Yearbook 2022

2022
Y E A R S
School of Architecture, Planning and Landscape
Newcastle University

Contents
Welcome
100 Years of Architecture
Change Is (Always) Happening: A (Sort-of) Historical Story
A Space is There: On the Threshold of 100 Years of
Architecture at Newcastle University
BA (Hons) Architecture
Stage 1
Stage 2
Stage 3
Master of Architecture
Stage 5
Stage 6
MSc Advanced Architectural Design
BA (Hons) Architecture & Urban Planning (AUP)
Stage 1
Stage 2
Stage 3
MA in Urban Design
Master of Landscape Architecture (MLA)
MA in Landscape Architecture Studies
Research in Architecture
BA Dissertation
AUP Dissertation
MArch Dissertation
Linked Research
PhD / PhD by Creative Practice
Architecture Research Collaborative
ARC Exhibitions
Contributors
Sponsor
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4
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154
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162
164
196
202
203

2

Welcome
Samuel Austin – Director of Architecture
This yearbook marks a significant moment for the School: the centenary of accredited architecture
programmes at Newcastle. Coinciding with our emergence from the restrictions of the pandemic,
and the return to in-person teaching, there are many reasons to celebrate. There can be few
moments in the School’s history when the character of architectural education has been reshaped
more suddenly or more profoundly than through the move to online study. And yet that change
has been less lasting than many feared. Last year, we reflected with exhaustion and amazement on
the rapid transformation of our teaching, and the ingenuity of our students in making the best
of constrained working environments. As we draw to the end this academic year, the workshop is
busier than ever, studios are bustling, and the School’s energetic culture of making and material
experimentation (so sorely missed), has bounced back stronger than ever. Here – through our
yearbook and degree shows in Newcastle and London – we celebrate the diversity, creativity,
rigour and care of work across our programmes. I heartily thank all colleagues, academic,
professional and technical, and of course all of our students, for their adaptability, dedication and
resourcefulness which have made this year a great success.
The centenary happily coincides with the fruition of several major developments at the School.
The Hub for Biotechnology in the Built Environment, a collaborative project with Northumbria
University, has now fully opened its extensive new facilities, including a laboratory for exploring
new materials at molecular level, a specialist workshop for larger scale fabrication, and the OME,
an experimental building which allows testing of components and microbial environments. With
connections already into dissertations, linked research and studio projects, this promises to reshape
approaches to materials and ecologies across our programmes. The Farrell Centre launched its
first programme of talks, ‘Towards Another Architecture’ and, in collaboration with the School,
hosted its first exhibition, ‘How We Live Now’. This shows the work of feminist architecture
co-operative Matrix (founder members of which are alumnae of the School) alongside current
projects from the North East inspired by similar themes. We look forward, early next year, to
seeing the completed Farrell Centre open in the Claremont Buildings, providing a new space for
debate, collaboration and engagement across the city and beyond.
The centenary also comes at an exciting moment in the development of our programmes. We
graduate our first cohort in our new Master of Landscape Architecture programme, a milestone
in the resurgence of landscape studies at Newcastle, with particular thanks to the vision of Dr Ian
Thompson, who retired earlier this year, and Dr Usue Ruiz Arana, who now leads the programme
towards full accreditation. Our Architecture and Urban Planning programme is launching new
masters routes, which will enable students to extend their qualification to specialise in architecture
or urban design. Students on both programmes have moved into expanded studios in the fully
refurbished Henry Daysh Building, where they share studio space with students on MA in Urban
Design, MSc in Advanced Architectural Design and MArch. We have welcomed new colleagues,
Dr Charlotte Veal in landscape, and Dr Tolu Onabolu and Dr Stella Mygdali in Architecture, who
each bring new interests and expertise to our teams, while saying goodbye to Professor Rachel
Armstrong, Craig Gray and Elizabeth Baldwin Gray. We wish Professor Andrew Ballantyne well
in his retirement, after so many years of inspirational research and teaching.
We celebrate success in national student awards. In MArch, Nick Honey and Rob Thackeray
won the RIBA Presidents Medals Part II Award for Sustainable Design, while Mark Laverty
& Alex McCulloch received 2nd Prize in the prestigious Pamphlet Architecture Competition.
This year’s Testing Ground student-led live-build project, at Northumberlandia Wildlife Park,
was shortlisted for the Architects’ Journal Small Projects Award, amongst other successes. Stage
1 Architecture student Holly Milton was commended in the RIBA Journal Future Architects
writing competition while, in the Stage 3 House of Memories studio, Colin Elkington won the
Architecture for Health student award and Lewis Baylin and Matteo Hunt-Cafarelli received
commendations. Our student society, NUAS, actively expanded the life of the School as we
returned in-person, encouraging mutual support and a healthy work-life balance. They organised
an ambitious series of ‘Small Talks’ (guests included Amin Taha and Sarah Wigglesworth) and
a design competition for students at both Newcastle and Northumbria universities, relaunched
their architecture zine, ‘Fold’, and hosted a range of social activities, including walks, gallery trips,
and the largest formal ball in the society’s history!
Changes in the structure of architectural education are underway, as the profession responds
to increasingly urgent issues of diversity, equality, safety, and climate change, which may allow
increased flexibility and specialisation within our programmes. Though it has been another year of
uncertainties and challenges, and the legacies of the pandemic continue to affect us all, coinciding
with the centenary, these institutional shifts present an opportunity to look beyond the moment,
forward as well as back, to rethink architectural education for the next hundred years as we reflect
on how much has changed since 1922.
3

