Design Yearbook 2019
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<strong>2019</strong><br />
School of Architecture, Planning and Landscape<br />
Newcastle University
Contents<br />
Welcome<br />
Charrette<br />
BA (Hons) Architecture<br />
Stage 1<br />
Stage 2<br />
Stage 3<br />
Fieldwork and Site Visits<br />
BA (Hons) Architecture & Urban Planning (AUP)<br />
Stage 1<br />
Stage 2<br />
Stage 3<br />
Thinking-Through-Making Week<br />
MArch<br />
Stage 5<br />
Stage 6<br />
Fieldwork and Site Visits<br />
Research in Architecture<br />
BA Dissertation<br />
MArch Dissertation<br />
Linked Research<br />
Taught Masters Programmes<br />
PhD / PhD by Creative Practice<br />
Architecture Research Collaborative<br />
Contributors<br />
Student Initiative<br />
NUAS / Signal<br />
Praxis<br />
Fold<br />
Sponsors<br />
3<br />
4<br />
8<br />
62<br />
82<br />
84<br />
140<br />
174<br />
176<br />
178
Welcome<br />
Graham Farmer – Director of Architecture<br />
Welcome to the <strong>2019</strong> edition of the School of Architecture, Planning and Landscape’s<br />
<strong>Design</strong> <strong>Yearbook</strong>. This annual publication showcases the achievements of both students<br />
and staff after another successful year. Our programmes continue to evolve and during<br />
the course of this academic session we have successfully launched a new integrated<br />
postgraduate programme in Advanced Architectural <strong>Design</strong> which has introduced a<br />
number of research-led specialist pathways, and we have also introduced a wide range<br />
of new design projects and studios across both our undergraduate and postgraduate<br />
programmes. The work contained on the following pages gives a small glimpse of the<br />
diversity, sense of invention, experimentation, enthusiasm and relevance that continue<br />
to characterise and define the design outputs from our studios and programmes.<br />
What is not always obvious from the content of this <strong>Yearbook</strong> is the wider infrastructure<br />
and environment that supports this excellence; this includes the continued<br />
development of a well-integrated curriculum with well-designed modules and highquality<br />
teaching delivered by our committed staff team. The continued investment<br />
in our facilities and the exceptional support staff in the School all contribute to the<br />
student and staff outputs that feature on the following pages. Special mention here<br />
should go to Sean Mallen who this year won the ‘Professional Services Staff Member<br />
of the Year’ award for providing outstanding teaching and support at the University’s<br />
Education Awards <strong>2019</strong>.<br />
We should also not underestimate the role that our students play in creating the<br />
right environment and sense of community that allows us all to thrive. This year saw<br />
NUAS, the Newcastle University Architecture Society, finish runners up in both the<br />
Best Departmental Society and Most Improved Society at the Newcastle University<br />
Student Union awards. NUAS has broadened its extra-curricular activities to include a<br />
new group, “Signal” who have organised cross programme and interdisciplinary social<br />
events, engaged external speakers as part of their Small Talk series, run a series of<br />
student debates called Sound Room shared with architecture students at Northumbria<br />
University, and arranged student-led skills sharing workshops. Other new student<br />
groups include PRAXIS who are developing opportunities for hands-on design-build<br />
experience and FOLD, a student-run zine. I would like to take the opportunity to thank<br />
all the students who have involved themselves in these voluntary activities because<br />
they do make an invaluable contribution to the wider life of the School and help to<br />
build and sustain the sense of identity and community that characterises our School.<br />
A notable development within the School this year includes a generous donation of £1<br />
million from alumnus Sir Terry Farrell, along with his archive. The archive consists of an<br />
extensive collection of thousands of items that span six decades of his career, and includes<br />
models, drawings, papers and diaries referencing iconic and award-winning design such<br />
as the MI6 Building in London, a project which has famously appeared in James Bond<br />
films, Beijing South Station in China and the Embankment Place development above<br />
and around Charing Cross station. It also includes pieces from his schooldays growing<br />
up in Newcastle and from his five years as a student studying architecture at Newcastle<br />
University between 1956 and 1961. Sir Terry, who is originally from Newcastle, was<br />
made a Visiting Professor in the School in 2016. He has played a large part in shaping<br />
the way his home city looks, including developing the Newcastle Quayside masterplan,<br />
designing the International Centre for Life, and refurbishing and extending the Great<br />
North Museum - Hancock. Sir Terry’s donation will contribute to the renovation of<br />
the Claremont Building in the form of the “Farrell Centre” which will house a major<br />
new architectural exhibition space, an urban room where anyone can come to learn and<br />
discuss the city of Newcastle, its past as well as proposals for its future, and a start-up<br />
space for recent graduates.<br />
The Farrell Centre will help us to continue to develop our reputation as one of the<br />
leading Schools in the UK. As a member of the UK’s Russell Group of leading research<br />
intensive Universities, we engage in research-led education. We want to equip our<br />
students not just for their first day in work but to lead in the professions they will<br />
retire from. We believe knowledge to be a collective cultural endeavour which is best<br />
realised through a dynamic approach to research and education, developed through<br />
an ongoing process of research-driven inquiry in which staff and students are both<br />
participants. We aim to deeply engage students in their education as critical and<br />
creative thinkers, rigorously challenging and empowering them, supporting them<br />
to stay ahead of a changing world. This book features work borne from this creative<br />
environment, enabling students to take a collaborative and dynamic approach to their<br />
learning.<br />
3
Charrette<br />
Charrette week starts the academic year, bringing a host of alumni, artists, architects, engineers designers and thinkers to the university<br />
to run a one-week high energy project. Students from all years are mixed into Charrette ‘studios’ for the week, to encourage cross year<br />
learning and to break down social barriers within the school. Each Charrette studio will typically involve 45 people, with students from<br />
the upper years expected to exercise team and time management skills learnt in practice to ensure the projects are delivered on time and<br />
on budget.<br />
Each year Charrette leaders are given three thematic words to respond to – this year’s being: SPECTACULAR / FAILURE / HELP<br />
Highlights included; ethereal projections, survival camps and terrazzo experiments.<br />
Next year we are planning something special to celebrate the 10th year of whole school Charrettes!<br />
Charrette 01: Other Ways of Working<br />
Corina Tuna<br />
Charrette 02: Spectacular Terrazzo<br />
Albane Duvillier and Elliot Rogosin<br />
Charrette 03: People Watching, Professionally<br />
Amy Linford<br />
Charrette 04: Architects of Self-Destruction<br />
Andrew Walker<br />
Charrette 05: Apocalypse Now<br />
Lyn Hagan<br />
Charrette 06: Making Spectacular<br />
22 Sheds<br />
Charrette 07: Help! A Spectacular Strategy<br />
Gareth Hudson and Phil Begg<br />
Charrette 08: Re-Use Is In the Air<br />
Tibo Labat, Armelle Tardiveau, Daniel Mallo and Ben Bridgens<br />
Charrette 09: Tipping Point<br />
Michael Simpson and Anna Cumberland<br />
Charrette 10: White Space<br />
Cynthia Mak and Karl Wong<br />
Charrette 11: Spectacle<br />
Hazel McGregor<br />
Charrette 12: Curating APL<br />
Kieran Connolly<br />
4<br />
Text by Matthew Margetts
6 Top Left - Other Ways of Working Top Right and Bottom - Tipping Point
Top - Spectacle<br />
Bottom - Spectacular Terrazzo<br />
7
BA (Hons) Architecture<br />
Samuel Austin – Degree Programme Director<br />
Newcastle’s RIBA Part I accredited BA programme fosters an inclusive, research-led<br />
approach to architecture. Alongside a thorough grounding in all the skills required to<br />
become an imaginative, culturally informed, socially aware and technically competent<br />
design professional, it offers opportunities to engage in developments at the forefront<br />
of current research, from computation and material science to architectural history and<br />
theory. Emphasising collaboration as well as independent critical enquiry, we encourage<br />
students to draw on diverse methods and fields of knowledge, to follow their own<br />
interests and to develop their own design approach.<br />
We believe that to produce good architecture requires more than rounded abilities<br />
and knowledge; it requires judgements about what we value in the buildings and<br />
cities we inhabit, what to prioritise in the spaces and structures we propose and<br />
what contribution architecture can make. The course doesn’t claim to offer simple<br />
– or correct – responses to these challenges. Our diverse community of researchers<br />
and practitioners, each with their own interests and expertise, introduce students<br />
to a range of issues, ideas, traditions and techniques in architectural design and<br />
scholarship. We help students develop fine-grained skills in interpreting spaces<br />
and texts, critical thinking to understand the implications of design decisions, and<br />
spatial and material imagination to stretch the boundaries of what architecture can<br />
achieve. Rather than teach a single way of working, we give students the tools to<br />
discover what kind of architect they want to be.<br />
A lively design studio is central to this learning process and to the life of the School.<br />
<strong>Design</strong> projects, taught by a mix of in-house tutors and practitioners from across the<br />
UK, account for half of all module credits. We promote design as thinking-throughmaking,<br />
an integrated process of researching and testing ideas in sketchbook, computer,<br />
workshop and on site, of responding to diverse issues and requirements all at once<br />
– spatial, material, functional, social, economic etc. This approach is reinforced by<br />
collaborative projects involving artists and engineers, and at the beginning of each year<br />
by week-long design charrettes where students from all stages of all design programmes<br />
work together to respond to diverse design challenges, through installations around the<br />
School and beyond. Lectures, seminars and assignments in other modules examine the<br />
theoretical, historical, cultural, practical and professional dimensions of architecture,<br />
and support students to embed these concerns in studio work.<br />
Stages 1 and 2 are structured to guide students through increasingly challenging scales,<br />
types and contexts of design projects, alongside a breadth of related constructional<br />
and environmental principles and varied themes in architectural history and theory.<br />
Briefs invite experimentation with different architectural ideas and representational<br />
skills, first through projects set in Newcastle, then incorporating study trips to regional<br />
towns and cities. As work increases in depth and complexity – from room to house,<br />
community to city, simple enclosure to multi-storey building – students have more<br />
opportunities to develop and focus their own interests. A dissertation – an in-depth<br />
original study into any architecturally related topic – sets the scene for a year-long Stage<br />
3 final design project. With a choice of diverse thematic studios, each with its own<br />
expert contributors and international study trip, students acquire specialist skills and<br />
knowledge, allowing them to craft their own distinctive portfolio.<br />
9
Stage 1<br />
It is tempting to give the impression that everything in Stage 1 has changed this year but, whilst things might outwardly<br />
look and feel quite different, the extensive restructuring has taken care to build from the same foundational principles that<br />
have supported Stage 1 teaching at Newcastle for many years.<br />
The most obvious changes have occurred in the Semester 1 design module. The students now decant from their<br />
studios each week to undertake a series of city walks, each with a different tutor and guide, and with a particular<br />
Architectural <strong>Design</strong> skill or theoretical idea as a focus. Additionally, the walks introduce students to their new home,<br />
to key buildings within the city, to different members of staff and to one another. The walks each have a defined output<br />
and these are then employed in a short end-of-Semester design project, “Smart Small Dwelling”, which offers fledgling<br />
student designers the chance to try out their newly acquired skills, gathered during the Semester, and employ them in<br />
a context with which they have become very familiar.<br />
The students are encouraged to venture slightly further afield in a new Semester 2 project, “Prospect and Refuge”, as they<br />
undertake the design of a small contextually responsive outward-bound centre. In another departure for Stage 1, each of<br />
the ten tutor groups works on their own site and with a unique outward-bound activity as a focus. The coastal edge sites<br />
– strung along the promenade between North Shields fish-quay and the Spanish City in Whitely Bay – offer strong edges,<br />
changes in level, distant views, sandy beaches and sea air. Fish and chips anyone?<br />
Year Coordinators<br />
Kati Blom<br />
Simon Hacker<br />
Project Leaders<br />
Kati Blom<br />
Simon Hacker<br />
Shankari Raj<br />
Students<br />
Agata Malinowska<br />
Agatha Delilah Barber<br />
Aikaterini Passa<br />
Aleema Hira Aziz<br />
Alexander Jacob Caminero McCall<br />
Anastasia Asenova<br />
Anna Toft<br />
Aurelia Thompson<br />
Aya Rose Mordas<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 />
Ching Yee Jane Li<br />
Christian Thomas Davies<br />
Christopher James Hegg<br />
Chui Lam Yip<br />
Chung Hei Mok<br />
Colin Rogger<br />
Constantinos Chrysanthou<br />
Daniel Mijalski<br />
Daniel James Andrew Bennett<br />
Danielle Marie Quirke<br />
Dk Noor ‘Ameerah Pg Kasmirhan<br />
Dominika Kowalska<br />
Dongpei Yue<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 />
Fanny Lovisa Kronander<br />
Gabriel Dominic Saliendra<br />
Gloria Sirong Hii<br />
Grace Elizabeth Evans<br />
Guoyi Huang<br />
Haleemah M A M I Khaleel<br />
Hana Baraka<br />
Hannah Grace Fordon<br />
Hannah Maria Batho<br />
Harriet Roisin Harrington Allen<br />
Harun Kilic<br />
Hereward Percival H Leathart<br />
Hon Ying Chow<br />
Isobel Ann Prosser<br />
Jack Martin Callaghan<br />
Jehyun Lee<br />
Jemma Louise Woods<br />
Jenna Goodfellow<br />
Jessica Charlotte Dunn<br />
Jessica Helena Eve Male<br />
Jiahan Ding<br />
Jing Hao<br />
Jingci Yeong<br />
Jingqi Li<br />
Jiri Stanislav Goldman<br />
Jiwoo Kim<br />
Joshua Alexander Jones<br />
Joshua Imran Farghaly<br />
Joungho So<br />
Julian Nyalete K Djopo<br />
Julianna Skuz<br />
Junhui Lou<br />
Karolina Lutterova<br />
Katy Hughes<br />
Kinga Maria Rybarczyk<br />
Lea-Monica Udrescu<br />
Lewis Michael Neil Baylin<br />
Libby Mae Taylor<br />
Liene Greitane<br />
Liza Nadeem<br />
Lorand Nagy<br />
Louis Jacques Duvoisin<br />
Louis Oliver Hermawan<br />
Luca Edward Philo<br />
Madeline Collins<br />
Magdalena Katarzyna Mroczkowska<br />
Malaika Javed<br />
Malak Elwy<br />
Marianne Mikhail<br />
Matteo Giovanni Amedeo Hunt-Cafarelli<br />
Max Aaron Blythe<br />
Michael Jun Wang Liu<br />
Milly Rose London<br />
Molly Robinson<br />
Morgan Elizabeth Cockroft<br />
Muhammad Shujaat Afzal<br />
Muskan Sethi<br />
Natalia Stasik<br />
Neli Barzeva<br />
Niamh Hannah Kelly<br />
Nicholas Andrew Stubbs<br />
Nok Fai Nathan Yuen<br />
Oliver Denning Buckland<br />
Olivia Maria Ewing<br />
Oscar Michael Lavington<br />
Otto Lucas Jaax<br />
Pak Hei Julian Ng<br />
Peter Anthony Windle<br />
Philip David Russell<br />
Polly Ann Chiddicks<br />
Quanah Clark<br />
Rea Chalastani-Patsioura<br />
Reece Mckenzie Minott<br />
Robert Brentnall Gowing<br />
Rosabella Margaret Reeves<br />
Rosemary Charlotte Joyce<br />
Rositsa Krasteva<br />
Sam Ravahi-Fard<br />
Samuel Russell John Hare<br />
Samuel Scott Coldicott<br />
Samuel William Stokes<br />
Sarah Jayne Charlton<br />
Sebastian Adam Poole<br />
Si Cheng Fong<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 />
Tian Fang<br />
Trina Andra Zadorojnai<br />
Tsz Fung Wong<br />
Wing Hei Lo<br />
Xiaoqian Zhou<br />
Xindi Cheng<br />
Xinrui Lin<br />
Xixian Wu<br />
Xuhan Zhang<br />
Yat Hei Asher Hon<br />
Yuan Zhang<br />
Yuanyuan Chen<br />
Yuen Man Cheng<br />
Contributors<br />
Andy Campbell<br />
Anna Cumberland<br />
Cath Keay<br />
Charlotte Powell<br />
Cynthia Wong<br />
Damien Wootten<br />
Dan Kerr<br />
David Davies<br />
David McKenna<br />
Di Leitch<br />
Ed Wainwright<br />
Elinoah Eitani<br />
Ewan Thomson<br />
Graham Farmer<br />
Henna Asikainen<br />
Jack Mutton<br />
James Craig<br />
Jamie Morton<br />
John Kamara<br />
Karl Mok<br />
Kati Blom<br />
Kate Wilson<br />
Keri Townsend<br />
Martin Beattie<br />
Nathaniel Coleman<br />
Nick Clark<br />
Noemi Lakmaier<br />
Olga Gogoleva<br />
Patrick Malone<br />
Prue Chiles<br />
Raymond Verrall<br />
Robert Johnson<br />
Sam Austin<br />
Sana Al-Naimi<br />
Sarah Stead<br />
Shankari Raj<br />
Simon Hacker<br />
Sneha Solanki<br />
Sophie Cobley<br />
Stephen Tomlinson<br />
Tara Alisandratos<br />
Tony Watson<br />
Tracey Tofield<br />
Zeynep Kezer<br />
10 Text by Simon Hacker Opposite - Dominika Kowalska
Routes Into Architecture<br />
Kati Blom<br />
In this introductory project, students undertake a repeated walking route through Newcastle city centre, foraging for architectural elements<br />
and components, and learning about architectural forms, ideas and discourse along the way. They are encouraged to look at the city and its<br />
architecture and to represent their adventures – to sketch, measure, draw, model, map and photograph and to gather sufficient material for<br />
their second project.<br />
12<br />
Top Left - Xinrui Lin Top Right - Aurelia Thompson Bottom - Fanny Kronander
Top - Yuen Man Cheng Middle Left - Samuel Coldicott Bottom Left and Right - Aleema Aziz<br />
13
Smart Small Dwelling<br />
Shankari Raj<br />
A dwelling comes in many forms depending on the location, site, climate and those residing in it. Heidegger argues that the manner in which<br />
we dwell is the manner in which we are, we exist, on the face of the earth – an extension of our identity, of who we are. In this project, students<br />
choose their client – each with a strong identity, ranging from an insurance broker who keeps chickens, to a secondary school student looking<br />
for a hide-away – and design a tiny experientially rich ‘dwelling’ for them, located within the City along the project 1.1 walking route.<br />
14<br />
Above - Aurelia Thompson
Top Left - Jiahan Ding Top Right - Wing Hei Lo Bottom Left - Muhammad Shujaat Afzal Bottom Right - Xuhan Zhang<br />
15
Prospect and Refuge<br />
Simon Hacker<br />
This project asks students to design a small Outdoor Activity Centre, located on the coast, north of the River Tyne. In doing so, they consider<br />
a variety of different experiential spaces, both internal and external, and carefully consider how these might respond to their particular site,<br />
landscape and place. The ‘refuge’ element of the brief encourages thoughtfulness about room scales, materiality and light, whilst level changes,<br />
sloping sites and a focus on visual ‘prospect’ promotes sectional, as well as plan-based consideration.<br />
16 Top Left - Liene Greitane Top Right - Samuel Coldicott Middle - Fanny Kronander Bottom - Karolina Lutterova
Top - Muhammad Shujaat Afzal Middle - Robert Gowing Bottom - Julian Djopo<br />
17
Stage 2<br />
Stage 2 is a transitionary year in which students begin to engage with questions of how architecture is produced by, and<br />
productive of, different types of economies, and how we, as architects, designers, researchers and thinkers, have a role to play<br />
in shaping the environments of the future. The year is divided into two semester-long projects, addressing two core themes:<br />
Housing in the first Semester and Experience in Semester two.<br />
Set in two cities, Edinburgh and Durham, and the imagined spaces of film, students are invited to explore increasingly<br />
complex spatial projects from collective housing, to public buildings, and work across the boundaries of architecture, art,<br />
engineering, craft and making.<br />
Year Coordinators<br />
Christos Kakalis<br />
Stella Mygdali<br />
Project Tutors<br />
Adam Hill<br />
Amara Roca Iglesias<br />
Christos Kakalis<br />
Delia Murguia (Semester 1)<br />
Jack Green<br />
James Perry (Semester 1)<br />
John Kinsley (Semester 2)<br />
Justin Moorton (Semester 2)<br />
Luke Rigg<br />
Maria Mitsoula (Semester 2)<br />
Neil Burford<br />
Nick Simpson (Semester 1)<br />
Nikoletta Karastathi (Semester 1)<br />
Prue Chiles<br />
Samuel Penn (Semester 1)<br />
Sana Al-Naimi<br />
Stella Mygdali<br />
Artist Tutors/<br />
Engineering Experience<br />
Aaron Guy<br />
Adam Goodwin<br />
Craig Hawkes<br />
Harriett Sutcliffe<br />
Isabel Lima<br />
Rosie Morris<br />
Will Stockwell<br />
Students<br />
Abbey McGuire<br />
Abdurakhman Talip<br />
Abu Borhan Mohammed Jabed Alahi<br />
Adam James Blacknell<br />
Alexander Adam Ollier<br />
Alexander John Thompson<br />
Alexandra Kathryn Heys Bramhall<br />
Alice Louise Cann<br />
Anastasia Winifred Cockerill<br />
Aruzhan Sagynay<br />
Aysel Imanova<br />
Callum Jacob Harker<br />
Charlie Barratt<br />
Charlotte Elizabeth Ashford<br />
Cheng Wu Teo<br />
Cheuk Lum Charlie Wong<br />
Che-Yi Lin<br />
Chi Ming Ng<br />
Colin Nils Elkington<br />
Daneshvaran Narayanasamy<br />
Daniel Luke Thompson<br />
Darcy Joy Norgan<br />
Denisa-Iuliana Calomfirescu<br />
Edward Harry Salisbury<br />
Ella Kate Johnson<br />
Ella Lucy Waite<br />
Ellen Marilyn Willis<br />
Emily Ming Orlando Harper<br />
Ethan James Medd<br />
Felipe Gonzalez Zapata<br />
Felix Frank Christopher White<br />
Feyzan Sarachoglu<br />
Florence Nancy Muwanga Nayiga<br />
Fu Kwong Franky Choy<br />
George Salsbury Spendlove<br />
Georgina Carol-Anne Walker<br />
Grace Carroll<br />
