina Djopo<br />
Julianna Skuz<br />
Karolina Lutterova<br />
Katy Hughes<br />
Khaled Walid Abdelhamid<br />
Abdelkader<br />
Kieran Miles Forrest<br />
Lea-Monica Udrescu<br />
Lewis Michael Neil Baylin<br />
Liene Greitane<br />
Liza Nadeem<br />
Lorand Nagy<br />
Louis Jacques Duvoisin<br />
Louis Oliver Hermawan<br />
Luca Edward Philo<br />
Luk Chong Leung<br />
Malaika Javed<br />
Malak Sharif Mohamed Aly Elwy<br />
Marcelina Debska<br />
Mary-Anne Catherine Murphy<br />
Matteo Giovanni Amedeo Hunt-<br />
Cafarelli<br />
Max Aaron Blythe<br />
Megan Jane Raw<br />
Michelle Sie Ee Lim<br />
Miki Jun Wang Liu<br />
Milly Rose London<br />
Ming Chi Leung<br />
Mingxuan Ge<br />
Molly Rose Robinson<br />
Muhammad Shujaat Afzal<br />
Natalia Stasik<br />
Neli Barzeva<br />
Ngai Chi Fung<br />
Nicholas Andrew Stubbs<br />
Oliver Denning Buckland<br />
Olivia Maria Ewing<br />
Oscar Michael Lavington<br />
Otto Lucas Jaax<br />
Owen Samuel Thomas<br />
Pak Hei Julian Ng<br />
Peng Yin<br />
Peter Anthony Windle<br />
Philip David Gerald Russell<br />
Polly Ann Chiddicks<br />
Rashmi Shashiprabha Jayasinghe<br />
Rea Chalastani-Patsioura<br />
Reece Mckenzie Minott<br />
Ren You<br />
Robert Brentnall Gowing<br />
Rodrigo Rafael Riofrio Colina<br />
Rosabella Margaret Reeves<br />
Rosemary Charlotte Joyce<br />
Rositsa Krasteva<br />
Sam Ravahi-Fard<br />
Samer Alayan<br />
Samuel Russell John Hare<br />
Samuel Scott Coldicott<br />
Sebastian Adam Poole<br />
Shu Han Janeen Seah<br />
Si Cheng Fong<br />
Simon Benjamin Tarbox<br />
Sophie Hannah Grace Henderson<br />
Stella Ogechi Chukwu<br />
Supapit Tangsakul<br />
Tabitha Victoria Edwards<br />
Taddeo Toffanin<br />
Tessa Elizabeth Lewes<br />
Thomas Charles Peter Henry Adams<br />
Tsz Fung Wong<br />
Wing Hei Lo<br />
Woosang Park<br />
Xiao Lin Xie<br />
Xiaoqian Zhou<br />
Xindi Cheng<br />
Xinrui Lin<br />
Xixian Wu<br />
Xuhan Zhang<br />
Yat Hei Asher Hon<br />
Yating He<br />
Yingjin Wang<br />
Yuan Zhang<br />
Yuanyuan Chen<br />
Yu-Chieh Chang<br />
Yuen Man Cheng<br />
Zarin Tasneem Mir<br />
Zoe Elise Ingram<br />
18<br />
Text by Matthew Margetts<br />
Opposite - Emily Ducker
A Manifesto for Housing<br />
Hazel Cowie & Jess Davidson<br />
As with all disciplines and practices, architectural practice in <strong>2021</strong> is being reassessed through a series of intersecting and critical lenses - the<br />
pandemic, the climate crisis and post-Grenfell analysis are forcing the profession to consider its role in public life.<br />
Our studio aims to explore this role in the critical re-examination of an existing residential tower in Newcastle. Taking the position that<br />
housing is not only a manifestation of power relations within society, but a vehicle through which an alternative social order can be imagined.<br />
We have explored ideas about homogeneity, taste and anonymity, questioning the conformist and compliant role that architecture is often<br />
seen to have in the production of housing. This theoretical approach has also extended to material thinking, exploring how these issues<br />
intersect with the demands of off-site manufacture. The result is a series of re-imaginings of ways to live in a residential tower and the spaces<br />
that surround it.<br />
20 Above - Brian Cox
Phased Retrofit Process<br />
1 5 10m<br />
Existing Building Phase 1 (3 yrs) Phase 2 (3 yrs) Phase (10 yrs)<br />
Top - Oscar Lavington, Olivia Ewing Middle, Left to Right - Marcelina Debska, Agatha Barber Bottom - Thomas Adams<br />
21
22 Top Left to Bottom - Samuel Hare, Fanny Kronander, So Joungho Top Right to Bottom - Liene Greitane, Eleanor Jarah, Dawei Zhao
Top Left to Right - Samuel Hare, Aysen Cakmakkaya Left, Middle to Bottom - Tabitha Edwards, Zarin Tasneem Mir Bottom Right - Louis Hermawan<br />
23
City Ruins<br />
Jack Mutton & Harriet Sutcliffe<br />
Studio 2 is engaged in ideas concerning context, historical narrative and materials that create enduring architecture in search of a wider<br />
intelligibility. Working through a process of research, rather than invention, we are looking to create architecture that is rooted in place,<br />
explores the experiential potential of materials and careful re-use of existing structures.<br />
This year we have been considering the place of ruins in the contemporary city and investigating how a more sustainable strategy of re-use and<br />
adaptation can lead to the creation of rich architecture, layered with history and imbued with a sense of place. Working with derelict, former<br />
industrial sites in Newcastle’s Ouseburn valley, the studio has been developing proposals for a series of live-work spaces and shared facilities<br />
for a community of artists and craftspeople.<br />
24<br />
Top - Hana Baraka<br />
Bottom - Banuchichak Imamaliyeva
Top Left to Right - Sam Coldicott, Benoit Rawlings Bottom Left to Right - Harriet Roisin Hariington Allen, Malak Elwy 25
26<br />
Top Left to Right - Miki Jun Wang Liu, Taddeo Toffain Middle - Chi Jung Lee Bottom Left to Right - Bethany Rungay, Philip Russell
Top, Left to Right - Afnan Iman, Malaika Javed Middle - Robert Gowing Bottom Left to Right - Jiyeon Ryu, Isobel Prosser 27
Creative Synergies<br />
Craig Gray & Stella Mygdali<br />
Through rigorous testing and analysis, Creative Synergies explores the various functions, processes, skills and materiality involved in the art of<br />
hands-on making, architectural craft and a tactile appreciation of space and volume. We explore how compatible they are in a future of cutting<br />
edge architectural research, and wider sustainable strategies aimed at reducing the profession’s inexcusable contribution to the ongoing climate<br />
crisis. And ask alongside this, if an emphasis on a more performative and process-based approach to the programming, arrangement and<br />
inhabitation of space, can positively impact a proposal at an urban scale, whilst producing tangible benefits to the wider community it serves?<br />
The central question asked of our students is what role the institution of education, and the spaces in which it takes place, can play in<br />
consolidating and mediating between transient and established communities. And if, when aligned with the aforementioned considerations,<br />
it can be used as an appropriate template for a more contextual and sustainable, contemporary community architecture.<br />
28<br />
Above - Mingxuan Ge
Left, Top to Bottom - Aurelia Thompson, Yeong Jing, Jemma Woods Right, Top to Bottom - Nick Stubbs, Yating He, Jack Callaghan 29
30 Top to Bottom - Ella Freeman, Gloria Hii, Xinrui Lin
GSEducationalVersion<br />
GSEducationalVersion<br />
Ground Floor Exhibition Space.<br />
Top Left to Right - Liza Nadeem, Chao Chang Middle Right - Rosabella Reeves Bottom - Ehan Halimum<br />
31
Curating the City<br />
Andrew Ballantyne, Neil Burford & Jianfei Zhu<br />
This studio explores the ideas of ‘curating’ for a critical engagement with a World Heritage Site, Saltaire in West Yorkshire – a nineteenthcentury<br />
model town of textile mills with advanced planning of townscape and landscape. Four themes are used to guide the 19 students’<br />
contextual and reflective studies – tourist gaze; critical conservation; eco-assemblage; and urban form and design. Based on the research,<br />
preliminary ideas of an architectural intervention with a project, across a range of 10 sites in and around the heritage town, were proposed<br />
by the end of Term 1 (Framing). In Term 2 (Testing) and 3 (Synthesis), a variety of projects, including colleges, labs, sports facilities, and<br />
music venues, as well as a columbarium, a railway station and an eco-garden through woods on a hill slope, are being tested and developed,<br />
with theory essays and tectonic studies on the way to facilitate the process. In a variety of ways, the 19 projects have each provided a way of<br />
‘curating’ the heritage town and landscape of Saltaire as an argument and a proposal.<br />
32<br />
Above - Dominic Saliendra
Top - Mary Murphy Middle Left to Right - Simon Tarbox, Hannah Fordon Bottom - Jessica Male 33
Figure 60 - Axonometric Celebration Drawing<br />
The axonometric drawing is a celebration<br />
piece which explored the inhabitation of the<br />
building and my personal style of representation,<br />
which is more sketchy and watercolour<br />
based. The small details of the building such<br />
as the ramp through the centre, the difference<br />
in the facade materials and the mezzanine<br />
levels/double height spaces is something<br />
which reflects specifically here.<br />
(Door<br />
Open)<br />
PEDESTRIAN ACCESS<br />
SUMMER<br />
EXPLODED AXONOMETRIC DRAWING<br />
EXHIBITION DOORS<br />
34<br />
Top, Left to Right - Aleema Aziz, Tessa Lewes, Rosie Joyce Middle Left to Right - Oliver Buckland, Ching Yee Jane Li Bottom - Jamie Bo
Top Left to Right - Lea-Monica Udrescu, Karolina Lutterova Middle - Julian Djopo Bottom Left to Right - Xiaoqian Zhou, Chi Leung<br />
35
Ghost in the Machine<br />
Matthew Margetts, Cara Lund & Steve Ibbotson<br />
Our studio is interested in people and their relationship with systems and infrastructures. These can be hidden (intangible – e.g. social<br />
networks or local legends) or visible (tangible – e.g. buildings and railways). We are particularly interested in how systems respond to change<br />
and how they can be adapted or appropriated.<br />
This year we have selected Redcar as our test bed to apply a Systemic Thinking approach to design. Redcar and the stretch of coastline from the<br />
high street up to the South Gare is a fascinating manufactured strip of land which incorporates a multitude of territorial conditions, including,<br />
post-industrial steelworks, beaches, ex gun batteries, water sports and fishing huts.<br />
The studio challenged our ‘ghosts’ to consider the agency of an architect in augmenting this landscape, in the shadow of its industrial past and<br />
in the context of a desire to increase staycations.<br />
We used new and experimental tools to view place from the perspective of a chosen protagonist(s), drawing from a variety of sources, including<br />
systemic design, storytelling, science-fiction, graphic design, and cartographies.<br />
Students were asked situate and augmented or disrupted systems on their chosen site and explore how an architecture could evolve from a<br />
series of ‘moments’ where people meet process. Projects ranged from film set recycling centres to seaweed harvesting social condensers.<br />
36<br />
Above - Emma Beale
Top Left - Colin Rogger Top Right - Natalia Stasik (2) Bottom - Aya Mordas<br />
37
38 Top - Muhammad Afzal Middle Left to Right - Agata Malinowska, Muhammad Afzal Bottom - Colin Rogger
Top Left - Colin Rogger Top Right - Emily Ducker Middle Right - Agata Malinowska Bottom - Emily Ducker<br />
39
House of Memories<br />
Neveen Hamza & Stuart Franklin<br />
How do we perceive environments we live in? How can architecture design respond to the specifics of its climate-site and users? This question<br />
is magnified when thinking of the differences in place perception between a healthy person and a person with Dementia. Not only should<br />
the building and its surroundings offer a memorable experience, but even more; a delicate exposure of all the sensory systems, without an<br />
information overload. This studio integrates architectural and urban design with environmental psychology theories for dementia specific<br />
design criteria. The designed environments are tested using building and urban performance modelling tools to inform architectural design<br />
ideas and its integration of renewable energy.<br />
This is a live project with medical staff and architectural practitioners involving the students in generating new architectural and urban visions<br />
for the University/NHS owned site, the ‘Centre for Ageing and Vitality’, in Fenham-Newcastle upon Tyne.<br />
40<br />
Above - Katy Hughes
Top - Dominika Kowalska Middle, Left to Right - Ella Ashworth Bottom - Lewis Baylin 41
42 Top, Left to Right - Hon Ying Chow, Ngai Chi Fung Middle to Bottom - Chung Hei Mok, Samer Alayan, Molly Robinson
Top - Dominika Kowalska Left Middle to Bottom - Woosang Park, Tsz Fung Wong Right, Middle to Bottom - Matteo Hunt-Cafarelli, Ngai Chi Fung 43
Section<br />
Long Section<br />
Elevations<br />
Weaving in Wallsend<br />
Sophie Baldwin, Kieran Connolly & Luke Rigg<br />
Weaving in Wallsend explores ideas of civic space through the construction of ‘urban commons’: networked sites of shared public resources<br />
and community facilities that are carefully woven into the fabric and ecologies of the city.<br />
More broadly, the studio considers how architects can operate as advocates, agents that seek proactive social change, questioning the typical<br />
roles of power within the construction industry and re-emphasising the importance of citizen empowerment and inclusivity. Members of<br />
the studio were asked to consider who they are advocating for, speculate on the ‘right to architecture’ and actively seek methods and design<br />
practices formed by social consciousness and activist tendencies.<br />
Working within the wider context of Wallsend, the studio developed retrofit strategies for the Forum Shopping Centre reimagining it as<br />
an ‘urban commons’ - a site of community, culture and exchange that prioritises inclusivity over exclusivity, public over private and the<br />
community over the individual.<br />
North<br />
East<br />
South<br />
West<br />
44 Top - Daniel Bennett Middle - Polly Chiddicks Bottom - Janeen Shuhan Seah
Top, Left to Right - Charlie Kay, Chui Lam Yip<br />
Bottom - Lorand Nagy<br />
45
46 Top, Left to Right - Ben Franklin, Zoe Elise Ingram Middle, Left to Right - Daniel Bennett, Jehyun Lee Bottom - Eloise Littler
Left, Top to Bottom - Julian Ng, Stella Chukwu Top Right - Luca Philo Bottom - Max Blythe<br />
47
Building upon Building<br />
Josep-Maria Garcia-Fuentes & Tom Ardron<br />
This studio explores experimental preservation in architecture. The brief is grounded upon the idea that architecture and preservation are<br />
both placed within a cultural continuum and are the outcome of complex cultural, social, and political struggles. These ideas are investigated<br />
through the design of a major addition to or the transformation of a heritage building. This process not only requires an understanding of the<br />
existing construction and how its architecture and materials express the values it sought to represent and serve at the time, but also the ways<br />
these meanings may be extended, enriched, or transformed and reshaped by a new addition.<br />
This year the studio has focused on The Penguin’s Pond by Berthold Lubetkin and its transformation into a new research centre, aiming to<br />
rethink the role of zoological parks and how they might begin to address the current ecological challenges.<br />
48<br />
Above - Otto Jaax
Top - Eleanor Mettham Middle Left to Right - Reece Minott, Yuanyuan Chen Bottom - Sam Fard 49
50<br />
Top - Anastasia Asenova Middle - Julianna Skuz Bottom - Dongpei Yue
Legacies of Modernism 2018 - 2019<br />
In this studio, students were required to undertake a close reading of<br />
two key movements of 20th Century architecture; early European<br />
Modernism, and the later British manifestation of Brutalism,<br />
contend with their legacies and propose a design response which<br />
sought to address the contemporary relevance of these<br />
(im)possibly linked movements.<br />
Top Left to Right - Michelle Mok, Yuan Zhang Middle - Daniel Mijalski Bottom - Faith Hamilton<br />
51
BA (Hons) Architecture and Urban Planning (AUP)<br />
Armelle Tardiveau - Degree Programme Director<br />
What a challenging year! But how amazing and mature the AUP students have been during this unprecedented academic<br />
year. My heart goes to all AUP1 students, who joined our School in September and very quickly learnt to keep focused and<br />
embrace their learning without social interaction or engagement with their new peers; only lonely struggles with pens, paper,<br />
and new (always daunting) skills to acquire and harness. Of course, it has not been easy, almost everyone has experienced<br />
a wobbly moment of hesitation when more questions than certainties cross minds and motivation is difficult to maintain.<br />
The Taking Measure project (see page: 57) depicts the ever so limiting studying environment students have had to accept<br />
in the darkest hours of lockdown. Sketching, measuring and drawing their own everyday space was a task that revealed<br />
the limitations and restrictions of what felt like a never-ending situation. Thankfully, as soon as the government allowed,<br />
Architecture staff agreed to provide access to design studios once, then twice a week. For many of you in Newcastle, the access<br />
to the studio turned into a lifeline, although for those of you who hadn’t even managed to set foot in the city, the routines of<br />
studying remotely continued as before. Incredibly so, most first year students, during their end of year portfolio interview in<br />
June, stated that they had a good year; this is a tribute to all dedicated academic and support staff who have all gone above<br />
and beyond the imaginable to make this year possible and rich despite of the global pandemic.<br />
Architecture and Urban Planning students have matured at an unexpected pace, taking in their stride their frustrations,<br />
anger, desolation and difficulties. Yet, these struggles prepared students more than ever for professional life, being able to<br />
develop projects individually or in groups with colleagues across oceans. They have learned to organise themselves, to reach<br />
out in difficult times, to work together remotely. They have been able to reflect constructively on their learning process and<br />
succeeded in projecting themselves beyond their degree.<br />
The interdisciplinary nature of the BA (Hons) Architecture and Urban Planning programme meant that students had<br />
to adjust to a variety of virtual teaching approaches: <strong>Design</strong> projects included individual site visits for students based in<br />
Newcastle, but those studying remotely experienced the approach that many designer practitioners engage with when taking<br />
part in international competitions - including learning about a site through maps and data sourced while never setting foot<br />
on the actual ground. As part of APL2015 Relational Mapping: <strong>Design</strong> and Representation (see page: 60), a colleague<br />
walked Byker with a go-pro camera sharing live comments and observations. The APL2035 Participation: Theories and<br />
Practices (see page: 62) which intends to engage students with community groups turned out to be impossible. Instead<br />
colleagues from APL, Geography and Education generously supported the module allowing our students to remotely embrace<br />
a diversity of matters of concern faced by people in our city. Humbly accepting that we have all been learning, compassion<br />
and understanding have been paramount and essential to complete a year that could never prepare students better for the 21st<br />
century professional life. As a team, we have noted sustained academic standards, in some parts even higher achievements,<br />
thus demonstrating the level of resilience that was required.<br />
The programme has consolidated its socially engaged ethos to architecture and planning which is illustrated in the pages of<br />
this yearbook through the ARC1007 Architectural <strong>Design</strong> with the Co-created City project (see page: 54) that engages<br />
students in siting a small studio in dialogue with an artist. AUP2 offers, APL2015 Relational Mapping: <strong>Design</strong> and<br />
Representation (see page: 60), a design project that invites students to ‘explore a site carefully and to understand how<br />
architecture and urban space are designed, experienced, and enjoyed by the public before making suggestions for its future’.<br />
The socially embedded agenda is strengthened with the AUP2 module APL2035 Participation: Theories and Practices (see<br />
page: 62) which introduces students to the research of many colleagues in both Architecture and Planning but also provides<br />
them with tools to actively support changes in our city, and ensure all voices are heard. APL3001 Alternative Practice: Urban<br />
Prototyping design project “Urban Commons” (see page: 66) concludes a two-year collaboration with the AHRC funded<br />
project ‘Waste and Strays, past, present and future of Urban Commons’ focusing on Newcastle’s Town Moor as a space<br />
of reflection and engagement on common land. APL3007 Dissertation in Architecture and Urbanism (see page: 14)<br />
reflects students’ concerns and future professional endeavours exploring a wide diversity of topics ranging from informal<br />
settlements in Cairo and Abuja, biodiversity and wellbeing, the impact of the COVID-19 pandemic, climate emergency<br />
and ecological crisis to the pressing matter of women’s safety in the built environment.<br />
53
AUP Stage 1 - Co-created City<br />
Dan Russell<br />
I inherited this project from Ed Wainwright, having initially contributed to it when<br />
I moved to Newcastle a few years back. The module was previously based at The<br />
NewBridge Project in Gateshead, an artist-led organisation where I also work as<br />
Artist Development Programmer. When Ed asked if I knew anyone whose interests<br />
spanned contemporary art, social practice and the built environment to get involved<br />
in teaching, I cheekily said “yes, me”. This was not totally out of the blue as I have a<br />
background in architecture and a decade of working on socially engaged art projects.<br />
It has been enjoyable seeing the project evolve over the years and witness different<br />
students’ reactions to it - especially when being gently nudged out of their comfort<br />
zones!<br />
Whilst still geared around designing a residency space for an artist, this year we<br />
broke with tradition and sited the project away from NewBridge. We were still able<br />
to ground it in the realities and difficulties of art in the city: precarious temporary<br />
tenancies, the spectre of gentrification, and the misunderstanding and marginalisation<br />
of progressive creative practices that hint at better futures. Three real life artists were<br />
invited to act as client figures whose needs and specific artforms the students could<br />
design around, and the project aimed to help them investigate what it is artists do,<br />
and how this connects to bigger societal themes and issues in the context of the city,<br />
and why it is important.<br />
Starting with Joseph Beuys’ (1921–1986) “extended definition of art” where<br />
“everything under the sun is art” and “everyone is an artist” the cohort were<br />
encouraged to get into the heads of the client artists and draw their own conclusions<br />
as to what art might be - perhaps not limited to things like painting or drawing.<br />
This year we took into consideration the fact that people were still primarily working<br />
from their kitchen tables, bedrooms and sofas and might not have access to the<br />
luxuries of the studio - making preliminary site models out of piles of books, cereal<br />
boxes and folded jumpers. In lieu of being together on site, and catering for brains<br />
subdued by a year of lockdown, we did imaginative exercises inspired by designer<br />
Victor Papanek and futurologist Jerome Glenn to explore either a visionary approach<br />
(speculative, not-yet-practical designs) or super detail (pinpoint accurate refinement)<br />
angle for the project.<br />
Stage 1 Students<br />
Alexandra-Cristina Gherghe<br />
Amelia Rose Stewart Pegrum<br />
Andre Hansford<br />
Aube Aurelie Marguerite Bailly<br />
Bailey Hodgson<br />
Ben Joseph Foster<br />
Benjamin Hunter Dwyer Hill<br />
Benjamin James Johnson<br />
Charles James Joseph<br />
Connor Humble<br />
Daniel Casbolt<br />
Daniel Corden<br />
Dominic Bowell<br />
Douglas Butt<br />
Edward Adams<br />
Edward Jack Wilson<br />
Elif Gulistan Akbas<br />
Foivi Maniatopoulou<br />
Grace Tregenza<br />
James McCutcheon<br />
Jeni Larmour<br />
Jordan Shaw<br />
Josh Kalia<br />
Juliette Douin<br />
Kwan Kwan<br />
Mahamat Younis<br />
Miles Louis Thomas<br />
Patrick Eamonn Douglas<br />
Pollyanna Wagenmann<br />
Quanah Clark<br />
Samuel Gaisie<br />
Sujesh Bernardo Rajendra Kumar<br />
Tatiana Eleanor Rachel Addyman<br />
Tizzy George Sakala<br />
Tomislav Angelov<br />
Varun Awasthi<br />
Wei Che Chuang<br />
Zuzanna Tomasik<br />
Contributors<br />
James Perry<br />
Lesley Guy<br />
Sarah Stead<br />
Sue Loughlin<br />
Will Stockwell<br />
The idea with the project is to re-centre art as a vital part of the urban experience<br />
- alongside the multiplicity of societal things that make life worth living. The<br />
contributing artists all have practices that involved collaboration, other people and<br />
the general public and aim for a democratisation of culture rather than perpetuating<br />
the outdated idea of the lone genius struggling in their garret.<br />
This year’s cohort was expected to think more like actual contemporary artists: get<br />