Change Is (Always) Happening: A (Sort-of) Historical Story
Ed Wainwright
In the late evening of Valentine’s Day, 1922, the mostly male
students at Armstrong College, in the city centre of Newcastleupon-Tyne,
are gathered around the one wireless radio set in the
newly founded School of Architecture. A solid hunk of wood, metal,
glass valves and high-voltage electricity is turned on and tuned in to
2MT in anticipation of the world’s first regular radio entertainment
programme. At precisely eight o’clock, the clipped tones of Captain
P.P. Eckersley break through the static and announce, ‘This is Two
Emma Toc, Writtle testing, Writtle testing’. Broadcasting from a
small hut at the Marconi laboratories in Writtle, Essex, Eckersley’s
2MT has been the talk of the School for the past month. Ever
enthusiastic to be at the forefront of technology, the architecture
students have been following the developments of Marconi’s
commercial broadcasts, anticipating the moment when spoken
entertainment is liberated from the fixed constraints of the music
hall and picture palace, and enters the ether. Broadcasting for all of
half an hour, 2MT’s content, we can imagine, might have ranged
from musical interludes to the recent flu epidemic and Washington
Naval Treaty; from Edith Sitwell’s controversial poem, Façade – An
Entertainment, to observations from around the British Empire,
then at its peak. At eight thirty pm, the broadcast ends, the wireless
set returning to the audible crackle of cosmic microwave background
radiation still reverberating from the start of our Universe.
A few days after Valentine’s Day 2022, Cai’s phone pings as they’re
walking into campus with a notification from AccuWeather. Eunice
- the first of three winter storms to hit the UK within the space
of a week – is due to make landfall at midday. With predicted
wind speeds in excess of 120 miles per hour, Eunice is set to break
records for extreme weather events on the British Isles. Cai’s phone
buzzes again – TikTok’s alive with the news of FNMeka’s virtual
artwork ‘Real Iron Chef’ being sold by the virtual rapper for
over fourteen thousand dollars. Cai’s on the way to a meeting of
NCAN – the Newcastle Climate Action Network, established at the
start of the year at Newcastle University’s School of Architecture,
Planning & Landscape. At the precise moment that Cai steps
onto campus, NASA’s climate monitoring NOAA-20 satellite
completes another polar orbit, sending signals back to its sub-Artic
base station in Svalbard, building a picture of a heating planet, the
satellite’s microwaves cutting through the low intensity hum of the
background radiation that brought us into being.
Image on laptop, the first broadcast transmitter in operation
in Britain, Marconi Works, Writtle, near Chelmsford, Essex,
1919-1920;
4