Hamed Sabri Musallam Salem Alseyabi<br />
Hannah Constance Carson<br />
Harry Goacher<br />
Heather Annie O’Mara<br />
Hei Lok Hong<br />
Herbert Winata Ng<br />
Hiu Kit Brian Hui<br />
Hizkia Widyanto<br />
Ho Wang Heymans Choy<br />
Hong Tung Chau<br />
Hope Frances Foster<br />
Hui Ching Lo<br />
Hyelim Lee<br />
Isabel Alice Vile<br />
Isabel Teresa Chapman<br />
Isabella Alice Colley<br />
Iulia Stefancu<br />
Jacob Oliver Botting<br />
Jacob Timothy Weetman Grantham<br />
Janet Wolf<br />
Jasmine Sophie Bishop<br />
Jean Nee Chia<br />
Jerrica Jou An Liu<br />
Jianbo Huang<br />
Jing Olyvia Tam<br />
Jonas Varnauskas<br />
Jonathan Barker<br />
Jonathan James Barnaby Coekin<br />
Jordon Johnathaon Anderton<br />
Joseph James Caden<br />
Jurgen Xavier Springer<br />
Ka Hei Chan<br />
Ka Ho Ng<br />
Kate Buurman<br />
Kate Margaret Flower<br />
Katherine Emma Belch<br />
Katy-Ann Eleanor Claridge<br />
Kieran Miles Forrest<br />
Kushi Lai<br />
Kyohong Min<br />
Lanna Jean de Buitlear<br />
Latifa Al Nawar<br />
Leo Justin Watson Fieldhouse<br />
Linxi Zhao<br />
Malika Bouabid<br />
Marc Justin Kabigting Gutierrez<br />
Marcus William Cornelissen<br />
Maria Aksenova<br />
Mariana Andrea Morales Munoz<br />
Matty Carr-Millar<br />
Migle Zabielaite<br />
Milena Ivova Sharkova<br />
Mirza Mhuhammod Imtyaz<br />
Momoko Kotani<br />
Muhammad Eijaz Fiqri Bin Norazim<br />
Natasha Alexandra Rice<br />
Niamh Mary Lyons<br />
Oliver Joseph Gabe<br />
Oyinkansola Temilolu Omolayo Omotola<br />
Pak Hin Tsang<br />
Paola Isabella Jahoda<br />
Pei Tung Au<br />
Peng Yin<br />
Po-Chen Shen<br />
Qixing Huang<br />
Rachel Elizabeth Ann Sexton<br />
Rana Mohammed Ismaile Khan<br />
Raphael Logan Barber<br />
Ren You<br />
Reuben David Jones<br />
Rory Kavanagh<br />
Rory Patrick Durnin<br />
Roxana Andreea Caplan<br />
Sarah Popsy Bushnell<br />
Sarah Safwan Moh’d Hasan Al Hasan<br />
Sasha Omid Edward Swannell<br />
Shu Zhang<br />
Shuk Yi Fung<br />
Shuwardi Boon Seen<br />
Simran Ravindan<br />
Sin Ian Si Tou<br />
Siriwardhanalage Navindu Deelaka De Saram<br />
Sophie Charlotte Spoor<br />
Sophie Grace Collins<br />
Talal Osama K Bader<br />
Tania-Cristina Farcas<br />
Tess Margaret Tollast<br />
Tunu Maya N Brown<br />
Victoria Aphra Lowsley Peake<br />
Wei Hua<br />
William Alexander Quealy Harrison<br />
William James Bell<br />
Xavier Nicholas Chen<br />
Xiao Lin Xie<br />
Xin Guo<br />
Yanchao Sun<br />
Yingjin Wang<br />
Yu Hua Lee<br />
Yu-Chieh Chang<br />
Zacharias Yiassoumis<br />
Zeyad Saudy Mohammed Hasanin<br />
Zeyu Chen<br />
Zhi Xuan Yew<br />
Guest Reviewers<br />
Andrew Ballantyne<br />
Alex Blanchard<br />
Cara Lund<br />
Chris French<br />
Claire Harper<br />
Dimitra Ntzani<br />
Elizabeth Baldwin Gray<br />
Graham Farmer<br />
James Craig<br />
Jack Roberto Scaffardi<br />
Katie Lloyd Thomas<br />
Kieran CWonnolly<br />
Martyn Dade-Robertson<br />
Matthew Ozga-Lawn<br />
Pedro Quero<br />
Rumen Dimov<br />
Samuel Austin<br />
Smajo Beso<br />
Stephen Parnell<br />
Zeynep Kezer<br />
Year Reps<br />
Roxana Caplan<br />
Denisa Calomfirescu<br />
Kushi Lai<br />
Degree Show<br />
Contributors<br />
Jonathan Barker<br />
Ethan Medd<br />
Jurgen Springer<br />
Roxana Caplan<br />
Migle Zabielaite<br />
18 Text by Christos Kakalis Opposite - Oliver Gabe
At Home in the City<br />
Christos Kakalis & Stella Mygdali<br />
The first semester project, At Home in the City, asks students to consider housing as a module of the city. Beginning with a disused industrial<br />
site in Edinburgh’s Port of Leith, students were asked to work across scales from the neighbourhood, to the house, to the threshold.<br />
20 Top - Marc Gutierrez Bottom - Oliver Gabe
Top - Migle Zabielaite Bottom Left - Colin Elkington Bottom Right - Roxana Caplan<br />
21
Engineering Experience<br />
Stella Mygdali<br />
Semester 2 begins with a three-week collaborative project between architects, artists and engineers which starts our transition to thinking<br />
about the experience of space as a way of leading design projects, by investigating the imagined spaces of film and the construction of spatial<br />
installations.<br />
22
23
Exploring Experience<br />
Christos Kakalis & Stella Mygdali<br />
Based in Durham, this project asks students to explore a condenser of experience – a public building that becomes a site of spatial and material<br />
richness and developing programmatic complexity.<br />
24<br />
Top - Marc Gutierrez Left - Colin Elkington Right - Jurgen Springer
Top Left - Roxana Caplan Top Right - Jonathan Barker Bottom - Oliver Gabe<br />
25
Stage 3<br />
Stage 3 continues the tradition at Newcastle for year-long ‘studios’ and this year students were given a<br />
choice of eight studios. Each studio was taught by a pair of tutors – comprising varied combinations<br />
of academics and practitioners – who set themes that broadly reflect their practice and research<br />
interests. The studios share a common timetable but are encouraged to pursue and celebrate different<br />
methodologies – from close readings of context through systemic design to critical conservation<br />
practice.<br />
Studio themes this year included contemporary monasteries in the Ouseburn, critiques of commercial<br />
masterplans in Manchester, tourist destinations in Northumberland and extensions to Queen’s House<br />
in Greenwich.<br />
International field trips continue to be a popular aspect of the Stage 3 experience and this year was no<br />
exception, with field trips to Venice, Zurich, Turin, Milan, Paris and Coventry.<br />
This year there has been an increased focus on representing context in Stage 3 along with a number<br />
of refinements including increased integration of Theory into Practice and an expansion of Thinking<br />
Through Making Week.<br />
Year Coordinators<br />
Cara Lund<br />
Matthew Margetts<br />
Sam Austin<br />
Studio Leaders<br />
Andrew Campbell<br />
Cara Lund<br />
Christos Kakalis<br />
Colin Ross<br />
Elizabeth Baldwin Gray<br />
Harriet Sutcliffe<br />
Iván Márquez Muñoz<br />
Jack Mutton<br />
James Longfield<br />
Josep Maria Garcia-Fuentes<br />
Kieran Connolly<br />
Luke Rigg<br />
Marc Subirana<br />
Matthew Margetts<br />
Michael Simpson<br />
Rachel Armstrong<br />
Sam Austin<br />
Other Contributors<br />
Adam Sharr<br />
Akari Takebayashi<br />
Amrita Raja<br />
Andrew Ballantyne<br />
Anna Cumberland<br />
Armelle Tardiveau<br />
Graham Farmer<br />
Hazel Cowie<br />
Lukas Barry<br />
Jack Green<br />
James Craig<br />
John Kinsley<br />
Jon McAulay<br />
Jonathan Mole<br />
Juliet Odgers<br />
Manuel Bailo<br />
Matt Ozga-Lawn<br />
Nick Peters<br />
Peter Sharpe<br />
Raymond Verrall<br />
Rosie Jones<br />
Ryan Doran<br />
Shaun Young<br />
Simon Hacker<br />
Stephen Ibbotson<br />
Stephen Richardson<br />
Steve Kennedy<br />
Stuart Hallett<br />
Victoria Tinney<br />
Students<br />
Aaron Cheng<br />
Abigail Elisabeth Hawkins<br />
Akihisa Tomita<br />
Aleksandria Bolyarova<br />
Alexandra Ellen Duxbury<br />
Alice Katherine Du Fresne<br />
Amabelle Corbita Aranas<br />
Anastasia Ciorici<br />
Angela Savitski<br />
Anna Moncarzewska<br />
Anna Volkova<br />
Anna Christian Moroney<br />
Anya Beth Donnelly<br />
Assem Saparbekova<br />
Atthaphan Sespattanachai<br />
Burcu Oglakci<br />
Cameron Fraser Reid<br />
Chi Shen<br />
Chi-Che Lee<br />
Chloe May Dalby<br />
Christopher David Anderson<br />
Christopher Liam Carty<br />
Chunyang Song<br />
Dohyun Ha<br />
Edward Benedict Yaoxiang Yan<br />
Elizaveta Streltsova<br />
Emily Jane Morrell<br />
Emily May Simpson<br />
Emily Rachael Pendleton Birch<br />
Emma Fernandez Ruiz<br />
Erya Zhu<br />
Ewan Mark Smith<br />
Faith Mary Hamilton<br />
Flora Rose Sallis-Chandler<br />
George William Cooper<br />
Grant Martin Donaldson<br />
Harry Charlesworth Groom<br />
Harry James Hurst<br />
Hassan Mehboob Sharif<br />
Haziqah Hafiz Howe<br />
Hing Nam Eunice Lau<br />
Ho Hang Ryan Fung<br />
Hok Yin Au<br />
Holly Kate Rich<br />
Huyen Anh Do<br />
Ioana Buzoianu<br />
Irene Dumitrascu-Podogrocki<br />
Isabel Lois Fox<br />
James Edward David Hall<br />
Jianing Lyu<br />
Jingyi Zhou<br />
Jody-Ann Goodfellow<br />
Joseph George Allen<br />
Ka Ching Leung<br />
Ka Chun Ng<br />
Kareemah Muhammad<br />
Karishma Dayalji<br />
Karolina Smok<br />
Kate Asolo Woolley<br />
Katie Cottle<br />
Kirin Potocka Gallop<br />
Kristin Olivia Read<br />
Leah Charlotte Harrison<br />
Lucy Kay Atwood<br />
Luk Chong Leung<br />
Luke Tim Jonathan Shiner<br />
Madeleine Carroll<br />
Maegan Rui Qi Lim<br />
Maharram Mammadzada<br />
Man Chi Yeung<br />
Martina Dorothy Hansah<br />
Matthew Chi Ming Warrenberg<br />
Megan Frances Nightingale<br />
Michelle Sie Ee Lim<br />
Miruna Ilas<br />
Mohini Devi Tahalooa<br />
Myeongjin Suh<br />
Natalia Beata Piorecka<br />
Natalie Si Wing Lau<br />
Nathan Alan Cooke-Duffy<br />
Odaro Ehide Eguavoen<br />
Oliver Charles Harrington<br />
Patricia Prayogo<br />
Peter Thomas Staniforth<br />
Philomena Chen<br />
Pok Ho Cheung<br />
Pui Hin Lam<br />
Qian Yi Choi<br />
Rachel Emmeline Clark<br />
Rachel Sophie Keany<br />
Rebecca Sinead Crowley<br />
Rodrigo Miguel Pereira Domingos<br />
Rongzhen Jiang<br />
Rosa Sophia Kenny<br />
Ruth Niamh Angele Vidal-Hall<br />
Sabrina May Lauder<br />
Sally Emir Clapp<br />
Samuel Fraquelli<br />
Sarah Alexandra Johnsone<br />
Sarah May Bradshaw<br />
Sean Ryan Bartlem<br />
Shaunee Lyn Tan<br />
Shivani Umed Patel<br />
Shuchi Liu<br />
Sienna Poppy Sprong<br />
Sofia Binti Mohd Nasir<br />
Sofia Kovalenko<br />
Sofia Grace Turner<br />
Solomon Olufemi Adeyinka Ofoaiye<br />
Sophie Tilley<br />
Sophie Agnes Wakenshaw<br />
Thomas James Grantham<br />
Thomas Nathan McFall<br />
Tobias Evan Himawan<br />
Tongyu Chen<br />
Victoria Louise Haslam<br />
Vito Benjamin Sugianto<br />
Wen Hua Huang<br />
Wen Ying Ooi<br />
Will Peter Tankard<br />
Xueqing Zhang<br />
Yahsi Eda Vatan<br />
Yeekwan Lam<br />
Yi May Emily Chan<br />
Yiyun Liang<br />
Yun Tak Tam<br />
Zhana Hristova Kokeva<br />
Zhong Zheng<br />
26<br />
Text by Matthew Margetts<br />
Opposite - Matthew Warrenberg
Studio 1 – Getting Away From It All<br />
Colin Ross & Michael Simpson<br />
The ‘Getting Away From It All’ studio is based on the idea that architectural practice can be broad, diverse, surprising, dynamic and even<br />
fun. Our ethos is that architecture can cover multiple creative areas, across scales and disciplines, from regional planning to urban design,<br />
landscape to building design and interiors to sculptural installation….and more. Our studio has again focused on tourist destinations along<br />
the Northumberland coast. Students have been encouraged to challenge tourism and the role it can play whilst working fluidly between scales,<br />
developing a dynamic thought process that at one moment considers strategy, the next detail.<br />
28 Above - Lucy Atwood (2)
Top - Aleksandria Bolyarova Middle, Left to Right - Ioana Buzoianu, Sally Clapp Bottom - Rosa Kenny<br />
29
Perspective view Drone Arena<br />
30 Top - Chi Shen Bottom - Thomas Grantham
Left, Top to Bottom - Thomas Grantham, Natalie Lau, Sabrina Lauder<br />
Right, Top to Bottom - Shuchi Liu, Pok Ho Cheung<br />
31
Studio 2 - City Assemblage<br />
Jack Mutton, Harriet Sutcliffe & Sam Austin<br />
This years studio 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, the studio is looking to create architecture that is rooted in place<br />
and explores the experiential potential of materials, carefully pieced together in a celebration of craft. We are looking to create architecture<br />
that is contemporary yet not isolated in time.<br />
The studio has studied the city and works of art from artists such as Eduardo Paolozzi, Cy Twombly and Man Ray. These observations have<br />
formed the basis of our proposals and working in the spirit of assemblage we have looked to create figurative, characterful city buildings that<br />
engage with their surroundings. Working on derelict and former industrial sites the studio has developed proposals for a series of studio spaces<br />
for artists alongside a public gallery and events space.<br />
32<br />
Above - Ewan Smith
Top Left to Right - Rachel Keany, Matthew Warrenberg, Ewan Smith<br />
Bottom Left to Right - Amabelle Aranas, Megan Nightingale, Aaron Cheng<br />
Middle Left to Right - Cameron Reid, Rachel Keany, Ruth Vidal-Hall<br />
33
34<br />
Top - Rachel Clark Middle - Matthew Warrenberg Bottom - Amabelle Aranas
Top Left - Martina Hansah Top Right and Middle - Katie Cottle Bottom - Megan Nightingale 35
Studio 3 - Ghosts in the Machine<br />
Cara Lund & Matthew Margetts<br />
This year the ‘Infrastructures’ studio was called ‘Ghosts in the Machine’, and continued to explore themes around tangible and intangible<br />
infrastructures at different scales ranging from the city to the individual. Our chosen ‘vehicle’ for this study was the Coventry Ring Road<br />
(A4053). An almost perfectly realised 1960’s ring road of 2.25 miles in length constructed between 1962 and 1974. It was conceived to keep<br />
cars out of what remained of the heavily bombed and extensively reconstructed urban core, with a network of car parks and high level access<br />
bridges at ground and high level. It now has something of a stranglehold on the city, limiting expansion, connectivity and generating high<br />
levels of pollution. Inspired by reading Ballard novels, the students were asked to identify their own ‘systems’ (tangible or intangible) situated<br />
along the ring road, to either DISRUPT, AUGMENT or PROJECT (into the future).<br />
36<br />
Top - Samuel Fraquelli<br />
Bottom - Sienna Poppy Sprong
...you work your way through the pathways of yews. When you reach the centre, the tallest machines from the lab pop up through the<br />
floor: a reminder of the process...<br />
135 refinement<br />
Top Left to Right - Wen Hua Huang, Luke Shiner Middle Left to Right - Flora Sallis-Chandler, George William Cooper Bottom - Atthaphan Sespattanachai 37
THE LIGHT WELL SECTION MODEL<br />
THE<br />
PEOPLES<br />
PALACE<br />
118 119<br />
38<br />
Top - Wen Hua Huang Middle - Jianing Lyu Bottom - Shaunee Tan
Top, Left to Right - Harry James Hurst , Shaunee Tan Middle - Yiyun Liang Bottom - Flora Sallis-Chandler 39
Studio 4 - Enclosed Order<br />
Christos Kakalis & Ivan Marquez Munoz<br />
The Enclosed Order studio proposed an investigation of monastic architecture, divided into two main stages:<br />
In the first stage, the students were asked to define the individual character and the community that would inhabit the suggested complex.<br />
It required students to imagine, formally explore and design the unit (monastic cell) that this character would inhabit, emphasising its<br />
atmosphere, intangible qualities and character. In the second stage, the students were asked to design a monastic retreat complex based upon<br />
the line of enquiry developed in the first stage, introducing specific programmatic requirements to define their own architectural enquiry.<br />
40<br />
Above - Chi-Che Lee
Left, Top to Bottom - Odaro Ehide Eguavoen, Myeongjin Suh Right, Top to Bottom - Karishma Dayalji, Rongzhen Jiang, Nathan Cooke-Duffy 41
42 Top to Bottom - Grant Martin Donaldson, Tobias Evan Himawan (2)
THE TRAPPIST MONASTERY AND DISTILLERY. SECTION A A REFINEMENT 1:200.<br />
m<br />
THE TRAPPIST MONASTERY AND DISTILLERY<br />
STRUCTURAL STRATEGY<br />
1. PRIMARY<br />
In-situ concrete foundations<br />
2. SECONDARY<br />
Outer leaf brick walls, inner leaf composite concrete and brick<br />
wall, window elements/ frame.<br />
with diphram brick walls.<br />
3. PRIMARY<br />
INTERIOR<br />
Stainless steel frame-I beams within walls and bridge<br />
construction. Hollow steel section columns interior, outside of<br />
walls.<br />
EXTERIOR<br />
Arch frame-hollow Cor-ten steel section supports<br />
SECONDARY-composite brick and concrete arch.<br />
12<br />
4. PRIMARY<br />
Brick segmental vault. Central ground floor communal<br />
area-composite concrete and brick segmental vault-to<br />
accommodate stairway openings.<br />
5. SECONDARY<br />
Concrete fill over arch.<br />
11<br />
6. SECONDARY<br />
Screed fill.<br />
7. PRIMARY<br />
Stainless steel beam stairway and exterior earth supported<br />
ramp.<br />
SECONDARY- Concrete fill threads with<br />
TERTIARY brick tiles on stairway and exterior ramp<br />
8. TERTIARY<br />
Brick tile flooring<br />
10<br />
9. SECONDARY<br />
Outer leaf brick walls, inner leaf composite concrete and brick<br />
wall dormitory bed elements.<br />
10. PRIMARY<br />
INTERIOR<br />
Stainless steel frame-I beams within walls. Hollow steel section<br />
columns interior, outside of walls, with<br />
TERTIARY brick cladding around columns not within walls.<br />
9<br />
EXTERIOR<br />
PRIMARY-arch frame-hollow Cor-ten steel section supports<br />
SECONDARY-composite brick and concrete arch.<br />
11. SECONDARY<br />
Composite concrete and brick vault with<br />
TERTIARY roof window frames. Parapet roof guttering system.<br />
12. TERTIARY<br />
Composite cement mix with brick slip exterior.<br />
8<br />
7<br />
6<br />
5<br />
4<br />
3<br />
2<br />
1<br />
Top Left to Right - Anna Christian Moroney, Sarah May Bradshaw Middle Right - Sarah May Bradshaw Bottom - Anna Christian Moroney<br />
43
Studio 5 - Future Cities – A Space for Exchange<br />
Kieran Connolly & Luke Rigg<br />
Building on the themes that emerged in the Future City studio last year, A Space for Exchange explores the urban and architectural ‘futures’<br />
of inner-city Manchester taking a strong critical stance toward contemporary techniques of urban regeneration that frequently prioritise neoliberal<br />
economic agendas. To counter these dominant socio-economic programmes, the studio were asked to develop alternative ‘futures’ for<br />
Manchester that prioritised a critical approach to how space is produced and who it is produced for. In response, the studio have proposed<br />
carefully constructed ‘exchange’ buildings, embedded with strong social and civic qualities and programmes that are inclusive of existing<br />
local communities, businesses, charitable organisations, cultural facilities and social groups frequently marginalised in private real estate<br />
development.<br />
44<br />
Above - Chris Carty
Left - Haziqah Hafiz Howe Right - Chris Carty Bottom - Assem Saparbekova 45
46 Top, Left to Right - Karolina Smok, Christopher Anderson, Jingyi Zhou Bottom - Harry Groom
AN ESCAPE WITHIN THE CITY<br />
MODERN HEALING TEMPLE<br />
Top - Will Tankard Middle - Sophie Wakenshaw Bottom Left - Hok Yin Au Bottom Right - Mohini Devi Tahalooa<br />
47
Studio 6 - The Queens House: Building Upon Building<br />
Josep-Maria Garcia Fuentes & Marc Subirana<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 a complex cultural, social and political struggle. These ideas are investigated<br />
through the design of a major addition to or the transformation of a heritage building. This requires an understanding of the existing<br />
construction in all of the ways its architecture and materials express the values it sought to represent and serve at the time, and in the ways that<br />
these meanings may, or may not, be extended, enriched or transformed and reshaped by the new addition.<br />
This year the studio has focused on The Queen’s House by Inigo Jones, and its imaginary transformation into the British Centre for<br />
Architecture with the aim of hosting all architectural archives from the UK and becoming an international research centre on architecture<br />
linked to the RIBA and the Architectural Foundation.<br />
48<br />
Above - Chloe Dalby
Top Left - Isabel Fox Top Right - Miruna Ilas (2) Bottom - Ka Chun Ng<br />
49
50 Top - Pui Hin Lam Middle - Sofia Kovalenko (2) Bottom - Solomon Ofoaiye
Top Left - Xueqing Zhang Top Right - Ka Chun Ng Middle Right - Shivani Patel Bottom - Xueqing Zhang<br />
51
Studio 7 - Palaces of Ecologies<br />
Andy Campbell, Rachel Armstrong and Andrew Ballantyne<br />
Experimental Architecture’s ‘palace of ecologies’ explored the concept of ecology and the notion of ‘palace’ as contested centres of communal<br />
activity. Based on two field studies, projects emerged through the production of prototypes, models, stories and field studies. The first site,<br />
in Rainton Meadows, considered the relationship between space, structure, materials and modes of inhabitation by non-humans, by making<br />
‘creature boxes’ that were installed as a formal visitor attraction. The second site in Sant’Elena, Venice, embodied an interface between complex<br />
human and non-human ecosystems, from which a diverse range of ‘palaces’ emerged.<br />
52<br />
Above - Thomas Nathan McFall
Top - Ho Hang Ryan Fung Middle, Left to Right- Sarah Alexandra Johnsone, Leah Charlotte Harrison Bottom - Kirin Potocka Gallop 53
54 Top, Left to Right - Angela Savitski, Holly Kate Rich Middle - Anya Donnelly Bottom - Man Chi Yeung
Top - Natalia Beata Piórecka Left - Emily Rachael Pendleton Birch Right, Middle to Bottom - Zhana Hristova Kokeva (2) 55
Studio 8 - Legacies of Modernism<br />
Elizabeth Baldwin Gray & James Longfield<br />
Our studio asked students to engage with the role of theory and idea as driving forces in the formation and realisation of an architectural<br />
project.<br />
To ground this endeavour, and catalyse the establishment of theoretical positions, students were required to undertake a close reading of two<br />
key movements of 20th Century architecture; early European Modernism, and the later British manifestation of Brutalism, and contend<br />
with their legacies through a series of analytical and propositional spatial exercises. In response, students sought to address the contemporary<br />
relevance of these (im)possibly linked movements, either through a continuation of their conflicted emergences or by reactionary contrast.<br />
By studying and adopting the processes that created them, the studio served to support the development of a spatial awareness of scale,<br />
volume, and projection - pushing beyond standard notions of style into an understanding of the modern project.<br />
56 Top -Kenny Tam Middle - Anastasia Ciorici Bottom - Huyen Anh Do
Top, Left to Right - Yeekwan Lam, Kenny Tam<br />
Bottom, Left to Right - Rodrigo Miguel Pereira Domingos, Anastasia Ciorici<br />
57
58 Top, Left to Right- Anna Volkova, Patricia Prayogo Middle, Left to Right - Abigail Hawkins, Karen Leung Bottom - Erya Zhu
Left, Top to Bottom - Sophie Tilley, Patricia Prayogo Top Right - Faith Hamilton Bottom - Zhong Zheng<br />
59
Stage 3 - Fieldwork & Site Visits<br />
As part of Stage 3, the varied studios undertake a range of field trips in Semester one, travelling to diverse locations around Europe. All eight<br />
studios included (at least) one European destination.<br />
Studio 1: Getting Away From It All<br />
Utrecht<br />
Rotterdam<br />
Delft<br />
Scheveningen<br />