inside their heads via storyboarding a day in their life; add a layer of reality to the<br />
design process through incorporating an inventory of each artists effects and personal<br />
requirements; and perhaps even make the leap between the social practice techniques<br />
of art and their application to community-led regeneration, designing for end users<br />
and placing people before profit.<br />
54
Top, Left to Right - Miles Thomas, Josh Kalia Middle - Quanah Clark Bottom - Juliette Douin, Amelia Pegrum<br />
55
AUP Stage 1 - MapMe<br />
Armelle Tardiveau<br />
Contributors: Elinoah Eitani and Dan Russell<br />
56<br />
Top: Quanah Clark<br />
Botttom, Left to Right - Connor Humble, Tatiana Addymann
AUP Stage 1 - Taking Measure<br />
Kieran Connolly<br />
Contributors: Daniel Mallo, Dan Russell, James Perry, Elinoah Eitani and Jane Milican<br />
Top, Left to Right - Eddie Adams, Jordan Shaw<br />
Bottom - Amelia Pegrum<br />
57
AUP Stage 1 - Architecture Occupied<br />
James Longfield<br />
Contributors: James Perry, Armelle Tardiveau with the support of Anna Cumberland, Nicholas Honey, Robert Thackeray and Mark Laverty<br />
58<br />
Top Left to Right - Amelia Pegrum, Miles Thomas Middle Left to Right - Ed Wilson, Ben Foster Bottom - Jay Chuang
AUP Stage 1 - Shelter<br />
David McKenna<br />
Contributors: James Perry, Sarah Stead with the support of photographers Tara Alisandratos and Damien Wootten<br />
Top, Left to Right - Juliette Douin, Josh Kalia Middle - Douglas Butt Bottom - Quanah Clark<br />
59
AUP Stage 2 - Relational Mapping, <strong>Design</strong> and Representation<br />
Prue Chiles and Sarah Stead<br />
The Relational Mapping studio design project invited students to explore a site<br />
carefully and to understand how architecture and urban space are designed,<br />
experienced, and enjoyed by the public before making suggestions for its future. We<br />
introduced the practice of creative mapping to explore and understand the varied<br />
dynamics and uncertainties of urban sites, and to help students find inspiration<br />
to create architectural intervention projects within the chosen site. By mapping<br />
accurately both the physical qualities of the area as well as non-physical data,<br />
experiences and uncertainties, students understood both the Byker Estate and the<br />
Byker neighbourhood. These insights informed the next stages of the project. James<br />
Corner, the well-known landscape architect, writes that “maps can unfold potential<br />
and allow creative thinking, they are a cultural project, creating and building the<br />
world as much as measuring and describing it”. He believes that new and speculative<br />
forms of mapping may generate new practices of creativity and by showing the world<br />
“in new ways, unexpected solutions and effects may emerge”. Whilst there has<br />
been no shortage of new ideas and theories in design and planning there has been<br />
little advancement and invention of those specific tools and techniques-including<br />
mapping – that are so crucial for the “effective construal and construction of new<br />
worlds”.1<br />
The famous Byker estate lies to the east of Newcastle city centre. Byker nestles itself<br />
like an Italian hill-top town rising above it’s neighbours of Ouseburn and Shield road<br />
and looks down on the River Tyne. The Byker we see today is the replacement to the<br />
demolished area of Victorian working-class area of densely built terraces, designed<br />
by the Architect Ralph Erskine. The estate, characterised by it’s huge embracing<br />
Byker wall, was seen as an exemplar of architectural and landscape design and public<br />
participation. However, despite a vibrant community action group it has complex<br />
ongoing problems.<br />
Stage 2 Students<br />
Benjamin Duncan<br />
Chak Lam Cleve Yu<br />
Cheuk Hin Adrian Yee<br />
Danna Mercado<br />
David Lok<br />
Eisha Malik<br />
Ewan Mears<br />
Gabriela Serafin<br />
Ghaidaa Al Jamali<br />
Ieuan Phoenix<br />
Jake Anderson<br />
James Ross<br />
Khadijat Ismail<br />
Man Wai Stephanie Chan<br />
Matthew Payne<br />
Maud Webster<br />
Megan Dennison<br />
Peiyi Chen<br />
Sajid Ali<br />
Suksheetha Adulla<br />
Toprak Dal<br />
William Smith<br />
Contributors<br />
Anna Cumberland<br />
Claire Harper<br />
Heidi Kajita<br />
Nicky Watson (JDDK Architects)<br />
Sally Watson<br />
At the beginning of the project we managed a field trip to Byker and Ouseburn before<br />
the lockdown, allowing most of us to meet in person and explore through walking,<br />
discussing and drawing. The studio was supplemented with talks and seminars from<br />
visiting professionals working on and in Byker and by talks on representation and<br />
urban design techniques and tactics. The brief for the project used the scenario that<br />
groups of students have been commisioned by the Byker Community Trust to anaylse<br />
a particular area within Byker and to propose architectural interventions to celebrate<br />
and improve the diverse areas of the Estate. The group mapping explorations in the<br />
first few weeks informed a manifesto, a narrative written as a group of what is needed<br />
and desired and what kind of intervention might enhance, improve and celebrate<br />
either the public space, landscape, buildings or a combination of these. The manifesto<br />
developed into a proposed site plan where each member of the group designed an<br />
element of this, ensuring that their individual final designs were integrated into<br />
the overall group proposal. The projects successfully illustrated a knowledge and<br />
understanding of mapping as a vehicle of revealing the complexity of socio-spatial<br />
networks that make up the urban environment of Byker. The students showed an<br />
evolving personal, ethical and sustainable attitude to the project, grounded in civic<br />
engagement, as much as was possible this year, and this formed the basis for their<br />
designs and decision-making. Students developed their own working practices, online<br />
especially, whether working independently or in groups and articulated their<br />
ideas at neighbourhood design scale (1:500) as well as at a detailed scale (1:50/1:20).<br />
Particularly impressive this year was the way students worked in groups with each<br />
other, some members of the studio in far flung countries and others able to visit<br />
Byker. This made for a rewarding team working experience.<br />
60
Top, Left to Right - Eisha Malik, Will Smith, Group: Ewan Meers, Ghaidaa Al Jamali, Danna Mercado, Sajid Ali Bottom - Eisha Malik 61
AUP Stage 2 - Participation: Theories and Practices<br />
Armelle Tardiveau, supported by Georgia Giannopoulou and Gabriel Silvestre<br />
For their inspiring interventions deep thanks to Prof. Prue Chiles, Dr. Paul Cowie, Gareth Fern,<br />
Prof Patsy Healey, Dr Julia Heslop, Daniel Mallo, Owen Hopkins, Prof Rosie Parnell, Sean<br />
Peacock, Teresa Strachan, Dr Dave Webb and Dr Sebastian Weise. Also, warm thanks to ‘City<br />
Actors’ who engaged with our students in local urban challenges: Sally Watson, Elinoah Eitani,<br />
Neil Murphy, Liz Todd, Alison Stenning, Montse Ferres and Ed Wainwright.<br />
Participation: Theories and Practices is a module that emerged last academic year<br />
out of sheer desire to acknowledge and foreground the longstanding tradition of<br />
participation at the School of Architecture, Planning and Landscape with its wide<br />
spectrum of participatory research in the fields of both Architecture and Urban<br />
Planning. Inspired by the legacy of Professor Patsy Healey who pioneered research on<br />
collaborative planning (Healey, P. 2003), the module intends to introduce students<br />
to this expanding body of research within the school. It builds on the work of Teresa<br />
Strachan, whose decades of practice and research for Planning Aid allowed young<br />
people to have a voice about their neighbourhood and gave them means to shape it;<br />
it also draws from the practice-led research on socially engaged design and activism<br />
by Daniel Mallo and Armellle Tardiveau in Architecture. Indeed, the school’s website<br />
bursts with research on participation, civic engagement and activism by many<br />
colleagues, illustrating the depth and breath of the commitment of the school to<br />
participation mainly through research but now embedded in our teaching.<br />
Stage 2 Students<br />
Adrian Yee<br />
Ancha Myburgh<br />
Benjamin Duncan<br />
Cleve Yu<br />
David Lok<br />
Eisha Malik<br />
Grace Evans<br />
Ieuan Phoenix<br />
Kaan Mete<br />
Matthew Payne<br />
Megan Dennison<br />
Paul Anderson<br />
Sajid Ali<br />
Stephanie Chan<br />
Suksheetha Adulla<br />
William Smith<br />
The module aims to engage our students, the forthcoming generation of citizens<br />
and professionals of the built environment, in giving power to people (echoing Patti<br />
Smith’s popular song ‘People Have the Power’). Through a combination of seminars,<br />
live engagement and reflective writing, students develop an inclusive approach,<br />
that promotes all voices to be heard,. The ultimate objective being the Right to the<br />
City for all citizens and the creation of spaces that strengthen local democracy and<br />
community action. In this regard, students develop a participatory process addressing<br />
a local concern, in the context of Newcastle’s Urban Room, a space for debate and<br />
democracy, originally envisaged by Sir Terry Farrell in his Review of Architecture and<br />
the Built Environment (2014). As part of City Futures, Prof Mark Tewdwr Jones<br />
paved the way for an Urban Room (Tewdwr-Jones, 2019) to emerge at the heart<br />
of Newcastle University, a forum for expression, participation and engagement of<br />
Newcastle’s city actors and communities living and experiencing the city everyday.<br />
This exciting new initiative, praised in a national newspaper (Wainright, O. <strong>2021</strong>),<br />
will open many opportunities to strengthen our role as a Civic University.<br />
Participation: Theories and Practices is offered to Stage 2 students from three<br />
undergraduates programmes in the school (BA Architecture and Urban Planning, BA<br />
Urban Planning, Master of Planning); it brings together colleagues from Architecture<br />
and Planning with an interdisciplinary expertise on histories of participation,<br />
representative democracy, civic life, analogue and digital participation tools, children<br />
and young people in participation, design activism, collaborative planning, the role<br />
of fine art and performing art in participation, etc. The course not only disseminates<br />
knowledge and the well-established tradition of participation at APL, but also aims<br />
to inspire a new generation of thinkers and activists, quench their thirst for action<br />
and, ultimately, equip our graduates with a critical framework to act and address the<br />
socio-ecological challenges lying ahead of us.<br />
62 Text by Armelle Tardiveau
Top, Left to Right - Team: Hattie Carr, Will Smith, Thomas Gimshaw, Matt Noble<br />
Bottom Left - Team: Louis Mc-Lean Steel, Matt Bishop, Megan Dennison, Samantha Lindsay, Zhuoruo Li<br />
Bottom Right - Team: Benjamin Duncan, Jake Anderson, Lee Yiu Sing, Rosie Beddows, Will McKenna<br />
63
AUP Stage 2 - Living Communally<br />
Claire Harper<br />
Contributors: James Perry, Ed Wainwright, Martina Schmuecker, Helen Jarvis, James Longfield, Rosie Parnell, Sarah Bushnell, Charlie Barratt<br />
Students: Benjamin Duncan, Chak Lam Cleve Yu, Cheuk Hin Adrian Yee, Danna Mercado, David Lok, Eisha Malik, Ewan Mears, Gabriela<br />
Serafin, Ghaidaa Al Jamali, Ieuan Phoenix, Jake Anderson, James Ross, Khadijat Ismail, Man Wai Stephanie Chan, Matthew Payne, Maud<br />
Webster, Megan Dennison, Peiyi Chen, Sajid Ali, Suksheetha Adulla, Toprak Dal, William Smith<br />
MAUD WEBSTER | 190104104 | APL2015 PORTFOLIO Page 35<br />
final itteration<br />
1:200 3D view (reduced)<br />
64 Top, Left to Right - Peiyi Chen, Chak Lam Cleve Yu Bottom - Maud Webster
AUP Stage 3 - Green Infrastructure for Well-being and Diversity<br />
Tim Townshend<br />
Tutor: Smajo Beso<br />
Contributors: Mr. Clive Davies, Dr. Stephanie Wilkie – Assoc. Professor of Environmental Psychology, Sunderland University, Ms Erin<br />
Robson – Senior Planner, ARUP<br />
Stage 3 Students<br />
Abin John<br />
Angus Atkin<br />
Changrui Li<br />
Darcey Morse<br />
Diana Mihailova<br />
Emma-Maria Itu<br />
George Woodruff<br />
Jack McMunn<br />
Jake Merkx<br />
Jeremy Bidwell<br />
Laura Nichola<br />
Martin Joly<br />
Mindaugas Rybakovas<br />
Quitterie D’Harcourt<br />
Rachel Turnbull<br />
Shu Zhang<br />
Sunny Howd<br />
Tahnoon Alshehhi<br />
Thomas Coutanche<br />
Thomas Paramor<br />
Thomas Tai<br />
Yuxi Liang<br />
Contributors<br />
Armelle Tardiveau<br />
Siobhan O’Neil<br />
Alex Zambelli<br />
Abby Schoneboom<br />
Top - Diana Mihailova<br />
Bottom, Left to Right - Emma Itu, Thomas Coutanche<br />
65
AUP Stage 3 - Urban Commons<br />
Daniel Mallo<br />
This project concludes a two-year collaboration with the AHRC funded research<br />
project on urban commons: Wastes and Strays: The Past, Present and Future of<br />
English Urban Commons (1). This contribution to the research set out to explore<br />
Newcastle’s unique urban common, the Town Moor, through a variety of lenses.<br />
Structured around three inter-related tasks, the project first scrutinized the history<br />
of the Town Moor, before investigating its current practices and then envisioning<br />
its future.<br />
Drawing from the history of the Moor, students designed an imaginary intervention<br />
that revealed traces or events of a distant or close past – amongst these, the execution<br />
of 14 witches in 1650, the construction of an hospital in 1883 to contain the small<br />
pox pandemic, or the ‘Hoppings’, to date, the largest travelling fun fair still coming<br />
to the city to celebrate the start of the summer for the joy of people of all ages.<br />
Today’s experience of the Town Moor was the focus of the design and making of<br />
participatory packs that were sent to anonymous users and lovers of the space. Filled<br />
with fun tasks and engaging prompts, coined as ‘cultural probes’ by Bill Gaver (2),<br />
the carefully crafted participatory packs helped chart stories, anecdotes, experiences<br />
and narratives of the present uses and practices of the Town Moor. Ten participants<br />
returned inspirational responses in the form of photographs, field notes, post-cards,<br />
drawings, objects collected from field and recordings, all of which informed a field<br />
guide or alternative map of the everyday inspired by art collective Art Gene’s rich<br />
and witty ‘Seldom Seen’ (3) maps of Morecambe Bay.<br />
Stage 3 Students<br />
Tahnoon Alshehhi<br />
Jeremy Bidwell<br />
Sarah Bird<br />
Thomas Coutanche<br />
Quitterie d’Harcourt<br />
Cecilia Egidi<br />
Sunny Howd<br />
Emma-Maria Itu<br />
Abin John<br />
Martin Joly<br />
Changrui Li<br />
Yuxi Liang<br />
Jack McMunn<br />
Jacobus Merkx<br />
Diana Mihailova<br />
Darcey Morse<br />
Laura Nicholas<br />
Thomas Paramor<br />
Mindaugas Rybakovas<br />
Thomas Tai<br />
Rachel Turnbull<br />
Shu Zhang<br />
Future visions of the Town Moor emerged out of critical reflection of the returned<br />
participatory packs. Materialised through temporary installations or performances<br />
over the course of one day, the interventions explored scenarios and triggered<br />
everyday users in thinking about the future of this cherished Urban Common. These<br />
provocative actions brought to the fore issues concerning women’s safety at night<br />
in such a poorly lit expanse of land, created opportunities for voicing diverging<br />
perspectives on the Town Moor’s governance and practices by locating a letter box<br />
at the heart of the space, raised the opportunity for carbon sequestration through<br />
tree planting, increasing wildlife and biodiversity, while still retaining the charm of<br />
cow grazing in the summer yet protecting those who are scared of them by creating<br />
a cow-proof shelter!<br />
Despite all the challenges of the current pandemic, this live project granted students<br />
the opportunity to work collectively and celebrate individual skills and capacities<br />
much valued in collaborative design practices including leading, making, researching,<br />
planning and engaging with the public. Such projects bring together the academic<br />
skills students develop through the degree including a robust and considered ethical<br />
approach to practice and research. Co-producing space concludes in spite of all<br />
circumstances, a learning journey that forges active citizens and designers engaged<br />
in the real world.<br />
66<br />
1 https://research.brighton.ac.uk/en/projects/wastes-and-strays-the-past-present-and-future-of-english-urban-co<br />
2 Gaver, B., Dunne, T., & Pacenti, E., (1999). Cultural probes. Interactions, January-February 6 (1), 21-29.<br />
3 https://www.art-gene.co.uk/project/seldom-seen-mapping-morecambe-bay/
Top, Left to Right - Sarah Bird, Diana Mihailova, Group: Diana Mihailova, Rachel Turnbull, Jack McMunn, Changrui Li<br />
Bottom, Left to Right- Emma Itu, Group: Diana Mihailova, Rachel Turnbull, Jack McMunn, Changrui Li<br />
67
Master of Architecture (MArch)<br />
Iván J. Márquez Muñoz – Degree Programme Director<br />
The MArch programme is designed to help students develop their critical and creative<br />
thinking and stretch the boundaries of their imagination. It places a strong emphasis<br />
on developing an independent approach to design, encouraging students to test and<br />
discover what architecture means to them and what they might want to do with their<br />
degree. The programme aims to provide students with a supportive and intellectually<br />
stimulating environment in which they are encouraged to pursue their own design<br />
research agendas.<br />
The programme comprises two years of study, first year (Stage 5) and second year<br />
(Stage 6). Set around different locations, and approaching design in very different<br />
ways, Stage 5 contains two semester-long projects that build on top of one another to<br />
form an in-depth critical study and re-imagining of a particular urban context. The<br />
first semester project approaches architectural design from the wider scale of the urban<br />
context; and the second semester’s project gravitates towards the building scale with<br />
a focus on details, tectonics, materials, construction, environmental and atmospheric<br />
considerations. Stage 6 builds on this by synthesising knowledge and ideas into a yearlong<br />
design thesis, which ultimately sets out the student’s architectural position as a<br />
designer at the end of their formal design education.<br />
This academic year, the research-led masters vertical studios included: “Archive of the<br />
Collective Interior”, a studio which reflected on our bodily actions and interactions<br />
in this period of lockdown, intending to offer another perspective of this situation<br />
by mapping and imaging how our bodies are transforming in their new-found<br />
interiority; “The Big Here and The Long Now”, a studio which focused on the creative<br />
use of materials and the geological, ecological, technological and social systems<br />
that make up the process from sourcing them to using them; “Edge Conditions”,<br />
a studio that proposed investigating architectural responses to border conditions,<br />
conceived both literally and figuratively; “Material Change”, a studio that questioned<br />
how our cities can reinvent themselves in response to the global climate emergency;<br />
“Remapping the Neo-Avant-Garde”, a studio in which built and unbuilt projects were<br />
considered as providing models for developing methods for addressing the complexities<br />
of intervening in historical contexts, on existing structures and in traditional urban<br />
settings; and a studio titled “Unlearning: How to Practice Architecture”, which<br />
aimed to rethink what architecture and architects can do, what tools are needed and<br />
what practices can be adopted to respond and contribute to an optimistic future, for<br />
architecture, for people and for the future of a city.<br />
Alongside the design studios, a series of non-design modules complete the programme.<br />
Students could choose an elective pathway to be carried out over the two years of the<br />
programme, effectively tailoring the programme according to their areas of interest.<br />
This year, students were able to either write a research dissertation; to work in small<br />
groups to develop a Linked Research project associated with a research area; or to<br />
develop a specialism in Urban Planning selecting a series of modules from our School’s<br />
MSc in Urban Planning, which could ultimately lead to a dual qualification if that<br />
particular route is continued after graduation.<br />
69
Stage 5 & 6 Vertical Studios<br />
This academic year the design modules of the programme were delivered through<br />
six vertical studios across both years of the MArch, all with distinct briefs that posed<br />
specific challenges formulated by their respective tutors. Every studio was formed<br />
by a mixture of both Stage 5 and Stage 6 students working together throughout the<br />
year, creating an integrated studio structure that provided a well-defined intellectual<br />
framework for projects. The weekly design tutorials were supported by frequent<br />
seminars, lectures, and specialist technical consultancies. These were also completed by<br />
critic-led reviews with panels of expert academics and practitioners invited from across<br />
the country, as well as cross-year reviews that broadened the range of discussions.<br />
Stage 5 Coordinator<br />
Iván J. Márquez Muñoz<br />
Stage 6 Coordinator<br />
Matthew Ozga-Lawn<br />
Project Leaders<br />
Anna Czigler<br />
Carlos Calderon<br />
Christos Kakalis<br />
Claire Harper<br />
Dan Burn<br />
David Boyd<br />
Ed Wainwright<br />
Graham Farmer<br />
Ivan J. Marquez Munoz<br />
James A. Craig<br />
Jane Redmond<br />
John Kinsley<br />
Matthew Ozga-Lawn<br />
Nathaniel Coleman<br />
Paul Rigby<br />
Polly Gould<br />
Prue Chiles<br />
Zeynep Kezer<br />
Stage 5 Students<br />
Abbey Mcguire<br />
Anastasia Winifred Cockerill<br />
Aysel Imanova<br />
Ben Dean<br />
Beth Hardy<br />
Bohan Qiao<br />
Brandon Athol Few<br />
Cecilia Egidi<br />
Charlie Barratt<br />
Chi Ming Ng<br />
Dana Raslan<br />
Dora Mary Frances Farrelly<br />
Erya Zhu<br />
Eve Pardoe<br />
Feyzan Sarachoglu<br />
Frazer Morgan Ellis Watson<br />
George Salsbury Spendlove<br />
Harry Charlesworth Groom<br />
Heather Annie O’Mara<br />
Hiu Kit Brian Hui<br />
Hizkia Widyanto<br />
Ho Hang Ryan Fung<br />
Holly Veitch<br />
Ibadullah Shigiwol<br />
Irene Dumitrascu-Podogrocki<br />
Isabel Lois Fox<br />
Jacob Oliver Botting<br />
Jake Thomas Williams-Deoraj<br />
Jay Antony Hallsworth<br />
Jemima Alice Smith<br />
Jing Olyvia Tam<br />
Joe Wallbank<br />
Jose Figueira<br />
Joshua Willem Jago Knight<br />
Juan Felipe Lopez Arbelaez<br />
Kushi Lai<br />
Kwok Tung Constance Tso<br />
Liam Kieran Rogers<br />
Maria Aksenova<br />
Marina Patsia<br />
Mireille Patrick<br />
Mollie Macdonald<br />
Natasha Alexandra Rice<br />
Nathan Alan Cooke-Duffy<br />
Olga Karchevska<br />
Paola Isabella Jahoda<br />
Robert Lloyd<br />
Rory Patrick Durnin<br />
Sarah Popsy Bushnell<br />
Sarah Safwan Moh’d Hasan Al Hasan<br />
Shaodong Zheng<br />
Solomon Olufemi Adeyinka Ofoaiye<br />
Sophie Agnes Wakenshaw<br />
Sophie Grace Collins<br />
Tashanraj Selvanayagam<br />
Tunu Maya Nichol Brown<br />
Victoria Louise Haslam<br />
Xingtong Li<br />
Xueqing Zhang<br />
Yuan Chen<br />
Zacharias Yiassoumis<br />
Zhana Hristova Kokeva<br />
Stage 6 Students<br />
Aisha Suleiman Gimba<br />
Alexander James Mcculloch<br />
Benjamin James Taylor<br />
Charlotte Wood<br />
Chou Ee Ng<br />
Daniel Francis Hill<br />
Elle-May Simmonds<br />
Emily Charlotte Cowell<br />
Emily Reta Spencer<br />
Ethan John Archer<br />
George Campbell MacKellar<br />
Harashadeep Kaur<br />
Henry James Cahill<br />
Ho Yin Andy Chan<br />
Katherine Helen Bluff<br />
Katherine Isabel Rhodes<br />
Konstantins Briskins<br />
Luc James Askew-Vajra<br />
Malgorzata Nicoll Szarnecka<br />
Margaret Amy Armstrong<br />
Longman<br />
Marisa Rachel Bamberg<br />
Mark Andrew Laverty<br />
Matthew Edward Harrison<br />
Matthew Michael Tweedy<br />
Nicholas W G Honey<br />
Oliver James Church<br />
Robert John Thackeray<br />
Sami El-Kamha<br />
Sarah Elizabeth Bedwell<br />
Sarah Marie Askew<br />
Sergey Dergachev<br />
Stephanie Louise Wilson<br />
Thomas Jordan Stanley<br />
Toghrul Mammadov<br />
Vincent Zeno Macdonald<br />
Wing Yung Janet Tam<br />
Zara Elizabeth Rawson<br />
Contributors<br />
Adam Hill<br />
Alex Blanchard<br />
Amy Linford<br />
Armelle Tardiveau<br />
Ben Bridgens<br />
Bill Calder<br />
Cathy Dee<br />
Craig Gray<br />
Daniel Mallo<br />
David Manning<br />
Duarte Lobo Antunes<br />
Henry Pelly<br />
Jack Mutton<br />
Jennie Webb<br />
Jian Kang<br />
Josep-Maria Garcia-Fuentes<br />
Juliet Odgers<br />
Laura Mark<br />
Lorens Holm<br />
Malcolm Tait<br />