Cai steps into the School, aware of a split in their emotions. Excited
by the prospect of continuing their project for growing a centre
for gene therapy for the aging population of the northeast from
modified fungi, they’re also aware of the historical legacy of the
construction industry, and their possible future role in a profession
that’s bound into a carbon economy, still very much alive across
the globe in 2022. Passing the site where storm Arwen blew down
their favourite eucalyptus tree in the city centre last November,
Cai’s in a quietly sombre mood as the day starts, wondering if the
storms have gotten worse, or is this ‘normal’ for February, and
what even is ‘normal’ as temperatures inexorably nudge upwards?
Cai opens Instagram, uploading a picture of where the eucalyptus
once was and hits the post button: Architecture: Kill or Cure?
sending packets of data through the microwaves and onto the
internet, asking a question that doesn’t really have an answer, but
articulates a sense of changed priorities and an unstable future.
The students tuning into 2MT in 1922 could not have predicted
that the technology they were using to listen to P.P. Eckersley
would eventually morph into the global infrastructure of undersea
fibre optic cables, satellites, land stations, 5G masts and smart
phones that allows Cai to be entertained by the life of an AI rapper
and connected to data from climate tracking satellites, modifying
Cai’s mood on that February morning one hundred years later.
Those students in 1922 could not have predicted the fundamental
role communications technology would go on to have in
connecting the world and extracting its resources. They could
not have foreseen how that self-same technology that enables our
globally interconnected marketplace to function, simultaneously
allows a future designer to sense climate change on a global scale,
to feel hopeless and hopeful at the same time, and to care about
the impact of their decisions on this fragile home planet of ours.
We can often feel a sense of foreclosure of our future. A sense that
the changes to come are somehow known. That the information
we have now tells us what tomorrow will be like, and it’ll be worse.
Perhaps it will be. And perhaps there’s another way of thinking,
too – that each step presents a new world, even in the tinniest
of ways; that events today unfold into surprising and expansive
realities tomorrow; and that change is always happening.
13th June 2022
Image on screen, FNMeka ‘Heading to the Upload Metaverse
experience in the digital afterlife’ Instagram, June 2022. Taken
by the author at his desk in the Architecture Building in this
centenary year, June 2022.
5

A Space is There:
On the Threshold of 100 Years of Architecture at Newcastle University
Ashley Mason
School Library. With text taken from: J. H. Napper, Newcastle Papers in Architecture and Building Science: From the School of Architecture, University of
Newcastle upon Tyne (Newcastle: Oriel Press, 1970).
In 1973, the School of Architecture at Newcastle University
curated an exhibition titled ‘A Space is There’. Held as the
construction of Ralph Erskine’s Byker Estate was underway and
the demolition of Newcastle’s Town Hall and T Dan Smith’s
career were complete, this exhibition was conceived to show
‘some aspects of architectural education’. Displayed at Newcastle
City Library, it appears to have been a showcase event, with the
advertisement detailing all of the educational offerings of the
School, from undergraduate courses to live projects, noting its
pioneering work within this field through the early formation of
the Project Office (now re-established as Design Office, one of
AJ’s 40 under 40 practices for 2020). Few other details of the
exhibition remain; indeed, gaps frequent the School’s scattered
records, meaning a space is there for speculation and intervention.
The 1972–73 school year can be found to mark a midway point,
a threshold, in the School’s history, from its recognition by the
RIBA (up to ‘Intermediate’ standard) in 1922 to today, when we
celebrate the centenary of the School of Architecture at Newcastle
University (once upon a time Armstrong College, later King’s
College of The University of Durham). The first halves of the
following images, almost all taken from the 1972–73 handbook
and (perhaps) displayed during the ‘A Space is There’ exhibition,
reveal a freshly rejuvenated school, following its consolidation
within a newly renovated former Agriculture Building in 1966,
where previously it had occupied temporary huts, the top floor of
the Physics Building, and even the attic of Fine Art. Though there
remained a trace of impermanence through the Mobile Research
Laboratory of Building Science, the spaces of architectural
education at Newcastle were for the first time brought into
proximity, seemingly eschewing precarity. Nonetheless, the
images are perhaps too clean, too bare; they doubtless do not
reveal the messy reality and temporality of life within the design
studio, where paths can converge and diverge, where materials
are transformed, and where critical and creative exchange occurs.
Later that same decade, in 1978, a group of students at the School
began a movement called ‘Threshold’, which they established to
‘provide a forum for critical discussion’. Once more, additional facts
about the movement are not easily locatable; we are instead left to
infer the exchanges that may have taken place. A threshold is, here,
not a boundary, but a permeable, dialogic space in between. Indeed,
to move across a threshold requires collaboration, cooperation, and
coproduction. In Yearning (1990), bell hooks writes:
6