Studio 2: City Assemblage<br />
London<br />
Basel<br />
Zurich<br />
Chur<br />
Studio 3: Ghost In The Machine<br />
Coventry<br />
Turin<br />
Milan<br />
Studio 4: Enclosed Order<br />
Madrid<br />
Studio 5: Future City<br />
Manchester<br />
Turin<br />
Milan<br />
Studio 6: Building Upon Building<br />
London<br />
Rome<br />
Venice<br />
Vicenza<br />
Studio 7: Palace Of Ecologies<br />
Venice<br />
Studio 8: Legacies of Modernism<br />
Paris<br />
Firminy<br />
Lyon<br />
60<br />
Opposite - Field Trip Images: Ghosts in the Machine, Future Cities & Legacies of Modernism
BA (Hons) Architecture & Urban Planning (AUP)<br />
Armelle Tardiveau - Degree Programme Director<br />
The BA (Hons) Architecture and Urban Planning programme is a radically<br />
interdisciplinary programme. It offers an integrated and critical approach<br />
to both disciplines and promotes an approach to the production of urban<br />
space from the perspective of people and communities who live and<br />
experience places. It addresses contemporary societal issues through the lens<br />
of participation, social justice and co-production of the built environment.<br />
As such the programme is dynamic and keeps on evolving for a great part<br />
thanks to the invaluable feedback from students, upon which we endeavour<br />
to reflect and take action.<br />
What’s new this year?<br />
Dr Andy Law, a sociologist and aspiring sinologist who used to lead the<br />
programme, is now my co-pilot for this journey and I am now in charge of<br />
leading and developing this exciting programme. As a designer and architect,<br />
I aim to improve the design provision keeping the focus on different ways of<br />
creating architecture, design and shaping our public realm.<br />
The programme ethos remains soundly underpinned by modules on<br />
alternative practice that fuse design issues with sociological and human<br />
geography themes. We offer three key routes alongside design and<br />
alternative practice: urban planning and urban development, social and<br />
political history and theory, as well as business and social enterprise. This<br />
allows students to develop their own interest and carve their own degree<br />
based on their interests and strengths. Very few AUP students graduate with<br />
the same profile, and this in my view, celebrates the diversity of students and<br />
the interdisciplinary nature of the programme.<br />
More news…<br />
In March <strong>2019</strong>, the AUP design route received the RTPI accreditation as<br />
part of a pathway including the completion of the BA (Hons) Architecture<br />
and Urban Planning programme followed by the Certificate in Planning<br />
Practice and the MA Urban <strong>Design</strong>. This design route is particularly relevant<br />
for those students who are keen to pursue such creative practice through a<br />
more socially engaged practice including participatory approaches to the<br />
built environment.<br />
I remain immensely grateful to the committed staff from both Architecture<br />
and Planning who contribute meaningfully to this degree. A large part of<br />
their motivation lies in the value they place in educating students in thinking<br />
across disciplinary boundaries. In addition, their teaching generally emerges<br />
from their own research. Equally, a warm thanks to all practitioner tutors<br />
who provide an anchorage of the programme in professional practice.<br />
63
AUP Stage 1 - Reading Into/Drawing From<br />
Armelle Tardiveau<br />
The Reading Into/Drawing From project was inspired by Spanish architects Ricardo<br />
Flores and Eva Prats, who were regular leaders of the charrette week on the invitation<br />
of Professor Michael Tawa about a decade ago. In these charrettes, students were<br />
invited to imagine the space and the life beyond a painting. Michael Tawa would<br />
argue that they “set up open frameworks for the intricacies and intrigues of [everyday<br />
life] to be narrated. They are preludes and invitations to story-telling. They set the<br />
scene and deploy the rules that might then be followed, challenged or broken.”<br />
(Tawa, M., 2008)<br />
And so we start the first year in the Architecture and Urban Planning programme by<br />
engaging and scrutinising the life unfolding in a scene set in the city of Siena painted<br />
between 1338-39. Its author, Ambrogio Lorenzetti, was a precursor of his time:<br />
through his deep observation, he convincingly depicted spatial depth and empirically<br />
approximated the one-point perspective developed no less than a century later by<br />
maestri such as Brunelleschi, who revolutionised representation techniques in the<br />
Renaissance pictorial art.<br />
The Effects of Good Government in the City and the Country is part of three<br />
paintings including the Allegory of Good Government and the Allegory of Bad<br />
Government, all located in the Pallazzo Pubblico, one of the first civic buildings to be<br />
built at the end of the 13th century in Siena. The painting is considered one of the<br />
first realistic landscapes, filled with vibrant life showing people going about everyday<br />
activities (building, trading, learning, dancing, celebrating, hunting, harvesting, etc.)<br />
in a regulated, peaceful functioning social life set in an environment structured with<br />
streets, squares, buildings, city gates, hills, etc.<br />
By observing, sketching and drawing, we can guess, decipher, imagine and read into<br />
the painting. The Reading Into/Drawing From project aims to engage students in<br />
articulating a coherent visual presentation of ideas through drawing an orthographic<br />
plan of the neighbourhood showing the ensemble of buildings lined along a medieval<br />
street pattern. This steep learning experience is broadened by modelling the depicted<br />
buildings flanked on a hill along the city wall. During these two intense weeks, the<br />
students learn to work in a group, gain an insight into the life of a city from another<br />
era, and make sense of, and practice, the first fundamental skill that deals with scale,<br />
drawing and modelling.<br />
Over the last three years, committed Stage 6 students have taught the expertise<br />
required to build a three dimensional form out of the painting. Every year, I am<br />
fortunate to collaborate with a team of engaged Stage 6 students who have taught<br />
AUP Stage 1. Ellie Gair who is about to complete her MArch states that “teaching<br />
whilst studying for my master’s degree was invaluable, it allowed a chance for<br />
perspective and reflection on the journey through education. Often Stage 1 students<br />
asked ‘why’ they are taught non-design modules, I could explain that they helped to<br />
rationalise my own practice.”<br />
Stage 1 Students<br />
Abin John<br />
Aida Aghayeva<br />
Alexander Joe Mewis<br />
Amy-Rosie Manning<br />
Angus John Atkin<br />
Chelsea Nicole Petrillo<br />
Darcey Lily Morse<br />
Declan O’Neil<br />
Diana Mihailova<br />
Edward James Frederick Bousfield<br />
Emma-Maria mItu<br />
Gabriella Bryllian Lie<br />
George Woodruff<br />
George Joseph Avery<br />
Hoi Ning Wong<br />
Jack Andrew McMunn<br />
Jacob Bowell<br />
Jacob John David Hughes<br />
Jacobus Michael Merkx<br />
Jae Eun Cho<br />
Jamie Ryan Bone<br />
Jeremy Anthony Julian Bidwell<br />
Jordan Niels Patrick Shanks<br />
Kira Sonal Nitesh Shah<br />
Lap Yan Tai<br />
Laura Jane Nicholas<br />
Luke Dixon<br />
Marcelina W<br />
Martin Bastien Joly<br />
Mary-Anne Catherine Murphy<br />
Megan Jane Raw<br />
Mindaugas Rybakovas<br />
Ngai Chi Fung<br />
Olivia Forbes<br />
Owen Samuel Thomas<br />
Paplito Kitenge-Fuki<br />
Quitterie Toscane Elizabeth Marie d’Harcourt<br />
Rabi Sultana Sani Duba<br />
Rachel Turnbull<br />
Ruth Mary Jefferis<br />
Samer Alayan<br />
Sebastian Ignacio Mena<br />
Simon Avishek Lama<br />
Simon Benjamin Tarbox<br />
Stephen James Payne<br />
Sunny Noah Howd<br />
Tahnoon Abdulla Mohamed Ali Alshehhi<br />
Thomas Coutanche<br />
Thomas Carlton Paramor<br />
Yuxi Liang<br />
Zahra Khademi<br />
Zoe Elise Ingram<br />
Contributors<br />
Armelle Tardiveau<br />
Nick Simpson<br />
Robert Johnson<br />
Ellie Gair<br />
Freddie Armitage<br />
Jack Lewandowski<br />
Tom Goodby<br />
Tawa, M. (2008). Reading into, Drawing (out) from. Through the Canvas, (pp. 112 - 115). Barcelona,<br />
Spain: Actar-D<br />
64 Text by Armelle Tardiveau
Top, Left to Right - Zoe Ingram, Jacob Hughes Middle - Ambrogio Lorenzetti Painting Bottom - Diana Mihailova, Jacobus Merkx & Abin John<br />
65
AUP Stage 1 - Architecture Occupied<br />
James Longfield<br />
Contributors: James Longfield, Diana Wharton, Joanna Wylie, Alex Proctor, , Luke Leung, Mike Veitch, Tara Alisandratos, Charlotte Powell,<br />
Jane Milican, Anna Cumberland, Elinoah Etani, Freddie Armitage, Jack Lewandowski, Ellie Gair, Tom Goodby<br />
66<br />
Top Left to Right - Owen Thomas, Ngai Chi Fung, Lap Yan Tai<br />
Bottom Left to Right - Kit d’Harcourt, Edward Bousfield, Ruth Jefferis<br />
Middle Left to Right - Ngai Chi Fung, Hoi Ning Wong, Edward Bousfield
AUP Stage 1 - Taking Measure<br />
Kieran Connolly<br />
Site: Newcastle University<br />
Contributors: Kieran Connolly, Di Leitch, Robert Johnson, Juliet Odgers, Armelle Tardiveau, Tara Alisandratos, Damien Wootten, Charlotte<br />
Powell, Jane Millican, Elinoah Eitani, and Henna Asikainen<br />
Left - Marcelina Debska Top Right - Owen Thomas Bottom, Left to Right - Ed Bousfield , Helen Wong<br />
67
AUP Stage 1 - Co-created City<br />
Ed Wainwright<br />
Site: The NewBridge Project, Gateshead<br />
Contributors: Ed Wainwright, Claire Harper, Daniel Russell, Sarah Stead, John Pendlebury, Loes Veldpaus, Alex Blanchard, Peter Kellett<br />
ARC 1007 | STAGE 1 AUP | 17072492<br />
073<br />
72 CO - CREATED CITY<br />
Isomatric drawing<br />
demonstrating what<br />
how the building might<br />
be occupied and furnished.<br />
This drawing<br />
also attempts to show<br />
the curtain used for<br />
the changing rooms<br />
in the art studio. To<br />
conserve space, the<br />
studio can double up<br />
as changing rooms<br />
when a fashion show<br />
is taking place. This<br />
depiction also shows<br />
the foldable used in<br />
the studio, also with<br />
ideas to conserve<br />
space.<br />
5<br />
08<br />
CO-CREATED CITY<br />
ARC 1007 | STAGE 1 AUP |170283243<br />
075<br />
1:100 ATMOSPHERIC THRESHOLD EXPLORATION<br />
Through the use of the 1:100 site model I explored the threshold of the entrance gate. The area I designed is<br />
aimed to be spacious and open, to display the sculptures produced there. To understand the focus points of the<br />
site I used a blacked out version of the model to show light and dark areas, and the parts of site that would draw<br />
your attention. As the lighter area leads from the view of the entrance, it was ideal to have the presentation area<br />
within the view of the public passing by. Another point of focus is the raised floor of the building, which displays<br />
the balcony, where artists can work from, intriguing passers by.<br />
08<br />
CO-CREATED CITY<br />
ARC 1007 | STAGE 1 AUP |170283243<br />
075<br />
1:100 ATMOSPHERIC THRESHOLD EXPLORATION<br />
Through the use of the 1:100 site model I explored the threshold of the entrance gate. The area I designed is<br />
aimed to be spacious and open, to display the sculptures produced there. To understand the focus points of the<br />
site I used a blacked out version of the model to show light and dark areas, and the parts of site that would draw<br />
your attention. As the lighter area leads from the view of the entrance, it was ideal to have the presentation area<br />
within the view of the public passing by. Another point of focus is the raised floor of the building, which displays<br />
the balcony, where artists can work from, intriguing passers by.<br />
68<br />
Top, Left to Right - Rachel Turnbull, Jacob Hughes Middle - Ngai Chi Fung Botttom - Jack McMunn (2)
AUP Stage 1 - Shelter<br />
David McKenna<br />
Site: Longsands Beach, Tynemouth<br />
Contributors. David McKenna (Project Leader) Claire Harper, Di Leitch, Sarah Stead, Tara Alisandratos, Elinoah Eitani, Robert Johnson,<br />
Jane Millican, Damien Wootten<br />
Top, Left to Right - Ngai Chi Fung, Jacob Hughes, Megan Raw, Edward Bousfield Middle - Zoe Ingram Bottom - Jacob Hughes<br />
69
AUP Stage 2 - Place of Houses<br />
Peter Kellett<br />
Everyone lives somewhere, and our homes are arguably the most important places in our lives. Although ostensibly about<br />
housing and home, this module addresses one of the most fundamental aspects of both architecture and planning: the<br />
relationships we develop with the spaces and places we inhabit. Indeed the everyday processes of habitation and dwelling are<br />
at the core of this module.<br />
The module has a long history. It was developed in the 1990s as the theory element for the BA Architecture programme<br />
to run alongside a housing design project in second year. Three years ago History and Theory teaching in Architecture was<br />
reorganised, and housing was subsumed into a larger module (About Architecture). I continue to deliver a major component,<br />
‘Housing Cultures’, which engages with the key ideas. Simultaneously the new AUP programme was seeking a module to<br />
reinforce the housing element, so I reformulated the Place of Houses to match more closely to the dual disciplinary nature<br />
of AUP – giving greater emphasis to the characteristics and processes associated with the public realm of the city and the<br />
collective spaces within dwelling environments.<br />
The module encourages students to draw directly on their personal experiences of housing and to reflect on how different<br />
domestic environments help configure lifestyles and identities, as well as influencing the attitudes and decisions of designers<br />
and planners. The course has three aims:<br />
1. Inform and strengthen the theoretical basis on which students take design and planning decisions.<br />
2. Raise awareness of the richness and complexity of dwelling environments.<br />
3. Develop a critical understanding of domestic architecture and the interplay between ways of living and built form.<br />
Together we explore key theoretical concepts from a range of theorists including Dovey, Pallasmaa, Bourdieu, Rapoport,<br />
Oliver, Cooper-Marcus and Turner, to construct a conceptual framework which is then fleshed out using a range of case<br />
studies.<br />
The course is structured around the key forms of production and varying roles of designer, client and user. Emphasis is<br />
given to the relationship between the user and the home environment. The knowledge outcomes include an increased<br />
understanding of how housing environments are produced and consumed; a critical awareness of the role of professionals,<br />
complemented by an appreciation of every day environments and housing produced by non-professionals.<br />
My own background in both Architecture and Social Anthropology inflects the course towards the socio-cultural issues of<br />
housing. I draw heavily on my experience of living, working and researching in different parts of the world – particularly my<br />
long-term ethnographic experience in Latin America, as well as Indonesia, India and more recently Ethiopia. Most lectures<br />
are structured around current and recent research projects. This gives the course a strong cross-cultural focus – which is<br />
especially relevant given the international complexion of AUP cohorts and the increasing opportunities for students to work<br />
internationally in the future.<br />
In addition to lectures and films, small group presentations encourage shared learning within a lively, interactive and<br />
stimulating learning environment.<br />
70<br />
Text and images by Peter Kellett
71
AUP Stage 2 - Beijing Fieldtrip<br />
Andy Law, Qianqian Qin and Ruth Raynor<br />
In the second Semester of this year, along with Planning and Geography and Planning (GAP) students,<br />
a number of AUP students took the TCP2035 study visit module and chose to go to Beijing; facilitated<br />
by Dr Andy Law, Ms Qianqian Qin and Dr Ruth Raynor. The trip ran between the 24th and the 29th<br />
of March, during which they all visited the Yuanmingyuan Gardens; the Forbidden City; the Hutongs,<br />
the Nanluoguxiang and Han’s Royal Garden Hotel; the 798 art zone; the Tsinghua Urban Planning and<br />
<strong>Design</strong> institute and the Shichahai area; and the College of Urban and Environmental Sciences, Peking<br />
University.<br />
Highlights of the trip included the Forbidden City, where, as well as observing the intricate design and<br />
layout of the city, some students also managed to meet and interact with Chinese tourists visiting the site.<br />
Students<br />
Sam Davis<br />
Deborah Ewenla<br />
Emily Hindle<br />
Andrew Marshall<br />
Cailean McCann<br />
Jennifer Mitchell<br />
Ashleigh Rossiter<br />
Casey Scott<br />
Bronwen Thomson<br />
Jessica Tiele<br />
Ying Mo<br />
Sarah Bird<br />
Another highpoint of the trip was a visit to the Hutongs and particularly the Nanluoguxiang, which<br />
was built in the Yuan period (1271-1368), but was given its name in the Qing period (1636-1912). The<br />
Nanluoguxiang, which is approximately 800 metres in size and is a popular tourist site, also led to some<br />
excellent student research; one group of students looked at the touristification and gentrification issues<br />
associated with the site and later gave an excellent presentation back in Newcastle. As well as the 800<br />
metre main street which makes up the Nanluoguxiang, we also ventured off into the back alleys or ‘fishbone’<br />
lanes that are connected to the main street; arguably these back alleys or ‘fish-bone lanes’ have their<br />
own aesthetic and/or picturesque urban morphological features - see opposite top left.<br />
Another memorable event during this visit was a guided tour of Han’s Royal Garden Hotel, which gave<br />
students a decent introduction to the traditional Beijing Siheyuan - or Beijing courtyard - housing. As<br />
well as receiving a guided tour from Professor Bin Lu of Peking University, Ms Qin also commented on<br />
the structure and culture of the traditional courtyard - see opposite middle.<br />
Another highlight of the trip involved a lecture delivered to the students by planners and officials at the<br />
Tsinghua Planning institute; at length, institute staff discussed the development and regeneration of<br />
the Shichahai area in Beijing (near the Hohai lake); Dr Law, Ms Qin and Dr Raynor noted here, that<br />
all students from all programmes participated in a lively and respectful discussion with the Tsinghua<br />
planners that was both thoughtful and memorable.<br />
72<br />
Text by Andy Law<br />
Above - Sarah Bird having her photo taken with a Chinese tourist in the Forbidden City
Top, Left to Right - walking in one of the ‘fish-bone’ lanes off the Nanluoguxiang, one of the back lanes or ‘fishbone alleys’ off the Nanluoguxiang<br />
Middle - Ms Qin commenting on the courtyard structure of Han’s Royal Garden Hotel.<br />
Bottom, Left to Right - engaging in discussion with the Tsinghua Planning Institute, all students and staff with staff at the Tsinghua Institute<br />
73
AUP Stage 2 - Twentieth Century Architecture, <strong>Design</strong> and Heritage<br />
Rutter Carroll and Sophie Ellis<br />
Contributors: Tim Bailey (XSITE Architects), Will Mawson (MawsonKerr Architects), Ronnie Graham (Ryder Architecture), Prof John<br />
Pendlebury, Prof Prue Chiles<br />
Students: Akhila Ganesh Shamanur, Amruta Sahebrao Satre, Bethany Ruth Meer, Dominic Michael Payne, Erin Noelle Dent, Henry Philip<br />
Gomm, Jingwen Chen, Kaniz Shanzida, Matthew Ellis Howard, Razan Abdul Karim Zahran Al Hinai, Sophia Kathryn Norbury, Yinghe Yi<br />
74 Top - Sophia Norbury Bottom - Kaniz Shanzida
Top, Left to Right - Bethany Meer, Matthew Howard Middle - Henry Gomm Bottom, Left to Right - Jingwen Chen, Akhila Shamanur<br />
75
AUP Stage 2 - Relational Mapping, <strong>Design</strong> and Representation<br />
Sarah Stead, Koldo Telleria, Xi Chen, Ziwen Sun<br />
Students: Bethany Meer, Henry Gomm, Kaniz Shanzida, Jake McClay, Matthew Howard, Charlotte Maynard, Razan Al Hinai, Jessica Tiele,<br />
Bhumit Mistry, Akhila Ganesh, Amruta Satre, Jingwen Chen, Kelly Andwa, Dominic Payne, Leila Udol, Yinghe Yi, Matthias Bohr, Buddy<br />
Vuth, Ying Mo, Erin Dent<br />
76 Top - Groupwork Middle - Kaniz Shandiza Bottom, Left to Right - Matthew Howard, Jake McClay
Top - Site Sound Mapping Middle - Henry Gomm Bottom - Group Drawing: Henry Gomm, Bethany Meer, Kaniz Shanzida<br />
77
AUP Stage 3 - A Home For All<br />
Prof. Tim Townshend and Mr Smajo Beso<br />
Our surroundings have a profound impact on our health and well-being. Tim Townshend’s<br />
research has demonstrated how these impacts can be either positive - allowing people to live<br />
rich, fulfilling lives; or negative - constraining healthy lifestyle choices and thereby contributing<br />
to poor physical and mental health and so-called ‘lifestyle’ diseases. Public parks provide vital<br />
greenspaces for urban residents and when attractive and well maintained, contribute positively<br />
to health and well-being by providing space for restoration and relaxation; physical activity;<br />
socialisation; and reduced impacts of pollution. Parks attract a heterogeneous range of users, and<br />
informal encounters build and expand social networks, an essential element of creating a sense<br />
of community with shared values and aspirations. Free to access and providing opportunities for<br />
activities that require little, or no, specialist equipment (unlike more formal sports facilities) they<br />
are ‘neutral’ settings for community interaction, and so make a positive contribution to reducing<br />
health inequalities. Therefore, parks can provide a truly therapeutic platform on which to focus<br />
on individuals’ well-being.<br />
Some individuals’ needs for such therapeutic settings are greater than others are, however.<br />
Across the UK, for example, there is an acute need for facilities for those coping with and/or<br />
recovering from addiction and substance abuse. Alcohol and drug problems are prevalent in all<br />
areas and occur across all sectors of society, but unfortunately, Newcastle has higher rates than the<br />
national average. Harnessing the power of therapeutic landscapes is something taken seriously<br />
by health providers and Newcastle City Council is no exception. They currently have a project<br />
for a wellness hub for recovered addicts, this would encompass the restoration of a locally listed<br />
building, ‘Western Lodge’ which is set within a conservation landscape, ‘Leazes Park’; the first<br />