Mark Marshall<br />
Martin Beattie<br />
Martyn Dade-Robertson<br />
Neil Burford<br />
Neveen Hamza<br />
Peter Wilson<br />
Rachel Armstrong<br />
Ray Verrall<br />
Remo Pedreschi<br />
Ruth Morrow<br />
Steve Webb<br />
Toby Blackman<br />
70<br />
Text by Iván J. Márquez Muñoz<br />
Opposite - Harry Groom
Archive of the Collective Interior<br />
James Craig, Matt Ozga-Lawn & Polly Gould<br />
Architectural education is in a state of accelerated distance that has been brought on by the COVID-19 lockdown and the subsequent<br />
dissolution of our physical teaching spaces. In the emptying-out of our studio environments, we have had little time to think through what it<br />
means to sever the spaces of bodily encounter that the studio environment holds.<br />
The intention of this studio was to offer another perspective by reflecting on our bodily actions and interactions in this period of lockdown.<br />
Through mapping and imaging how our bodies transformed in their new-found interiority, the studio provided provocations on the importance<br />
of pausing and reflecting at this time of crisis, and to find ways of holding on to our subjectivity to create distance from the screen-world.<br />
In this pursuit, the studio was concerned with framing – not just in how the external world is reduced to a series of framed experiences of<br />
life, but to consider what lies beyond those imposed frames so that a realignment with the material world might occur. The architect’s tools<br />
were drawn into question in this new reality, ultimately showing how the screen world’s illusory conditions can be subverted, manipulated<br />
and sometimes destroyed.<br />
Through close attention to objects and their implications- with a reminder that it is healthy and desirable to be caught up in the world, these<br />
projects function as spatial testimonies of this time, exposing the realities of life that lie behind screens so as to reverse the displacement<br />
incurred by lockdown.<br />
72<br />
Above - Mollie Macdonald
Top - Maria Aksenova Middle, Left to Right - Maria Aksenova, Bohan Qiao Bottom - Bohan Qiao<br />
73
74 Top - Sophie Collins (2) Middle - Feyzan Sarachoglu Bottom - Feyzan Sarachoglu
Top - Tunu Brown (2) Middle - Yuan Chen Bottom - Yuan Chen<br />
75
Number 12 is haunted. Through methods of forensic analysis, interrogation of the gaze, and exploration of the parallax [gap]: we search for meaning<br />
within the residues left behind by previous occupation, questioning our sense of place, and uncovering hauntological presences in a time otherwise<br />
characterised by absences.<br />
76 Alexander James Mcculloch & Mark Laverty The Haunting of Number 12
Alexander James Mcculloch & Mark Laverty The Haunting of Number 12<br />
77
Unfolding in real-time as the Covid-19 pandemic disrupts our lives, this thesis project has focused on processing thoughts and emotions, both introspectively<br />
and projecting outwards to empathise with others. Introspective Objects and Projective Objects are created, and the research culminates in<br />
the final object, a film called ‘Objects of Transition’.<br />
78 Katherine Isabel Rhodes Objects of Transition
Konstantins Briskins Archive of the Lost Senses<br />
79
Grounded within the context of the Covid-19 pandemic many professionals have announced long terms plans to adopt home working practices.<br />
In recognising static desk culture associated with home working, the ‘kinetic tool-kit’ responsively seeks to extend and augment the domestic<br />
environment through a series of analogue interventions.<br />
80 Elle-May Simmonds The Architecture of Enrichment
‘The Zoomscape’ challenges traditional modes of architectural representation through interrogation of a domestic space invaded by cameras. A parallel<br />
is drawn between the flaws of the linear perspective in architecture and those of the video-communication tools on which we now heavily rely.<br />
Sarah Elizabeth Bedwell The Zoomscape<br />
81
Edge Conditions<br />
Iván J. Márquez Muñoz, Christos Kakalis, Zeynep Kezer<br />
This studio was an exploration of architectural responses to Edge Conditions, conceived literally and figuratively. An edge signifies the<br />
boundary between two different spatial conditions—but this boundary can take myriad forms, invoking a wealth of associations and spatial<br />
conditions that can find tectonic expression. Edges may be concrete like a wall or imagined like the time zones, they may be solid, porous<br />
or fluid. This broad and graduated spectrum finds form in an equally diverse vocabulary of design at different scales with walls, facades,<br />
arcades, thresholds, shutters, windows, steps and stairs, gateways and passages which modulate liminality through variations in height, opacity,<br />
material palette, and detailing.<br />
In this studio, by proposing Edge Conditions as a deliberately loose frame, we wanted to enable a wide range of experimentations and<br />
iterations from the most literal and material translations of the notion to the most ephemeral and metaphorical. The projects developed in this<br />
studio included attempts at stitching the urban fabric to mend it where it frays and efforts to identify components of abandoned assemblages<br />
to reconfigure them for new uses, thereby reducing waste and improving the resilience of communities. In our studio there was also plenty<br />
of room for students who chose to define their projects as serious social criticism, intensifying the practices that exacerbated the inequities on<br />
both sides of the boundary to render them starkly visible and for projects conceived as social satire, articulated as full-blown parodies of the<br />
contemporary society of spectacle.<br />
82<br />
Above - Brandon Few
Top - Liam Rogers Middle, Left to Right - Liam Rogers, Nathan Cooke-Duffy Bottom - Nathan Cooke-Duffy<br />
83
84 Top - Jake Williams-Deoraj (2) Middle - Simon Ng Bottom - Simon Ng
Top, Left to Right - Marina Patsia, José Figueira Middle- Paola Isabella Jahoda Bottom - Paola Isabella Jahoda<br />
85
Rewilding Industries is an architectural and landscape intervention that proposes a research centre to cultivate phytoremediators that heals the<br />
contaminated site of Grangemouth in Scotland and allow the phytoremediators to overgrow and rewild the remediated sites into a natural habitat for<br />
the species dwelling at the Firth of Forth Estuary.<br />
86 Ho Yin Andy Chan Rewilding Industries
The cycle of capitalistic creation and destruction will determine the fate of brutalist ‘carbuncles’ of the country whose demolition is antithetical to<br />
the profession which is increasingly motivated by preservation and sustainability. A scarred memory of the demolished Chandless Estates persists in<br />
Gateshead. Reviving and re-imagining the estates aims to provide continuity in a town that has long lacked a community that stands up for it.<br />
Harashadeep Kaur Re-imagining the Chandless Estates<br />
87
88 Sergey Dergachev The Intergenerational Forum of Canongate
Reclaiming Playtime introduces concepts of play and games into a mixed-use cultural space at the intersection between Edinburgh and Leith, the<br />
product of an evolving network of interconnected programmes, facilitated by a method of incremental expansion, consolidation, and shared resources.<br />
Robert Thackeray & Nicholas Honey Reclaiming Playtime<br />
89
90 Robert Thackeray & Nicholas Honey Reclaiming Playtime
Robert Thackeray & Nicholas Honey Reclaiming Playtime<br />
91
Material Change<br />
Daniel Burn, Jane Redmond, Graham Farmer, Paul Rigby<br />
Our discussion this year has focused on the Eldon Square shopping centre in central Newcastle. In light of the challenges faced by our high<br />
streets, both pre and post covid, our brief asked the group to consider new opportunities for the high street, and to apply those approaches to<br />
our chosen site. How can city centres provide services for a broader demographic and for a wider variety of functions?<br />
In approaching the challenge above, we asked each of the students to consider their work within the context of the current climate crisis, and<br />
the impact of the built environment on the carbon footprint of our cities. We encouraged the group to consider the material cost in creating<br />
buildings and to consider scenarios which seek to retain, adapt, and extend existing structures.<br />
Starting with a city scale urban analysis of the site, the group worked together to form a research base upon which to develop their personal<br />
approaches. The 6th years developed this work towards their individual thesis submissions, whilst the 5th years created an urban scale design<br />
project first before a detailed building intervention.<br />
The resultant projects display a broad array of approaches that seek to amend and adapt the existing buildings towards appropriate new uses.<br />
The projects engage directly with a process of re-use, identifying appropriate places to adapt and suggest methods of construction which<br />
extend and adapt existing structures.<br />
The projects suggest new opportunities around some clear themes. The design of new workplaces, focusing on variety and providing more<br />
flexible, small scale solutions, which can be adapted for the making and displaying of goods. Another key theme formed around themes of<br />
connection and wellbeing, creating spaces at roof level for leisure as well as the production of food. Many of the projects took on the challenge<br />
of making better pedestrian links, opening routes between buildings, and making better connections between existing city streets.<br />
92<br />
Above - Harry Groom
Top - Cecilia Egidi Middle, Left to Right - Cecilia Egidi, Frazer Watson Bottom - Frazer Watson<br />
93
94 Top - Beth Hardy (2) Middle - Juan Lopez Arbelaez Bottom - Juan Lopez Arbelaez
Top - Solomon Ofoaiye Middle, Left to Right - Solomon Ofoaiye, Jemima Smith Bottom, Left to Right - Jing Olyvia Tam, Jemima Smith<br />
95
We’ll have to plant some fresh<br />
fruit by the weekend Sarah<br />
You should have<br />
your tea out here<br />
mum.<br />
Awesome!<br />
We could go down<br />
to the cafe later<br />
I’m outside<br />
This project is rooted in shifting the conversations which are had in our city centres from one formed around retail and consumer culture to one of<br />
community using dwelling as a language format and marginalized groups as the participants.<br />
96<br />
Aisha Suleiman Gimba Conversations Within Newcastle’s City Centre<br />
58
To accommodate and celebrate the daily life of the street, the project utilized the influence of the street life, create a ‘crack’ on the homogeneous shopping<br />
mall façade. In an attempt on creating a symbiotic or productive relationship between the order focused shopping mall and the ‘messy’ street.<br />
Chou Ee Ng High Street: De-Gentrification<br />
97
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J_<br />
j<br />
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1 it'<br />
Theatre of the Senses<br />
A headonistic, ephemeral iourney of transaction & regional memory.<br />
Senses<br />
the of Theatre<br />
A headonistic, ephemeral iourney of transaction & regional memory.<br />
SENSORY TYPOLOGIES<br />
CONCEPT AXO<br />
‘Theatre of the Senses’ is an attempt at<br />
creating a hyper-charged transnational<br />
city centre. This machine/methodology<br />
can be recreated in other cities, if<br />
approached correctly.<br />
A hedonistic, ephemeral journey of<br />
transaction & regional memory, with focus<br />
for certain groups/users as the journey<br />
moves through the arcade loop. The three<br />
‘Sensory Loop’ spaces, aims to create a<br />
dialogue with the senses and the everchanging<br />
city around it.<br />
Senses Machine<br />
Hetertopian junctures (the arcaida loop)<br />
The City (a network of memories)<br />
A SENSORY INCUBATOR<br />
BRUNSWICK PLACE PURFUMERY<br />
(north elevation axo)<br />
The prestigious Edwardian Fenwick’s, established between 1882-1885, lines the north of the<br />
street, with its beauty department opening directly onto the space. Finally, Monument Mall acts<br />
as the street’s southern boundary. Incorporating three Grade II listed facades from the 1890s/<br />
early 1900s and facades from various twentieth century building elements.<br />
<strong>Design</strong>ed like a 19th century arcade, (a nod to the character of the space & the Central Arcade,<br />
a key part of the sensory route), ‘Brunswick Place Perfumery’, provide san Olfactory journey and<br />
space for the current Church to host interactions between young and old groups. Set in the city<br />
centre, the Perfumery is accessible and open to all, fostering inclusivity and exploring taboos<br />
about the ‘stinky city’.<br />
14<br />
A hedonistic, ephemeral arcade route in Newcastle’s city centre, acknowledging memory and challenging regional cleansing. The project uses existing<br />
fabric and local DNA, to create a hyperintense, transactional experience.<br />
98 Emily Spencer Theatre of the Senses
NHS HEALTH<br />
NEWCASTLE<br />
LEARN<br />
NEWCASTLE<br />
EAT<br />
Examining what is ‘health’ and how it is affected by living in a city centre environment. From the research undertaken, ultimately exploring an alternative<br />
to city life living to optimise ‘health’.<br />
Oliver Church Unhealthy City - Newcastle Health Centre<br />
99
The thesis explores the notion of density within the architectural field and its stigmatisation, as the current health crisis has fuelled the discourse<br />
around the future of cities.<br />
100 Toghrul Mammadov The DEN
Located on the site of the former town hall, the scheme utilises architectural salvage as a means of fostering connections to place, enabling people to<br />
become active in the built and urban environments in which they live.<br />
Zara Rawson Newcastle Urban Room<br />
101
Architecture and its Education Redux: Remapping the Neo-Avant-Garde<br />
Nathaniel Coleman, David Boyd, Carlos Calderon<br />
In this studio, students explore the historical conditions of the fragmentation of architecture in an effort to respond critically to the<br />
situation. Developing their own understandings of present conditions is introduced as prefiguring architectural and urban responses to<br />
them. The interrelation of history, form, structure, building systems, building character and function (or use) is presumed as central to such<br />
cultural work and for the emergence of designs. Equally, Remapping the Neo-Avant-Garde challenges students to confront the aporia that<br />
has long prevented architecture from overcoming internal contradictions between myths of autonomy and entrapment within the building<br />
industry, which limits architectural expressions to reproductions of capitalist spatial practises and modes of production.<br />
If the neo-avant-garde in architecture amounts to little more than branding, or self-satisfied (self-congratulatory) illusions of autonomy —<br />
as if somehow operating on the outside of the building industry – in reality, it is mostly an exercise in careering. It is on the doorstep of<br />
this illusion that Punk might offer something of a corrective: its experimental DIY ethos, embrace of failure, and implicit/explicit critique<br />
of capitalist spatial practises and modes of production are something the neo-avant-garde in architecture is almost incapable of considering,<br />
but which students in this studio are encouraged to explore in their own projects. More directly related to the Italian context of this studio<br />
— all sites are set in Italy, the Italian Arte Povera movement provides clues to alternative methodologies that are likely somewhat easier to<br />
transpose architecturally than Punk, while sharing a similar ethos.<br />
All design investigations in both stages, across the two semesters, of this MArch vertical studio are construed as research, encompassing design<br />
research, design practices, technology – in its broadest sense, reflective practices, interpretation and representation.<br />
102<br />
Above - Isabel Fox
Top, Left to Right - Isabel Fox, Dora Farrelly<br />
Bottom - Dora Farrelly<br />
103
104 Top - Olga Karchevska Middle, Left to Right - Olga Karchevska, Ho Hang Ryan Fung Bottom - Ho Hang Ryan Fung
Top - Sarah Al Hasan Middle - Robert Lloyd Bottom, Left to Right - Robert Lloyd, Sarah Al Hasan<br />
105
106 Top - Erya Zhu Middle, Left to Right - Tashanraj Selvanayagam, Erya Zhu Bottom - Tashanraj Selvanayagam
George Campbell MacKellar Re-Mapping the Belly of Rome<br />
107
Here memory is used as a tool to confront the failure of the Neo-Avant-Garde, whilst simulatenously recollecting the history of fascism at what once<br />
was the epicentre of the movement - itself complicit in ‘anti-memory’. The writings of Paul Ricouer offer the beginnings to an alternative spatialisation<br />
of memory and a perspective of Lake Como through its repressed history, settling a long overdue debt to that past.<br />
108 Sami El-Kamha Anti-Memory
3<br />
02<br />
003<br />
2<br />
1<br />
GA _SECTION_02<br />
1 - KITCHEN<br />
2 - DINING ROOM<br />
3 - LANDING<br />
02<br />
004<br />
0<br />
1:50 @ A3<br />
N<br />
5<br />
Against modern modes of production, how can one traverse a process of design and construction that isn’t inevitably an assertion of power and dominance?<br />
This project questions the possibility of architecture in the context of the capitalist machine, proposing artistic practices, and the studio, can<br />
lead to architecture’s recovery from its internal crisis.<br />
Thomas Stanley Struggimenti d’architettura<br />
109
The Big Here and the Long Now<br />
John Kinsley, Anna Czigler<br />
When we think of context in our design projects we might conventionally consider neighbouring buildings, the street and community, or<br />
even the town or city where the project is located. But construction in the 21 st Century is an international process, using raw materials and<br />
fabrication processes from all over the world. What implication does this ‘bigger here’ have for the choice of materials? Similarly, when we<br />
think of a building’s lifespan, we might consider how our projects can be de-constructed at the end of their life, but what happens to their<br />
fabric after that? How can the materials be re-used or recycled and continue to be useful in a ‘longer now’?<br />
Our studio has focused on the creative use of materials, and the geological, ecological, technological and social systems that make up the<br />
process from sourcing them to using them. We have looked at strategies to use materials in many shapes and forms: historic, local, high-tech,<br />
vernacular, not-yet-existing or recycled.<br />
These strategies have been multi-scale throughout the year: regional and urban strategies of sourcing-transporting-manufacturing-building;<br />
building scale of selecting, recycling, constructing, adopting, disassembling; and a product scale ranging from joints to furniture.<br />
Our projects have aimed at developing a set of urban and architectural moves to create a new infrastructure for mapping, sourcing, transporting,<br />
making, using, disassembling or reusing a creative range of materials.<br />
110 Above - Victoria Haslam
Top - George Spendlove Middle, Left to Right - Sophie Wakenshaw, George Spendlove Bottom - Sophie Wakenshaw<br />
111
112 Top - Zhana Kokeva (2) Middle - Ben Dean Bottom - Ben Dean
Top - Irene Dumitrascu-Podogrocki Middle, Left to Right- Xueqing Zhang, Irene Dumitrascu-Podogrocki Bottom - Xueqing Zhang<br />
113
114 Top - Victoria Haslam Middle, Left to Right - Victoria Haslam, Xueqing Zhang Bottom - George Spendlove
Henry Cahill Reinvigorating Lancashire Quarrying and Stone Processing<br />
115
[Scheme Montage]<br />
[Section 1:100]<br />
Using textiles as a facilitator, the thesis explores the wider relationship between craft and architecture. Additionally, the application of new technological<br />
developments within these seek to explore how traditional and digital craft can combine to transform the contemporary building processes at a<br />
level suitable for today’s cultural and social challenges.<br />
116 Charlotte Wood Made in Huddersfield
1<br />
1<br />
5<br />
2 3<br />
5<br />
4<br />
5<br />
KEY<br />
1 Greenhouse<br />
2 Restaurant Kitchen<br />
3 Restaurant<br />
4 Community Herb Garden<br />
5 Teaching Kitchen<br />
Narrowed<br />
High Street<br />
road<br />
School<br />
Programme<br />
planters<br />
Culinary School<br />
This thesis project looked at the impact and patterns of food production and waste to propose the implementation of a circular food economy, including<br />
the local production of food, into a neglected district of Newcastle, Byker.<br />
Emily Cowell Re-embedding local food systems: An outline for Byker<br />
117
There are post-industrial towns all over the UK that are left without strategies for resilience once their industry leaves. This project proposes a community-orientated<br />
masterplan for Jarrow on the River Tyne centred around renewable energy production, with a flagship Innovation Hub providing a<br />
new destination point on the riverside.<br />
118 Katherine Bluff Beyond Resource Extraction
How can existing food systems and infrastructure be challenged and reimagined, enabling towns to become carbon net zero by 2050 and giving<br />
citizens sovereignty over what they eat?<br />
Margaret Longman Common Ground<br />
119
This thesis demonstrates that biomaterials could be a viable alternative to traditional construction materials, with potential for the linear waste industry<br />
to be circularised. Using the egg as a source of inspiration for ecological, social and industrial analysis.<br />
120 Marisa Bamberg Walking on Eggshells
This thesis reintroduces the traditional material of bamboo in order to challenge perceptions by offering a new tactile experience, demonstrated<br />
through the design of a stool. The project investigates the carbon life cycle and footprint of bamboo and challenging the idea by using living bamboo<br />
plans directly as a material without harvesting, minimizing excessive processing.<br />
Wing Yung Janet Tam Re-Establishing Bamboo in the Industrial Era<br />
121
Unlearning... how to practice architecture?<br />
Claire Harper, Ed Wainwright, Prue Chiles<br />
We are in a period of huge change and for all of us, the cultures and practices we had known have been turned inside out, social worlds we<br />
had cultivated have migrated to new places of exchange and the economic system with its default modes of operation that have shaped our<br />
experience as citizens, students and architects, appear increasingly unviable. The aim of the studio this year is to re-think what architecture and<br />
architects can do, what tools we need and what practices we might adopt to respond and contribute to an optimistic future, for architecture,<br />
for people and to reshape the future of the city. Architecture is and has always been, contingent; on the investment of finance for the<br />
production of buildings, on the cultural norms and hierarchical systems that entrench knowledge and power. It has promoted and encouraged<br />
practices that have successively outstripped planetary resources in service of economic growth. It is, and we are all, complicit in perpetuating<br />
practices that sustain systems that are no longer ‘sustainable’. We are at a critical point, but one which does not have to be seized by nihilistic<br />
claims about the end of architecture.<br />
Some key themes will inform our approach; ecological thinking, ethics, care, intersectionality and decolonizing architectural practices, the<br />
city, the legacies of late capitalism and degrowth economics. Eldon Square, the partially empty shopping centre was our starting point. With<br />
its future uncertain, the scale and bulk of the unwieldy city-centre fortress presents a site in which to rethink not only how we practice, but<br />
future scenarios that practice might cultivate.<br />
Projects this year have indeed tackled a variety of careful, attentive, sensory studies and close readings and any new-building has been kept<br />
to a minimum. Rather, the projects re-use, re-constitute materials and re-inhabit space in new ways, allowing careful thinking about the<br />
architect’s role within this. Subjects of scrutiny include the post-war planning legacy of the underpass, the historic city walls, the importance<br />
of famous radical characters haunting the city; whilst also including animals, birds and forestation in our plans. We have shown how we can<br />
capture carbon, waste less and enjoy what the shopping, living, working, making and free-time experience of Newcastle City centre will be<br />
in the future.<br />
122 Above - Joshua Knight
Top - Natasha Rice Middle, Left to Right - Heather O’Mara, Natasha Rice Bottom - Heather O’Mara<br />
123
124 Top - Sarah Bushnell (2) Middle - Jay Hallsworth Bottom - Jay Hallsworth
Top - Abbey McGuire Middle, Left to Right - Abbey McGuire Charlie Barratt Bottom - Charlie Barratt<br />
125
This project reflects on the repetitive nature of commercial practice.<br />
126 Benjamin Taylor Unlearning: A practice of co-ercion, subverting the shopping environment and re-thinking the shop window.