Exhibition Room. With text taken from: [n.a.], Newcastle University School of Architecture Yearbook 1992–93 (unpublished, 1993).
Lecture Theatre. With text taken from: [n.a.], Who’s What and Why: School of Architecture (unpublished, 1979).
Students’ Workshop. With text taken from: [n.a.], University of Newcastle upon Tyne School of Architecture Opening (Newcastle: Oriel Studios, 1966).
Mid image from Departments of Architecture, Fine Art, Town and Country Planning Prospectus — Academic Year 1969-70 (Portsmouth: Eyre and Spottisdwoode
Ltd. at Grosvenor Press, 1969), p. 15.
7

First Year Studio. With text taken from: Patrick Hannay, ‘Newcastle: Good Neighbours,’ The Architects’ Journal, 182.41 (9 October 1985): 56; [n.a.],
‘Newcastle: School of Architecture University of Newcastle upon Tyne,’ 167.11 (15 March 1978): 505.
To some extent, ruptures, surfaces, contextuality, and a host of
other happenings create gaps that make space for oppositional
practices which no longer require intellectuals to be confined to
narrow separate spheres with no meaningful connection to the
world of the everyday. […] One can talk about what we are
seeing, thinking, or listening to; a space is there for critical
exchange […and] this may very well be ‘the’ central future
location of resistance struggle, a meeting place where new and
radical happenings can occur. (p. 31)
Thus, the second halves of each photographic pairing seek to convey
the porosity and transitory actualities of the threshold spaces within
which such critical and creative architectural questioning and
exchange occurs, with words (lifted from various papers and places
documenting the history of the School of Architecture at Newcastle
University over its 100 years) seeping into the spaces in between.
As Ed Wainwright’s poignant opening text notes, change is (always)
happening. The scale of change is sometimes small, sometimes
sweeping; the duration of change is sometimes long-lived, sometimes
fleeting. Indeed, throughout its lifetime the School of Architecture has
been through many changes, has been on the cusp of many thresholds
– between technological innovations, between social revolutions.
The photographs capture correspondingly in-between locations
and situations. Yet, they may also raise uncomfortable questions of
equality, diversity, and inclusion.
Changes have taken place, though doubtless can (and will, with
our combined will) go further. A School should always be willing
to confront and rectify pre-existing inequalities, to advocate for the
marginalised (whether human or non-human; whether of built or
unbuilt environments). As we find ourselves situated within another
threshold, a meeting place between the past 100 years and (hopefully)
the next, we have a responsibility to make sure – through a collective,
collaborative, and cooperative commitment to making space (a phrase
indebted to feminist design collective Matrix, whose ground-breaking
work is currently exhibited at Newcastle Contemporary Art on the
occasion that founder members and alumni Fran Bradshaw and Anne
Thorne receive their honorary degrees), as well as taking, sharing
and keeping space (as explored within complementary projects from
the North East of England by contributors to the Project Space
accompanying the Matrix exhibition) – that, within the School of
Architecture at Newcastle University in the forthcoming 100 years, a
space is there for critical and creative exchange.
Project Office Conference. With text taken from: [n.a.], Project Office: School of Architecture (unpublished, n.d.).
8

Entrance Hall. With text taken from: The Art and Profession of Architecture: A Handbook Produced by the School of Architecture in the University of
Newcastle upon Tyne (Newcastle: Oriel Press, 1972).
Lecture Theatre. With text taken from: [n.a.], Who’s What and Why: School of Architecture (unpublished, 1979).
Testing a Structural Model, in the Quad. With text taken from: this piece.
Images from The Art and Profession of Architecture: A Handbook Produced by the School of Architecture in the University of Newcastle upon Tyne (Newcastle: Oriel
Press, 1972)
9