public park in Newcastle, opened in 1873.<br />
The student’s brief in this module, closely paralleled that produced by the local authority.<br />
They had to grapple with the designing of a ‘home’ for recovered addicts, not in the sense of a<br />
residential unit, but somewhere service users and their families could feel safe and secure, where<br />
recoverees could learn to reintegrate with civil society at their own pace and could develop new<br />
life skills for a brighter future. Essential design elements included space for physical exercise;<br />
a community garden for growing food; family activities; holistic therapies; a commercial style<br />
kitchen for nutritional advice and cookery instruction, with an associated community café<br />
open to the general public; and counselling and associated services. All of this with a historic<br />
conservation setting.<br />
Stage 3 Students<br />
Abell Eduard Ene<br />
Aimee-Anna Akinola<br />
Andrew Fong<br />
Andrew Thomas Webb<br />
Cherry Au<br />
Chloe Savannah Cummings<br />
Chun Wing Matthew Li<br />
Daniel Robert Carr<br />
Dianne Kwene Aku Odede<br />
Dongjae Lee<br />
Dwayne Joshua Afable De Vera<br />
Ella Sophia Spencer<br />
Ellis Matthew Salthouse<br />
Emma Van Der Welle<br />
Fabian Kamran<br />
Farah Madiha Binti Ashraf<br />
Henry James Oswald<br />
Julian Baxter<br />
Juliette Louise Smith<br />
Karim Mohamed Khairy Shaltout<br />
Karl Wood Nam Lam<br />
Maisie Jenkins<br />
Mohammad Izzat Ali Hassan<br />
Nik Amanda Farhana Binti Azman<br />
Nur Salymbekov<br />
Oliver James Timms<br />
Ryan Hancock<br />
Salar Butt<br />
Samantha Ming Chen Chong<br />
Wenjing Deng<br />
Zhongqing Gu<br />
Contributors<br />
Sue Scott<br />
Sue Downing<br />
Claire Harper<br />
Kathleen MacKnight<br />
Matthew Potter<br />
Fred Plater (Tyne Bar)<br />
Lisa Tolan (Toffee Factory)<br />
Tim Bailey (Xsite Architects)<br />
Chris Barnard (Ouseburn Trust)<br />
Anna Hedworth (Cook House)<br />
Dan Russell<br />
James Longfield<br />
As part of the project, students interacted with Andy Hackett and group members at the<br />
‘Roads to Recovery Trust’, in Newcastle; and were advised on their projects by Dr. Annette<br />
Payne, Health Improvement Practitioner, Newcastle City Council and Dr. Stephanie Wilkie,<br />
Environmental Psychologist, Sunderland University. We are grateful for all their inputs. The<br />
projects were presented to members of the council and interested parties at Newcastle City<br />
Council on 17.01.19.<br />
78 Text by Professor Tim Townshend Above - Team Oak: Andrew Fong, Karim Shaltout, Nik Amanda Farhana Binti Azman, Oliver Timms
Top - Team Beech: Andrew Webb, Daniel Carr, Dianne Odede, Samatha Chong<br />
Middle - Team Ash: Ella Spencer, Emma van der Welle, Juliette Smith, Zhongqing Gu<br />
Bottom - Team Lime: Chloe Cummings, Ellis Salthouse, Ryan Hancock<br />
79
AUP Stage 3 - Alternative Practice: Co-producing Space - Jesmond Community Festival<br />
Daniel Mallo and Armelle Tardiveau<br />
Site: Temporary interventions deployed as part of Jesmond Community Festival (Jesmond, Newcastle upon Tyne)<br />
Teaching contributors: Amy Linford, Sally Watson<br />
Community contributors: Fiona Clarke, Chris Clarke, Tony Waterston, Joan Aarvold, Gavin Aarvold, Rachel Gibson, Keith Jewitt<br />
Student names (by project group):<br />
Play city: Andrew Fong, Chloe Savannah Cummings, Karl Wood Nam Lam, Gabi Muller, Matthew Li<br />
Active city: Dongjae Lee, Mohammad Izzat Ali Hassan, Abell Eduard Ene, (Dereck ) Wenjing Deng, Nur Salymbekov<br />
Green city: Dwayne De Vera, Ryan Hancock, Nik Amanda Farhana Binti Azman, Rebeka Petrtylova<br />
80 Above - Play City: Andrew Fong, Chloe Savannah Cummings, Karl Wood Nam Lam, Gabi Muller, Matthew Li
Top (3) - Green City: Dwayne De Vera, Ryan Hancock, Nik Amanda<br />
Farhana Binti Azman, Rebeka Petrtylova<br />
Bottom - Active City: Dongjae Lee, Mohammad Izzat Ali Hassan, Abell Eduard<br />
Ene, (Dereck) Wenjing Deng, Nur Salymbekov<br />
81
Thinking-Through-Making Week<br />
Material forms the core of architecture’s practice - be it the material of construction or that of the drawing board or digital interface, the way<br />
making inflects thinking underlies the production of architecture. Thinking Through Making asks our final year BA students to delve into<br />
the possibilities of material; the potentials of technologies; the systems of structures; and modes of exploration of material design through acts<br />
of making. From a series of workshops with creative professionals from the fields of art, architecture, design and engineering, to an intensive<br />
week of making; our students have engaged with practices of making pertinent to their own design projects, embracing both success and<br />
failure as a productive experience.<br />
Workshop Groups & Leaders<br />
Pattern Magic<br />
Rachel Currie<br />
Encoded Material Processes<br />
Alex Blanchard<br />
Working With Wood<br />
Sophie Cobley<br />
Transforming Objects<br />
Poppy Whatmore<br />
Introduction to Stonemasonry<br />
Russ Coleman<br />
Casting<br />
Amy Linford<br />
Assemblages<br />
Stefanie Blum<br />
Working in Virtual Reality<br />
David Boyd<br />
Guest Speakers<br />
Nick Peters<br />
Associate<br />
Grimshaw Architects<br />
82
MArch<br />
Stephen Parnell – Degree Programme Director<br />
Architectural practice and education are way more complicated and diverse than they<br />
used to be. Architecture continues to be an increasingly popular choice for students<br />
at university and more and more courses are still being set up to satisfy this demand:<br />
there are now 44 validated schools offering RIBA Part 2 courses (one more than last<br />
year with more on the way at Lancaster, Reading and Loughborough) and the total<br />
number of students at Parts I and II has increased by 8% from last year to around<br />
16,700. This might seem surprising considering that last year’s AJ student survey put<br />
the cost of an architectural education at £24,000 per year after its headline revealing<br />
that architects’ average annual salaries trail those of not only other consultants in the<br />
design team, but also tradesmen and women on site. The government anticipates<br />
demand for architects though: with Brexit looming architects have been put on the<br />
‘Shortage Occupation List’.<br />
While most of the public don’t have a clue what architects actually do, and architects<br />
have been side-lined in the debate on disasters like Grenfell, we have simultaneously<br />
never been more popular in culture – witness Assemble’s 2015 Turner Prize win<br />
and Forensic Architecture’s shortlisting last year. As the Programme Director of the<br />
MArch, if I consider all this alongside the RIBA’s statistics that only around twothirds<br />
of students starting a Part II course will end up qualifying as an architect, I’m<br />
forced to ask myself what the role of the degree is in a student’s life.<br />
So the RIBA Part II-validated MArch at Newcastle aims to equip students to think<br />
critically, creatively, and architecturally, whether or not they end up in practice, or<br />
what kind of practice they end up in. Our emphasis for the course is to encourage<br />
students to explore and experiment in order to discover what kind of architect<br />
they want to be. The programme is relatively small, with currently only around<br />
70 students across both years, which means that students inevitably get a lot of<br />
attention from tutors. And we bend over backwards to offer as much variety as we<br />
can during the MArch in terms of module options and design studios.<br />
This year the MArch was run horizontally, with Stage 5 concentrating on one design<br />
project based in Vienna in each Semester. The first Semester concentrated on the<br />
urban fabric, and the second on building fabric. The year-long design studio in<br />
Stage 6 then allowed students to concentrate on their thesis, building on the research<br />
and design skills they’d nurtured in Stage 5. We encourage rigorous research and<br />
theoretical underpinnings for design projects as well as thorough technical resolution<br />
and innovative representation. Across both years we offer a variety of studios with a<br />
mix of approaches by studio leaders from both academia and practice, with tutors<br />
from Faulkner Browns running a Stage 5 studio.<br />
There are various routes through the MArch, with students this year being able to<br />
choose modules from Urban Planning or Urban <strong>Design</strong> hosted by our colleagues<br />
on the Planning side of the School. Linked Research offers a route for students to<br />
work closely with a supervisor on one of their architectural research projects. This<br />
could be a Live Build in Kielder Forest, or a documentary about Dunelm House, the<br />
students’ union at Durham University under threat of demolition. Other students<br />
have enjoyed exchanges with other universities across the world, such as Sydney,<br />
Singapore or Stockholm to name but three.<br />
I hope this gives a flavour of the variety on offer and whether you’re a prospective<br />
student looking to come to Newcastle for the MArch, or a current student or<br />
graduate, you can be confident that architectural thinking, whether it results in a<br />
building or some other form of proposing a better world, is still a valuable and<br />
worthwhile endeavour.<br />
85
Stage 5<br />
Stage 5 is a year for in-depth experimentation: for exploring architecture in all its cultural, social,<br />
political, material and historical contexts, for testing new approaches to design, representation and<br />
technology. Briefs emphasise critical thinking and require students to engage with current debates<br />
in architecture and society at large. The year’s work focuses on a particular international city – this<br />
year Vienna – beginning with an intensive week long study visit, including architectural tours,<br />
excursions, talks, group urban analysis and social events. Students undertake a critical reimagining<br />
of the city through two semester long projects which challenge them to work at two radically<br />
different scales – first urban, then detail. Framing design as a rigorous, as well as speculative process,<br />
they foster design-research skills and interests in preparation for Stage 6.<br />
In semester one, ‘Urban Fabric’ focused on the infrastructures, buildings, spaces and objects of<br />
the city, the relations between them and the conditions they produce; but also on how the forms,<br />
materials, routes and patterns that make up this urban fabric are inseparable from the diverse<br />
peoples, politics, histories, cultures, myths, events, forces, and flows of the city. It asked students<br />
to study an urban area in context, to develop a critical approach to that site through a group plan/<br />
strategy, and each to design interventions in dialogue with that plan. Here, the city, a site, and a key<br />
urban theme/issue, are the starting point.<br />
In semester two, ‘Building Fabric’ switched focus to material and technology: on how architectural<br />
details can embody design intentions; and on how material explorations can be generators of design<br />
ideas. Beginning with a material, mechanism, process or technology, it asked students to work<br />
critically with elements of the city, drawing on the knowledge and experience from semester one,<br />
to design a building from the detail up. The project was accompanied by a series of tech studios,<br />
which aimed to help the investigation, development and refinement of technical strategies and<br />
constructions as part of the project narratives.<br />
Year Coordinators<br />
James Craig<br />
Iván J. Márquez Muñoz<br />
Project Leaders<br />
Elizabeth Baldwin Gray<br />
Daniel Burn<br />
Dr Nathaniel Coleman<br />
James A. Craig<br />
Iván J. Márquez Muñoz<br />
Students<br />
Agnieszka Patrycja Flis<br />
Alexander Jack Ferguson<br />
Ameeta Praful Ladwa<br />
Balu Suresh<br />
Caitlin Elanor Francis Mullard<br />
Charlotte Isabella O’Dea<br />
Christopher John Johnson<br />
Daniel Joseph Cornell<br />
Elizabeth Rose Ridland<br />
Emma Kate Burles<br />
Evgeny Kandinsky<br />
Harrison Jack Avery<br />
Hugo Alberto Gallucci<br />
Jack James Ingham<br />
Jack Munro Glasspool<br />
Jed Richard Wellington<br />
Jenna Catherine Louise Sheehy<br />
Josephine Margaret Foster<br />
Katie Hannah Longmore<br />
Lisa Sophia Schneider<br />
Lucy Hartley<br />
Lucy May Lundberg<br />
Lydia Sarah Elizabeth Mills<br />
Matthew Davies Smith<br />
Michael Anthony Bautista-Trimming<br />
Michael Francis Robinson<br />
Muhammad Afolabi Ogunniyi<br />
Naomi Ruth Fife White<br />
Natasha Heyes<br />
Niamh Eilish Caverhill<br />
Nicholas David Green<br />
Oliver Patrick Timothy Kearney<br />
Philippa Grace Mcleod-Brown<br />
Praveena Selvakumar Sivalingam<br />
Rebecca Amelia Byren<br />
Richard Harry Thomas Mayhew<br />
Sarah Anne Hollywell<br />
Scott Matthew Doherty<br />
Tara Keswick<br />
Thomas Adam Reeves<br />
Tori Sophie Ellis<br />
Contributors<br />
Carlos Arleo<br />
Thora Arnardottir<br />
Nathalie Baxter<br />
David Boyd<br />
Dr Ben Bridgens<br />
Dr Neil Burford<br />
Kieran Connolly<br />
Anna Czigler<br />
Dr Martyn Dade-Robertson<br />
Niall Durney<br />
Chiemeka Ejiochi<br />
Yomna Elghazi<br />
Prof Graham Farmer<br />
Michael Findlater<br />
Jack Green<br />
Mike Hall<br />
Dr Neveen Hamza<br />
Imogen Holden<br />
Peter Hunt<br />
Dr Christos Kakalis<br />
Dr Zeynep Kezer<br />
Irina Korneychuk<br />
Dr Koldo Lus Arana<br />
Ana Miret Garcia<br />
John Ng<br />
Matt Ozga-Lawn<br />
Paul Rigby<br />
James Nelmes<br />
Dilan Ozkan<br />
Dr Miguel Paredes Maldonado<br />
Dr Stephen Parnell<br />
Prof Remo Pedreschi<br />
Gregorio Santamaria Lubroth<br />
Dr Ed Wainwright<br />
James Wakeford<br />
86<br />
Text by Iván J. Márquez Muñoz<br />
Opposite - Caitlin Mullard
Transitional Objects and Transitional Phenomena<br />
James Craig & Matt Ozga-Lawn (Semester 1)<br />
In architectural terms, we may think most obviously about transition as being a process of moving between two states: from inside to outside.<br />
In our site; Vienna’s Ringstrasse, this process of passage is a complex one, owing to the territory’s history as a perpetually layered gap between<br />
the historic centre and the suburbs that lie beyond. In his essay: The Potemkin City (1898), Adolf Loos describes The Ring as a clear deception<br />
of reality where the disjunction between architecture’s interior qualities and exterior expression is at its most profound. How then can we find<br />
a way to bridge the Ring’s divergent interior and exterior conditions? Students engaged with this question by designing transitional spaces<br />
that permeated both the inner and external reality of the Ring, creating spaces of encounter to be occupied by the city and its inhabitants.<br />
88<br />
Above - Group model. Photo taken by Jack Ingham
Top - Hugo Gallucci Middle, Left to Right - Tara Keswick, Daniel Cornell, Rebecca Byren Bottom - Michael Robinson, Muhammad Ogunniyi<br />
89
Transitional Objects and Transitional Phenomena II<br />
James Craig & Matt Ozga-Lawn (Semester 2)<br />
Continuing with the theme of transition from semester 1, students started the semester by designing and building a transitional object at<br />
an appropriate scale (1:1, 1:5 or 1:10). These objects were inspired by key space(s) taken from the students’ urban proposals in the previous<br />
Semester. Objects such as thresholds, passages, windows, walls and atmospheres offered productive starting points for designing objects that<br />
mediate between internal and external reality. The work of Frederick Kiesler was a key reference due to the essence of transition that permeates<br />
projects such as Endless House; where, like the mobius strip, both internal and external conditions co-exist on the same surface.<br />
90 Top - Michael Robinson Bottom - Tara Keswick, Rebecca
SCHNITZEL COLLECTION<br />
SCHNITZEL CO LECTION<br />
Axonometric<br />
Looking Up from Ground Floor level<br />
Top - Daniel Cornell Middle, Left to Right - Muhammad Ogunniyi, Hugo Gallucci, Jack Ingham Bottom - Thomas Reeves, Elizabeth Ridland<br />
91
The Fringe Olympics<br />
Iván J. Márquez Muñoz (Semester 1)<br />
In March 2013, Vienna’s citizens resoundingly rejected the city’s grand plans to host the 2028 Olympic and Paralympics Games in a public<br />
referendum, where a majority of nearly 72% of its citizens said ‘NO’ to a potential bid.<br />
The Olympic Games will be coming to Vienna in 2028; this the studio’s provocation and leap of faith. After the fiasco of the referendum,<br />
we’ll work on the hypothesis that the city decided to explore options to revisit the Olympic plans reacting to the public vote, and this is when<br />
the work of this studio commences.<br />
92<br />
Above - Lucy Lundberg<br />
‘Play is dangerous, dabbling with risks, creating, destroying,<br />
keeping careful balance between both.’ Miguel Sicart
Top Left - Tori Ellis Top Right - Naomi White Bottom Left - Alexander Ferguson Bottom Right - Michael Bautista-Trimming<br />
93
Minding The Gap<br />
Iván J. Márquez Muñoz (Semester 2)<br />
The ‘Minding the Gap’ studio proposes a design-based reflection about the value of gap spaces in cities, in the process of decay in their<br />
lifecycle. The task in hand is to create an intervention that provides living accommodation and associated common facilities for a particular<br />
protagonist in need of care, implementing a strategy of socially integrated and architecturally sustainable neighbourhood.<br />
94<br />
Top - Jack Glasspool Middle - Ameeta Ladwa Bottom - Jenna Sheehy
Top, Left to Right - Naomi White, Nicholas Green Middle, Left to Right - Emma Burles, Michael Bautista-Trimming Bottom - Tori Ellis<br />
95
Memory Against History / Digging up the Dead: Turning over the Repressed<br />
Nathaniel Coleman (Semester 1)<br />
Spectres of Vienna challenges students to excavate hidden traces of repressed Vienna; spectral figures inhabiting its architecture (urbanism, and<br />
psyche). During Semester 1, students work with a pair of surviving WWII Flaktürme. Although encouraged to develop this work in greater<br />
detail during Semester 2, students can choose an alternative building (or complex) to work on, from the 1860s to the near present. Central to<br />
the studio is exploration of architecture as manifesting official stories determined by the dominant power (and modes of production) at any<br />
given moment.While this is architecture’s immemorial vocation, since around the mid-18th century, its implication in structuring national<br />
identity has become more pronounced; whether fascist, state socialist, or capitalist realist conceptions of the world that dominate imaginaries.<br />
96<br />
Above - Caitlin Mullard
Top - Josephine Foster<br />
Bottom - Groupwork<br />
97
Spectres of Vienna<br />
Nathaniel Coleman (Semester 2)<br />
As students develop their individual projects, they are challenged to consider how buildings participate in conserving repression of historical<br />
and emotional contents – on individual and cultural levels – just too horrible to remember, confront, or be resigned to. In developing<br />
projects, students are challenged to seek out ghosts of modernity and modernist architecture residing alongside spectres of Utopia’s critique<br />
of the present, which strikes fear into the hearts of architects. Inevitably, students’ enquiries will raise challenges to their own Utopia-Anxiety.<br />
98 Top, Left to Right - Josephine Foster, Caitlin Mullard Bottom - Caitlin Mullard
Top - Richard Mayhew<br />
Bottom - Sarah Hollywell<br />
99
Performing Vienna: City of Music<br />
Elizabeth Baldwin Gray (Semester 1 & 2)<br />
During the first Semester, students in the Performing Vienna studio designed a series of temporary music performance pavilions for a<br />
contemporary music festival, enlivening the existing musicians’ walks throughout the historic centre as advertised on the tourist website. The<br />
projects incorporated paths and public spaces which connected moments of classical history associated with Mozart, Haydn, Beethoven, and<br />
Strauss.<br />
The task sought to align a historically-informed sense of music and performance in Vienna with the global contemporary classical music scene<br />
as it exists today and as experienced through live performance. The proposed festival routes were designed, not only to draw in visitors from<br />
outside Vienna, but also to attract participation from Vienna’s own inhabitants. The festival in this respect could be understood as a means to<br />
give the city back to its own residents, in keeping with Henri Lefebvre’s concept of “disalienation.” Public festivals allow long-term residents of<br />
a city to reclaim it from forces that seek to control it and redirect its use towards other purposes such as commercialised tourism and high-end<br />
retail. The work sought to reach out to the broadest possible demographic, bringing in new audiences for a form of music, “contemporary<br />
classical,” more typically limited to a highly-educated, socially-elite coterie.<br />
In Semester two of Performing Vienna, students designed a public-facing music centre, which included alternative performance spaces<br />
specific to the music typology they had researched in Semester one, Pavilions. These performance venues were combined with spaces for music<br />
education and engagement with the aim of presenting the inhabitants of the city of Vienna, tourists and locals alike, with a particular kind of<br />
music as well as its history and legacy.<br />
100<br />
Above - Niamh Caverhill
Pavilion Perspective<br />
The image above is the internal perspective of the pavilion to the left. In the image the musician can be seen<br />
between the two walls with a Beacon (the cathedral) being seen through the roof which is directed through<br />
the angling of the walls.<br />
40<br />
Top Left to Right - Matthew Smith, Lydia Mills<br />
Bottom - Lydia Mills<br />
101
102 Top, Left to Right - Lydia Mills, Christopher Johnson Bottom - Christopher Johnson
TRIUM FLOOR<br />
EILING<br />
Left - Niamh Caverhill<br />
Right - Lucy Hartley<br />
103
City of Wellbeing<br />
Faulkner Browns - Dan Burn, Imogen Holden, Irina Korneychuk (Semester 1)<br />
In August 2018, the Economist Intelligence Unit (EIU) named Vienna top of their yearly Global Liveability Ranking as the most ‘liveable’ city<br />
in the world. The EIU league table ranks 140 cities on a range of factors, including political and social stability, crime, education and access<br />
to healthcare. The press release issued alongside the ranking suggests that Vienna’s success can be explained by the quality and affordability of<br />