This project explores a deepening of attentiveness towards the existing to slow extractivist architectural cultures.<br />
Daniel Hill Underpassing<br />
127
The project sets out to acknowledge, inform and sustainably respond to the declining condition of the Newcastle Town Walls through a series of illustrated<br />
guides to safeguard their legacy and ensure a level of preservation, protection and repair is upheld.<br />
128 Ethan Archer A Meandering Conversation In Search For Walls
“We intend to introduce a fasttrack<br />
for beauty through changes<br />
to national policy and legislation,<br />
to incentivise and accelerate high<br />
quality development which reflects<br />
local character and preferences.”<br />
Classic Style ‘Modern’<br />
Housing. A ‘sustainable,<br />
beautiful, safe and<br />
useful’ development.<br />
This project looked to understand the changes in planning legislation that are being proposed with regards to automation and how this will be implemented<br />
using algorithms and what kind of urban realm it will produce.<br />
Luc Askew-Vajra Networks, Data & the Urban Realm<br />
129
This project explores a non-human oriented methodology within architectural practice<br />
130 Malgorzata Szarnecka Zoopraxis
This project explores the nature of technology in architecture and the gap between work and rest. It applies a reflective process, making a haptic map<br />
of the School of Architecture.<br />
Matthew Harrison Methods of Slowness and Pathologies of Architectural Pedagogy<br />
131
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Textile recycling<br />
This thesis looks at reducing waste, recycling and re-making what we wear and how we shop.<br />
132 Stephanie Wilson The haberdashery - unravelling the process and looking towards a new clothing industry
An introspective architectural performance piece explored through creative writing, film, and drawing. Set at a site of historic radicalism on Nelson<br />
Street, Newcastle upon Tyne.<br />
Vincent MacDonald A Walk Through Nelson Street<br />
133
Architectural Research and Engagement<br />
These last two academic years have been unprecedented for everyone and research in the school<br />
has rightly taken a back seat to teaching our amazing cohort of students. We did not publish a<br />
year book last year and looking back over this time research and engagement within the City has<br />
however, flourished in many ways. We have had some substantial successes and achievements in<br />
research funding including Professor Rosie Parnell’s timely UKRI/AHRC Covid funding for her At<br />
Home with Children project.<br />
Through the power of digital technologies, international collaborations and new ways of working<br />
have been made possible; not least in Professor Katie Lloyd Thomas’ exciting new project<br />
Translating Ferro / Transforming Knowledges for Architecture, <strong>Design</strong> and Labour for the<br />
New Field of Production Studies. This is a joint Brazil/UK project funded by the AHRC and<br />
FAPESP and we have welcomed research fellow Will Thompson onto this project.<br />
The growth of the HBBE research network in APL and Northumbria is astonishing and we have<br />
been thrilled to expand our team with experts in the biotechnology field, including Ruth Morrow,<br />
Professor of Biological Architecture. Whilst seeing the numbers of participating staff and research<br />
students grow, we have also watched the development of a new building on campus; the OME. The<br />
OME will be where HBBE researchers come together to collaborate, test and demonstrate their<br />
technologies at building scale.<br />
We are proud of how much of our research involves our students and informs our teaching, in<br />
linked research, dissertation tutoring, through studio work and lecture and seminar teaching. The<br />
array of research interests contained within APL is showcased in ARC and provides a glimpse into<br />
the minds of our talented scholars. We are also committed to working with the city and the region<br />
in our research and teaching.<br />
In an exciting new enterprise we welcomed Owen Hopkins two years ago from the Sir John Soane’s<br />
Museum to develop, curate and manage the development of the Farrell Centre in the wonderful<br />
Claremont buildings. This will be an Urban Room and archive of Sir Terry Farrell’s work as well<br />
as a venue for the promotion of the built environment in Newcastle and for many collaborations<br />
between the City, and APL.<br />
Opposite -<br />
OME project<br />
Photo by: Ben Bridgens<br />
134 Text by Prue Chiles
BA Dissertations<br />
Module leader: Katie Lloyd Thomas<br />
The dissertations produced in this academic year respond to the range of agendas informing the sixteen electives offered by tutors at the School. Some<br />
of these were centred in building science, some in history and theory, others in professional and creative practice. The electives provide a starting<br />
point and intellectual framework for the students’ work, developed over the course of a year, bridging Stages 2 and 3 of the undergraduate degree.<br />
Despite the difficulties posed for research by the pandemic this past year, performance in the dissertation this year has been exceptional and was<br />
described by our external examiners as the ‘jewel in the crown’.<br />
dE1 : Power and Architecture<br />
Sana Al-Naimi<br />
When thinking of power and its relation to architecture, you would probably think of monumental<br />
structures like the Egyptian pyramids or the Parthenon atop the Acropolis in Athens. You might<br />
think of triumphal arches or great palaces constructed to honour long-gone emperors. This research<br />
group investigates other ways in which power influences architecture; how it can use it to advance<br />
political agendas, how it can change it to facilitate surveillance, or how it can destroy architecture<br />
on a large scale in an attempt to achieve total dominance over the culture that produced it.<br />
Title: The Heart of Rome: A Manipulated Identity<br />
Matteo Hunt-Cafarelli<br />
dE2 : Marginal Spaces<br />
Sam Austin and Ed Wainwright (with Alex Blanchard)<br />
There are spaces in the city we see but never look at; spaces we pass through but never explore.<br />
There are spaces where we stop but never rest; spaces we use but don’t really inhabit. There are<br />
buildings we enter but never know. These are the spaces where life takes place. At once thoroughly<br />
normal, yet often unknown. From the space of the shopping mall, to the airport lounge; the doctors<br />
waiting room, to the bus stop; the sports stadium, to bar; the multi-storey car park, to the street.<br />
These spaces, and the spaces in between, are examined through a range of exploratory approaches,<br />
adapting methods from film practice, anthropology, and cultural theory to investigate how these<br />
marginal spaces are produced, re-produced and experienced.<br />
Title: An Exploration of the Psyche through the use of Architectural and Labyrinthine Space in Stanley<br />
Kubrick’s The Shining.<br />
Tessa Lewes<br />
dE3 : Emergence of Modernism: The Bauhaus.<br />
Elizabeth Baldwin Gray and Katie Lloyd Thomas<br />
The interwar period in Germany, in the early decades of the twentieth century, represents a time<br />
of rapid change. Modernism emerged in forms such as Expressionism, Dada, and the Bauhaus.<br />
Gropius’s school of architecture, the Bauhaus, is one of Germany’s best-known and most influential<br />
contributions to architecture. This course will explore the origins of modernism in Germany as<br />
it developed from early art and anti-art movements in Berlin, to the founding of the Bauhaus in<br />
Weimar, its move to Dessau, to Berlin, and its eventual emigration to the UK and the US.<br />
Title: Gropius the Expressionist: An Analysis of Walter Gropius’s Expressionist Phase and its Significance<br />
in the Study of 20th Century Architecture<br />
Jessica Male<br />
136
dE4 : Architecture of Place<br />
Andrew Ballantyne and Josep-Maria Garcia-Fuentes<br />
We are interested in the effects that place can have on architecture. This might be because a building<br />
responds to features in the surrounding landscape, such as a mountain—either by being placed in<br />
a dramatic position, or by incorporating ideas from the mountain’s form—or maybe the building<br />
is placed as an incident in an arcadian idyll. Whatever the case: buildings can enhance the places<br />
where they are built, by paying attention to the specific spot, its form or its culture, and making a<br />
creative response to it.<br />
Title: Lost to time. Found in memory. How the oast house and the hop trade affected the lives of people<br />
and the vernacular in Kent.<br />
Hereward Leathart<br />
dE5 : Colonial exchanges: meetings between “east” and “west”<br />
Martin Beattie<br />
This elective investigates how (colonial) cultures mix, or not as the case may be, and how that<br />
process manifests itself in architecture. In a foreign context, the making of architecture can be<br />
seen as a dialogical process, entailing negotiation, domestication, appropriation, the reworking of<br />
local symbolic and material resources, and interaction with the surrounding social and physical<br />
landscape. How structures designed in a particular geo-political situation may be perceived and<br />
used in new ways after disruptions, or crises of the local, or international order, is also an interesting<br />
aspect of their meaning and symbolic function. Not only visual and stylistic, but also functional<br />
and social hybridity may be a component of the life of these buildings, especially in contexts where<br />
the boundaries between “east” and “west” were not yet rigidly established.<br />
Title: Colonial Exchanges between Britain and India: The Royal Pavilion at Brighton. To what extent<br />
did the Royal Pavilion at Brighton reflect British national character and identity during the 19th century?<br />
Ella Ashworth<br />
Title: The Ethical Debate Behind Slum Tours as Managed Entertainment Dharavi, Mumbai: How does<br />
tourist behaviour, sounds and imagery within YouTube vlogs facilitate slum tourism as ‘entertainment,<br />
something that can be momentarily experienced and then escaped from?’<br />
Rosemary Joyce<br />
dE6 : Architecture’s Six Themes<br />
Kati Blom<br />
These dissertation seminars go through some texts in architectural theory and other literature,<br />
which deal with thematization and future prediction based on those themes. Phenomenological<br />
texts by Juhani Pallasmaa and David Leatherbarrow, fantastic literature by Italo Calvino and<br />
Laszlo Krasznahorkai, and architectural texts by Steven Holl and Neil Young are studied to create<br />
a futuristic theme for future architectural challenges. The four seminars go through themes of<br />
conceptual thinking, fantastic thinking, realism, futurism and evolving tectonics. Each time the<br />
text is read, an appropriate architectural example is chosen and reflected with a free drawing or<br />
photographic expression.<br />
Title: Architecture as a representation of the invisible structures of the world<br />
Anastasia Asenova<br />
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dE7 : “These are the days of miracle and wonder”<br />
Ben Bridgens<br />
Discourse from the government, RIBA, Institution of Civil Engineers, manufacturers, and<br />
technology companies is predicated on an assumption that innovative solutions, off-site fabrication,<br />
automation and technology (smart, connected systems) are inherently beneficial for our cities, built<br />
environment and citizens. But it could be argued that construction is following the same path as<br />
smaller complex manufactured items such as cars and digital devices: mass-production resulting in<br />
repetitive, globally traded, difficult to repair, short lifespan products, with craftsmen replaced by<br />
factory workers and automation. ‘Smart’, interconnected systems of sensors within our buildings<br />
and cities present severe challenges for security, privacy and the risk of massive, cascading failures.<br />
Title: Reviving Egypt’s Islamic architecture: an investigation into Hassan Fathy’s vernacular style, the<br />
roots of Islamic architecture and their applicability in contemporary society<br />
Malak Elwy<br />
dE8 : Energy, Society, and Cities<br />
Carlos Calderon<br />
By 2050 it is projected that more than 70% of the world’s population will live in urban areas.<br />
The theme of this elective is about understanding the relationship between energy flows, society,<br />
and spatial formations. During the seminars we explore examples that use a variety of research<br />
methodologies to break new ground in understanding how social inequalities, environmental<br />
problems, cultural practices and technological change shape the evolution of energy systems.<br />
Title: Weathering Earth: A data-led study into the effect weathering has on rammed earth erosion in a<br />
UK setting and how it can be used in the effort towards net-zero emissions.<br />
Max Blythe<br />
dE9 : Home, the agency and negotiation of domesticity.<br />
Prue Chiles<br />
This elective looks at the many ways and means we can find home in today’s world and how<br />
architectural thinking and making can inform this. We explore different ways we can navigate<br />
around the meanings of home from literature, from more architectural writing and from fine art.<br />
The notion of domesticity, itself an invention of the modern age, and the home with its privacy and<br />
comfort compared to the workplace, has been challenged and ridiculed by modern artists, architects<br />
and designers. Domesticity became the antithesis of modernity. And yet it can be the most complex<br />
the most interesting and the most culturally prominent architectural form. Let us free the notion<br />
of home as stereotype and take action.<br />
Title: A Feeling of Home for the Displaced: A Search for Familiarity<br />
Polly Chiddicks<br />
Title: Suburbia: paradise or prison? How the emergence of American suburbia in the 1940’s still dictates<br />
gender disparities in domestic life<br />
Milly London<br />
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dE10 : Re-Visioning Utopia: Materials and Meaning Countering Neo-Avant-Garde Failures.<br />
Nathaniel Coleman<br />
Since the early years of the 20th century, Architecture has transacted in mythologies of the NEW,<br />
characterised as avant-garde. Post-hoc identifications of first-generation modernist architecture<br />
with Utopia neglects its entanglement within dominant modes of production from the start (state<br />
capitalist or state socialist), including the most radical architects. Because of its capture by the<br />
building industry, architecture can’t develop dissonant, critical, practises of the sort other art-forms<br />
can. Although claims of supposed utopianism attributed to orthodox modernist architecture are<br />
suspect, the failures of orthodox modernist architecture and urbanism (perceived and real) are<br />
attributed to Utopia.<br />
Title: The Myth of Architecture: <strong>Design</strong>. Sisyphus. Neoliberalism.<br />
Daniel Mijalski<br />
The Myth of Authenticity in Architecture: How do architectural myths of authenticity (including<br />
architects’ claims for their work) constitute illusory solutions to the contradictions of modernity in a<br />
globalised economy?<br />
Colin Rogger<br />
dE11 : Invisible Energies<br />
Neveen Hamza<br />
‘We shape our buildings, then our buildings shape us’ - Winston Churchill<br />
As architects, our role goes beyond drawing and building the boundaries of enclosures. We create<br />
atmospheric microcosms of invisible energies by the thermal, daylight and sound environments<br />
in and around buildings. The environments we create shape human engagements with their<br />
environments and with each other, while having an impact on global resources and climate.<br />
This domain incorporates our understanding of building design to the realm of environmental<br />
psychology and sustainability.<br />
Title: The Psychological Impact of Covid-19 on the Luxury Car Showroom Experience: Exploring how<br />
the Built Environment Influences Consumer Behaviour<br />
Emily Ducker<br />
dE12 : Reflective Practice in Architecture<br />
John Kamara<br />
Architecture is a profession that is mostly involved in the development and translation of designs<br />
into built assets in response to the needs of clients, society and the wider environment. In this aspect<br />
of architectural practice, there is a close interrelationship between theory and practice, and much<br />
of the knowledge/learning for practice is developed and refined through ‘doing’. Thus the need for<br />
active reflection (or learning from experience) is a key aspect of professionalism in architecture.<br />
Title: Healthy Hospitals: How are the principles of Salutogenic design articulated in the healthcare sector?<br />
Stella Chukwu<br />
139
dE13 : Narrative Architecture<br />
Matthew Ozga Lawn<br />
If narrative builds a story in time, architecture builds a story in space. We explore the relationship<br />
between narrative and architecture. This has been the focus of renewed study in recent years, with<br />
a diverse range of authors and publishers considering it, including Nigel Coates and Sophia Psarra.<br />
We look at how built and drawn architecture constructs stories, and how text, as a medium, can<br />
be spatialised and constructed to create compelling narratives and experiences. We consider other<br />
mediums that format text and imagery in interesting ways to tell a story, from Mark Danielewski’s<br />
House of Leaves to graphic novels such as Alan Moore’s Watchmen.<br />
Title: The Power of Myths: A Critique of Architectural Narrative Through a Feminist Lens<br />
Hana Baraka<br />
dE14 : Architecture through Magazines<br />
Stephen Parnell<br />
How do architects become ‘starchitects’? How does a thing – something, anything – become a<br />
‘thing’? How do we know what’s hot and what’s not? How do architects market themselves? How<br />
do buildings become ‘Architecture’? Some theorists have argued that ‘modern architecture only<br />
becomes modern with its engagement with the media’ and that the magazine is a construction site<br />
for architectural ideas. We build on this and adopt the position that the architectural magazine<br />
was a major component in the development of the architectural profession and the buildings it<br />
produced throughout the twentieth century.<br />
Title: The history of countercultural environmentalism: how architectural magazines constrained<br />
sustainable architecture.<br />
Agata Malinowska<br />
dE15 : Constructing the Architect<br />
Ray Verrall<br />
We think about architecture as the product of architects, but could we also consider architects<br />
themselves as being constructions of their profession? From the pedagogical customs of architectural<br />
education to the professional habitus discovered and developed upon entering practice, architects<br />
are socialised into the strange doxa of what ‘being an architect’ is supposed to mean.<br />
Title: Denial is the heartbeat of racism: Manifestations of UK Institutionalised Racial Discrimination in<br />
the 21st Century of Architectural Education.<br />
Malaika Javed<br />
dE16 : War, Geopolitics and Architecture<br />
Jianfei Zhu<br />
It is rather surprising that architectural discourse has not been sufficiently grounded on geographic<br />
locality and geopolitical dynamics. Architectural knowledge has been largely formalist, universalist<br />
and free-floating. Yet every project and statement in architecture is entangled with local spatial<br />
politics and geopolitical tensions of various scales. Today, with daily escalation of urban war, media<br />
war, comprehensive war, and ‘unlimited war’, it is increasingly urgent to study and to (re)theorize<br />
relations between war, geopolitics and design culture – as they did in the past and as they assume<br />
new forms and horizons today.<br />
Title: The Brutal Secrets. The hidden influence: From Second World War military structures to post-war<br />
architecture<br />
Mingxuan Ge<br />
140
Architecture and Urban Planning Dissertations<br />
Module leader: Daniel Mallo<br />
Supervisors: Usue Ruiz Arana, Sally Watson, Rosie Parnell, Andy Law, John Pendlebury and Daniel Mallo<br />
An Exploration Of The Pandemic’s Impact On The Safety Of Women Walking To And From<br />
Work After Dark<br />
Quitterie d’Harcourt<br />
With the arrival of COVID-19, growing levels of domestic abuse have been documented worldwide,<br />
allowing for extensive research into the challenges that women face in the private domain. However,<br />
little research has been undertaken on the issues that women encounter in public settings during the<br />
pandemic. Because women constitute most healthcare workers globally, this study seeks to understand<br />
the personal experiences of key female NHS workers who commute through urban public spaces, and<br />
assess the factors that contribute to them feeling unsafe during their commutes. Based on a literature<br />
assessment on the alienation of women in the public domain on Western society, nine female workers<br />
were interviewed using an interpretivist method to comprehend the substance of the harassment they<br />
confront in public settings. The research revealed that the pandemic has had a significant impact on<br />
women’s feeling of safety in public spaces, with an absence of eyes on the street arguably being the<br />
primary issue.<br />
In Their Own Words: What is Driving the Demand and Formation of Slums ? Answered by<br />
Abuja’s Slum Dwellers<br />
Sultana Duba<br />
This paper explored the forces behind the emergence of slums in Abuja from the perspective of<br />
slum residents. It also investigated the physical conditions of Abuja’s informal communities. Semistructured<br />
interviews were conducted with 123 slum dwellers across three slums; thematic analysis was<br />
used to identify themes and patterns from the interview responses. Six major factors were extracted<br />
and are presented as triggering the emergence of slums in the city. Direct immersion in Abuja’s slum<br />
communities also revealed the deplorable living conditions of thousands of the city’s inhabitants. The<br />
results of this study are hoped to provide a deeper understanding of slums and slum formation, as well<br />
as guide policy approaches aimed at resolving this housing crisis.<br />
Home Time: Examining Work Life Balance In Cohousing Development<br />
Sarah Bird<br />
This research focuses on time scarcity becoming a barrier to accessing cohousing, through an<br />
ethnographic study of a pre-build cohousing group and the struggles and sacrifices made by its<br />
members. The research is informed by rich histories of feminist literature examining time scarcity<br />
and post-work theory, interwoven with an exploration of the history of the current housing crisis<br />
and alternatives to the traditional housing market. With the study taking place over the COVID-19<br />
pandemic it explores unique relationships to both home and time. Through understanding the<br />
inequality of how people experience time-scarcity, its relationship to labour and its impact on access to<br />
housing, this study champions an implementation of Universal Basic Income.<br />
The Impact Of The Covid-19 Pandemic On Young People And Their Ability To Access Green<br />
Space For Health And Well-Being In Consett, County Durham<br />
George Woodruff<br />
This study explores the relationship young people (aged 10-15) have had with green space during the<br />
Covid-19 pandemic in Consett, United Kingdom. Examining the health and well-being advantages of<br />
green space and the effect restrictions have had on young people. The study uses several ethnographic<br />
methods: a questionnaire, observation and mapping. The study suggests that young people have<br />
been negatively impacted by the pandemic when accessing green space. The conclusion explores the<br />
importance of green space and the need to emphasise the benefits green space offers to young people<br />
after the Covid-19 pandemic. The study also demonstrates the need for further research after the<br />
pandemic to determine any long-term effects.<br />
141
MArch Dissertations<br />
Module leader: Nathaniel Coleman<br />
The 10,000 word MArch dissertation offers students the opportunity to undertake a sustained enquiry into a topic of particular interest to<br />
them and to develop their own modes of writing and presentation. Where appropriate the timing of the dissertation allows for topics explored<br />
to inform their final thesis design project.<br />
A Soundwalk Methodology For Establishing the<br />
Recognisability of the Soundscape<br />
Dan Hill<br />
Photographs of Bewick Court and some of the elevated walkways into<br />
the city from the east.<br />
As I sit to write this paper in the ground floor bedroom of<br />
my temporary student home, I hear the boiler beside me<br />
activate for its pre-programmed evening period. I recall the<br />
first occasion it did so, and how it startled me. Its gurgling is<br />
a sound I encounter in the same place and time every day that<br />
passes. It has become a part of my own personal soundscape,<br />
a rhythm that announces itself only to me. I think also of<br />