10 Above - Cheuk Wing

BA (Hons) Architecture
Toby Blackman– Degree Programme Director
As a School of Architecture, Planning and Landscape, we are interested in the ways
in which relational architectural ecologies are made, remade, translated and renewed
in an expanded field of critical processes and practices at the intersection of political,
ecological, material, social and cultural concerns. Our students demonstrated practices
of inclusion and consideration throughout the profoundly difficult social, cultural,
and spatial circumstances of the pandemic. They formed community, and quotidian
practices of care; their processes and practices – their work – speaks to this directly.
The architectural provocations and proposals documented and reflected upon here
are socially engaged, culturally informed, technically sophisticated, and ethically
positioned. The work examines questions of and for architecture across its many sites
of meaning-production – drawing, building, model, text, film and photograph – whilst
remaining focussed on disciplinary questions and parameters of ethics, climate, context,
space, political and social relations.
In September 2021 – at the start of the current academic year – we made a return to
the physical, proximate, social, and material examination of architecture. We began
Semester 1 in a hybrid mode, delivering and facilitating 50% of teaching and learning
in-person. In Semester 2, we moved all activities to in-person. We supported each
other – students and staff – whilst the ongoing pandemic served to heighten awareness
of the inextricably shared experience of teaching and learning. In-person teaching
and learning re-activated the School, the community of practice, and the cultures of
making, drawing, and modelling at the heart of the student experience. It is a credit to
our students’ ethics, and their preparedness for dialogue that a student-initiated, crossschool,
cross-programme working group formed in 2022 committed to decolonising
the curriculum. Together, we seek to bring equality to teaching and learning, to
liberate form, content, and means of producing knowledge. The programme seeks to
nurture equal, diverse, representational, and expansive sites for architectural meaning
production, drawing lessons from beyond Europe and the Global North, questioning
that which is elevated to the canon, and enabling students to form new paradigms,
and critical methodologies of and for architecture, and its practice. From the Stage 1
module, Introduction to Architecture, through the concerns of About Architecture:
Cities, Cultures, Space and the Future Ecologies studio project in Stage 2, to the
positional declaration formed in the dissertation, and brief development in Stage 3
studio, students have engaged actively and deeply with questions of ethical practice,
intersectionality, material heritage, legacy, and climate. Students have formed new
connections and methods, examining agency and responsibility, whilst revealing and
forming knowledge of individual subjects and objects of architectural study.
We hope you enjoy this yearbook as much as we have enjoyed putting it together, and
as much as we have enjoyed working with students on the BA Architecture programme
over the course of the current academic year. Final Stage students on the programme
have prepared themselves diligently for ethical spatial practice at a time when inequality
is increasing across gender, orientation, race, class, political and social divides by global
health, conflict, and climate events and change. The future is theirs; the future is bright.
11