housing, efficient and cheap public transport, and access to green space. We took this report as our stepping off point with a view to developing<br />
a strand of analysis which questions the contribution the built environment can make to a city’s ‘liveability’.<br />
The studio was based in Ottakring, the 16th district of Vienna. At its eastern edge Ottakring meets the boundary of central Vienna at the busy<br />
inner ring road and railway known as the Gurtel. At its western edge it meets the trees of the forest which surrounds Vienna. The studios work<br />
began with a mapping exercise to understand the fabric of the area, its infrastructure, landmarks, housing types, environment and open spaces.<br />
The studio focused on health and wellbeing, as a vehicle to look at an alternative measure of liveability that is focused on the local, the personal,<br />
and an architecture centred on people and place.<br />
104<br />
Top - Evgeny Kandinsky<br />
Bottom - Jed Wellington
Top - Katie Longmore Middle, Left to Right - Lisa Schnieder, Praveena Sivalingam Bottom - Oliver Kearney<br />
105
Made:Well<br />
Faulkner Browns - Dan Burn, Imogen Holden, Paul Rigby (Semester 2)<br />
The studio’s sSemester 1 brief asked for an intervention at an urban scale that reframed the priorities for the design of cities, placing the health<br />
and wellbeing of the population at the heart of the design agenda. The brief develops this theme from the urban scale to the building scale,<br />
looking at how the way buildings are constructed and how materials and technologies are used can affect our health and wellbeing. Our<br />
challenge for Semester 2 is to create an architecture that is based on people and place and that accepts, and designs, for changes in society<br />
and the environment.<br />
The brief asked for designs for a health centre for Ottakring which focuses on providing relevant facilities for the residents of Ottakring.<br />
The study site was the Yppenplatz in Ottakring, a vibrant public space with a direct link to Vienna’s Brunnenmarket. The existing buildings<br />
on the site include an arts base and cultural centre, small storage units, and cafes and restaurants. The Semester began with a study of three<br />
key projects; Lubetkins Finsbury Health Centre, Alvar Aalto’s Paimio Sanatorium and the Pioneer Health Centre in Peckham, a pre-NHS<br />
experiment in the delivery of community health services.<br />
The resultant projects offer a wide ranging approach to architecture and health, from an alternative urban cancer care centre to an abattoir<br />
offering a way to read our methods of food production and its effect on our health. Emerging themes are based on the idea of building as<br />
backdrop, buildings which open themselves up and integrate services with the surrounding area making physical and mental health services<br />
visible and accessible.<br />
106<br />
Top - Harrison Avery<br />
Bottom - Charlotte O’Dea
CIVIC PRESENCE<br />
CIVIC PRESENCE<br />
full scale drawing in portfolio box<br />
integrated section - 1:50 at A0<br />
30 MADE:WELL MADE:WELL<br />
31<br />
Top - Lisa Schnieder Middle - Oliver Kearney Bottom, Left to Right - Philiippa Mcleod-Brown, Natasha Heyes<br />
107
Stage 6<br />
Stage 6 comprises four thematically diverse year-long studios with students developing their own<br />
individual briefs and thesis arguments. This year we had an extraordinary array of projects on<br />
diverse themes ranging from the future of the university to a critical engagement with our design<br />
processes and media.<br />
What is particularly striking this year is the range of personal explorations in the work, in which<br />
students interrogate things relevant to their own lives and experiences in careful and spatial ways.<br />
This mature and self-assured approach to the thesis, and the intertwining of the personal and the<br />
architectural, is one of the things that sets our programme apart from many others.<br />
Detoxicated Practices, led by Ed Wainwright and Sam Austin, concludes a trio of studios exploring<br />
architectural practice over the past three years. The studio encouraged students to identify toxic<br />
elements within their own practices, and develop projects that critiqued or otherwise engaged<br />
with the systems of architectural production and education. As in the other studios in this thread,<br />
students took a trip to the Transmediale festival in Berlin, and worked closely with local artist<br />
collectives.<br />
Assemblages, led by Zeynep Kezer and Jennie Webb, asks students to develop architectural<br />
responses to a wide range of conditions that act as constructive agents in the design process. Projects<br />
were situated (as in previous years) across the UK, in each case taking account of wider political<br />
forces or ecological pressures to generate architectures that work on a range of scales and with<br />
complex elements.<br />
In Absentia, led by Stasus (James A. Craig and Matt Ozga-Lawn), encouraged students to take<br />
a biographical, or autobiographical, approach to architectural processes. The studio focussed on<br />
the idea of an absent or longed for ‘home’ and how this could be interpreted through careful and<br />
considered representational practices.<br />
Univer(c)ity, led by Prue Chiles and Claire Harper, looked at the future of the university, with a<br />
particular focus on Newcastle University and its changing relationship to the city. Students worked<br />
on a range of projects, including masterplans of the campus area, to inform their individual thesis<br />
ideas. It was particularly helpful that two of the students in the studio work part-time in the<br />
University’s Estates office.<br />
Year Coordinators<br />
Matthew Ozga-Lawn<br />
Project Leaders<br />
Claire Harper<br />
Edward Wainwright<br />
James A Craig<br />
Jennie Webb<br />
Laura Harty<br />
Matthew Ozga-Lawn<br />
Prue Chiles<br />
Samuel Austin<br />
Zeynep Kezer<br />
Man Chun Ip<br />
Men Hin Choi<br />
Rachel Earnshaw<br />
Reshma Upadhyaya<br />
Richard Mark Dunn<br />
Ruta Bertauskyte<br />
Sarah Elizabeth Rogers<br />
Sharifah Safira Albarakbah<br />
Simon Angus Quinton<br />
Thomas Joseph Goodby<br />
Yasmin Kelly<br />
Contributors<br />
Students<br />
Aaron Guy<br />
Alex Jusupov<br />
Alex Blanchard<br />
Alicia Charlotte Beaumont Anna Czigler<br />
Andrew Alfred Nelson Dan Kerr<br />
Ciaran James Topping David Boyd<br />
Costello<br />
Elizabeth Baldwin-Gray<br />
Dominic William Davies Gareth Hudson<br />
Eleanor Margarete Gair<br />
Holly Hendry<br />
Frederick Armitage<br />
Kieran Connolly<br />
Harry George Thompson<br />
Laura Harty<br />
Hayley Lauren Graham<br />
Leah Millar<br />
Hui May Koay<br />
Nathaniel Coleman<br />
Hun Pu<br />
Perry Kulper<br />
Jack Peter Lewandowski<br />
Roberts Evans<br />
James Morton<br />
Tim Bell<br />
Joseph Thomas English<br />
Joshua Oakley Higginbottom<br />
Laura Victoria Davis-Lamarre<br />
Lewis David Lovedale<br />
108 Text by Matthew Ozga-Lawn Opposite - Hun Pu The Sacred Everyday
Studio 1 – Detoxicated Practices<br />
Ed Wainwright and Sam Austin<br />
For the past two years, our design studio has been engaged in a process of understanding architecture’s relationship to intoxication. We have<br />
built an understanding of intoxication as a process that is shaped by and through space, and explored the idea of practices of architecture<br />
as forms of habitual intoxication. Progressively, we have seen through the studio a line of thinking emerge that locates architecture not as<br />
something that primarily ‘is’ but as something that is always in a state of being ‘done’.<br />
The 2018 studio marked a mid-point in developing critique-through-design as a practice, and helped to expose some of our cultural, material<br />
and architectural practices that have come to ‘intoxicate’ us, and in turn have, perhaps, become toxic.<br />
This year’s studio builds upon these understandings of intoxication, architectural practice and the politics of space, and seeks to move our<br />
critique onto a propositional restructuring of how we practice now, and in the future. It aims to explore the formation of architectural design<br />
practices and their impacts on our world, and how we can reshape these practices to become less ‘toxic’ but no less intoxicating.<br />
Contributors: Kieran Connolly, Aaron Guy, Laura Harty, Holly Hendry, Gareth Hudson, Leah Millar<br />
110<br />
Men Hin Choi An Architectural Odyssey: A ‘Toon’ In Space
Richard Dunn Overload: An Emotional Drawing Practice<br />
111
112 Harry Thompson Killing Concept: An Object-Oriented Language of Architecture
Rachel Earnshaw Analogue Forensics’: Fyre Festival: Under the Influence<br />
113
I plugged my box into the city.<br />
I never did see Kvinne again; I<br />
assume she was in a box somewhere<br />
nearby following similar orders.<br />
Order<br />
from<br />
Draw<br />
repea<br />
Another one among many, I was<br />
going to make a name for myself.<br />
… was it still my work?<br />
I was living the dream.<br />
My designs would be<br />
sent around the world.<br />
114 Joshua Higginbottom New Praxis Practice
Sarah Rogers A Post-Illustrative Education<br />
115
Studio 2 – Assemblages<br />
Zeynep Kezer and Jennie Webb<br />
Inspired by Deleuze and Guattari, and, later, de Landa, this studio focused on assemblages, collectivities made up of interactive components<br />
comprising some combination of people, places, practices and objects. In an effort to ground theory in tangible materiality, students were<br />
initially encouraged to select an assemblage, identify its components and carefully trace the interactions between them at different scales.<br />
Following this intensive mapping process, buttressed by a series of seminars on select readings, each student proposed a critical spatial<br />
intervention to accelerate, disrupt, or ameliorate the workings of their chosen assemblage.<br />
116<br />
Laura Davis-Lamarre Birds and Balloons
Simon Quinton Reassembling the Native Honey Bee<br />
117
118 Lewis Lovedale Social Datastructures
Joseph English Incubator<br />
119
120 Jack Lewandowski From Trash to Riches
Thomas Goodby Exploited Territories<br />
121
Studio 3 – Univer(c)ity<br />
Prue Chiles and Claire Harper<br />
This studio explores the physicality and spatiality of knowledge creation and transmission, capable of expressing radically different notions of<br />
the purpose and future for the University. What kind of institution or organisation can begin to address future global challenges and engage<br />
with the world around them, locally, regionally and globally? What are the most likely drivers of change and related uncertainties? What will<br />
the spaces of knowledge be like in the future and how can they be more open and accessible to our future generation. Themes around the<br />
future of the civic university, the postcolonial university and the knowledge economy were explored.<br />
We would like to thank all colleagues involved in the Univer(c)ity international symposium in January.<br />
With thanks also to our guest reviewers: Roberts Evans, Laura Harty and Tim Bell.<br />
122<br />
Frederick Armitage A Library by the Sea
Long Section - 1:200<br />
Towing Tank<br />
For testing vessel bow hydrodynamics.<br />
Dimensions - 100m long - 2.5m deep<br />
(Proposed)<br />
Marine School<br />
Main academic building and offices<br />
(Proposed)<br />
Marine Workshop<br />
Main design and build workshop<br />
(Proposed)<br />
Pump House<br />
Water pumping building for testing tanks<br />
(Proposed)<br />
Wave Basin<br />
Round marine technology testing pool. for testing large<br />
scale models. Dimensions - 80mØ - 5m deep<br />
(Proposed)<br />
Graving Docks - 1883<br />
Build site for Blyth Tall Ship charity, teaching traditional<br />
boat building skills to disadvantaged young people<br />
(Proposed)<br />
UK National Renewable Energy Centre<br />
Specialising in offshore renewable wind technology<br />
(Existing)<br />
Ward Dock - 1910<br />
Modernised to carry out wind and<br />
wave testing for wind technology<br />
(Existing)<br />
9<br />
7<br />
8<br />
19<br />
11<br />
10<br />
12<br />
17<br />
16<br />
15<br />
13<br />
14<br />
Ground Floor - 1:200 - Marine Workshop and Research<br />
20<br />
18<br />
James Morton Marine University<br />
123
124 Frederick Armitage A Library by the Sea
Dominic Davies Open Making<br />
125
126 Ciaran Costello Footprint A Socially Sustainable Community
Andrew Pitt-Nelson Town Meets Gown<br />
127
128 Sharifah Safira Albarakbah Centre for Local Craft Research and Development
Hui May Koay Maker institute of Sustainable Development<br />
129
Studio 4 – In Absentia<br />
James A. Craig and Matt Ozga-Lawn<br />
In Absentia developed personal architectural projects either through close biographical readings of displaced individuals, or through<br />
autobiographical work. The thesis projects range from a study of sacred spaces of the everyday, to a study of one student’s Ukrainian<br />
grandfather’s life in Bradford, to a ‘what if’ scenario exploring Lazlo Maholy-Nagy’s brief time in (and rejection from) the UK.<br />
Students were asked to install their work, thinking carefully about the arrangement and composition of the various thesis elements.<br />
130<br />
Eleanor Gair In Absence of додому (Home)
Alex Jusopov Refuge in Hampstead - Total Arts Institute<br />
131
132 Alicia Beaumont Theatre of the Repressed
Eleanor Gair In Absence of додому (Home)<br />
133
134 Hun Pu The Sacred Everyday
Ruta Bertauskyte Antisground<br />
135
136 Hayley Graham Retrieving Metropolis
Reshma Upadhyaya Prada<br />
137
Stage 5 & 6 Fieldwork and Site Visits<br />
MArch<br />
As part of Stage 5 and 6 varied field trips were taken across the year. Stage 5 visited Vienna as a group, which gave the opportunity for students<br />
to experience the city and embark on site visits. The Urban <strong>Design</strong> module visited Milan, where their project site was based. Stage 6 studios<br />
visited Berlin and Venice, as well as students taking individual trips related to their thesis projects.<br />
MArch Stage 5<br />
Vienna<br />
Urban <strong>Design</strong> module<br />
Milan<br />
MArch Stage 6<br />
Studio 1 - Detoxicated Practices<br />
Berlin<br />
Studio 2 - Assemblages<br />
Venice<br />
138
Research in Architecture<br />
At Newcastle University, we understand research as central activity to architecture – and as one to<br />
which architects bring unique skills from visual methods and forms of analysis to the capacity to<br />
synthesize and consider problems holistically. Whilst our staff comprise some of the strongest and<br />
most innovative researchers in architecture in the UK and internationally, we also aim to foster an<br />
inclusive research environment that involves and supports our large and talented body of external<br />
teaching staff, and connects with practitioners in the region and beyond, in particular through<br />
our collaborations with the RIBA North East research and innovation group and our editorial<br />
work on the international journal Architectural Research Quarterly (Cambridge University Press).<br />
Notable achievements this year include Dr Zeynep Kezer winning a prestigious Dumbarton Oaks<br />
fellowship in Garden and Landscape Studies to pursue her project ‘Engineering Eastern Turkey:<br />
People Place and Power in the Upper Euphrates.’ Professor Rachel Armstrong was one of only<br />
six architectural designers to be commissioned for the Whitechapel Gallery’s exhibition Is This<br />
Tomorrow? (14 February – 12 May <strong>2019</strong>). Dr Ed Wainwright and ARC postdoctoral fellow Dr<br />
Julia Heslop installed a room-scale architectural installation ‘Gathering’ at the Hatton Gallery (29<br />
Sept 2018 – 16 February <strong>2019</strong>) which hosted events and gathered materials dedicated to artists<br />
who have expanded the practice of collage.<br />
We particularly pride ourselves on how this research feeds into our teaching, and provides unique<br />
opportunities for students to develop research skills with us in BA and MArch degrees as well as<br />
at PhD level. For example, in the final year of the Horizon 2020 Future Emerging Technologies<br />
Open Award LIAR project (LIving ARchitecture) Professor Rachel Armstrong has also run (with<br />
Andrew Campbell and Andrew Ballantyne) a BA design studio ‘Palace of Ecologies’ which explored<br />
the themes of her research with final year BA students. Dr Stephen Parnell, who has recently been<br />
appointed executive editor of the prestigious Journal of Architecture, gave a group of MArch<br />
students the opportunity to work with him on his research into architectural magazines, looking at<br />
Civilia - a special issue of Architectural Review (1971) that complied a vision of an urban utopia<br />
through buildings featured in previous issues. This was one of a changing offer of year-long ‘linked<br />
research’ projects between staff and students that are unique to the School of Architecture, Planning<br />
and Landscape at Newcastle. We also offer fourteen BA ‘dissertation electives’ which staff develop<br />
around their individual current research interests ranging from topics such as ‘site writing’ to<br />
professional practice as a basis for students’ dissertations or dissertation projects. For example, this<br />
year lecturer James Craig has just been awarded a Northern Bridge Doctoral Partnership award for<br />
his PhD ‘The Autobiographical Hinge’ and this research is the basis for the dissertation elective he<br />
runs with Matt Ozga-Lawn on ‘Architecture and Biography’.<br />
Opposite -<br />
“99 years, 13 sqm (the future belongs to ghosts)”<br />
Installation by Rachel Armstrong and Cecile B.<br />
Evans for the “Is This Tomorrow Exhibition?” at the<br />
Whitechapel Gallery, London, February to May <strong>2019</strong>.<br />
140 Text by Katie Lloyd Thomas
BA Dissertations<br />
The dissertations produced in this academic year respond to the range of agendas informing the fourteen electives offered by tutors at the School.<br />
Some of these were centred in building science, some in history and theory, others in planning 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 />
dE1 : Marginal Spaces<br />
Sam Austin and Ed Wainwright<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 sit; spaces we use but never inhabit. There are buildings we<br />
enter but never know. This elective studio looks closely at these spaces and asks how we can develop<br />
methods to better understand how they are produced, consumed and experienced.<br />
dE2 : Emergence of Modernism: The Bauhaus<br />
Elizabeth Baldwin Gray<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 elective explores the origins of modernism in Germany as it<br />
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 />
dE3 : 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. Dissertations in this elective are concerned with buildings of the recent or<br />
distant past that make inspired responses to the places where they are to be found. Examples would<br />
include: Machu Picchu, Neuschwanstein, the Casa Malaparte, or Falling Water.<br />
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dE4 : 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 />
dE5 : Architecture’s Unconscious<br />
Kati Blom<br />
This elective takes some key texts as its starting point, examining ideas in phenomenology,<br />
perception psychology and architectural theory related to embodied architectural experience, but<br />
also to the drawing process. Our themes are creation and making in general close reading of daily<br />
(drawing) rituals of architects; craft / the craft of drawing; direct reading of architecture, which<br />
involves close reading of architectural (tangible) elements (doors, windows, floors, roofs, canopies,<br />
hearths, lobbies, porches etc.) as architectural affordances; and experience of how buildings<br />
represent themselves to us including difficult experiences of environment and diverse tangible<br />
factors in architectural creation that remain partly unknown to us.<br />
dE6 : Architecture and Biography<br />
James Craig and Matt Ozga-Lawn<br />
Architects are often presented – or present themselves – as a brand with a strong and unique<br />
identity; creative individuals who have become personalities capable of defining and shaping the<br />
zeitgeist. But this presentation often omits the more complex nature of their characters, and it<br />
is rare that we draw particularly close to a thorough or intimate understanding of an architect<br />
and their methods. This elective explores the lives and practices of a range of architects across<br />
history. We analyse the relationship of these individuals through writing on the biography; films<br />
such as My Architect on Louis Kahn and REM on Rem Koolhaas; as well as documentaries that<br />
attempt to get under the skin of their subjects. We also develop reenactments of particular methods<br />
of working in order to creatively reinterpret the approaches these architects took. Some students<br />
worked in a ‘creative practice’ dissertation mode in which the amount of writing is reduced, and<br />
supplemented instead with substantial creative practice attempts at understanding the individual<br />
architect through a drawn/modelled/film biography.<br />
dE7 : Bio-materialism<br />
Martyn Dade-Robertson<br />
In his article ‘Towards a Novel Material Culture’ Menges (2015) traces the origins of contemporary<br />
computational and fabrication techniques in architecture to ‘New Materialism’. Developed by<br />
thinkers such as Manuel DeLanda and Jane Bennet, the philosophical school characterises matter<br />
as active and “empowered by its own tendencies and capacities”. In architecture, New Materialism<br />
has often become associated with biomimetics. However, over the past four years a practice has<br />
emerged which aspires to develop demonstrators and technologies which go beyond biomimicry<br />
and make direct use of living systems, designing through the manipulation of living cells. These,<br />
often very early design explorations require thinking at multiple scales: from the construction of<br />
individual molecules through to the assembly of building parts. They highlight potentials, but<br />
also the challenges of a research through design engagement with living technologies. Our elective<br />
explores the philosophy and practice of this emerging field and may lead to dissertations, which are<br />
based on theory, scientific and/or creative practice.<br />
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dE8 : Tangible Energies<br />
Neveen Hamza<br />
When we build we create environments that reflect a spirit of place through transfers of unseen<br />