the previous tenants who once occupied this room and were<br />
subject to its rhythms, wondering if they too shared such an<br />
intimate relationship with their home’s boiler. Probably not.<br />
The boiler’s sparking to life is not only a sound; and although<br />
in knowing its daily rhythm, I have been made aware it is<br />
approximately half-past six; nor is it simply an imprecise<br />
clock. The sound is indicative of activity, the beginning of a<br />
warming process of the space I occupy. Though I considered<br />
it a disturbance at first, it reassures me of the proximity of<br />
thermal comfort in my near future. An hour or so from now,<br />
I will at last be warm. Sound and activity are intrinsically<br />
linked, for they are fundamentally two outputs of the same<br />
physical process: the vibration of matter. In the context of<br />
the city, there is such a difference between these two scales<br />
of vibration that we often fail to observe or accommodate<br />
for their affiliation. Dedicated to studying this connection is<br />
the discipline of Acoustic Ecology, sometimes referred to as<br />
Ecoacoustics or Soundscape Studies, pioneered by R. Murray<br />
Schafer in the late 1960’s as part of the World Soundscape<br />
Project (Schafer et al., 2007). The movement sparked huge<br />
scholarly interest, resulting in a vast amount of diverse<br />
literature from fields ranging from art and architecture to<br />
geography and the medical sciences.<br />
I have looked at significant works from as many of these<br />
diversified sources as possible, in an attempt to deliver a<br />
comprehensive methodology for analysing Newcastle’s<br />
soundscapes. Motivated by the soundwalk method produced<br />
by one of Schafer’s most prominent students, Hildegard<br />
Westerkamp (1978; 1989), I invited volunteers to listen to<br />
pre-recorded virtual soundwalks around the city and asked<br />
them to map out their perceived journeys in real-time based<br />
on the sound environments they encountered. By isolating<br />
the ear from the other sensory organs, I hope to discover<br />
the significance the soundscape has on perceived space<br />
and orientation, and furthermore, establish the strength of<br />
Newcastle’s acoustic identity.<br />
Photographs of Shieldfield House located near City Stadium; and the<br />
bank of the River Ouseburn<br />
142
MArch Dissertations<br />
The Sound Of One Hand Opening: Architecture As A<br />
Door Of Perception<br />
George Mackellar<br />
Climbing arch in Dijkstraatplayground, 1954’ by Aldo van Eyck.<br />
Photograph by Louis van Paridon (Ligtelijn and Strauven, 2008, p. 105)<br />
The term ‘doors of perception’ was coined by the renowned<br />
writer and philosopher Aldous Huxley in his 1954 essay of<br />
the same title. His essay is based on his experience of taking<br />
the psychedelic drug known as mescalin, which Huxley uses<br />
as a topic to host a discussion on the more broad subject of<br />
transcendental experiences in which psychedelics are just one<br />
of many doors leading to altered states of consciousness. This<br />
paper sets out to identify how architecture can be perceived<br />
- experienced - as a door to alternative ways of perceiving the<br />
world and its contemporary society, and elaborates on what<br />
these experiences might look like or mean. The discussion is<br />
framed through the lens of two schools of thought running<br />
parallel to each other. Zen Buddhism and its accompanying<br />
meditative practices is used to clarify ontological phenomena<br />
that arise during the experience of space, while the application<br />
of architectural theory aims to analyse ‘doors of perception’<br />
in their most concrete form: within the built environment.<br />
Referring to the work of Le Corbusier, Carlo Scarpa and<br />
Aldo van Eyck along with a range of historical sources in Zen<br />
discourse, the paper develops a closeness between the two<br />
disciplines, showing the effect that this perspective can have<br />
on architectural practice and use.<br />
Image of exit into meditation pavilion at Brion<br />
Cemetery, by Carlo Scarpa (McCarter, 2013,<br />
p. 247)<br />
‘Primitive huts. Colchian huts (left); Phrygian huts (right). Reconstructed<br />
after Vitruvius’ description by Claude Perrault’ (Rykwert, 1972, p. 57)<br />
143
MArch Dissertations<br />
The Caged West<br />
Konstantins Briskins<br />
Cellular Arrangement and The Panopticon - The cellular arrangement acts as the epitome of power and control over an individual. While<br />
dungeons and common cells allowed to remain invisible and hide in the crowd the novel spatial strategy prevented any prisoner from escaping<br />
the ever-seeing eye. The 18th century prisons that adopted principles of the panopticon rejected features of a dungeon and used visibility and<br />
light to ensure discipline and obedience.29 This emerging use of light and visibility marks a shift from one type of incarceration to another.<br />
While darkness and abandonment are conventionally accepted as unappealing conditions, they are not particularly effective at depriving one’s<br />
liberty. An abandoned person is free in his actions and in addition is concealed from the law by the veil of darkness. On<br />
the contrary, hiding in a well-lit environment is a difficult challenge. Panopticon is the ultimate cage since it creates an illusion of the constant<br />
supervision. Essentially these drastically different prison typologies reflected the shift in the social role of a body. It obtained a function and<br />
hence had to be controlled in order to implement the plans of the higher social layers. The overwhelming majority of prisons built after the<br />
18th century precedents followed their lead in terms of spatial arrangement and cellular design. Most of the modern prisons still comprise<br />
rows of individual cells and provide complete visibility of the inmates constantly ensuring a sense of possible supervision. Perhaps it is reflective<br />
of the global state of power relations and its mechanisms that remained relatively unchanged from the late 18th century. On a more optimistic<br />
note, many attempts were made with varying degrees of success to challenge the status quo of prison designs and reflect societies with liberal,<br />
humanistic and progressive agendas.<br />
The Insular Village of the Balstøy Prison - Another example of a penal establishment which is often discussed in a tandem with Halden is the<br />
Bastøy prison allocated on the Bastøy island 75 kilometers south of Oslo and founded in 1982. The correctional center’s design would never<br />
come close to being considered by the Pritzker Prize’s Committee but it is one of the finest examples of a humane approach to detention.<br />
Prisoners of the Bastøy live in small wooden cottages in groups of five or six where they are supposed to stay from 11 p.m. to 7 a.m.; the house<br />
contains a common room, a kitchen and separate bedrooms provided for each of the inmates.Moreover, apart from the curfew there is very<br />
little regulation in regards to prisoners’ life. It might seem bizarre but the majority of the staff leave the island at night practically<br />
allowing prisoners to do as they wish. It is this kind of trust that separates the Norwegian systemfrom the rest of the world and which is highly<br />
debated among the people involved in the field of penology.<br />
Let’s come back to John K. who was outspokenly dissatisfied with the Halden prison. It was Bastøy where John was transferred after Halden<br />
and where he felt normal at last. He attributed his peace of mind to a couple of factors including his ability “to personalize his house and in<br />
an important way” and the respect experienced in the communication with the prison staff.61 Even though both prisons are considered to be<br />
examples of a progressive approach to detention one can imagine how different the experiences in Halden and Bastøy prisons are. While the<br />
first estab-lishment strives to achieve the same goals as the latter it remains in a lot of ways conventional. It has rows of individual cells, warden<br />
stations with direct supervision and a tall concrete wall around its perimeter. Bastøy on the other hand is no different than a common insular<br />
Norwegian village. Hence it has better chances to feel like an actual community and foster change in behavior given that work, education or<br />
a combination of the two remain mandatory. It is obviously impossible nor advisable to make every prison in the world insular to avoid walls<br />
as symbols of detention but the prison provides a valuable precedent of an incarcerated community that lives and functions in the closest to<br />
normalcy way. Isolation provides a great condition for change and it is therefore essential to ensure that people are treated with dignity and<br />
respect so they can reconsider their views on society and law. They might begin to appreciate human connection more once it becomes the<br />
only source of joy in their lives. The same idea applies to work and education which are common practices at Bastøy. A sense of community<br />
created by sharing a house with other inmates, absence of archetypical penal design features, the normality of the cottages’ architecture and<br />
the ability to customize one’s environment are the key aspects of the prison and what sets it apart from conventional examples and the Halden<br />
prison.<br />
Knut Egil Wang, 2014, Halden Prison, Norway,<br />
144
MArch Dissertations<br />
Therapeutic Communities: Utopian Imaginaries of Wellbeing<br />
Charlotte Wood<br />
Architecture and wellbeing are intertwined to such an extent, that our natural and built environment have become inextricable elements<br />
of ourselves; in which we can influence and are influenced by. Yet emphasis on novelty, form and aesthetic often obscures this and as such,<br />
seemingly little interest in shaping the built environment according to the requirements of inhabitant health and wellbeing exist.<br />
A recent shift regarding this relationship, however, has gradually begun to emerge within the design industry, as both architects and<br />
psychologists collaborate to implement therapeutic design as a catalyst that determines the spatial parameters of a therapeutic community.<br />
Subsequently, the purpose of this dissertation seeks to explore how architecture plays a significant role in determining therapeutic spaces; not<br />
solely as a physical location, but also as mechanisms for influencing the urban typology. Thus, it is the contention of this research, that a study<br />
regarding how therapeutic architecture influences the way a user experiences a space, in combination with evidence-based design criteria to<br />
improve wellbeing, that a new therapeutic community model will emerge.<br />
Ultimately, the dissertation endeavours to provide an investigation into how the complex relationship between architecture and wellbeing has<br />
evolved over time, and how the lessons garnered from them may be applied within modern architectural design.<br />
Conceptual Framework of the Relationship Between Urban Form and Mental Wellbeing by Journal of Urban <strong>Design</strong> and Mental Health<br />
145
Linked Research<br />
Among the most exciting and ambitious modules we offer as a School, the Linked Research module<br />
is unique to the Newcastle curriculum and spans the two Stages in the MArch enabling year-long<br />
collaborative research projects between staff and students. Linked Research encourages approaches<br />
that extend beyond the conventional studio design project or ‘lone researcher’ dissertation model<br />
allowing space for multiple and speculative forms of research. Projects are often open-ended and<br />
collaborative and, because they are long term and involve groups working together, they can enable<br />
participatory projects and large-scale production with a wide range of partners inside and outside<br />
the University.<br />
Pavilion of the Commons<br />
Daniel Mallo & Armelle Tardiveau<br />
Mark Laverty<br />
Nicholas Honey<br />
Creating Newcastle City Gallery<br />
Owen Hopkins<br />
Zara Elizabeth Rawson<br />
Soft Studio 2<br />
Matthew Margetts<br />
Andy Chan<br />
Product PLACEment: Bly The Sea<br />
Matthew Margetts<br />
Elle-May Simmonds<br />
Gresham Neighbourhood Plan<br />
Dave Webb, Claire Harper<br />
Adam Ewart<br />
Callum Henderson<br />
Emily Cowell<br />
Sarah Askew<br />
Great North Museum Pavilion<br />
Ben Bridgens<br />
Marisa Bamberg<br />
Malgorzata Szarnecka<br />
Luc Askew-Vajra<br />
Wing Yung Janet Tam<br />
Harashdeep Kaur<br />
Chou Ng<br />
Testing Ground<br />
Graham Farmer<br />
Benjamin Taylor<br />
Katherine Rhoades<br />
Henry Cahill<br />
Vincent Macdonald<br />
Sergey Dergachev<br />
Robert Thackeray<br />
Alexander Mcculloch<br />
Sarah Bedwell<br />
Emily Spencer<br />
Gagliato Urban Study<br />
Prue Chiles<br />
Toghrul Mammadov<br />
Emily Charlton<br />
146 Opposite - Pavilions of the Commons, Mark Laverty and Nicholas Honey
Pavilion of the Commons<br />
Daniel Mallo & Armelle Tardiveau<br />
This project runs alongside a 3-year AHRC funded research on urban commons: ‘Wastes and Strays: The Past, Present and Future of English<br />
Urban Commons’ – an interdisciplinary research into the legal and historical development, present status, and public perceptions of urban<br />
commons to encourage their use, and to better inform discussions and decisions about the future of such common grounds. As part of this<br />
research, students designed a travelling Pavilion as a tool for engagement to investigate the future of Urban Commons in four locations in the<br />
UK: Newcastle’s Town Moor, Norwich’s Mousehold Heath, Brighton’s Valley Gardens, as well as Clifton Down, Bristol.<br />
Initiated in the academic year 2019/20, the project was conceived as a vertical studio between Postgraduate (MArch) and Undergraduate<br />
(BA Architlecture and Urban Planning) students to explore a collaborative pedagogical model of ‘architectural practice’ in the studio. MArch<br />
students acted as leaders and practical demonstrators coaching undergraduate students, and shaping their own learning through a process<br />
of designing, prototyping and reflecting. Collectively students developed a brief for the design of a pavilion of the Commons: a lightweight,<br />
flat-packed, easily transported, flexible, as well as a fun landmark for engagement. The construction was inspired by well trialled self-build<br />
precedents and is accomplished through a process of detailing, prototyping and testing. The design is guided by a detailed illustrated ‘assembly<br />
manual’ as tool for assembling or customising the pavilion allowing for self-expression.<br />
148<br />
Students: Mark Laverty, Nicholas Honey
Creating Newcastle City Gallery<br />
Owen Hopkins<br />
‘What is the city but for the people?’ (Shakespeare, 1894, 3.1:200) This discussion around civic identities is titled after this famous line from<br />
Coriolanus: a postulation seemingly conveyed in a conversational tone, which is immediately affirmed through an utterance. Sicinius for his<br />
part, upon posing this question, receives “True the people are the city!” (1894, 3.1:200) from the citizens. Accordingly, this project seeks to<br />
evaluate the potential operation of the Urban Room, within civic discussions of Newcastle.<br />
Although primarily academic, this project has been conducted as part of the wider renovation of the Farrell Centre. A scheme which seeks to<br />
transform the currently derelict upper floors of the Claremont buildings, into an Urban Room.<br />
This essay is divided into two parts, aiming to function as two connected essays with the overall aim of providing a brief for the designed<br />
component of this submission. In the first chapter (What is the city?) the paper seeks to affirm the role of the city model within the gallery<br />
space, and in so doing uncover a framework through which the Urban Room may operate. The second chapter, (But for the people!), aims to<br />
gain an understanding of how this framework may be implemented, using several case studies within similar typologies.<br />
Student: Zara Elizabeth Rawson<br />
149
Gresham Neighbourhood Plans<br />
David Webb & Claire Harper<br />
We were invited by a community group to assist them in developing a neighbourhood plan for their local neighbourhood of Gresham in<br />
Middlesbrough. Gresham is an inner-urban neighbourhood that has suffered from harmful planning actions over recent decades. Most<br />
significant of these was a housing market renewal initiative which proposed phased demolition of large parts of the neighbourhood. The<br />
initiative was abandoned in 2010 leaving some cleared sites bearing the footprints of the former houses and neighbouring streets with houses<br />
empty and boarded up. The Neighbourhood Plan presented an opportunity to empower local residents to shape decisions about the future<br />
of their neighbourhood. It was developed as a collaborative project between planning students Callum Henderson and Adam Ewart and<br />
architecture students Emily Cowell and Sarah Askew, working with artist Isabel Lima and Gresham charity, Streets Ahead. In the first stage,<br />
the planning students explored the community dynamics in Gresham and mapped possible routes to enabling new development through a<br />
neighbourhood plan. In stage two, architecture students built on this work to define key themes for the plan, and elaborate these with enticing<br />
visuals and a film intended to engage the community in the plan-making process.<br />
Inaccessible space for Mavis<br />
Back Alley<br />
Bed brought downstairs<br />
Students: Adam Ewart, Callum Henderson, Emily Cowell, Sarah Askew 150
Text from May Submission<br />
[Chou E Ng]<br />
Concept 3: Continuing the concept of<br />
interaction and inspired by Hindustan Level<br />
Pavilion by Charles Correa, the concept of<br />
this proposal was to create ‘surface’ and<br />
space for visitor or people to interact with<br />
the pavilion in taking a more expressive<br />
architecture form that mainly constructed<br />
with timber panel and metal brazing in<br />
between.<br />
Critical Reflection:<br />
Chou’s initial designs were the most<br />
creative, in my opinion, and allowed me<br />
to reconsider the pavilion as an artistic<br />
installation rather than focusing solely<br />
on function. The playful nature and<br />
irregularity of this design proposal have<br />
a clear influence on our final outcome.<br />
Whilst this design does encourage ‘play’ it<br />
is unclear where the biomaterials fit in and<br />
thus, the learning aspect of the pavilion.<br />
Text <strong>Design</strong> & Access Statement<br />
The blocks will be used as an interactive<br />
exhibition, providing a base for teaching for<br />
visiting schools. The majority of the boxes<br />
will be fixed as part of the entire pavilion’s<br />
structure however, a small number of boxes<br />
will be used as flexible seating and can<br />
be moved around the garden. The seating<br />
boxes will be 350x350mm and will have<br />
a handles to allow for ease of movement.<br />
The height of the boxes is defined by the<br />
requirements of the school children of<br />
different ages. The 350mm high boxes will<br />
provide seating for younger visitors (up<br />
to the age of 8), whilst the bigger boxes,<br />
500mm high, will provide seating for older<br />
children and adults.<br />
The exhibition will focus on showcasing<br />
the research of the HBBE run by the<br />
university. The main focus of the exhibits<br />
will be bio-materials developed by the<br />
researchers that can be potentially used as<br />
part of the built environment in the future.<br />
The exhibition will relate to the school<br />
curriculum on the theme of materials and<br />
their usage in everyday life as well as<br />
looking at differences between natural and<br />
man-made materials and how the future<br />
bio-materials might fit in both categories.<br />
Due to its location in the garden the<br />
exhibition will also focus on the importance<br />
of natural environments especially in<br />
urban areas. A series of planter blocks will<br />
provide children with interactive way of<br />
learning about different species of plants,<br />
by utilising rubbing techniques.<br />
18<br />
PLASTIC<br />
>72H<br />
STAINLESS STEEL<br />
>72H<br />
CARDBOARD<br />
>24H<br />
COPPER<br />
>4H<br />
29<br />
Great North Museum Pavilion<br />
Ben Bridgens<br />
<strong>Design</strong> Process<br />
Initial <strong>Design</strong> Studies<br />
[Chou E Ng]<br />
The ‘Great North Museum Pavilion’ Linked Research project was an opportunity to work with the Great North Museum (GNM) and the<br />
Hub for Biotechnology in the Built Environment (HBBE) to design and build a ‘pavilion’ within the walled garden of the GNM. The aim<br />
was to create a sheltered space which would increase use of the garden by museum visitors (particularly school groups) whilst introducing<br />
visitors to the research being carried out by the HBBE and providing a link between the GNM and the HBBE’s experimental building on the<br />
other side of Devonshire Walk. The project was scaled back due to Covid restrictions, but the students still managed to complete the design<br />
and fabrication process to create an interactive seating area within the walled garden, with final installation due to be carried out in Summer<br />
<strong>2021</strong><br />
<strong>Design</strong> Process<br />
Exhibition & Seating<br />
Flexible Seating [Janet Tam]<br />
Exhibitional Furniture [Marisa Bamberg]<br />
Sample Slide Outs & Rubbings [Malgorzata Szarnecka]<br />
Biomaterial Display [Luc Askew-Vajra]<br />
Installation<br />
Temporary Arrangement<br />
Temporarily arranging the boxes on-site<br />
was straightforward to do with the aid of<br />
the CAD drawings. We underestimated how<br />
heavy the boxes would be and discovered<br />
Set on the block grid system this provides seating and exhibition space. The clear<br />
box allows multiple different exhibition sizes to be contained. The accompanying<br />
text for the exhibit is then inset into the block with a clear acrylic overlay. The top<br />
of the exhibition section could also be removed making it into a cross-sectional<br />
planter.<br />
that they would need more support than<br />
initially anticipated. This meant that all<br />
corners of the ‘L-shaped’ boxes need to be<br />
fully supported underneath, which has a<br />
s l i g h t i m p a c t o n t h e o v e r a l l d e s i g n o f p h a s e 1.<br />
As the boxes were prefabricated in the<br />
workshop, the installation process will be<br />
straightforward. It will involve unscrewing<br />
sections of the cladding and screwing the<br />
structural timber down to the box below.<br />
59<br />
42<br />
The Great North Museum: Pavilion<br />
Marisa Bamberg<br />
151 Students: Marisa Bamberg, Malgorzata Szarnecka, Luc Askew-Vajra, 140147508 Wing Yung Janet Tam , Harashdeep Kaur, Chou Ng
Testing Ground<br />
Graham Farmer<br />
Testing Ground is a unique and ongoing programme of architectural design-build research that is grounded in place-based inquiry and<br />
stakeholder engagement. Since 2013 the programme has collaborated with multiple external partners and actively explores the synergies<br />
between design and build practice, architectural pedagogy, public engagement and academic research. This year’s project was sited at the<br />
Northumberlandia, the location of the largest open cast coal mine in the UK and also the Northumberlandia land-form sculpture, designed<br />
by the architectural historian Charles Jencks.<br />
The project has been developed with the Northumberland Wildlife Trust to support and celebrate the reclamation, re-wilding and the<br />
reintroduction of native ecologies to the site. The project addresses the practical need for a Welcome Pavilion for the Northumberlandia<br />
site and the structure will provide an arrival and information point as well as sheltered seating for outdoor education, performances and<br />
community events.<br />
The pavilion has been designed in response to the constraints of remote working and has been developed with an extensive use of a 3D<br />
modelling software. The parametric design approach was implemented to provide flexibility in design development and preparation for<br />
remote CNC manufacturing was executed with a use of Rhino & Grasshopper softwares. The final design consists of modular prefabricated<br />
‘chunks’ that are connected together to complete the final pavilion. The approach allows for simple construction and for future maintenance<br />
the pavilion will be installed on site in July <strong>2021</strong>.<br />
Students: Benjamin Taylor, Katherine Rhoades, Henry Cahill, Vincent Macdonald, Sergey Dergachev, Robert Thackeray, Alexander Mcculloch, Sarah Bedwell,<br />
Emily Spencer<br />
152
Gagliato Urban Study<br />
Prue Chiles<br />
Gagliato, in Calabria, Italy is a declining small inland hill town only 10 miles from the Mediterranean sea, but miles away in terms of its lack<br />
of prospects and wealth. Gagliato’s plight of de-population and an ageing poor population is characteristic of many hundreds of inland hill<br />
towns in Southern Italy and the wider Mediterranean area. We have visited and worked in the town before, funded by generous support from<br />
Nano-Gagliato and the town.<br />