Stage 1
From the outset, Stage 1 Architecture students are taught to observe, record, respond to, and represent, a wide variety
of contexts and conditions ranging from small hand-held objects to city mapping and the wide-open Town Moor or
Ouseburn vistas. Rather than simply teaching theory, the emphasis throughout is on experiencing and communicating
architecture in a personal and meaningful way. As well as introducing constructional, environmental, and structural
design principles, the ‘Technology’ modules provide an insight into how architects engage with making and crafting
architecture. Likewise, the ‘Introduction to Architecture’ module introduces history and theory but also invites students
to tell their own story by planning a personal architectural history walk. The ‘Architectural Representation’ modules
teach a wide spectrum of analogue and digital skills including measuring, drawing, modelling and photography, with
a focus on the appropriate use of, and application of these in different design project contexts. The ‘Architectural
Design’ module builds in complexity through the year, commencing with small, modelled explorations of architectural
language and the conceptualisation of their walking experiences to equally open their eyes to the natural world and
non-human environment. These lead, quite naturally, to a first proper design project - the creation of a small single
room platform in the Quadrangle. This and exploration of the group model build, frame play and focus on design
methods leads to the last short project in Ouseburn Valley for an observational tower, chamber, and landscaped
courtyard. In addition to preparing them for the remainder of the degree program, we hope to encourage students to
be outward looking and questioning – more aware of their surroundings, those of others and the natural world, but
also better equipped to start imagining and appropriately engaging with them.
Year Coordinators
Kati Blom
Simon Hacker
Students
Abbie Joanna Lowdon
Ahmed Kooheji
Aidan Paolo Elias Togonon
Amelia Daisy Spiteri
Amelia Liis Mikk
Anvitha Vallamsetty
Arnas Vrubliauskas
Aung Swan Htet
Benjamin Peter Gath
Berzan Karakas
Blake Williamson
Bobby Beswick
Chee Kit Wong
Cheuk Kwan Chiu
Cheuk Wing Lam
Chisomebi Obi
Chloe Garrett
Chloe Maestre Bridger
Conrad Whale
Daniel Robert Barton
Darya Tsoy
Edward Pettitt
Eka Raj Bhatt
Eleanor Heisler
Elena Frances Heath
Elizabeth Robinson
Ella-Jade Chudleigh-Lyle
Emilia Burdett
Emily-Kate Hobson
Emma Louise Purchase
Esha Vishal Saraf
Ethan Fox
Evie Alice Thorne
Felix Amaury van Eyseren
Finley Jay Carroll
Flora Ferguson
Florence Lola May Evenden
Frederic Samuel
Downes
Frederick Handy
Freya Isabel Maxwell
Gaurav Dhoot
Georgina Layla Spendiff
Girius Gadonas
Guy Michael Waddilove
Hamish Iain Alfred Macmillan-
Clare
Hannah Rae
Hannah Rolfe
Helena Mizgajeva
Henrietta Octavia Hunt
Henry Barlow
Henry Simcox
Hin Nok Lo
Hin Pak Harry Tse
Hollie Rebecca Anne Reed
Holly Milton
Ian Gao
Ibrahim Khaleel Abba
Dasuki
Ioannis Pourikkos
Ioli Loukia Christoforidou
Ishkhan Arutyunyan
Ismail Ali
Jack Bradley
Jed Phillips
Jemima Taswell-Fryer
Joshua Edward Carr
Jude Clark
Jude Purcell
Juhee Kim
Juhyun Park
Katherine Stafford
Katherine Nichole Hutchins
Kei Ching Chan
Layne Murphy
Leanda Estell-Gibson
Leo Merryfield
Leon Doolan
Lewis Bell
Lloyd Andrei Aguilos
Logan Martin Anderson
Johnson
Luca Greenway
Lucas William Billington
Lucy Jordan
Lucy Matthews
Lucy Topp
Luke Newmarch
Madeline Anderson
Matthew Marshall
Maya Ruth Dugdale
Richardson
Michael Harvey
Mitsuki Kobayashi
Molly Smith
Muhannad Mohamed
Mahdi Al Lawati
Natalie Tomoko Norman
Nia McSweeney
Nina Ysabela Beleno
Odaro Jamali Omonuwa
Oliver Archie Nizar Higgins
Oliver Harry Cowell
Oliver Kim Johnson
On Yi Lee
Philippa Emily Porter
Phoo Myat Nay Chi Lwin
Preethi Tera
Raazin Kooloth Anwar
Hussain
Rares-Ioan Naum
Rebecca Graham
Robbie Birch
Roman George Jackiw
Rudolf Kalman
Ruixue Wu
Safaa Kallas
Sam McClelland
Sam Shapin
Seth Jackson
Shani Tea Karni
Shau Mand Vivian Hang
Luo
Shreya Sri Garlapati
Sofia Sakkou
Sophie Anderson
Sophie Lee
Sophie Ann Bloyce
Su Hyeon Yoon
Suet Wing Cheung
Sze Wing Kelly Pang
Tanishka Umesh More
Thamanda Theresa Phuong
Cam Van Malmberg
Theo Greenland
Thom de Visser
Thomas Jack Balsdon
Thomas Michael Perceval
Tianhao Zhou
Tiara Puspita Nugroho
William Parsons
Wing On Tse
Xuejun Hao
Yasho Vardhan Aggarwal
Yuqiao Chen
Yuxuan Chen
Zack Glover
Zafirah Sadiq
Zijun Yang
Zinan Zhang
Contributors
Adam Fryett
Adam Sharr
Aileen Hoenerloh
Alex Blanchard
Andrew Ballantyne
Anna Cumberland
Armelle Tardiveau
Assia Stefanova
Becky Wise
Byron Duncan
Carlos Calderon
Chloe Gill
Chris Charlton
Chris Elias
Damien Wootten
Daniel Mallo
David McKenna
Dilan Ozkan
Ed Wainwright
Eddy Robinson
Elinoah Eitani
Emma Kirk
Ewan Thompson
Harry Thompson
Henna Asikainen
Ivan Marquez Munoz
James Harrington
James Morton
Jianfei Zhu
Joey Curtis
John Kinsley
Joseph Wilson
Juliet Odgers
Karl Mok
Katie Lloyd Thomas
Malcolm Green
Marina Kempa
Michael Chapman
Michelle Allen
Mike Veitch
Nagham El Elani
Neil Burford
Neveen Hamza
Nick Clark
Noor Jan-Mohamed
Otis Murdoch
Peter St Julien
Prue Chiles
Ruth Hayward
Ruth Sidey
Sam Austin
Sana Al-Naimi
Scott McAuley
Sneha Solanki
Sonali Dhanpal
Sophie Cobley
Sophie Collins
Sophie Ellis
Stephen Parnell
Taz Nasser
Tracey Tofield
William Knight
12 Text by Simon Hacker Opposite - Ellie Heath