energies. Daylight, ventilation, and acoustics of a building all combine to unconsciously inform us<br />
of how a building will give us comfort while occupying its various spaces. In this sense enclosures<br />
within and how they connect to the outside environment speak to our feelings unreservedly. Energy<br />
flows through buildings, then takes a dominant role in how long these buildings will be enjoyed<br />
and used. <strong>Design</strong>ing to manage energy flows to improve building enjoyment and delight is the core<br />
of performative architecture. This elective considers the meaning of comfort, its perception, and<br />
how energy flows through the various building typologies in the form of architectural design. It also<br />
considers how building design rating systems can hinder or support the creation of comfortable and<br />
enjoyable environments within.<br />
dE9 : Professional Practice in Architecture<br />
John Kamara<br />
Professional practice in architecture relates to the development and translation of designs into built<br />
assets, in response to the needs of clients, society and the wider environment. This elective explores<br />
issues relating to the framework within which architects work, and the processes and inputs to the<br />
design process in a practice context. Our questions include, but are not limited to, the following:<br />
what is professional practice and how does it influence the production of architecture? What is the<br />
role of clients and other members of the construction industry in architectural design and how<br />
do they contribute to (or hinder) the successful delivery of projects? How do architectural firms<br />
recruit staff (especially Part 1 graduates) and what knowledge and skills are they looking for in new<br />
graduates? What research methods are appropriate for exploring professional practice issues?<br />
dE10 : Alternative Architectures<br />
Peter Kellett<br />
Architects have traditionally worked only for elites and affluent groups. There is now increasing<br />
interest in how architects can engage effectively with relatively disadvantaged and marginalised<br />
groups: low income populations, the homeless, refugees/migrants, disaster victims, etc. At the same<br />
time the energy and innovative capacity of those without access to professionalised knowledge is<br />
becoming increasingly recognised. The elective explores a range of individuals and organisations<br />
who are attempting to bridge this divide and examine theories and promising precedents for<br />
alternative architectures.<br />
dE11 : Displaced Practices<br />
Zeynep Kezer and Christos Kakalis<br />
This dissertation elective explores the spatial dimension of the experience of displacement as a result<br />
of natural disasters, wars, genocides, mass-migrations, deportations and population exchanges in<br />
the modern world. We are interested in dissertations that explore both how people build new lives<br />
elsewhere and what happens in the landscapes they leave behind. Themes pursued by the students<br />
may include:<br />
(re)creating life in a new land; encounters with new neighbours; representation / reconstruction;<br />
abandoned homelands.<br />
This dissertation elective was paired up with a new live research project led by Drs Kezer and<br />
Kakalis. Students who signed up were invited to partake in a two-day symposium which took place<br />
at the School of Architecture Planning and Landscape on March 22-23 2018.<br />
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dE12 : Befriending a Column: Bodies, difference and space<br />
Katie Lloyd Thomas and Noemi Lakmaier<br />
All too often architectural design, regulations and discourse have assumed a standard (adult, male)<br />
universal body as user of buildings and public space. What if we started instead from the differences<br />
between bodies – acknowledging that our diverse ages, genders, sexualities, abilities and dis-abilities<br />
can transform our perspectives of space? How might we then rethink our ideas of the relations<br />
between bodies, objects and the environment? What kinds of reconfigured spatial experiences<br />
might become possible if we abandoned our habitual, normative approaches to bodies and space?<br />
Together with internationally renowned artist Noemi Lakmaier, the dissertation explores these<br />
questions through readings and examples from architecture, philosophy, fine art, disability and<br />
cultural studies, and through hands-on workshops and making. The elective is part of an Arts<br />
Council funded project ‘Moving to the Next Level: disabled artists make dis/ordinary spaces’<br />
partnering disabled artists with architectural educators, and students may have the opportunity to<br />
contribute to project events<br />
dE13 : Architecture in the media<br />
Stephen Parnell<br />
This dissertation elective is about understanding architecture through the media. Throughout<br />
the twentieth century, the architecture magazine was architecture’s favourite medium and the<br />
primary method for architectural ideas and ideologies to be proposed, promoted, argued over, and<br />
disseminated across the world. The archive of back issues therefore contains the trace of the debates<br />
on what people have argued that architecture should be over the years and the magazines contain<br />
phenomenally useful and fascinating evidence about these debates. Having researched magazines<br />
for over a decade now, I’m constantly amazed by two types of content: firstly, debates that<br />
essentially haven’t changed at all over time (for example, architectural education has NEVER been<br />
good enough for practice); and secondly, material that shows how societal attitudes have changed<br />
considerably (such as is evident in the adverts). Students choose a topic of interest to research from<br />
architectural magazines, from any era or country, developing their ideas whilst considering how to<br />
go about understanding architecture, historically and theoretically, through its relationship with the<br />
media, from the traditional magazine to the online zine. We are interested in architectural criticism,<br />
journalism, photography, or ways that architecture as a field and profession is constructed through<br />
the press. The group also works in and with the new MagSpace.<br />
dE14 : Custom Build: Situating the Architect in Mass Produced Housing<br />
Dhruv Sookhoo<br />
Custom build, a variation of self-build, gives prospective new residents opportunities to work with<br />
architects and developers on the detailed specification of their new home and neighbourhood.<br />
With early pilots underway, this new mode of development has potential to offer even non-affluent<br />
residents unprecedented choice, affordability and design quality within a UK speculative housing<br />
sector frequently derided as being uninspired, profit-hungry and substandard. This elective gives<br />
students an opportunity to explore the potential for architects to re-enter the speculative housing<br />
market through custom build and other design-orientated modes of development. The elective<br />
is supported through structured seminars covering topics relating to current and future design<br />
and development practice in housing, including: housing standards and regulatory regimes, using<br />
consumer preferences to inform architectural briefs, custom build (new practice based examples),<br />
manufacture for residential development (e.g. digital technologies and off-site construction), and<br />
best practice in residential design. Students can follow either dissertation or project route.<br />
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AUP Dissertations<br />
Uncovering the third place concept and its importance in the neighbourhood:<br />
How the Egyptian ahwa could help improve British third places<br />
Karim Shaltout<br />
The popularity of third places has fluctuated in Britain throughout the years but there is currently a<br />
general downward trend. This research looked at how the Oriental Egyptian ahwa, which originally<br />
influenced the first British coffeehouse, could help improve modern British third places. This research<br />
investigated the ahwa’s place attachment through creative practice methods comprising of Atelier Bow-<br />
Wow’s observational study, Jacob Moreno’s sociograms and Nishat Awan’s interviews.<br />
‘An Investigation into the Makings of a Successful Intentional Community: A Case Study of the<br />
Isle of Erraid Community, Scotland, UK’<br />
Andrew Webb<br />
This research investigated the factors that contribute to the success of an intentional community.<br />
This was done in order to address the issues that cause an estimated 80% of these communities to<br />
fail within the first few years of their existence. Semi-structured interviews and observation were<br />
undertaken during a week spent living and participating with residents from the Isle of Erraid<br />
intentional community. Thematic analysis of the residents’ reflections gave an insight into how<br />
the community is able to achieve an environmentally conscious way of life without sacrificing<br />
the wellbeing of its members. Certain practices, such as the conflict resolution mechanisms, were<br />
identified as being fundamental to the communities’ long-term success. It is hoped that this research<br />
can give an indication of how other start-up communities might be able to adopt certain practices in<br />
order to improve their chances of long-term success.<br />
How public perception influences how skateboarders and traceurs use public space within<br />
Newcastle upon Tyne, United Kingdom<br />
Ella Spencer<br />
This dissertation draws from the concept of public space and what that entails. Within this topic it<br />
explores the relationship between skateboarding and parkour in the built environment, in particular<br />
it draws upon how public perception can influence this relationship. Through the case study of<br />
Newcastle upon Tyne, interviews from 13 people and multiple observations throughout the city centre<br />
were carried out. The end result highlighted how perception is key in whether these activities are<br />
allowed or prohibited in public space by the council and by the general public.<br />
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STRANGELY FAMILIAR<br />
MArch Dissertations<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. The research has a growing profile in the School, with two public presentations taking place in<br />
October and February, and the dissertation is now a feature of the Degree Shows in Newcastle and London.<br />
Figures 2.8 - 2.11 Second floor gallery spaces (top left, top middle). Podium level entry foyer (top right,<br />
and bottom). Author’s own photographs.<br />
The Language of Myth-Making: A Reading of the Glucksman Gallery<br />
Tom Goodby<br />
Tom Goodby’s dissertation examined the power of myth making through the written<br />
word and the network of mutually supporting power structures that exist within the field<br />
of architecture. By using Pierre Bourdieu’s theoretical framework and applying it to the<br />
field of architectural cultural production it sought to demonstrate the power of these<br />
networks within the profession and its discourse.<br />
Gooby’s dissertation offers a close reading of the Glucksman Gallery in Cork by the Irish<br />
architectural practice O’Donnell + Tuomey and its depictions within the professional<br />
discourse. By examining both publications by O’Donnell + Tuomey and other publicity<br />
and criticism that appeared in a range of venues, he highlighted how several agents<br />
within the field of architecture have used their social and cultural capital to construct<br />
myths—consciously or unconsciously—around the practice and the building. Notably,<br />
these myths have the power to inform the reputation accorded to the architects and<br />
position a practice within the architectural canon. The motivation of the dissertation<br />
was to expose the “hidden” mechanisms involved in producing the perception of an<br />
architectural practice that has acquired significant cultural capital within the field of<br />
restricted architectural production.<br />
16<br />
Figures 3.2 Figures - 3.3 3.2 Curved - 3.3 timber Curved cladding timber (left). cladding Podium (left). level Podium entry level (right). entry Author’s (right). own Author’s photographs. own photographs.<br />
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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 />
Analysing Indoor Microclimates<br />
Martyn Dade-Robertson<br />
Simon Quinton<br />
Dunelm House<br />
Claire Harper<br />
Hun Pu<br />
Eleanor Gair<br />
Alex Jusupov<br />
More Than Once<br />
Daniel Mallo & Armelle Tardiveau<br />
Hayley Graham<br />
Shafirah Safira Albarakbah<br />
Ruta Bertauskyte<br />
OE<br />
Simone Ferracina<br />
Men Hin Choi<br />
Testing Ground<br />
Graham Farmer<br />
Dominic Davies<br />
Rachel Earnshaw<br />
Joseph English<br />
Lewis Lovedale<br />
Harry Thompson<br />
Reshma Upadhyaya<br />
Olivia Ebune<br />
Theo Crosby House<br />
Steve Parnell<br />
James Morton<br />
Laura Davis-Lamarre<br />
Towards Four Dimensional Engagement<br />
Matthew Margetts , Cara Lund<br />
Sarah Rogers<br />
Frederick Armitage<br />
Man Chun Ip<br />
148 Text by Matthew Ozga-Lawn Opposite - Testing Ground. Photo by Neil Denham
Analysing Indoor Microclimates<br />
Martyn Dade-Robertson<br />
This year we extended the work of last year’s Linked Research elective by developing our research on Bacteria Spore based hygromorphs and<br />
extending to look at the indoor environment and how humid air moves through spaces such as kitchens and bathrooms. To this end, Simon<br />
Quinton developed methods to monitor humidity in indoor domestic spaces. The following text is from Simons report:<br />
“I began by looking at a tradition¬al Tyneside flat to use as my test space and thought about possible ways in which I could test the conditions<br />
along with the relationship between the spaces. I hypothesised an experiment which mapped the daily movements of a person within the flat<br />
and the stimuli they use throughout the day which would affect the humidity in the spaces. These stimuli would include items like the shower<br />
and kettle as they emit significant amounts of moisture into the atmosphere (…)”<br />
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[re]defining Dunelm House<br />
Claire Harper<br />
[re]defining Dunelm House was an ethnographic study into the decision making and agencies involved in architectural conservation. The<br />
study set out to chart the activities of the ongoing campaign to save Dunelm House, Durham University’s Students’ Union building, from<br />
the threat of demolition. The campaign group, SaveDunelmHouse, was formed in December 2016 following an application by Durham<br />
University for Immunity from Listing for the building. It comprised of architects, historians, academics and students from Durham and<br />
beyond and had been actively organising events: a petition, crowdfunder, conference and design charrette to both raise awareness of the<br />
campaign and challenge the technical, economic and strategic reasons cited by Durham University as cause for demolition.<br />
<strong>Design</strong>ed in 1967-69 by Richard Raines of Architects Co-Partnership, Dunelm House is regarded by many as an exemplar of post-war<br />
university architecture. The study therefore questioned how ‘experts’ viewpoints are articulated by the strategies and tactics deployed within<br />
the campaign. The students elected to use documentary film-making to set out a narrative to their inquiry. Interviews were carried out with<br />
campaign organisers, vocal advocates for the building, Durham University and Students’ Union representatives, alongside activists from other<br />
campaigns around building conservation.<br />
The documentary contributes to a growing body of architectural debate that uses the aesthetic potential of film to elaborate a verbal narrative<br />
and makes an important addition to the recorded history of this poignant building.<br />
Special thanks are owed to Craig Hawkes, a local documentary film-maker who worked with us throughout the project, James Perry from<br />
SaveDunelmHouse, Felicity Raines, wife of the architect Richard Raines and a long list of interviewees who gave their time and insight<br />
enthusiastically.<br />
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More than Once<br />
Daniel Mallo & Armelle Tardiveau<br />
Despite the climate emergency, the construction industry appears, for a great part, to remain oblivious to the environmental issues related to<br />
waste that the current way of designing and building is leading us into. “More Than Once” Linked Research project exposes the environmental<br />
implications of waste and proposes an alternative to landfill by reusing a substantial percentage of salvaged building materials. The reflection<br />
invited students to rethink our consumerist culture of ‘take-make-dispose’ and embrace an alternative model based on a circular approach,<br />
‘take- make-consume-reuse and recycle’.<br />
In the context of Newcastle University, the refurbishment of Claremont Tower and Daysh Building offered an outstanding opportunity to<br />
sample material for reuse through a live project that enabled students to discover, dismantle, salvage, catalogue and reuse part of interior<br />
materials and furniture. The exploration culminated in a charrette project led by “More Than Once” MArch students and Tibo Labat where a<br />
small structure and furniture was prototyped employing solely material that had been collected from the tower.<br />
The pedagogic experience was much enhanced by a Newcastle University travel scholarship that allowed students to take part in two live<br />
projects in Europe during the summer (“Hotel Egon” in Germany and “Aldea-Village” in Spain). The practices of reuse, taking action and<br />
engaging in a renewed understanding of material cultures, will have a long-lasting influence on the students.<br />
Contributors: Tibo Labat<br />
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ΠCase Files (punctum books)<br />
Simone Ferracina<br />
Organs Everywhere (Œ) is an independent online journal that, since 2010, has been active in promoting conversations that approach<br />
architectural design from the edges of the discipline, plunging it into a strange fabric of marginal and experimental practices that fundamentally<br />
question its boundaries, technologies, methods and (e)valuation systems through the eyes of architects, designers, philosophers, artists, science<br />
fiction writers, activists, poets, and scientists. Œ Case Files is a joint imprint of punctum books and Œ, publishing anthologies of select articles<br />
that are curated/retrofitted into a fresh cartography of associations, gaps, juxtapositions, and thematic clusters. This project focused on the<br />
design, curation and production of the first ΠCase Files volume; investigating publishing as a platform for original architectural research,<br />
and understanding the book as a coherent set of positions, explorations and decisions.<br />
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NO.2<br />
Alternate Ecologies<br />
Neil Spiller<br />
Simone Ferracina<br />
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Testing Ground<br />
Graham Farmer<br />
The Testing Ground programme provides the opportunity for students to collaborate with a range of related disciplines, external organisations<br />
and building users through the vehicle of ‘live’ projects.<br />
This year the Live Build project is based at Blakehope Nick, the highest point along the Forest Drive, between Kielder Village and Byrness.<br />
The project is part of the Revitalising Redesdale scheme, which aims to celebrate the environment and culture of the area by highlighting the<br />
value and importance of the surrounding natural environment.<br />
The brief was to create a structure at Blakehope Nick that would be visually intriguing, to encourage visitors to stop and interact with it whilst<br />
being accessible and providing some shelter from the elements. The project aims to draw attention to the beautiful surrounding landscape,<br />
presenting it from a newly created perspective. Further, to create a form that allowed the movement of people through the structure with<br />
individually orientated viewports to guide the observer towards particular vistas, incorporating the neighbouring ridges in the distance, the<br />
local fauna and the night sky.<br />
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Photos by Neil Denham
Theo Crosby House<br />
Steve Parnell<br />
Theo Crosby (1925-1994) is better known today for his behind-the-scenes work promoting others than for his own architecture. For example,<br />
he was technical editor of Architectural <strong>Design</strong> magazine from 1953 to 1962 where he promoted his friends Alison and Peter Smithson and<br />
the New Brutalism, and he curated the 1956 This is Tomorrow exhibition at the Whitechapel Gallery, the swansong of the Independent<br />
Group. However, his own New Brutalist house in Hammersmith – one of the earliest and best-preserved examples of the movement, remains<br />
unknown.<br />
This is no doubt how he preferred it, but 25 years after his death, this project set out to resurrect the house and establish its place in the history<br />
of the New Brutalism. Through doing a measured survey, archival and oral history research and interviews, the house was reconstructed<br />
in CAD and model form from its 1955 conversion from a coach house, through its iterations over the years as it adapted to the life of the<br />
Crosbys. The students built a 1:50 model of the house, based on the Brutalist ‘ethic’, with components that could be plugged in and out to<br />
configure the iterations of 1955, 1960, 1967, and 1986. This hands-on approach to reconstructing history, rather than simply writing about<br />
it, enabled a deeper understanding of the project and the principles of the movement from which it was constructed.<br />
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Towards Four Dimensional Engagement<br />
Matthew Margetts, Cara Lund<br />
“How can architects use their spatial thinking & communication skills to help communities to engage with complex problems?”<br />
With thanks to Chris Newell, Wendy Young, Claire Margetts, Sam Brooke, Lieselotte van Leeuwen and everyone in the Bell’s Yard Group.<br />
Our linked research project this year looked at applying architects’ spatial thinking and communication skills a little more laterally – exploring<br />