Toghrul and Emily have built on the previous linked research project and international workshop to introduce strategies for experimental<br />
and sustainable ways to refurbish and re-build some of the derelict houses in the medieval borgo, building on the urban design agendas set<br />
in the last project. Unfortunately, we could not go to Gagliato this year due to the pandemic and so all the work has been prepared remotely<br />
from previous survey material. We have had regular zoom meetings with representatives of the town, Nano-Gagliato and research partners at<br />
the University of Westminster. Gagliato would like to restore and regenerate the townscape to re-energise the town centre for the future and<br />
importantly to attract more visitors.<br />
153 Students: Toghrul Mammadov, Emily Charlton
Soft Studio 2.0: Sitting is the new smoking<br />
Matthew Margetts, Cara Lund<br />
Building on the “Soft Studio” Charrette undertaken at the start of 2020’s Academic Year, Andy’s Linked Research underwent a number of<br />
transformations as a result of the Covid-19 lock-downs. Originally conceived as an exploration into a softer, more informal approach to<br />
workplace furniture design, the project evolved into an innovative, multifunctional furniture design for home-workers.<br />
Andy explored a wide variety of themes ranging from ergonomics to well-being before designing and making a flexible, multipurpose<br />
workstation that encouraged multi-position working and could also provide some multi-gym functions in the same space.<br />
Working with local furniture makers Bazaar Group and PLYable <strong>Design</strong>, Andy gained an understanding of the commercial realities and<br />
practicalities of furniture design which resulted in a materially efficient self-assembly solution that was also informed by an augmentation of<br />
everyday rituals.<br />
A working day would start with, and could be punctuated by, gentle work-outs centred around reconfiguring the desking configuration,<br />
diminishing the health-risks associated with sedentary working practices.<br />
154<br />
Student: Andy Chan
Product PLACEment: Bly The Sea<br />
Matthew Margetts<br />
The Product PLACEment Linked Research project explored the complex issue of place branding through the lens of product merchandise.<br />
The experiment was originally envisaged as an entrepreneurial experiment to design, make and sell an ‘indigenous’ range of ‘merch’ to engage<br />
the public directly in a discussion about place, perception and pride. However, through the various manifestations of lock-down the project<br />
evolved into a series of targeted questionnaires which accompanied ‘merch hampers’ sent to a range of stakeholders for feedback.<br />
The central question in the research was to challenge notions of ‘top’ down externally commissioned place branding commissions with a more<br />
tangible, ‘unofficial’ and speculative approach that could be used to directly engage local inhabitants in a discussion.<br />
Working with EDable Architecture (based in Blyth) and Droid Creative Elle developed her own range of unique ‘products’ inspired by her<br />
analysis and conversations with inhabitants of Blyth (pre-lockdown). Questionnaires were issued (along with a social media site) to local<br />
stakeholders to understand their reactions to the merchandise and to establish whether this had helped them understand notions of pride,<br />
place and branding. Responses to the questionnaires were overwhelmingly positive and have led to a continuation of the exploration in a<br />
subsequent project for Linked Research the next academic year.<br />
Student: Elle-May Simmonds<br />
155
MA in Urban <strong>Design</strong><br />
Georgia Giannopoulou<br />
Contributors: Georgia Giannopoulou, Tim Townshend, Ali Madanipour, John Devlin, Stuart Hutchinson, Smajo Beso, Danny Oswell, Loes<br />
Veldpaus<br />
Guest Contributors: Rose Gilroy, Roger Maier, Dhruv Sookhoo, Michael Crilly, Christina Pallini (Milan)<br />
The MA in Urban <strong>Design</strong> is a well-established interdisciplinary postgraduate programme at Newcastle University that draws on expertise<br />
from the disciplines represented in the School (SAPL), namely Architecture, Planning and Landscape. The MA enjoys various synergies with<br />
other courses in the school in the context of different modules and as such replicates the nature of the profession, providing students with a<br />
rich learning experience based on diversity of backgrounds, skills and viewpoints. The programme brings to the foreground a strong agenda of<br />
social and ecological engagement, together with a relational approach to the built environment and public life. Three distinct design projects<br />
punctuate the year, supported by theory courses and critical debates around the practice of Urban <strong>Design</strong>. The projects engage with diverse<br />
localities and the challenges and themes emerging from the place as well as themes around regeneration and societal challenges. The course<br />
features a robust focus on urban design process including issues of financial viability and delivery across the design projects. The two major<br />
projects of the year are interconnected and address different themes and scales within proximal localities. Project locations address where<br />
there is ‘live’ regeneration and adequate complexity; in 2019-20 we worked in Middlehaven/Middlesbrough, once the hub of Middlesbrough’s<br />
industrial heritage but fallen into derelict state in the post-industrial era. Currently it forms one of the North-east’s largest and promising<br />
regeneration schemes, involving housing, education, sports and business development. The wider theme is post-industrial urban renewal<br />
and project sites engage with broader societal themes and research such as Digital Cities, an ageing population and sustainability. ‘Housing<br />
Alternatives’, forming the latter part of this project, examines new models of neighbourhood design in the context of the housing crisis and<br />
housing needs. The project explores concepts of affordability, sustainable living and community led-models as well as new and contemporary<br />
models for living addressing issues of resilience, changing patterns of working and demographics, such as live-work, Future Homes, Cohousing<br />
and Care in the Community models for older and vulnerable people.<br />
The course prides itself on its strong grounding on research and bridging across theory and practice as well as a stimulating learning experience<br />
with several field trips and experiential workshops and blogging. The MA in Urban <strong>Design</strong> is well regarded amongst Urban <strong>Design</strong> courses<br />
in the UK; graduates stay connected with the school and many go off to develop diverse and successful careers in the industry nationally and<br />
internationally.<br />
The year concludes with the Urban <strong>Design</strong> Thesis, a major research-led design project, on topics selected by the individual students around<br />
their interests, tutored by a range of tutors from the industry and reviewed at regular intervals by the teaching team.<br />
156
157
Master of Landscape Architecture<br />
Usue Ruiz Arana, Geoff Whitten, Ian Thompson<br />
Contributors: Charlotte Veal, Sally Watson, Armelle Tardiveau, Cathy Dee<br />
The MLA is a new two-year full-time postgraduate conversion course for graduates in other disciplines who wish to qualify and work as<br />
professional landscape architects, or with international landscape qualifications who wish to pursue professional studies in the UK. The course<br />
has candidate accreditation with the Landscape Institute and meets the educational requirements for chartered membership. Through studiobased<br />
projects, students are gradually introduced to the theories, methods and practice of Landscape Architecture.<br />
This year, the MLA students have designed schemes for multi-species inhabitation, Net Zero pocket parks for children, and soundscape<br />
projects. In addition, they have worked alongside MALAS students on their main design studios: ‘Hunters Moor sculpture park’ and<br />
‘Masterplanning the post-pandemic city’.<br />
158
159
MA in Landscape Architecture Studies<br />
Ian Thompson, Usue Ruiz Arana, Geoff Whitten, Andrew Scambler<br />
Contributors: Charlotte Veal, Sally Watson, Cathy Dee<br />
The MA Landscape Architecture Studies is a one-year taught masters-level programme which provides opportunities for students to develop<br />
systematic knowledge and understanding of Landscape Architecture and its interface with Planning and Architecture. Students develop the<br />
capacity for critical thinking about the design of place and space and gain skills to enable them to deal with complex aspects of landscape design<br />
and planning in a creative and innovative way. Through studio-based design projects, students refine their design skills and develop the ability to<br />
critically analyse and discuss landscape projects and styles.<br />
In Semester 1, students designed a sculpture park for Hunters Moor, following a virtual visit to Roche Court sculpture park that touched on four<br />
aspects of the relation between art and landscape: situation, movement, experience and materiality. In semester 2, students worked in groups to<br />
develop innovative visions for Newcastle City centre post-pandemic.<br />
160
161
MSc Advanced Architectural <strong>Design</strong><br />
Martin Beattie<br />
Contributors: Raymond Abdulai, Smajo Beso, Jules Brown, Martyn Dade-Robertson, John Devlin, Georgia Giannopoulou, John Kamara,<br />
Astrid Lund, Danny Oswell, Tony Watson, Jianfei Zhu<br />
Our MSc Advanced Architectural <strong>Design</strong> is a unique degree for international students to enhance their design and research skills. The<br />
Architecture and Cities pathway focuses on the dialogue and interconnection between architecture and the fabric of cities. It helps students<br />
appreciate architectural design in the broader social, cultural, and economic contexts of cities. Individual buildings are considered as<br />
component parts of cities, rather than as isolated objects within it. The pathway focuses on how architecture can be derived from detailed<br />
studies of urban communities and determine what is appropriate in the strategic and detailed development of specific urban sites.<br />
Semester one introduces students to urban design and context including issues of site program, movement, open space, community, heritage,<br />
morphology, massing, and materiality. The second semester project focusses more on the architectural scale, exploring ideas of meaning and<br />
identity in the urban environment and the role that public space and buildings play in articulating notions of citizenship and community.<br />
Architecture as a civic element is emphasised, including concentration on the relation between exterior and interior spaces. Thesis projects<br />
developed during the third semester provide students with opportunities for elaborating on many of the themes introduced earlier in the<br />
course. The thesis is a major design project framed by individual students which is largely produced independently.<br />
162
163
PhD and PhD by Creative Practice Students<br />
PhD Completions:<br />
The Impact of Urban and Domestic Building<br />
<strong>Design</strong> on Energy Consumption: A Case<br />
Study of Erbil, Kurdistan, Iraq<br />
Dr Ali Salih<br />
Learning from Tokyo<br />
Dr Nergis Kalli<br />
Micro and Macro-scale Characterisation of an<br />
Agarose-based Physical and Computational<br />
Model for the Testing and Development of<br />
Engineered Responsive Living Systems<br />
Dr Javier Rodriguez Corral<br />
The Enchantment of the Wild: A Journey into<br />
Wildness through Sound<br />
Dr Usue Ruiz Arana<br />
Continuing PhD Students:<br />
Transformational Spaces for Women<br />
Sarah Ackland<br />
Exploring The <strong>Design</strong> Delivery Process In<br />
Architectural Firms In Nigeria<br />
Oluwakemi Adeboje<br />
An Investigation Into the Conservation of<br />
Historical Buildings in Mecca, Saudi Arabia<br />
Mohanad Alfelali<br />
Irreal Engines: The Model Village and<br />
Worldbuilding<br />
Michael Aling<br />
The Impact of Environmental Behavior on<br />
Energy Consumption in Office Buildings in<br />
Saudi Arabia<br />
Ahmed Aljuhani<br />
Spatial Contest across Scales: A Study of<br />
Transportation Nodes at Dalian and Taipei and<br />
Multi-Scalar Spatial Politics in Japan’s Colonial<br />
Project in East Asia (1895-1945)<br />
Lu Bao<br />
The More-than-Human Relations of<br />
Transplanetary Imaginaries and Habitats<br />
Anne-Sofie Belling<br />
The Effectiveness of Participation in Post-<br />
Industrial Community-Led Residential Urban<br />
Regeneration Projects<br />
Ikbal Berk<br />
Stolac: A Testing Ground of Practised<br />
Ambiguity<br />
Smajo Beso<br />
B. subtills Spore Hygromorphs as a Novel<br />
Smart Biomaterial<br />
Emily Birch<br />
Embodiment And Computing At The<br />
Architect’s Interface For <strong>Design</strong><br />
Alexander Blanchard<br />
The Art of Conception: Methods to Kill the<br />
Architect<br />
David Boyd<br />
Growing Architecture: New Material Practices<br />
For The Construction Of Living Habitations<br />
In Extreme Environments<br />
Monika Brandic Lipinska<br />
Nation-Building of Post-Colonial and Post-<br />
War South Korea under the Park Chung-hee<br />
Regime<br />
Uri Chae<br />
Architecture by Default<br />
Kieran Connolly<br />
Housing <strong>Design</strong> and Marketing Images<br />
Hazel Cowie<br />
The Autobiographical Hinge: Revealing<br />
the Intermediate Area of Experience in<br />
Architectural Representation<br />
James Craig<br />
Living in Princely cities: Residential<br />
extensions, bungalow culture and the<br />
production of everyday spaces in Bangalore<br />
and Mysore, South India ca.1881 to 1920.<br />
Sonali Dhanpal<br />
SPACE, a Bridge connecting Online and<br />
Offline Learning<br />
Nagham El Elani<br />
Integrated <strong>Design</strong> Approach for Responsive<br />
Solar-Shadings<br />
Yomna Elghazi<br />
Architecture education and the empathetic<br />
imagination<br />
Elantha Evans<br />
Aldo Rossi: Architecture and the Nature of<br />
Memory<br />
Sinead Hennessy<br />
Reimagining children’s spaces with Seven<br />
Stories: The National Centre for Children’s<br />
Books<br />
Daniel Goodricke<br />
Fundamental Principles of Biological<br />
Fabrication in Nature for Upscaling in the<br />
Built Environment<br />
Aileen Hoenerloh<br />
Textile Hosting: An Exploration Of The<br />
Symbiotically Interaction Of Living And<br />
Textile Systems In Relation To Emergence Of<br />
Structure<br />
Romy Kaiser<br />
Syn.Emergent Material<br />
Sunbin Lee<br />
Simulation as Active <strong>Design</strong> Method at<br />
Conceptual <strong>Design</strong> Stage in the UK practice<br />
Ramy Mahmoud<br />
Experiencing architecture: An<br />
autoethnographical study of the senses in<br />
Walmer Yard<br />
Laura Mark<br />
Robust Architectural Detailing<br />
Joseph George Marshall<br />
How architects can increase the use of fullculm<br />
bamboo to provide adequate urban<br />
housing in tropical developing economies<br />
John Osmond Naylor<br />
Develop A Computer-based Model for Energy<br />
Consumption for the Saudi Domestic Sector:<br />
the Influence of Occupant Behaviour<br />
Hatem Nojoum<br />
Assessment of Thermal and Daylight Strategies<br />
in Relation to the Agitation Levels of People<br />
with Dementia in Warm Humid Climates<br />
Emmanuel Odugboye<br />
Investigating the Properties of Mycelium to<br />
Develop Free Form Building Materials<br />
Dilan Ozkan<br />
Building home<br />
Martina Schmuecker<br />
<strong>Design</strong>ing Water. A Living Wall between Land<br />
and Sea<br />
Pierangelo Marco Scravaglieri<br />
Place, Politics and Memory – Contested<br />
Heritage.<br />
Ceren Senturk<br />
Beyond Biomimicry: How can we create<br />
designs that possess the functions of living<br />
things?<br />
Assia Stefanova<br />
Development Of Functionally Graded<br />
Mycelium Based Materials Through<br />
Fabrication With Growth<br />
Ahmet Topcu<br />
Alive: Rhythmic Buildings<br />
Layla Van Ellen<br />
Repositioning the Profession: The 1958<br />
RIBA Oxford Conference and its impact on<br />
Architectural Education<br />
Raymond Verrall<br />
164
PhD Research<br />
Experiencing Architecture: An Autoethographical Study Of The Senses Within<br />
Walmer Yard<br />
Laura Mark<br />
My PhD thesis sets out to study my own lived experience of Walmer Yard - a collection<br />
of four houses designed by the architect Peter Salter. Salter is best known for his<br />
drawings and teaching, and the houses are his only built work in the UK. They were<br />
commissioned by the developer Crispin Kelly, who himself had been Salter’s student at<br />
the Architectural Association. They are a rare work in demonstrating what can be built<br />
when a visionary client gives an architect creative freedom, and they explore how the<br />
language of domestic architecture can be pushed through their use of materials, textures,<br />
light and shadow. I currently curate a programme at the houses which explores how we<br />
experience architecture, and this will be embedded in my research, further exploring<br />
the sensory experience of the space and our understanding of the senses in architecture,<br />
drawing on ideas from Martin Heidegger, phenomenology and the writings of Steen<br />
Eiler Rasmussen, Gaston Bachelard, and Juhani Pallasmaa.<br />
The Architect’s Cognitive Prosthesis: A Dialectical Critique Of Computational<br />
Practice<br />
Alexander Blanchard<br />
My work concerns the architect’s practice as they engage with Autodesk Revit Building<br />
Information Modelling software. Situating Revit as a design medium that forms a<br />
cognitive prosthesis for the architect, my research explores how the rigorous encoding<br />
of a building model conditions expression and generates compulsive modes of thinking<br />
for an architect whose design possibilities are given by the software’s formal lexicon. I<br />
consider computation in terms of grammatisation – a codification of an original that<br />
enables re-contextualisation via translation into supplementary media. I trace such<br />
grammatising processes from early memory technologies through to contemporary<br />
production techniques. Returning to the substrate of the machine, executable code is<br />
re-contextualised as material orthographic writing, pointing toward the construction of<br />
a dialectical critique of computation.<br />
The Art of Translation: Methods to Kill the Architect<br />
David Boyd<br />
This PhD by Creative Practice is an attempt to frame and scrutinise the philosophical<br />
roles and mechanisms of architectural representation within the cultural context of<br />
contemporary practice. It locates itself as a generative space within which to practically<br />
test and explore the differing aspects of representational modes of production, from<br />
the traditional optics of hand drawing, to the industrially embedded modes of digital<br />
production. In addition to establishing a theoretical, historical and methodological<br />
context of architectural representation, this research, through first hand practical<br />
execution, avoids examining the role of representation from a distance, but, instead,<br />
uncovers philosophical reflections through the discipline of architectural production<br />
itself. Through such an approach, instead of being purely diagnostic, the research can<br />
locate trajectories through which one may recuperate the creatively illuminating role of<br />
architectural representation, acting as a critical response to the contemporary condition<br />
of an architectural discipline that is wholly subservient to technocratic quantifiability.<br />
166 Text - Katie Lloyd-Thomas
The Effects of Participatory <strong>Design</strong> Tools on Community Engagement in<br />
Developing Neighbourhoods<br />
Ikbal Berk<br />
With the increase of urbanisation in cities, including the rise of density and commercial<br />
structures, many neighbourhoods situated at the city centre peripheries are under the<br />
pressure of rapid developments that can change the built environment and social life.<br />
In the UK context, many local communities living in these neighbourhoods establish<br />
non-governmental community initiatives to have an organisational structure against<br />
other stakeholders such as city councils and project developers. During this process,<br />
participatory design is utilised to collect ideas from the community and establish or<br />
increase community engagement to make a change. The study investigates the effects<br />
of participatory design and participatory design tools on community engagement in<br />
developing neighbourhoods. Shieldfield is chosen as the study area, a neighbourhood<br />
situated at the east edge of the Newcastle city centre and under the pressure of increasing<br />
student accommodations. By using participatory action research and visualisation of the<br />
problem-solving process, the reciprocal relationship between the community and codesign<br />
process is aimed to examine.<br />
Education To Practice To Ecology<br />
John Naylor<br />
This research aims to evaluate the impact architectural education can have to change<br />
perceptions of bamboo and cause positive ecological impact. There is an absence of<br />
lightweight, sustainable construction materials in contemporary Haitian construction,<br />
a fact highlighted in the disproportionate loss of life in the 2010 Port-au-Prince<br />
earthquake. Between 2014 and 2017 the researchers delivered a series of architectural<br />
design workshops in Haiti with the Architectural Association School of Architecture<br />
to raise awareness and develop design skills for bamboo using computational design<br />
tools. This current evaluation research using surveys and qualitative interviews with<br />
participants and collaborators is one aspect of an ongoing PhD project at Newcastle<br />
University. This wider project is to develop a design approach for architects for full-culm<br />
bamboo using computational design tools, to develop a more resilient and sustainable<br />
built environment in tropical Low- to Middle- Income Countries. A preliminary<br />
evaluation using surveys was presented at the Sigradi 2020 conference in Medellin,<br />
Colombia, in November 2020.<br />
Spatial Contest across Scales: A Study of Transportation Nodes at Dalian and Taipei<br />
and Multi-Scalar Spatial Politics in Japan’s Colonial Project in East Asia (1895-<br />
1945)<br />
Lu Bao<br />
The study aims to critically analyze urban space in Japan’s colonial cities in Asia by<br />
focusing on two case cities——Dalian and Taipei. They are located at the end of the<br />
railway lines and the starting points of sea freight, the transportation hubs (chiefly<br />
railway stations and maritime harbors) in these two cities are important nodes connecting<br />
the interior and exterior of the regions. This thesis wants to treat transportation nodes<br />
in Dalian and Taipei as a central focus to show the geopolitical conflicts and spatial<br />
strategies across scales. Through the study, on the one hand, not only Japan’s overall<br />
geo-strategic expansion across East Asia can be revealed, but regional conflicts between<br />
colonial authority and local gentry class as well; On the other hand, in the cities, colonial<br />
modernity and uneven community development related to these rail and maritime<br />
infrastructures can also be shown.<br />
167
Building Home<br />
Martina Schmuecker<br />
Building on my artistic exploration of the relationship between memory and the<br />
domestic space, this PhD by creative practice is an interdisciplinary investigation<br />
between the fields of Architecture and Fine Art. The research aims to collect and<br />
make visible the knowledge of historic, established co-living situations in cities and<br />
use it to propose creative and collaborative designs and imaginations for future urban<br />
living. The starting site of the research is at home. Here I set out to investigate the<br />
relationship between the inhabitant and the lived-in space through a collaborative<br />
process involving my neighbours in the London based Housing Cooperative I am part<br />
of. This autobiographical vantage point allows me to start with a deep examination of<br />
a universal topic, in a local setting. While this project was developed in the autumn<br />
of 2019, the emergency of Covid-19 now demands the inclusion of remote working,<br />
isolation, and the pressures of co-living conditions in the research. A collaborative and<br />
creative approach necessary to represent the cooperative nature of coliving situations may<br />
allow space for new tools of engagement and methods for co-design ideas to emerge.<br />
Liquid Architecture<br />
Pierangelo Scravaglieri<br />
Architecture is traditionally dry and performs protective functions which tend to separate<br />
and shelter inhabitable spaces from the life-giving liquids that pass within them, both in<br />
terms of spatial relations (i.e. the physical impossibility of occupying or inhabiting liquid<br />
spaces) and of material ones (i.e. the difficulties of using liquids as building materials).<br />
However, the pressing global challenges our species faces (climate change, environmental<br />
injustice, etc.) increasingly point to the need for a more symbiotic and resilient approach<br />
to natural systems, which could benefit from the integration of regenerating material<br />
flows into inhabitable spaces. Challenging the idea of architecture as a fixed, inert<br />
container and reconceptualising it as a body whose boundaries are rather blurred and<br />
ever-changing, my research moves away from form as the primary driver of spatial<br />
protocols. Through a practical and theoretical engagement with the ontology of liquids,<br />
this work explores methods for co-designing with natural systems using liquid paradigms.<br />
The study is conducted through a range of design-led experiments, visualisation systems,<br />
construction and testing of physical models that, collectively, constitute the base from<br />
which a liquid architectural toolset can be realised.<br />
(Re)constructing the 1958 RIBA Oxford Conference on Architectural Education<br />
Raymond Verrall<br />
My PhD research involves a creative approach to history that responds particularly to<br />
issues of archival lacunae. As a mode of both research and representation, perhapsing<br />
finds its usefulness and validity through mapping—and extending beyond—the edges of<br />
evidence. When significant gaps in the archival record are encountered, and other sources<br />
exhausted, perhapsing enables the content of those gaps to be provisionally figured-out<br />
by constructions of informed speculation. Historically, British architecture students<br />
followed various routes into the profession, each with widely differing standards and<br />
definitions of training. Aiming to raise and unify these standards, the 1958 RIBA Oxford<br />
Conference effectively severed training from its vocational hinterland, reinventing it<br />
exclusively as an academic endeavour. For something so consequential, surprisingly little<br />
scholarship has been undertaken to map the machinations around its organisation and<br />
the values encoded in its agenda. One reason for this lack of deeper scholarship is the<br />
loss of the original transcripts. However, by sleuthing through other archival clues, and<br />
by mapping wider biographical insights, provisional narratives may be perhapsed in<br />
and around the fertile site of the missing transcripts, bringing together dialogically the<br />
tensions at play and revealing the entanglement of its actors.<br />
168
National Reconstruction Projects Concerned with Security Vulnerabilities Under<br />
the Park Chung-hee Regime in the 1960s and 1970s<br />
Uri Chae<br />
My study deals with architectural and urban planning projects of the Park Chung-hee<br />
regime of South Korea in the 1960s and the 1970s as a pretext for war preparation<br />
and a means of consolidating nationalism by analysing the geopolitical background and<br />
nation-building ideologies. While reviewing the overall stance of architectural, urban,<br />
and regional circumstances of post-war South Korea as a foundation of this study, the<br />
main cases for indepth analysis will be composed of (1) Yeouido Island development,<br />
(2) decentralisation of political space, and (3) fortification measures of Seoul. Since all<br />
these measures were implemented by strong state intervention, they will be studied in<br />
the context of spatial politics, post-war urban planning, and postcolonialism. In other<br />
words, this study plans to contemplate how the Park regime treated space as the means<br />
of exercising power with various levels through the cases demonstrating the attempts<br />
to reorganise political, residential, and commercial space, construct passive defensive<br />
measures, or control population. I hope this study could fill in the gap of the academia<br />
in terms of interweaving geopolitical analysis into tracing urban and architectural<br />
transformation of the capital city in the vicinity of the ceasefire line.<br />
Integrated <strong>Design</strong> Approach for Responsive Solar-Shadings<br />
Yomna Elghazi<br />
To deliver climate adaptive architecture, current trends in architecture research and<br />
practice are directed towards dynamic and responsive building skins. ‘Responsive building<br />
skin’ is used to describe the ability of the building envelope to adapt over time in response<br />
to external environmental conditions. Recent attention has focused on the ‘soft robotics’<br />
approach which uses soft and/or extensible materials to deform and extend with musclelike<br />
actuation, mimicking biological systems. Material embedded actuation can alter<br />
the shading system’s morphology under external stimulation and adapt autonomously<br />
to their respective environmental conditions. Passively thermally activated systems offer<br />
actuation for such systems without recourse to mechanical energy consuming actuation<br />
systems. This research identifies the intersection between bio-inspiration, origami<br />
principles and smart materials to integrate the underlying mechanisms in responsive<br />
solar-shading systems and assesses their environmental performance. The thesis explores<br />
deployable components made of flexible, lightweight passive materials (fabrics, paper,<br />
card, and polypropylene) to test folding forms (straight and curved) and tinkers with<br />
smart materials as thermo-responsive actuators to understand their intuition and<br />
operation. These actuators are passively activated by the stratified heat in a Double Skin<br />
Façade cavity.<br />
Transformative spaces for women: Running and the City<br />
Sarah E Ackland<br />
This thesis asks how we might transform womens experience of space. Historically,<br />
Matrix worked to redesign the spaces of the city for a female agenda. Part W suggests the<br />
answer is to create more space for women in the architectural profession. In architectural<br />
practice today, MUF Architecture - Art create a workplace, which works for women in<br />
the city. This thesis looks to another option, asking how the possibility of transformation<br />
for women will achieve equality and therefore create space for women in the city. To<br />
answer this question I use auto ethnography, specifically looking to the act of running<br />
to uncover transformation in the city, practice, protest and consciousness. I reveal both<br />
how running creates an unconscious confidence, but also exposes the limitations or<br />
constraints of women’s access to the city and society raising questions of visibility, the<br />
female flaneur and patriarchal systems. Throughout this research I use myself as a device<br />
to explore my experiences as a feminist, woman, activist, campaigner and runner within<br />
spaces. I draw upon reflections, visual memories, recollections and gather items on runs,<br />
to create a female runners archive. The spaces bother each other, question each other and<br />
overlap often, as I run between them, the running organises what I am confronting as a<br />
woman in each space, captured and frozen within the archive.<br />
169
ARC – Architecture Research Collaborative<br />
The Architecture Research Collaborative supports the research interests of staff and our postgraduate cohort. We champion both particular specialisms<br />
and interdisciplinary working to tackle complex and urgent societal and architectural questions. ARC currently focuses on three multidisciplinary and<br />
interconnected research concerns:<br />
- matter + ecologies<br />
- processes + practices of architecture<br />
- histories + cultures of the built environment<br />
We are diverse, inclusive, experimental, and engaging. Our scholars’ methods range across design research, artistic and professional practice,<br />
participatory action and temporary urbanism, engineering and construction, architectural history and theory, digital design, emergence and living<br />
systems, ethnography, cultural studies and urban studies. We enable and disseminate architecture research through collective exhibitions, public events,<br />
and symposia. We also produce publications and engage in lively research-led teaching at all levels. Our collective attitude as a research group is<br />
exemplified by the publishing of Mountains and Megastructures by Palgrave this year. The book is a collection of essays from colleagues across the<br />
school, along with some visitor contributions, exploring the neo-geologic landscapes of human endeavour.<br />
ARC hosts weekly research seminars in collaboration with the Global Urban Research Unit (GURU) and this year we got together for a joint ARC /<br />
GURU ‘awayday’ on the climate emergency - recognising the power of working together. Held exclusively online this year the events were still well<br />
attended and enabled our collegiate environment to continue. Regular meetings are themed and this year it was exciting to highlight landscape<br />
architecture colleagues as this part of our school expands. We also hosted a lively PhD day, which featured short presentations from our PhD students<br />
providing the opportunity to highlight potential collaboration avenues and broaden our community. We also recognise the unique research potential<br />
of creative practice, visual, and architectural methods and celebrate experimental, speculative, and artefactual outputs as forms of research, in addition<br />
to argument, evidence, and data. For the first time we returned to the Research Assessment framework (REF) with 4 creative practice portfolios as well<br />
as entries from all members of ARC.<br />
Finally, last year before lockdown Mags Margetts and his practice Plyable designed and built an ARC archive to display staff work, we hope to make<br />
much more use of this in future years, when we are all together once again in the Architecture building.<br />
170 Text - Prue Chiles
ARC Research<br />
A New Kind of Suburbia<br />
Dhruv Sookhoo<br />
A New Kind of Suburbia, sought to do many things, reflecting our varied interests as<br />
architects, urban designers and researchers. With an expanding portfolio of suburban<br />
projects across our busy Dublin and London studios it felt particularly pressing to<br />
critically examine our design thinking in relation to emerging social issues associated<br />
with suburban placemaking. We recognised that while most people in the United<br />
Kingdom and the Republic of Ireland live in suburban places, suburbia is ill-defined, and<br />
the varied experiences and aspirations of suburbanites are commonly taken-for-granted<br />
by the housing market. Our projects for Nationwide Building Society in Swindon,<br />
Urban Splash in Milton Keynes, and South Dublin County Council in Clonburris,<br />
West Dublin, were under development during the research project and stimulated our<br />
thinking about the potential of reimagining suburban development in the real world.<br />
People Powered Places<br />
Ava Lynam & Dhruv Sookhoo<br />
People Powered Places is our second annual practice-based research project, and aims<br />
to critically appraise innovative methods of community participation in planning and<br />
housing design, in order to enrich our approach to working with new and existing<br />
communities. We selected our research theme during the Covid-19 pandemic, when<br />
it felt particularly relevant to re-examine our own practices in relation to emergent,<br />
collective and participatory models for shaping places to generate the enhanced quality<br />
and value that help communities thrive. While recent events have brought a new<br />
urgency to our examination of community engagement, our research is also grounded<br />
in a deep practical interest in working with residents since our early projects, including<br />
in Ballymun Regeneration Masterplan, Dublin, Balham High Road and Somerleyton<br />
Road in Brixton, London.<br />
The Parallax Gap: Drawing Spectres In Post-Conflict Northern Ireland<br />
James Craig<br />
This project is an examination in the use of drawing to show the spectral presence that<br />
continues to haunt spaces marred by histories of violence in Northern Ireland’s postconflict<br />
context. The study is underpinned by theories that relate to haunting, but also<br />
to psychoanalysis, as read through Slavoj Žižek’s theory of the Parallax Gap. Theoretical<br />
concerns are applied to the filmic techniques of the artist Willie Doherty (2007), and to<br />
Richard Hamilton’s painting Trainsition IIII (1954). The resultant drawing and textual<br />
analysis respond to the ‘spectral-turn’ in post-conflict art in Northern Ireland, making<br />
a case for haunting as a practice that can disturb the present in a way that permits a<br />
reflective position on the future.<br />
171
RESPIRE: Passive, Responsive, Variable Porosity Building Skins<br />
Ben Bridgens, Helen Mitrani and Jane Scott<br />
changing<br />
humidity<br />
changing<br />
humidity<br />
changing<br />
humidity<br />
changing<br />
humidity<br />
The Leverhulme Trust awarded Newcastle University a £328,800 Research Project<br />
Grant to support this 3 year project, due to start September <strong>2021</strong>. The project aims to<br />
develop a new generation of low-cost, low-environmental impact, responsive building<br />
skins that moderate internal temperature and humidity by varying their porosity. The<br />
transformative approach of the Respire project would improve internal air quality and<br />
eliminate the need for energy-intensive, high-maintenance mechanical ventilation<br />
systems, enabling fully passive, zero-energy buildings.<br />
We propose to use moisture-responsive materials in combination with insulation<br />
and thermal mass to produce building skins that allow variable levels of ventilation,<br />
depending on the humidity of the environment inside and outside the building. For<br />
example, if the inside of the building is humid, pores will open in the skin, increasing<br />
airflow. Alternatively, if the outside of the building is moist, pores will close, keeping<br />
the internal environment dry. With careful placement of these skins around a building,<br />
comfortable internal conditions can be maintained, with no ongoing carbon emissions.<br />
We will take advantage of the natural moisture-responsiveness of some abundant<br />
organic materials. Wood, hydrogel (made from seaweed), wool and flax fibres all swell<br />
and shrink in response to varying levels of moisture and these can be used to produce<br />
novel breathing building skins with low cost and environmental impact. The project will<br />
work across scales from material development and testing in the lab, thermal testing of<br />
prototype wall panels in the workshop, to full scale testing in our recently completed<br />
experimental building, the OME.<br />
(Im) Possible Instructions: Inscribing Use-Value In The Architectural <strong>Design</strong><br />
Process<br />
Heidi Svenningsen Kajita<br />
Re-thinking the social in architecture provokes us to question the systematised<br />
production of space that has been managed in drawings, schedules and specifications.<br />
Often these media bypass direct communication with occupants, and represent foremost<br />
the predictable and quantifiable. Instead, this research project develops knowledge of<br />
architects’ instructions that – in the paradigm of transformation – can include localised,<br />
caring acts and creative use of the places people live. How do architects make it possible<br />
for users’ unpredictable desires, complaints and doings to be translated into design<br />
documents? Drawing on emerging ethnographic-architectural ways of knowing, this<br />
research uncovers the incorporation of ‘use-value’ in historical building instructions of<br />
postWW2 welfare state housing and inhabitants’ own creation of lived space. From<br />
archival research into Byker and Brittgården, both large-scale housing estates first<br />
designed by Ralph Erskine Architects, the project tests and demonstrates new speculative<br />
techniques that value both the specific and openendedness of production of space. By<br />
following documents both inside and outside the office archive, the research shows how<br />
residents’ voices and doings were and may be inscribed - not only in peripheral modes<br />
of practice, but also in mainstream design documents. The project is funded by DFF/<br />
Independent Research Fund Denmark with University of Copenhagen and Newcastle<br />
University.<br />
‘Nature’ And Spaces Of Experiment<br />
Juliet Odgers<br />
My research concerns how different cultures investigate, enjoy and participate in ‘Nature’<br />
and how these interactions inform our various perceptions and conceptions of space and,<br />
consequently, our designs. The locus of my enquiries is currently English and French<br />
gardens of the 17th Century.<br />
172
Routledge Handbook of Chinese Architecture: Social Production of Buildings and<br />
Spaces in History<br />
Jianfei Zhu, Chen Wei and Li Hua<br />
Studies on Chinese architecture are characteristically on the classical tradition, recent<br />
scholarship on China’s new and modern architecture, on the other hand, is often<br />
disconnected with studies on the ancient tradition. This volume makes a breakthrough,<br />
as a first major attempt, in coalescing classical and modern histories into a coherent<br />
narrative, by identifying key themes that run through from ancient times to the<br />
present. Led by Jianfei Zhu at Newcastle UK, and with co-editors from Nanjing China<br />
(Chen Wei and Li Hua at Southeast University), the anthology includes 41 authors<br />
worldwide contributing 44 chapters, grouped in 17 themes and five parts – ancient,<br />
early modern, socialist, contemporary and theorization. Methodologically, the project<br />
aims to synthesis historical narratives with sociological analyses, thematic flows with<br />
historical discontinuities, and cultural coherence with geopolitical disparity. Above all it<br />
is a (de)constructive reading of a cultural entity that goes beyond nationhood, modernity<br />
and antiquity. After years of work, including painstaking translations from Chinese into<br />
English, it is now nearing its completion for delivery to the press. It is forthcoming in<br />
2022.<br />
At Home with Children: Learning from Lockdown<br />
Rosie Parnell, Alkistis Pitsikali<br />
The idea of a ‘new normal’ that includes schooling and working from home demands a<br />
re-think of domestic space design. The At Home with Children study aims to understand<br />
what constitutes ‘liveable’ domestic space for families with children under pandemic<br />
conditions. The study documents different expressions of spatial resilience and the ways<br />
in which the family home has been re-imagined, used and altered in order to allow all<br />
family members and activities to co-exist.<br />
As part of this exploration, families will be asked to talk about their experiences and<br />
perceptions of domestic space in alleviating and/or exacerbating the psychological and<br />
social impacts of COVID-19 on children and young people. The study will provide an<br />
evidence-based framework that we will later use to evaluate current domestic standards<br />
for new housing in the UK. Over the life course of this study we will disseminate<br />
proposed spatial interventions that could alleviate the psychological and social impacts of<br />
any enforced proximities that can create conflicts in the home. Policy recommendations<br />
relevant across both England and Scotland, for national government, local authority and<br />
housing providers will be proposed.<br />
Site Time: The Process Of Building Through And With Time<br />
Prue Chiles<br />
“our century long linguistic turn will be followed by a spiralling return to time as<br />
the focus and horizon of all our thought and experience. David Wood from “The<br />
Deconstruction of Time”. The site of home and the building of a home is at the<br />
intersection of temporalities and Architecture as a practice inhabits time as much as<br />
space. My research is a story of renewal, of bringing a house from the past into the future<br />
and uses two interconnected time-based devices or methods to disentangle time on site<br />
finding new truths and uncovering lingering concerns with the architectural design<br />
process and building on site. One method, a historical constructed device of deep time,<br />
life time and event time is used to explore the different overlapping measures of time.<br />
The other a visual time-based narrative constructs images of the house when first built<br />
or before work begun on site, overlaid with the now on site, to emphasise the collapsing<br />
and extending of time where the past is always present on site. This project is part of an<br />
AHRC funded group working together to publish on Time As Method: Working with<br />
temporal methodologies in transformative humanities and social sciences for a Policy<br />
Press book.<br />
173
Beastly Landscapes and Urban Soundscapes<br />
Usue Ruiz Arana<br />
In beastly landscapes, Usue is investigating more-than-human creatures in the local<br />
folklore and their relevance in thinking beyond human agency. Together with Charlotte<br />
Veal, she is hosting a symposium this September on beasts as metaphors for messy and<br />
ambiguous human-non-human-relations. In urban soundscapes, Usue is developing<br />
a guide to listening for Landscape Architects aimed at incorporating sound and<br />
listening into everyday practice. She is currently researching ways of expanding current<br />
soundscape assessment and design methods to consider non-human beings that will<br />
inform an upcoming book.<br />
Translating Ferro/Transforming Knowledges for Architecture, <strong>Design</strong> and Labour<br />
for the New Field of Production Studies<br />
Katie Lloyd Thomas, Will Thomson<br />
Translating Ferro / Transforming Knowledges for Architecture, <strong>Design</strong> and Labour for<br />
the New Field of Production Studies is a joint Brazil/UK project funded by the AHRC<br />
and FAPESP, which launched in October 2020. We aim to define and consolidate a new<br />
cross-cultural, interdisciplinary field of Production Studies, structured and informed by<br />
the single most sustained enquiry into art, architecture and design from the perspective<br />
of labour – that of the work of Brazilian architect and theorist Sérgio Ferro.<br />
Led by Katie Lloyd Thomas (APL) and João Marcos de Almeida Lopes (IAU, São Carlos,<br />
Brazil), the team includes Newcastle University-based Co-I Matt Davies (GPS) and<br />
PDRA Will Thomson (APL), and 3 Co-Is and 4 RAs in Brazil.<br />
Over 4 years TF/TK will respond to the global crisis in building today by bringing<br />
together architectural historians and theorists, producers of formal and informal<br />
built environments, scholars, partner organisations and from relevant fields<br />
to collate, structure and apply Production Studies.<br />
House Of Memories<br />
Neveen Hamza<br />
This research is funded by the Wellcome Trust Institutional Strategic Support Fund.<br />
Architectural design provides a permeable enclosure between indoor/outdoor<br />
environmental conditions that influence the behaviours and wellbeing of building<br />
occupants. Our research indicates linkages between the perception of indoor<br />
environmental, visual, thermal and acoustic, conditions and increased level of stress<br />
and agitations for PWDs (Rodriguez and Hamza, 2016 and Nagari and Hamza,<br />
2016). Currently, there is meagre knowledge of how the architectural design of purpose<br />
built and refurbished wards have an influence on the agitation levels of People With<br />
Dementia (PWD). Agitation levels of People with Dementia impacts on carers and levels<br />
of medications.<br />
This interdisciplinary research proposal is built on methods to record indoor<br />
environmental conditions using ‘non-invasive to privacy’ monitoring methods of<br />
indoor thermal and air quality monitored data, and assess their link to the logbook of<br />
agitation incidents in a refurbished ward in the Centre for Ageing and Vitality, Newcastle<br />
University and the purpose built ‘Roker and Mowbray’ wards in the Sunderland, Tyne<br />
and Wear NHS Foundation Trust.<br />
174
Trans-Plastics Research Project<br />
Ruth Morrow<br />
The Trans-plastics project was part of an EPSRC funded investigation into waste plastic:<br />
Advancing Creative Circular Economies for Plastics via Technological-Social Transitions,<br />
which aimed to explicitly frame the opportunities for realising a sustainable and resilient<br />
plastics circular economy within a ‘socio-technological transitions’ approach. The Transplastics<br />
project’s specific aims were to design and prototype a building block that used<br />
the optimum amount of recycled plastic waste, requiring minimal fixing, no further<br />
external finish and with a geometry that allowed for variation and circular reuse. It<br />
innovatively sought to bring design thinking and user experience into the earliest stages<br />
of development through a process of critical feedback and evaluation, acknowledging<br />
that user acceptance is as critical as technological advancements in underwriting,<br />
adoption, and longevity of emerging technologies. The project evolved from Morrow’s<br />
previous research and teaching experience developing building materials through a<br />