how they could be applied to help communities understand and articulate complex problems.<br />
Initially we approached the subject from a number of parallel perspectives - Consultation and Architectural Communication, Play Theory,<br />
Environmental Psychology, Public Engagement, Systemic <strong>Design</strong> and Dynamic Diagramming. This resulted in a broad understanding of<br />
current communication thinking. After some brief experimentation with board game design, the students were then given the opportunity to<br />
test their research on a real-life scenario at Bells Yard Playground, Jesmond.<br />
The problem involved multiple users sharing a play space concurrently. This resulted in overspill of activities between ‘territories’ such as<br />
footballs flying into toddler play areas and concerns over safety. The presumption was to simply provide more fencing between the different<br />
zones. However, our research challenged this and through the construction of an abstracted, dynamic model of the problem, we enabled<br />
children and the public to have an informed (and enjoyable) discussion around a variety of ‘grown-up’ themes such as temporal zoning,<br />
boundaries and thresholds.<br />
The dynamic diagram model was used successfully at a public consultation event and the research outputs, including analysis of a series of<br />
questionnaires, assisted the client in a section 106 funding application.<br />
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Top - [re]defining Dunelm House, Bottom - Testing Ground (Photo by Neil Denham)<br />
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Avison Street<br />
MA in Urban <strong>Design</strong><br />
Georgia Giannopoulou<br />
Contributors: Georgia Giannopoulou, Tim Townshend, Ali Madanipour, John Devlin, Stuart Hutchinson, Smajo Beso, Aidan Oswell<br />
Guest Contributors: Martin Podevyn, Rose Gilroy, Roger Maier, Dhruv Sookhoo, Sarah Miller, Michele Duggan, Michael Crilly, Anna Brown,<br />
Georgiana Varna, Geoff Whitten, Colin Haylock, Michael Cowdy, Cristina Pallini, Derya Erdim, Giacomo Borella<br />
The MA in Urban <strong>Design</strong> is a well-established interdisciplinary programme at Newcastle University that draws on expertise from the<br />
disciplines represented in the School, namely Architecture, Planning and Landscape. The programme brings to the foreground a strong<br />
agenda of social and ecological engagement, together with a relational approach to the built environment and public life. Three distinct design<br />
projects punctuate the year and are supported by theory courses and critical debate around the practice of Urban <strong>Design</strong>. The projects engage<br />
with varying localities and the challenges and themes emerging from the place as well as themes for regeneration and societal challenges. The<br />
two major projects are parts of a year-long project on a complex site in the city centre of Newcastle and deal with issues of post-industrial<br />
urban renewal; the first part of the project ‘Skills in Urban Regeneration’ engages with contemporary concepts of Digital/Smart Cities, as<br />
well as sustainability in the context of a mixed use masterplan for this key site in the city. ‘Housing Alternatives’, forming the latter part of<br />
this project, examines new models of neighbourhood design in the context of the housing crisis and housing needs. The project explores<br />
concepts of affordability, sustainable living and community led-models as well as new and contemporary models for living addressing issues of<br />
resilience, changing patterns of working, and an ageing population centred on the cohousing model, which is increasingly popular in the UK.<br />
The European field trip to Milan (Italy) aimed to introduce alternative approaches to Urban <strong>Design</strong> using concepts of landscape, health<br />
and GreenBlue infrastructure. The project was based on a derelict site planned for a railway station on the Milan-Mortara line, including<br />
an unfinished railway structure by Aldo Rossi. Students were tasked with producing proposals for developing a salutogenic landscape using<br />
theoretical explorations on the theme as well as taking into consideration the city’s history in relation to its water systems and fitting into the<br />
context. The year concluded with the Urban <strong>Design</strong> Thesis, a major research-led design project, on topics selected by the individual students<br />
around their interests. The course features a robust engagement with urban design process including issues of financial viability and delivery<br />
across the design projects. Students in the course have many opportunities for visiting places within the UK and in Europe in the context of<br />
the projects.<br />
Stanhope Street<br />
3.<br />
2.<br />
4.<br />
Pitt Street<br />
1.<br />
5.<br />
Douglas Terrace<br />
6.<br />
Wellington Street<br />
KEY<br />
1. Custom Build<br />
2. Intergenerational Co Housing<br />
3. Community Garden<br />
4. International Harvest Church<br />
5. Arthurs Hill Clinic<br />
6. Supported Elderly living<br />
7. Elderly Co Housing<br />
Diana Street<br />
7.<br />
0 20 40 60<br />
158
1. Allotments<br />
2. Sensory Garden 3. Play Space 4. Picnic Tables<br />
5. Event Space 6. Smart Furniture 7. Outdoor Gym 8. Pop Up Pods<br />
159
MSc Advanced Architectural <strong>Design</strong><br />
Martin Beattie<br />
Contributors: Raymond Abdulai, Martyn Dade-Robertson, John Devlin, Sir Terry Farrell, Georgia Giannopoulou, Zan Gunn, Neveen Hamza,<br />
Sinead Hennessy, Astrid Lund, Patrick Malone, Anna McClean, Jack Mutton, Brian Peel, Christopher Rodgers, Dhruv Sookhoo, Jennifer Stephens,<br />
Tony Watson, Duncan Whatmore<br />
Our MSc Advanced Architectural <strong>Design</strong> is a unique degree programme for international designers to enhance their design and research skills.<br />
The programme is devised to help students consolidate their own identity as a designer, and develop their own distinctive specialisms through<br />
research-led design, in a world where successful architects increasingly have to be specialists as well as generalists.<br />
The programme offers a set of innovative, absorbing, research-led pathways in advanced architectural design, from which students can choose<br />
one of the following pathways: Architecture & Cities; Sustainable Buildings and Environments; Computation; and, Property Development.<br />
There is a balance of shared and specialist teaching across all of the pathways.<br />
The 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. The pathway focuses on how architecture can be<br />
derived from detailed studies of particular urban communities, and determine what is appropriate in the strategic and detailed development<br />
of specific urban sites.<br />
The Computation pathway enables students to learn key skills in programming and computational hardware. Students develop building<br />
systems based on responsive and biological based materials, challenging them to think in new ways about computation.<br />
The Property Development pathway is unique and specifically set up for designers. Architects bring distinctive skills to property development<br />
as they are able to rapidly test plots for their potential and devise innovative solutions for making the most of sites. However, designers rarely<br />
lead such development schemes and normally lack the knowledge and skills to do so. This programme addresses this knowledge gap.<br />
160
161
MA in Landscape Architecture Studies<br />
Dr Ian Thompson<br />
Contributors: Reader in Landscape Architecture<br />
The MA Landscape Architecture is a one-year taught masters-level programme which provides opportunities for students to develop systematic<br />
knowledge and understanding of landscape architecture and its interface with planning and architecture. Students develop the capacity for critical<br />
thinking about the design of place and space and gain skills to enable them to deal with complex aspects of landscape design and planning in a<br />
creative and innovative way. Through studio based design projects, students refine their design skills and develop the ability to critically analyse<br />
and discuss landscape projects and styles.<br />
The programme has been designed for those who wish to build upon a first qualification in landscape architecture or a cognate qualification<br />
in environmental art and design, garden design etc. It has been particularly designed with international students in mind, so it diverges from<br />
the (British) Landscape Institute’s recommendations for accredited degrees. The programme, which includes lectures, workshops, seminars and<br />
tutorials, alongside studio practice and critical reviews, is intended for those who wish to develop their critical thinking in tandem with their<br />
individual practice.<br />
162
163
PhD and PhD by Creative Practice Students<br />
PhD Completions:<br />
Two Ways of Meaning in Architecture<br />
- ‘Conceptual Meaning’ and Pragmatic<br />
Meaning’<br />
Dr Xi Ye<br />
Architectural Reflections on Housing Older<br />
People: Nine Stories of Retirement-Living<br />
Dr Sam Clark<br />
Towards More Open Citizenship:<br />
Exorcising the Colonial Ghost, Re-<br />
Imagining Urban Space, and Critical<br />
Spatial Practice in Wenzhou, China<br />
Dr Xi Chen<br />
Negotiating Space: Women’s Use of Space<br />
in Low-Income Urban Households,<br />
Surabaya, Indonesia<br />
Dr Sarah Cahyadini<br />
Returns - Towards a Photographic<br />
Criticism. (Or, the Case of the Berliner<br />
Bild-Bericht and the North American Grain<br />
Elevators)<br />
Dr Catalina Mejia Moreno<br />
Architecture and Urbanism in Twentieth<br />
Century Iraq: The Enduring Legacy of<br />
Gertrude Bell<br />
Dr Sana Salman Dawood Al-Naimi<br />
Incorporating Self-Management:<br />
Architectural Production in New Belgrade<br />
Dr Tijana Stevanovic<br />
A Coincidental Plot: The Potential of<br />
Paracontextuality in Spatial Practice<br />
Dr Ashley Mason<br />
Continuing PhD Students:<br />
An Investigation Into the Conservation of<br />
Historical Buildings in Mecca, Saudi Arabia<br />
Mohanad Alfelali<br />
ILLUSORY CONSTRUCTIONS The<br />
architectonic of “indeterminacy” in space as<br />
scenery for social interaction<br />
Carlos Arleo<br />
Bacterial Choreography: <strong>Design</strong>ing<br />
interactions through biological induced<br />
mineralisation<br />
Thora Arnardottir<br />
Architecture by Default<br />
Kieran Connolly<br />
Embodiment and computing at the<br />
architect’s interface for design<br />
Alexander Blanchard<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.1831 to 1920<br />
Sonali Dhanpal<br />
Integrated <strong>Design</strong> Approach for Responsive<br />
Solar-Shadings<br />
Yomna Elghazi<br />
Reimagining children’s spaces with Seven<br />
Stories: The National Centre for Children’s<br />
Books<br />
Daniel Goodricke<br />
Aldo Rossi: Architecture in a Cultural<br />
Context<br />
Sinead Hennessy<br />
Learning from Tokyo<br />
Nergis Kalli<br />
Frameworks for Ingenuity: Processes of<br />
Practice in the London County Council<br />
Architects Department (1943-65)<br />
Ruth Lang<br />
Syn.Emergent Material<br />
Sunbin Lee<br />
An investigation into the use of Building<br />
Energy Performance Simulation as Active<br />
<strong>Design</strong> Method at Conceptual <strong>Design</strong> Stage<br />
in the UK practice<br />
Ramy Mahmoud<br />
An Investigation Into the Effect of the<br />
Thermal Performance of UBEC Classrooms<br />
on Learning<br />
Charles Makun<br />
Vatican II, Modernism and concrete.<br />
Meaning and interpretation of the material<br />
in post-war Britain<br />
Ivan Marquez Munoz<br />
How architects can increase the use of fullculm<br />
bamboo to provide adequate urban<br />
housing in tropical developing economies<br />
John Naylor<br />
The Role of Computer-Based Energy<br />
Simulation Applications in the Early Stage<br />
of Residential Buildings <strong>Design</strong> in Saudi<br />
Arabia<br />
Hatem Nojoum<br />
The Duke in His Domain: Revealing the<br />
Studio Space<br />
Matthew Ozga-Lawn<br />
Investigating the Properties of Mycelium to<br />
Develop Free Form Building Materials<br />
Dilan Ozkan<br />
Bio-based Pressure Sensing System as a Soil<br />
Reinforcement Technique<br />
Javier Rodriguez Corral<br />
Museums & Landscapes to shape<br />
Modernity<br />
Aldric Rodriguez Iborra<br />
The Enchantment of the Wild<br />
Usue Ruiz Arana<br />
Comparative Analysis of the Influence<br />
of Organic and Gridiron-Urban<br />
Morphological Effects on Human Comfort,<br />
a Case Study-Erbil, Kurdistan, Iraq<br />
Ali Salih<br />
<strong>Design</strong>ing Water. A Living Wall between<br />
Land and Sea<br />
Pierangelo Scravaglieri<br />
A Spatial-Based Programme Approach to<br />
Water Supply Development in Indonesia<br />
Djuang Sodikin<br />
Participation, Dwelling and Environment:<br />
Re-housing an Indigenous Karen<br />
Community in Thailand<br />
Sadanu Sukkasame<br />
Repositioning the Profession: The 1958<br />
RIBA Oxford Conference and its impact<br />
on Architectural Education<br />
Raymond Verrall<br />
Smajo Beso<br />
David Boyd<br />
Emmanuel Odugboye<br />
164
Participation, Dwelling and Environment: Re-housing an Indigenous Karen Community in Thailand<br />
Sadanu Sukkasame<br />
This study aims to understand and evaluate the impact and effectiveness of<br />
a re-housing process on the lifestyle and culture of a Karen community and<br />
to identify supportive factors and challenges affecting the process. The study<br />
investigates the people of a Karen village who were forcibly evicted from their<br />
village homes by armed Thai forces and national park officials. They were<br />
relocated to new areas further from the Thai-Myanmar border but still within<br />
the national park where they constructed initial dwellings in a new village.<br />
The study employs a multi-method perspective: architectural, anthropological<br />
and sociological. A participatory approach was employed throughout the<br />
project, with a focus on design workshops which were a key approach of the<br />
study. Furthermore, sub-themes focus on socio-cultural, environmental and<br />
economic issues, such as kinship, gender, tradition, income, building materials<br />
and construction. The empirical findings enhance our understanding of the<br />
roles and responsibilities of parties involved and the process of working in the<br />
indigenous environment.<br />
Main Supervisor: Dr Peter Kellett, Second Supervisor: Prof Prue Chiles, Internal<br />
Examiner: Dr Cat Button, External Examiner: Prof Nabeel Hamdi, Oxford<br />
Brookes University<br />
166
Incorporating Self-management: Architectural Production in New Belgrade<br />
Dr Tijana Stevanović<br />
Rapid post-war industrialisation of the building process brought profound change to the built environment<br />
and transformed how architects dealt with technical developments. Focusing on the development of New<br />
Belgrade in conjunction with the expansion of flexible structural systems and the reform of architectural<br />
education, the thesis posits socialist Yugoslavia’s self-management principle (1949-1989) as a potent<br />
cultural paradigm that conditioned relations between architects and the building industry. Despite its<br />
influence being frequently dismissed by Yugoslav architects, the thesis argues that the ceaselessly debated<br />
purview of self-management (through the three federal constitutions of 1953, 1963 and 1974) strongly<br />
influenced the organisation of architectural techniques. It does so by interpreting a range of sources –<br />
technical and legal documents, educational literature, oral history etc. – that elucidate the transformation<br />
of the everyday realm of the work of architects and common processes rather than the products of<br />
(individual) design emphasised by other recent studies of Yugoslav architecture.<br />
By articulating three critical mediations used to reflect on the conjunction of self-management and<br />
architectural production: i) social property; ii) individual vs. collective; and iii) the notion of architect as<br />
worker, the study tracks how they shaped the broader field of architectural culture. It explores how the<br />
foundations of the practice of self-management were laid by the voluntary youth labour that prepared the<br />
New Belgrade construction site. Further, it demonstrates how emergent notions deemed merely technical—<br />
such as ‘open prefabrication’ or ‘expanded communication’—reinforced architects’ detachment from the<br />
material building process. Lastly, it argues that the criticism of modernist oversights was ineffective for its<br />
blindness to social relations and regulations underlying architectural production in self-management. The<br />
study contributes to research into the socio-political dimension of building technology in architecture,<br />
but also problematises how reducing self-management’s collective capacity to individual self-discipline<br />
intensifies the atomisation of responsibilities in architecture.<br />
Main Supervisor: Professor Katie Lloyd Thomas, Second Supervisor: Professor Mark Dorrian (The<br />
University of Edinburgh), Internal Examiner: Professor Roger Burrows, External Examiner: Dr Christine<br />
Wall (University of Westminster, London)<br />
167
ARC – Architecture Research Collaborative<br />
In addition to the promotion and facilitation of outstanding individual research in the school, a key aim of the Architecture Research Collaborative<br />
ARC, co-directed by Dr Neil Burford on the practice and building science side, and by Professor Katie Lloyd Thomas on the humanities side, is to<br />
engender an inclusive environment that supports seed projects, early career research and collective endeavours across our members. Membership of<br />
ARC is open to all, including PhD candidates, part-time and external staff, and is organized around thematic clusters that are distinctive to research<br />
in the school and each include diverse methodologies and disciplines from engineering, biology and environmental humanities to history, theory,<br />
ethnography, design-led research, participatory art practice and urbanism. This year we have introduced three new overarching themes:<br />
Matter + Ecologies is led by Dr Ben Bridgens and seeks to build better understandings of interrelationships between people, matter and energy across<br />
a range of scales from the macro (city & region) to the micro within both natural and man-made ecologies and infrastructures. The micro scale is<br />
exemplified by our work on ‘Living Architecture’: the design, prototyping and deployment of active and responsive materials and systems, while at the<br />
macro scale we analyse flows, processes and energetics of matter in complex spatial networks.<br />
Dr Juilet Odgers co-ordinates Histories + Cultures which is concerned both with the forms of landscapes, buildings and places and the political,<br />
cultural and conceptual contexts which shape their production and our understanding of them. Newcastle University has one of the largest and<br />
strongest groupings of historians and theorists in any UK architecture school, and consequently our work covers a wide range of topics, addressing real<br />
and imaginary conditions and diverse geographies and periods - past, present and future, often taking interdisciplinary and collaborative approaches.<br />
Daniel Mallo faciliates Processes + Practices which seeks to understand the many ways architecture can be created in the 21st century. Research<br />
addressing the diversity of processes that shape our built environment mobilises knowledge to understand the ‘practical’ world of making architecture<br />
whilst carving a space in between theory and practice. The theme demands underpinnings in philosophical, political and social theories and histories<br />
that have engaged with these problems. It encompasses diverse sites of enquiry including pedagogy, professional practice, industry, informal settlements<br />
and the co-production of space.<br />
This year we have been really pleased to welcome the design and marketing assistance of Sarah Delap and have focused on extending the outlets for<br />
promoting, debating and displaying ARC research. An ARC display wall for the reception area and a space to share research in progress at our regular<br />
meetings, is currently being fabricated by Plyable designers. Professor Prue Chiles and Dr Polly Gould have been working with creative practice<br />
researchers to prepare portfolios of their work which were brought together in an exhibition in the school in May. We’ve been delighted to welcome<br />
Sonali Dhanpal as the first recipient of the prestigious John and Mary Forshaw PhD Scholarship, and to see successful PhD completions from Sana Al-<br />
Naimi, Tijana Stevanovič and Catalina Mejía Moreno amongst others. In order to build ARC PGR activity Dr Zeynep Kezer has taken on a new ARC<br />
role coordinating architecture PGR membership in ARC, and we were delighted in March to welcome the internationally renowned scholar Professor<br />
Dell Upton to respond to presentations from PhD candidates and staff.<br />
168 Text - Katie Lloyd-Thomas
Creative Practice Research<br />
We are a group of practitioners in the process of defining our research that is practice-based or practice-led. We are looking at ways to develop and<br />
present our practice outcomes through creative and visual methods of knowledge production; using political, cultural and societal processes, to gain<br />
new and critical insights in architecture.<br />
The projects illustrated below are a collection of academic staffs’ practice that have been collated as creative practice portfolios. We hope to enlarge<br />
this collection in the future to other design studio staff and PhD students and create a website of this developing architectural culture at Newcastle.<br />
99 Years, 13 sqm: The Future belongs to Ghosts<br />
Rachel Armstrong & Rolf Hughes<br />
99 years, 13 sqm (the future belongs to ghosts) is the first publicly accessible wall-scale<br />
prototype of the EU funded Living Architecture project and collaboration with artist<br />
Cecile B. Evans. Exhibited at the Whitechapel Art Gallery from 14 February to 12 May<br />
<strong>2019</strong>, this simplified version (based on only one bioreactor type, MFC) demonstrates a<br />
compiled version of the modular system.<br />
Hygromorph: Moisture Sensitive Materials for Responsive Architecture<br />
Ben Bridgens, Graham Farmer & Artem Holstov<br />
Contemporary “smart” building systems typically aim to reduce building energy use by<br />
means of technologically enabled climate-responsiveness; however, these technologies<br />
lack the efficiency and elegance of naturally responsive mechanisms which employ the<br />
inherent properties of materials, such as the moisture-induced opening and closing<br />
of conifer cones. This mechanism can be replicated to produce low-tech low-cost<br />
hygromorphs: moisture-sensitive materials that change shape due to shrinkage and<br />
swelling of wood.<br />
The Energy Autarkic Living Laboratory<br />
Neil Burford<br />
The Energy Autarkic Living Laboratory is an integrated technical platform for the<br />
ongoing research, technical development, assessment and in-use performance of an<br />
experimental energy self-sufficient building. The project develops novel spatial and<br />
constructional techniques for the design of a small-scale self-build, Passivhaus prototype<br />
and tests the viability of achieving energy autonomy in both regulated and unregulated<br />
energy demand. The research also takes into account the use of regionally sourced<br />
materials, water conservation and treatment, and the design’s material and formal<br />
responses to its landscape context.<br />
169
The Barn in Castleton<br />
Prue Chiles<br />
The importance of the barn to the very idea of the National Park cannot be understated.<br />
This project asks: how do you create a new dwelling within an historic barn that<br />
can successfully contribute to the social, human, aesthetic, cultural, economic and<br />
environmental sustainability of the National Parks? The challenge with this barn, in<br />
particular, is to facilitate change and intervene architecturally in a building that was<br />
historically used for husbandry and crop storage; to create an extended home and work<br />
place that is sympathetically embedded in the spirit of the landscape, the village of<br />
Castleton and contributes to the spirit and memory of place and sustainable future of the<br />
Peak Park in Derbyshire. Different perspectives and knowledge from the collaborators<br />
allows for insights on the culture of the craftsmen and the relationship between<br />
functionality, relevance and beauty for all parties involved.<br />
Everest Death Zone<br />
James Craig & Matt Ozga-Lawn<br />
Everest Death Zone is a site‐specific installation and accompanying set of four drawings<br />
and a text, depicting in abstract the landscape of Mount Everest and focussing on the<br />
bodies of endeavourers on its surface. The project was presented to the public as part<br />
of the AHRC Being Human Festival of the Humanities, within the north tower of<br />
Newcastle’s iconic Tyne Bridge. The installation, constructed from fabric, metal and<br />
climbing equipment, was suspended in the central void of the tower. The drawings are<br />
greyscale collages combining physical and digital models and photographs. The 1924<br />
film The Epic of Everest was presented alongside the project.<br />
Testing Ground 1: Three Rural Villages<br />
Graham Farmer<br />
Testing Ground is an ongoing constructive design research project established in 2013<br />
in partnership with Kielder Art & Architecture. The programme is working within and<br />
across rural communities and landscapes in Northumberland to explore small-scale,<br />
locally-generated variants of built environment sustainability. It is aiming to ground<br />
design-build research and pedagogy within a concern for the broader ecology of the<br />
building process. Testing Ground explores environmental and social sustainability,<br />
by working directly with rural organisations and communities in collaborative and<br />
participatory ways whilst also seeking to provide direct social and economic benefits to<br />
those communities.<br />
Architecture for an Extinct Planet<br />
Polly Gould<br />
Architecture for an Extinct Planet is a series of speculative art works in watercolour,<br />
fabric, glass and paper that relates to past visions of the future in science fiction and<br />
architectural design to make comments upon contemporary debates regarding climate<br />
change. The research method mixes archival research with practice-based outputs that<br />
apply visual assemblages of historical and contemporary imaginaries. How do the<br />
histories of ‘paper architecture’ as a mode of architectural design of unbuildable realities<br />
that were never meant to leave the page, intersect with the paper-based art works and<br />
paper-based writing of speculative fiction and manifestos? The work has been presented<br />
in three art fairs in London and New York and has been developed as the content of a<br />
solo show at Danielle Arnaud, London and Venice for the Architecture Biennale 2020.<br />
170
Penguin Pool<br />
Polly Gould<br />
Penguin Pool is a performative lecture that plays on the pun of ‘pool’ as an architectural<br />
design for zoological display designed by Lubetkin and gene pool. The work uses forty-six<br />
lantern-slides- and the same as the number of chromosomes in the human genome, and<br />
the outmoded medium of the lantern-slide. The audience’s participate in a performance<br />
of a sequence of projected images with citations from historical and contemporary<br />
sources on design, the archive and extinction in the face of climate change.<br />
Protohome: Rethinking Home Through Co-production<br />
Julia Heslop<br />
Protohome was a collaboratively built architectural installation, 5 metres x 10 metres,<br />
designed as a prototype for a self-build house. It was sited in the Ouseburn, Newcastle<br />
upon Tyne from May-September 2016 and was a collaboration between Julia Heslop,<br />
Crisis, the national charity for single homelessness, xsite architecture and TILT<br />
Workshop.<br />
Working alongside an architect and a joiner members of Crisis built a timber-frame<br />
self-build housing prototype. The ‘house’ hosted events and exhibitions examining the<br />
collaborative design-build process and issues regarding housing and homelessness in an<br />
austerity context and participatory alternatives. A publication, website and film were<br />
also created.<br />
Made in Ethiopia: The Changing Material Culture of Everyday Life<br />
Peter Kellett<br />
Through a series of public exhibitions, this ongoing research is examining the effectiveness<br />
of visual methods to communicate complex issues of international development.<br />
Installations of everyday objects and images are used to explore the visual and material<br />
culture of Ethiopia at a time of rapid change. Drawing on practices and techniques from<br />
visual anthropology and contemporary art, the innovative assemblages and projected<br />
images present stories of celebration and creativity alongside development dilemmas and<br />
challenges. The exhibitions aim to reach audiences beyond academia, particularly young<br />
people and ethnic minority groups in different cities (Newcastle, Bath and Bristol).<br />
Fenham Pocket Park: <strong>Design</strong> Activism in the Co-production of the Urban Space<br />
Daniel Mallo & Armelle Tardiveau<br />
This research project focuses on intensifying participatory design as the means to<br />
stimulate public life in the urban realm. Whilst articulating approaches that overcome<br />
the limitations of mainstream stakeholder-led forms of consultation, we explore openended<br />
and inspirational participatory engagement with particular attention on the role<br />
of design as activism. This process of experimentation, situated within the everyday,<br />
ordinary life, engages community actors in a socio-spatial co-production process whose<br />
impact goes beyond the delivery of the project. Situated in the west end of Newcastle<br />
Upon Tyne, our case study highlights the transformation of an unused urban space into<br />
a lively pocket park.<br />
171
Sensory Exploration: A Future Facility at Scotswood Natural Community Garden<br />
Daniel Mallo, Abigail Schoneboom & Armelle Tardiveau<br />
Mobilising a fusion of participant-led design and sensory ethnography, this socially<br />
engaged research project invited users of Scotswood Natural Community Garden<br />
to explore the meanings and values attached to a garden nested in one of Newcastle<br />
upon Tyne’s most deprived neighbourhoods. This ESRC IAA funded co-production<br />
project engaged the diverse aspirations of project participants in articulating a rich and<br />
meaningful shared vision for a future expanded facility.<br />
<strong>Design</strong> Office<br />
Adam Sharr, James Longfield, Yasser Megahed, Kieran Connolly, Aldric Iborra, & Assia<br />
Stefanova<br />
<strong>Design</strong> Office is an architecture and design research consultancy run by the School of<br />
Architecture, Planning and Landscape at Newcastle University. The office focuses on<br />
research-led practice, drawing on the accumulated expertise and academic interests<br />
of its associates and the distinctive research agendas of the School. Formed in 2010,<br />
<strong>Design</strong> Office has worked on a variety of architectural and research projects, and<br />
collaborated with a variety of organisations, community groups and construction<br />
industry professionals. Through undertaking architectural work associates of the office<br />
also conduct original research, critically reflecting on specific themes and experiences<br />
of professional practice they have encountered through their work with <strong>Design</strong> Office.<br />
Ghosts of The Newbridge: A Haunted Spatial Archive<br />
Ed Wainwright<br />
Four months prior to the demolition of an active artist studios space in Newcastle city<br />
centre, a form of ‘rescue archaeology’ was undertaken to document and record the<br />
use and inhabitation of Norham House. Using millimetre-accurate LiDAR scanning<br />
technology, a digital model of The NewBridge Project studios has been produced.<br />
Through modelling, projection, immersive video and sound, this project aimed to<br />
explore the production of affective states through digital representation and spatial<br />
installation practices. The project combined high definition, digital video, projection<br />
mapping in a basement space in The NewBridge Project’s new home in Carliol House,<br />
alongside modified audio recordings of interviews with studio holders and recordings of<br />
the now demolished building’s ambient sound.<br />
172
99 years, 13 sqm<br />
The future belongs to ghosts<br />
Rachel Armstrong & Rolf Hughes<br />
hygromorph<br />
moisture sensitive materials for responsive architecture<br />
Ben Bridgens, Graham Farmer & Artem Holstov<br />
The Energy Autarkic<br />
Living Laboratory<br />
Neil Burford<br />
<strong>Design</strong> and Creative Practice Research Folios<br />
School of Architecture, Planning and Landscape<br />
<strong>Design</strong> and Creative Practice Research Folios<br />
School of Architecture, Planning and Landscape<br />
<strong>Design</strong> and Creative Practice Research Folios<br />
School of Architecture, Planning and Landscape<br />
The Barn in Castleton<br />
Everest Death Zone<br />
Testing Ground 2<br />
Three Rural Landscapes<br />
Prue Chiles<br />
James Craig and Matt Ozga-Lawn<br />
Graham Farmer<br />
<strong>Design</strong> and Creative Practice Research Folios<br />
School of Architecture, Planning and Landscape<br />
<strong>Design</strong> and Creative Practice Research Folios<br />
School of Architecture, Planning and Landscape<br />
<strong>Design</strong> and Creative Practice Research Folios<br />
School of Architecture, Planning and Landscape<br />
Penguin Pool<br />
Protohome<br />
Rethinking home through co-production<br />
Fenham Pocket Park<br />
<strong>Design</strong> activism in the co-production of urban space<br />
Dr Polly Gould<br />
Julia Heslop<br />
Daniel Mallo & Armelle Tardiveau<br />
<strong>Design</strong> and Creative Practice Research Folios<br />
School of Architecture, Planning and Landscape<br />
<strong>Design</strong> and Creative Practice Research Folios<br />
School of Architecture, Planning and Landscape<br />
<strong>Design</strong> and Creative Practice Research Folios<br />
School of Architecture, Planning and Landscape<br />
Made in Ethiopia:<br />
the changing material culture of everyday life<br />
Dr Peter Kellett<br />
<strong>Design</strong> Office<br />
Adam Sharr, James Longfield, Yasser Megahed, Kieran Connolly,<br />
Aldric Iborra, and Assia Stefanova<br />
Ghosts of The Newbridge<br />
A Haunted Spatial Archive<br />
Dr. Ed Wainwright<br />
<strong>Design</strong> and Creative Practice Research Folios<br />
School of Architecture, Planning and Landscape<br />
<strong>Design</strong> and Creative Practice Research Folios<br />
School of Architecture, Planning and Landscape<br />
<strong>Design</strong> and Creative Practice Research Folios<br />
School of Architecture, Planning and Landscape<br />
173
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 />
Andy Campbell<br />
Anna Cumberland<br />
Cath Keay<br />
Charlotte Powell<br />
Cynthia Wong<br />
Damien Wootten<br />
Dan Kerr<br />
David Davies<br />
David McKenna<br />
Di Leitch<br />
Ed Wainwright<br />
Elinoah Eitani<br />
Ewan Thomson<br />
Graham Farmer<br />
Henna Asikainen<br />
Jack Mutton<br />
James Craig<br />
Jamie Morton<br />
John Kamara<br />
Karl Mok<br />
Kati Blom<br />
Kate Wilson<br />
Keri Townsend<br />
Martin Beattie<br />
Nathaniel Coleman<br />
Nick Clark<br />
Noemi Lakmaier<br />
Olga Gogoleva<br />
Patrick Malone<br />
Prue Chiles<br />
Raymond Verrall<br />
Robert Johnson<br />
Sam Austin<br />
Sana Al-Naimi<br />
Sarah Stead<br />
Shankari Raj<br />
Simon Hacker<br />
Sneha Solanki<br />
Sophie Cobley<br />
Stephen Tomlinson<br />
Tara Alisandratos<br />
Tony Watson<br />
Tracey Tofield<br />
Zeynep Kezer<br />
Stage 2<br />
Aaron Guy<br />
Adam Goodwin<br />
Adam Hill<br />
Alex Blanchard<br />
Amara Roca Iglesias<br />
Andrew Ballantyne<br />
Cara Lund<br />
Chris French<br />
Christos Kakalis<br />
Craig Hawkes<br />
Claire Harper<br />
Delia Murguia<br />
Dimitra Ntzani<br />
Elizabeth Baldwin Gray<br />
Graham Farmer<br />
Harriett Sutcliffe<br />
Isabel Lima<br />
James Craig<br />
Jack Green<br />
James Perry<br />
Jack Roberto Scaffardi<br />
John Kinsley<br />
Justin Moorton<br />
Katie Lloyd Thomas<br />
Kieran Connolly<br />
Luke Rigg<br />
Maria Mitsoula<br />
Martyn Dade-Robertson<br />
Matthew Ozga-Lawn<br />
Neil Burford<br />
Nick Simpson<br />
Nikoletta Karastathi<br />
Pedro Quero<br />
Prue Chiles<br />
Rosie Morris<br />
Rumen Dimov<br />
Samuel Austin<br />
Samuel Penn<br />
Sana Al-Naimi<br />
Smajo Beso<br />
Stella Mygdali<br />
Stephen Parnell<br />
Will Stockwell<br />
Zeynep Kezer<br />
Stage 3<br />
Adam Sharr<br />
Akari Takebayashi<br />
Amrita Raja<br />
Andrew Ballantyne<br />
Andrew Campbell<br />
Anna Cumberland<br />
Armelle Tardiveau<br />
Cara Lund<br />
Christos Kakalis<br />
Colin Ross<br />
Elizabeth Baldwin Gray<br />
Graham Farmer<br />
Harriet Sutcliffe<br />
Hazel Cowie<br />
Lukas Barry<br />
Ivan Marquez Munoz<br />
Jack Green<br />
James Craig<br />
John Kinsley<br />
Jon McAulay<br />
Jonathan Mole<br />
Jack Mutton<br />
James Longfield<br />
Josep Maria Garcia-Fuentes<br />
Juliet Odgers<br />
Kieran Connolly<br />
Luke Rigg<br />
Manuel Bailo<br />
Marc Subirana<br />
Matthew Margetts<br />
Matt Ozga-Lawn<br />
Michael Simpson<br />
Nick Peters<br />
Peter Sharpe<br />
Rachel Armstrong<br />
Raymond Verrall<br />
Rosie Jones<br />
Ryan Doran<br />
Sam Austin<br />
Shaun Young<br />
Simon Hacker<br />
Stephen Ibbotson<br />
Stephen Richardson<br />
Steve Kennedy<br />
Stuart Hallett<br />
Victoria Tinney<br />
AUP<br />
James Longfield<br />
Kati Blom<br />
Laura Harty<br />
Ed Wainwright<br />
David McKenna<br />
Sean Douglas<br />
Di Leitch<br />
Joanna Wiley<br />
Armelle Tardiveau<br />
Freddie Armitage<br />
Ellie Gair<br />
Ruta Bertauskyte<br />
Tooka Taheri<br />
Sarah Stead<br />
Xi Chen<br />
Ziwen Sun<br />
Nikoletta Karastahi<br />
Daniel Mallo<br />
Rutter Carroll<br />
Sophie Ellis<br />
Xi Chen<br />
James Longfield<br />
Stage 5<br />
Ana Miret Garcia<br />
Anna Czigler<br />
Carlos Arleo<br />
Chiemeka Ejiochi<br />
David Boyd<br />
Dr Ben Bridgens<br />
Dr Christos Kakalis<br />
Dr Ed Wainwright<br />
Dr Koldo Lus Arana<br />
Dr Martyn Dade-Robertson<br />
Dr Miguel Paredes Maldonado<br />
Dr Neil Burford<br />
Dr Neveen Hamza<br />
Dr Steve Parnell<br />
Dr Zeynep Kezer<br />
Dilan Ozkan<br />
Gregorio Santamaria Lubroth<br />
Imogen Holden<br />
Irina Korneychuk<br />
Jack Green<br />
James Nelmes<br />
James Wakeford<br />
John Ng<br />
Kieran Connolly<br />
Matt Ozga-Lawn<br />
Michael Findlater<br />
Mike Hall<br />
Nathalie Baxter<br />
Niall Durney<br />
Paul Rigby<br />
Peter Hunt<br />
Prof Graham Farmer<br />
Prof Remo Pedreschi<br />
Thora Arnardottir<br />
Yomna Elghazi<br />
Stage 6<br />
Aaron Guy<br />
Alex Blanchard<br />
Anna Szigler<br />
Dan Kerr<br />
David Boyd<br />
Elizabeth Baldwin-Gray<br />
Gareth Hudson<br />
Holly Hendry<br />
Kieran Connolly<br />
Laura Harty<br />
Leah Millar<br />
Nathaniel Coleman<br />
Perry Kulper<br />
Roberts Evans<br />
Tim Bell<br />
<strong>Yearbook</strong> Contributors<br />
Jenna Sheehy<br />
Michael Bautista-Trimming<br />
Sarah Delap<br />
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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 />
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Student Initiative - NUAS / SIGNAL / PRAXIS / Fold<br />
NUAS / SIGNAL<br />
Newcastle University Architecture Society is the student-run representation body within the School. Representing just under 600 students, we<br />
work to provide opportunities that enhance our members’ education through programmes ranging from skills workshops, industry panel talks<br />
to one on one support. For many students in APL the society forms the heart of the School, bringing together students from across different<br />
stages with staff and practitioners in a casual environment. Every year we work to host a variety of events aimed to break up academic teaching<br />
including international trips, socials, and our annual Winter and Summer Balls.<br />
NUAS continues to go from strength to strength after winning runners up for ‘Best Departmental Society’ and ‘Most Improved Society’ by<br />
reworking how students perceive Architectural education, creating an enjoyable atmosphere outside of lectures to meet, discuss and challenge<br />
the industry sector. The society’s growth this year has continued to influence students across the region, working closely with other student<br />
architecture societies to host competitions and improve networking opportunities for our members.<br />
This year has also seen the introduction of SIGNAL, a collection of students from stage 1 to stage 6 who have paved the way for more<br />
student-led initiatives in the future. With the help of NUAS, the team have put on a small talk series, bringing in professionals from differing<br />
backgrounds – people like RIBA President-elect Alan Jones, Director of Levitt-Bernstein Architects Jo McAfferty, architectural artist Perry<br />
Kulper to name but a few. The movement has brought plenty of conversations into the school, a series of debates and architectural workshops<br />
enabled a newfound connection between postgraduate and undergraduate students.<br />
The Society wishes to thank all the staff of APL for their endless help and enthusiasm as well as the RIBA and our industry partners for their<br />
support. Our thanks also goes to our members, for without whom we simply would not of had the outstanding year we have had.<br />
Society 2018/19<br />
President/SIGNAL: Jonathan Barker Secretary/SIGNAL: Ming Harper Treasurer: Ellen Willis Social Secretary(s): Niamh Lyons, Alice Cann Formals<br />
Officer: Heather O’mara Publicity Officer: Marc J Gutierrez Sports Secretary: Florence Niaga Lectures and talk/SIGNAL: Sasha Swannell<br />
Society <strong>2019</strong>/2020<br />
President: Shujaat Afzal Secretary/RIBA NE Rep.: Colin Rogger Treasurer: Quanah Clark Social Secretary(s): Milly London, Sam Coldicott Formals<br />
Officer(s): Eleanor Mettham, Emily Ducker Publicity Officer: Julian Djopo<br />
PRAXIS<br />
PRAXIS is a student led collective co-ordinated through a collaboration between Signal and About. <strong>Design</strong>. The ethos of Praxis is to enable a collaborative<br />
learning environment between the students of APL and the communities in which we are situated, to facilitate genuine and positive change. The team<br />
has developed two key projects since the creation of Praxis in December 2018, engaging APL students with local design studio Plyable and the Star &<br />
Shadow Cinema.<br />
Our collaboration with Plyable engaged student design thinking with ideas surrounding educational furniture for architecture, providing a student voice<br />
within the reimagining of the architectural studio. This resulted in a student organised competition open to the whole school to gather ideas for how<br />
the furniture could be created.<br />
Our second ongoing collaboration with the Star & Shadow Cinema to develop a new Box Office will be a student-designed and student-constructed<br />
project, to be built using funds in collaboration with the GoVolunteer fund of Newcastle University’s Students Union. Praxis has worked alongside<br />
volunteers at the Star & Shadow to create a holistic collaboration culture of knowledge and skill sharing that benefits the cinema and wider creative<br />
community of Newcastle.<br />
Fold<br />
Fold is a student led magazine initiative uniting the whole school under one voice to critique, promote and raise awareness. Through the medium of<br />
zine we intend to engage with issues across the school and beyond the walls of the studio, working in collaboration with NUAS and Signal to further<br />
participation within such initiatives. We aim to empower each student to speak critically about the bigger picture of architecture.<br />
Our aim is to issue Fold regularly, providing a consistent voice throughout the school. To make this a success it is crucial to have writers, photographers<br />
and graphic designers in each stage, both inside and out of the University, could this be you?<br />
If you wish to contribute in any way, please feel free to get in touch: Foldncl@gmail.com<br />
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faulknerbrowns.com
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Newcastle University School of<br />
Architecture, Planning and Landscape<br />
<strong>Yearbook</strong> ‘19<br />
Editorial Team<br />
Jenna Sheehy<br />
Michael Bautista-Trimming<br />
Sarah Delap<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, Lavender, 350gsm<br />
First published in June <strong>2019</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>2019</strong>
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