design-led approach, where designers draw out the aesthetic and ethical dimensions of<br />
materials in the early stages of development. The project represents the first time such<br />
a multidisciplinary team, (polymer production engineers, polymeric material scientists,<br />
architects, material-designers and psychologists) have been brought together to work<br />
with waste plastics.<br />
Publishing Practices<br />
Steve Parnell<br />
Steve’s research focuses on how the architectural media shapes architecture as a profession,<br />
a practice, and a product. This ranges from how buildings are portrayed in publications<br />
and social media, to how ideas are constructed, represented, and disseminated, to a<br />
critique of the role of academic publishing in academic’s own architectural research. The<br />
press is fundamentally foundational and hugely influential in how we think about the<br />
world so this research has recently moved into looking at the rhythms and structures the<br />
architectural press imposes, the stories and myths it propagates or hides, who curates<br />
it and how it’s curated, how this influences architectural production (practice and<br />
education), and how all this is changing in the move to digital. Specifically, he is asking<br />
questions about the role of the press in the hegemony of architectural patriarchy, and the<br />
myths it has propagated to deny the ever-increasing dangers of the climate emergency.<br />
Platform Turns Two<br />
Marta Gutman and Matt Lasner (CUNY), Swati Chattopadhyay (UCSB) and Kishwar<br />
Rizvi (Yale University), and Zeynep Kezer (Newcastle University)<br />
Founded by a small collective including Marta Gutman and Matt Lasner (CUNY),<br />
Swati Chattopadhyay (UCSB) and Kishwar Rizvi (Yale University), and Zeynep Kezer<br />
(Newcastle University) PLATFORM, is an open digital venue for new ideas about<br />
researching, teaching, and writing about buildings, spaces, and landscapes. PLATFORM<br />
publishes timely—and often provocative—short-form essays and digital content that<br />
engage with contemporary culture and politics. As a jargon-free and globally accessible<br />
forum for public humanities, since its launch in June 2019, PLATFORM has featured<br />
166 articles (of which 11 are bilingual, with versions in Spanish, French, Portuguese,<br />
Arabic, and Turkish to reach broader local audiences) and has received nearly 160,000<br />
visitors from 99 countries. In addition to contributing to the editorials written collectively<br />
with her co-editors to be published at key moments, Zeynep Kezer has authored a small<br />
except from her research entitled “The Projections of a Roof: An Ottoman Armenian<br />
Family Residence in Nineteenth-Century Eastern Turkey”. The essay was published in<br />
English as well as Turkish—and the latter drew more than three times as many readers<br />
than the former connecting her to audiences that would otherwise be outside her reach.<br />
She was most amazed when she recently was contacted by one of the grandchildren of<br />
the family who survived the 1915 Genocide.<br />
175
Creative Practice Research<br />
Dwellbeing Shieldfield<br />
Julia Heslop<br />
During the last ten years Shieldfield, in Newcastle’s, ward has seen a 467% increase in<br />
student housing numbers in the form of large blocks of purpose built accommodation.<br />
This has affected the character and social mix of the neighbourhood – pressures that have<br />
occurred alongside a degrading urban environment and a lack of community resources<br />
as a result of austerity. In response, the project Dwellbeing Shieldfield has aimed to build<br />
knowledge of urban development, housing and land issues and action community-led<br />
responses to recent developments, through Participatory Action Research and arts-based<br />
methods. This has involved founding a Community Benefit Society and co-operative<br />
led by residents. One strand of this work is called ’Shieling’ which is responsible for a<br />
programme focused on growing food and public realm improvements. Residents have<br />
been working with HarperPerry Architects and local trainees to create a plan for the<br />
improvement of underused space across the neighbourhood. It is important that changes<br />
are responsive to the community and are embedded within the specific material, social<br />
and historical context of Shieldfield, thereby providing an alternative vision for future<br />
urban development from what has gone before. Image credit Matthew Pickering.<br />
<strong>Design</strong> Activism: A Catalyst for Communities of Practice<br />
Armelle Tardiveau and Daniel Mallo<br />
Fenham Pocket Park is a creative practice-led research that sought to stimulate community<br />
action and bring about community-led change in the neighbourhood of Fenham,<br />
Newcastle upon Tyne. The project is critically underscored by a characterisation of<br />
design activism as a process and a practice: the process aims to promote experimentation<br />
and test alternative urban experiences, while the practice, embedded in everyday life,<br />
seeks to catalyse and nurture other ‘communities of practice’ in the neighbourhood. It<br />
is concerned with the largely under-researched long-term transformative effect of design<br />
activism on everyday urban environments and socio-spatial dynamics. Through the<br />
research, a group of local residents of Fenham became key actors in the transformation<br />
of a disused urban space into a Pocket Park.<br />
Gathering<br />
Julia Heslop and Ed Wainwright<br />
Placed at the intersection between art and architecture, Gathering explores material reuse<br />
and value through a process of retrieval, improvisation and adaptation. The issue of<br />
waste is a key concern within the fields of art and architecture which produce material<br />
as a matter of course, whilst the building and construction industry is the industrial<br />
economy’s biggest consumer of material resources and the biggest producer of waste.<br />
Through Gathering we aimed to explore the material and aesthetic potentials of ‘waste’,<br />
examining how disparate materials could be combined, ‘made good’ and refined through<br />
a purposeful yet improvised process of rescue and reuse. Photo credit Matthew Pickering.<br />
176
Programmable Knitting<br />
Jane Scott<br />
How can the structure of knitted fabric be engineered using biomimicry to design<br />
environmentally responsive, shape changing textiles?<br />
Programmable Knitting presents a new concept for smart materials, shape changing<br />
textiles composed of 100% natural materials. These environmentally responsive fabrics<br />
react to fluctuations in moisture levels in the environment, changing in shape and form,<br />
providing instant, reversible, 2D to 3D actuation.<br />
The aim of this practice-based research is to transform the design potential of<br />
programmable and smart materials for the built environment and beyond, using a<br />
textiles interface. The work demonstrates how knitted fabrics can be engineered to act<br />
as a sense and response system directly engaging with an environmental stimulus, and<br />
producing real- time, programmed shape change responses. This moisture-sensitive<br />
system eliminates the need for synthetic materials or electronic control required for<br />
conventional smart materials.<br />
The development of Programmable Knitting is a critical step towards the implementation<br />
of passive responsive material systems to replace energy- intensive mechanised control<br />
responsible for significant energy use in building use.<br />
177
Farrell Centre<br />
Owen Hopkins<br />
The Farrell Centre project was instigated by renowned architect-planner Sir<br />
Terry Farrell when he donated £1 million to fund its creation in 2018. Since<br />
then, the University has been working on plans to renovate and transform a<br />
former late-19th century department store on the edge of campus into the<br />
Centre’s new home: The Sir Terry Farrell Building. The £4.6 million building<br />
project is designed by local architects SPACE and Elliott Architects who have<br />
worked in close collaboration with Farrell Centre Director, Owen Hopkins,<br />
who was appointed in 2019.<br />
The building project is due to start on site in Summer <strong>2021</strong> and will complete<br />
in time for the centre’s opening at the end of 2022.<br />
The Farrell Centre emerges from the belief that the forces shaping the present<br />
and future of cities – whether architectural, in the context of planning and<br />
public policy, technological and digital, economic and environmental, social<br />
and cultural – should be of vital public concern.<br />
It takes inspiration from Sir Terry Farrell’s recommendation that every city<br />
should have an ‘urban room’ where citizens can actively engage with their city’s<br />
past, present and future, while connecting with and contributing to broader<br />
national and international debates around architecture and cities.<br />
178<br />
Image - SPACE / Newcastle University
OME<br />
Ben Bridgens<br />
Construction of the OME was completed in June <strong>2021</strong>. The OME is an experimental building in the heart of the Newcastle University<br />
campus. The OME will be where HBBE researchers come together to collaborate, test and demonstrate their technologies at building scale.<br />
The OME will act as the showcase of our work for external partners and the public, and provide a focus for the HBBE’s educational activities.<br />
Many of our new biotechnologies are at an early stage of development, so the OME has been designed as a building within a building: a<br />
self-contained apartment (the hOME) enclosed within a protective building envelope. This will allow us to freely experiment with materials<br />
and processes not yet ready for external exposure. The apartment will be situated above a laboratory, used to develop processes to convert<br />
domestic waste into heat, energy and useful materials. Surfaces and ventilation systems within the building will be modified to explore how<br />
we can manipulate the building’s microbiome. A prototyping and exhibition space will allow living prototypes to be tested whilst learning<br />
about people’s response to, and interactions with, these new materials and systems. The façade of the OME has been designed to enable a<br />
range of material samples, both bio-fabricated and living, to be tested in an external environment and viewed by the public, whilst considering<br />
the interaction of the building with its environment. In future complete sections of wall can be replaced to test new bio-based construction<br />
systems. Crucially we aim to find the links between these diverse approaches to incorporating biotechnology in the built environment, to<br />
create self-sustaining, regenerative, living buildings which benefit human and ecological health and wellbeing.<br />
We would like to thank everyone who was involved in this project including Key Property Solutions, Sadler Brown Group, Jasper Kerr<br />
Consulting and J H Partners.<br />
Top: Ben Bridgens<br />
Bottom: John Meneely<br />
179
Contributors<br />
Each year, the School draws on a vast and extraordinary array of talented architects, artists, critics and other practitioners who substantially<br />
contribute to our students’ learning, and to the culture and status of the School more generally. On this page we’ve gathered all (we hope!) of<br />
these vital individuals who come week-after-week to teach in our School. Our thanks go to each and every one of them, and we hope they will<br />
keep returning, as without their critical input the School would be a very different place.<br />
Stage 1<br />
Alex Blanchard<br />
Anna Cumberland<br />
Assia Stefanova<br />
Becky Wise<br />
Chloe Gill<br />
Damien Wootten<br />
David McKenna<br />
Ed Wainwright<br />
Ewan Thompson<br />
Henna Asikainen<br />
James Morton<br />
James Street<br />
Karl Mok<br />
Katie Lloyd-Thomas<br />
Nathaniel Coleman<br />
Nick Clark<br />
Noor Jan-Mohamed<br />
Olga Gogoleva<br />
Ruth Sidey<br />
Samuel Austin<br />
Sana Al-Naimi<br />
Simon Hacker<br />
Sneha Solanki<br />
Sonali Dhanpal<br />
Sophie Cobley<br />
Tara Alisandratos<br />
Tracey Tofield<br />
William Knight<br />
Stage 2<br />
Anna Czigler<br />
Catherine Bertola<br />
Christos Kakalis<br />
Dan Sprawson<br />
Daniel Mallo<br />
Dwellbeing<br />
Emily Speed<br />
Gillian Peskett<br />
Harriet Sutcliffe<br />
Hazel Cowie<br />
Jack Mutton<br />
Jack Scaffardi<br />
Joe Shaw<br />
John Kinsley<br />
Julia Heslop<br />
Kieran Connolly<br />
Leah Millar<br />
Luke Rigg<br />
Oliver Chapman<br />
Paul Merrick<br />
Rosie Morris<br />
Rosie Parnell<br />
Rumen Dimov<br />
Sebastian Aedo-Jury<br />
Stella Mygdali<br />
Stuart Hatcher<br />
Tess Denman-Cleaver<br />
Toby Blackman<br />
Stage 3<br />
Andrew Ballantyne<br />
Cara Lund<br />
Craig Gray<br />
Harriet Sutcliffe<br />
Hazel Cowie<br />
Jack Mutton<br />
Jess Davidson<br />
Jianfei Zhu<br />
Josep-Maria Garcia-Fuentes<br />
Kieran Connolly<br />
Luke Rigg<br />
Matthew Margetts<br />
Neil Burford<br />
Neveen Hamza<br />
Sophie Baldwin<br />
Stella Mygdali<br />
Steve Ibbotson<br />
Stuart Franklin<br />
Tom Ardron<br />
AUP<br />
Abigail Schoneboom<br />
Alex Zambelli<br />
Alison Stenning<br />
Anna Cumberland<br />
Armelle Tardiveau<br />
Charlie Barratt<br />
Claire Harper<br />
Clive Davies<br />
Damien Wootten<br />
Dan Russell<br />
Daniel Mallo<br />
Dave Webb<br />
David McKenna<br />
Ed Wainwright<br />
Elinoah Eitani<br />
Erin Robson<br />
Gabriel Silvestre<br />
Gareth Fern<br />
Georgia Giannopoulou<br />
Heidi Kajita<br />
Helen Jarvis<br />
James Longfield<br />
James Perry<br />
Jane Milican<br />
Julia Heslop<br />
Kieran Connolly<br />
Lesley Guy<br />
Liz Todd<br />
Mark Laverty<br />
Martina Schmuecker<br />
Montse Ferres<br />
Neil Murphy<br />
Nicholas Honey<br />
Nicky Watson<br />
Owen Hopkins<br />
Patsy Healey<br />
Paul Cowie<br />
Prue Chiles<br />
Robert Thackeray<br />
Rosie Parnell<br />
Sally Watson<br />
Sarah Stead<br />
Sarah Bushnell<br />
Sean Peacock<br />
Sebastian Weise<br />
Siobhan O’Neil<br />
Smajo Beso<br />
Stephanie Wilkie<br />
Sue Loughlin<br />
Tara Alisandratos<br />
Teresa Strachan<br />
Tim Townshend<br />
Will Stockwell<br />
MArch<br />
Adam Hill<br />
Alex Blanchard<br />
Amy Linford<br />
Anna Czigler<br />
Armelle Tardiveau<br />
Ben Bridgens<br />
Bill Calder<br />
Carlos Calderon<br />
Cathy Dee<br />
Christos Kakalis<br />
Claire Harper<br />
Craig Gray<br />
Dan Burn<br />
Daniel Mallo<br />
David Boyd<br />
David Manning<br />
Duarte Lobo Antunes<br />
Ed Wainwright<br />
Graham Farmer<br />
Henry Pelly<br />
Ivan J. Marquez Munoz<br />
Jack Mutton<br />
James A. Craig<br />
Jane Redmond<br />
Jennie Webb<br />
Jian Kang<br />
John Kinsley<br />
Josep-Maria Garcia-Fuentes<br />
Juliet Odgers<br />
Laura Mark<br />
Lorens Holm<br />
Malcolm Tait<br />
Mark Marshall<br />
Martin Beattie<br />
Martyn Dade-Robertson<br />
Matthew Ozga-Lawn<br />
Nathaniel Coleman<br />
Neil Burford<br />
Neveen Hamza<br />
Paul Rigby<br />
Peter Wilson<br />
Polly Gould<br />
Prue Chiles<br />
Rachel Armstrong<br />
Ray Verrall<br />
Remo Pedreschi<br />
Ruth Morrow<br />
Steve Webb<br />
Toby Blackman<br />
Zeynep Kezer<br />
<strong>Yearbook</strong> Contributors<br />
Joshua Knight<br />
Liam Rogers<br />
Sarah Al Hasan<br />
Sarah Delap<br />
James Craig<br />
180
Sponsors<br />
This year our thanks go to Faulkner Browns who have been kind enough to sponsor our end-of-year degree shows and publication. The<br />
Newcastle-based practice Faulkner Browns is our principle sponsor and plays a big role in the life of the School.<br />
181
Student Initiative - NUAS / NCAN / The Black Initiative<br />
NUAS<br />
We are the society for the students of the School of Architecture, Planning and Landscape, and all those who share a love for architecture.<br />
Anyone can join! All you need is a passion for the subject. We’re an award-winning Student Society that has been supporting our members<br />
during their academic lives for over 40 years. Representing more than 600 students a year, we’ve developed an evolving programme for the<br />
year - adapting itself to Covid-19 and its effect on your campus experience. Some of our recent awards over the past 5 years, testament to the<br />
work we do, include:<br />
• 2019 // Best Departmental Society (Runner Up) and Most Improved Society (Runner Up);<br />
• 2017 // Pride of Newcastle Award;<br />
• 2016 & 2017 // Best Departmental Society;<br />
Our aim is to provide great opportunities for students beyond what the school offers, acting as a social outlet for members to break away from<br />
work and enjoy the subject and their time at Newcastle. Throughout the year we offer a programme of events, from nights out and social<br />
gatherings to trips abroad and talks by key industry professionals, as well as our greatly anticipated annual black tie ball. These events and<br />
initiatives mostly concern 5 areas:<br />
• Socials & Activities<br />
• Lectures & Talks<br />
• Formals<br />
• Welfare<br />
• Sports<br />
A democratically elected Executive Committee runs the day to day administration of the society. We don’t operate autonomously, but<br />
rather serve the needs of all members - and also aim to provide support for all APL Students regardless of membership status. This elected<br />
Committee is being continuously improved, with new positions being added. This year, with our increased focus on student welfare, has seen<br />
the election of two Welfare Officers, while due to the current Covid-19 Pandemic, we’ve decided to temporarily freeze the position of KofiBar<br />
Representative. The year 2020/21 is a year of change and transition for the society, during which we’re aiming to update and improve the<br />
governance documents and Constitution, and consolidate the activities and initiatives that we’ve created over the past five years, and have<br />
since matured, such as our successful lecture series (now SMALL TALK), our well known social event calendar, and our student support<br />
mechanisms.<br />
Society 2020/<strong>2021</strong><br />
President: Salma Abdelghany, Secretary/RIBA NE Rep.: Julian Djopo, Treasurer: Jack Callaghan, Social Secretary(s): Beth Sprigg, George Whipple,<br />
Formals Officer(s): Eleanor Mettham, Hannah Fordon, Publicity Officer and M.arch engagement: José Figueira, Welfare Officer: Tabitha Edwards,<br />
Sam Stokes, Sports Secretary: Jenna Goodfellow, Lectures & Talks Coordinator: Patrikas Areska<br />
The Black Initiative<br />
The events of the past 16 months have brought us challenges that have changed our world beyond recognition. With this statement, we acknowledge<br />
the global and socio-political environment that we find ourselves in.<br />
The Black Initiative is a student and alumni-led initiative that was formed as part of the global movement, sparked by the murder of George Floyd.<br />
Our aim is to support and encourage BAME students and young people to find their voice within architectural education and the profession. The<br />
image opposite, ‘architecture through the black lens’ provides a small portion of the array of potential topics on which new insight can be gained by<br />
approaching them through the lens of race.<br />
NCAN<br />
Newcastle Students Climate Action Network has been formed in response to the climate crisis and the feeling that we are not prepared enough moving<br />
forward into our careers. The built environment directly contributes to 40% of the UK’s carbon emissions, and arguably much more due to the impact<br />
architecture has on our lives and the planet’s ecologies, so practitioners can play a key role. We are creatively campaigning for a greater emphasis on<br />
ecologies and sustainability in our architectural education. We believe that we need to be provided with the awareness and knowledge to truly practice<br />
sustainably in our future careers. We have created a manifesto document, reflecting on some of our previous work here at Newcastle. We want this<br />
manifesto to be a fluid, constant evolution of ideas, something personal and representative of Newcastle students, telling our stories, frustrations, and<br />
our passions. We are keen for the document to be a platform for the students to voice themselves in creative and humorous ways, using our positions<br />
as students and designers to think optimistically and exploratively of ways to combat climate change. We hope our passion and optimism will define<br />
our voice at Newcastle. We have launched our group live on YouTube, in conversation with the two recently appointed climate literacy tutors here at<br />
Newcastle; started our social media accounts; and we are taking part in the emerging network of climate action groups across architecture schools in<br />
the UK and abroad. We have also responded to the ARB’s draft guidance on changes to sustainability in education. We welcomed the opportunity to<br />
feedback but felt that the changes could go a lot further in conveying the urgency of the crisis and in holistic curriculum change. We are looking forward<br />
to the group being taken further, being a voice for students and working with tutors. We want to provide a platform for the voices of architectural<br />
students in Newcastle, promoting intersectional and positive solutions. We feel that collective action will bring around positive and meaningful change.<br />
182
Climate change and the<br />
colonial mind<br />
Continuing Professional<br />
Development_.<br />
Where does race fit into the<br />
RIBA CPD Core Curriculum?<br />
Is ‘Architecture for Social<br />
Purpose’ enough?<br />
Memory and Public<br />
Space_.<br />
Addressing<br />
heroic statutory<br />
The coloniality<br />
of infrastructure<br />
Universität Basel<br />
Intersectionality and the<br />
Profession_.<br />
Coffee houses_.<br />
How slavery was woven into<br />
the fabric of British cities<br />
The 1%<br />
Why are only 1% of registered<br />
architects black?<br />
EDI and the Part 3<br />
curriculum_.<br />
Architecture and the Body_.<br />
How do we design for nonwhite<br />
male bodies?<br />
The professional criteria<br />
includes criterion such as<br />
‘Personnel mangagement and<br />
employment-related criteria’.<br />
How can EDI be included more<br />
in these discussions?<br />
Race and planning_.<br />
Redlining<br />
The Architectural<br />
Curriculum_.<br />
Alternative curricula - what<br />
would your curriculum<br />
Race,<br />
Space and<br />
Architecture<br />
Towards an Open-Access Curriculum<br />
Huda Tayob & Suzanne Hall<br />
June 2019<br />
look like?<br />
Is it enough?<br />
Precedents by Black<br />
Architects_.<br />
The events of the past 16<br />
months have brought us<br />
challenges that have changed<br />
our world beyond recognition.<br />
With this statement, we<br />
acknowledge the global and<br />
socio-political environment that<br />
we find ourselves in.<br />
The Black Initiative is a<br />
student and alumni-led initiative<br />
that was formed as part of the<br />
global movement, sparked by<br />
the murder of George Floyd.<br />
Our aim is to support and<br />
encourage BAME students and<br />
young people to find their voice<br />
within architectural education<br />
and the profession.<br />
The surrounding blocks<br />
provide a small portion of the<br />
array of potential topics on<br />
which new insight can be gained<br />
by approaching them through<br />
the lens of race.<br />
RE-<br />
-SET<br />
GO<br />
makes space for excluded<br />
voices<br />
flexible programme and<br />
resources<br />
hands-on paid work<br />
experience<br />
build more progressive +<br />
representative communities<br />
Architectural<br />
Representation_.<br />
Do your scale people<br />
reflect your building users?<br />
Hair_.<br />
The RIBA recently signed the Halo<br />
Code - the UK’s first black hair<br />
code. What does the architectural<br />
professional look like?<br />
Who is talking<br />
about this?<br />
@poor_collective<br />
@migrantsbureau<br />
@blaccollectiveuol<br />
@blm_msa<br />
@builtbyusuk<br />
@blackfemarc<br />
@the blackcurriculum<br />
@resolvecollective<br />
@theblackinitiative_apl<br />
‘BAMEwashing’<br />
A useful term to describe<br />
empty gestures and tick-box<br />
attitudes to diversity<br />
A ‘distracting’ notion that<br />
assumes hollow gestures are<br />
more damaging than overt<br />
and systemic racism...<br />
Materiality and<br />
Infrastructure_.<br />
Afrofuturism<br />
Please tick from the options above<br />
Diébédo Francis Kéré<br />
183
186
Newcastle University School of<br />
Architecture, Planning and Landscape<br />
<strong>Yearbook</strong> ‘21<br />
Editorial Team<br />
Josh Knight<br />
Liam Kieran Rogers<br />
Sarah Al Hasan<br />
Sarah Delap<br />
Special Thanks<br />
Alison Pattison<br />
Printing & Binding<br />
Statex Colour Print<br />
www.statex.co.uk<br />
Typography<br />
Adobe Garamond Pro<br />
Paper<br />
GF Smith<br />
Colourplan, Candy Pink, 350gsm<br />
First published in June <strong>2021</strong> by:<br />
The School of Architecture<br />
Planning and Landscape,<br />
Newcastle University<br />
Newcastle Upon Tyne.<br />
NE1 7RU<br />
United Kingdom<br />
w: www.ncl.ac.uk/apl/<br />
t: +44 (0) 191 222 5831<br />
e: apl@newcastle.ac.uk
Newcastle University School of Architecture, Planning & Landscape <strong>2021</strong>
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