13

Semester 1
Routes to Architecture and SITE
Kati Blom and Ed Wainwright
Project 1.1. Routes to Architecture (Kati Blom) introduces students to architectural design asking them first to compose models using each
of three spatial languages open frame, planar and volumetric. The application of these to a common shape encourages consideration of the
limitations and potentials of these distinctive spatial principles. Secondly, students record the city’s streetscape and produce a conceptual
three-dimensional model of aesthetic aspects of the route which they walked several times during the first month.
Project 1.2, SITE (Ed Wainwright), took us onto Newcastle’s largest open space - the Town Moor. Home to beings large and small, human
and other, plant and animal, we sat with, listened to, felt, smelt and otherwise sensed our ways into a collaboration with non-human builders
and the moor itself, to explore how architecture can be brought back to the act of dwelling, making space for all beings to be.
14 Top - Jude Purcell , Rudolf Kahlman Bottom Left - Matthew Marshal Bottom Right - Arnas Vrubliauskas, Abbie Lowdon

Semester 1
Architectural Representation
Kati Blom
Tasks explore varied techniques for recording and expressing the character of buildings and places, including: orthographic drawings of
hollow objects, students’ own rooms and surveyed spaces, as well as observational drawings of objects, rooms, human figures and city views.
Top - Nina Beleno, Abbie Lowdon
Bottom - Finley Carroll, Mitsuki
15

Semester 2
Frame [Works] and Urban Observatory Kati Blom and Simon Hacker
Project 1.3 - Frame[Works] (Simon Hacker): Running across three weeks (and alternating with architectural technology) this project focussed on
human-scale, the study and exploration of precedents, and the principles of simple timber-framed construction. Four deliberately disparate
individual Tasks coalesced in two group activities: Task 5 Frames of Reference saw the students measure and construct a 1:10 precedent model,
while the final Task 6 Inhabited Section asked the groups to create a 1:2 scale sectional drawing of the same building.
Project 1.4 - Urban Observatory (Simon Hacker): The final project provided an opportunity to apply the learning and skills from the
previous projects. Working on a small urban site in Newcastle, the students designed an Urban Observatory facility - a timber-constructed
building comprising a tower (focussed on the observation and recording of climate change) a chamber (a space for the promotion and
exhibition of climate action and response) and a courtyard (an external gathering and demonstration space).
16 Top - Matthew Marshall, John Park Bottom - Aidan Togonon, Joy Kim

Semester 2
Architectural Technology: Precedent Models
Neveen Hamza
These large-scale explorations - often assembled without glue - allow students to engage with materials, to encounter the relationship
between space and structure, as well as encouraging the exploration of experiential qualities including air-movement and light.
Top Left - Abbie Lowdon, Jude Purcell Top Right - Abbie Lowdon Bottom - William Parsons
17

Stage 2
Falling between the first and final year of the BA programme, Stage 2 is a year of transition for many of our
students. Building on the learning and skills acquired in Stage 1, the structure of the year provides a firm footing
for each student to experiment and explore with a varied range of methods, ideas, practices, and processes.
This year, as we have slowly emerged from the aftermath of the Covid-19 pandemic, has seen additional
emphasis placed on working together. In each design project, students have worked collaboratively in a small
study group, sharing their ideas and design process whilst also seeking to cultivate a common ground of shared
design principles and ethical practices to help support and enrich their learning and knowledge.
The projects presented on the following pages describe the outcomes from two semester-long design projects.
Each project expands students’ knowledge of architectural design, encouraging thoughtful inquiry and dialogic
learning to aid the development of a meaningful design process that reflects the personal interests, ethics, and
values of our diverse and engaging cohort.
Year Coordinators
Kieran Connolly
Rosie Parnell
Project Tutors
Alex Blanchard
Christos Kakalis
Dan Sprawson
Gillian Peskett
Harry Thompson
Hazel Cowie
Jack Scaffardi
James Longfield
Juliet Odgers
Kati Blom
Luke Rigg
Marianna Janowicz
Nagham El Elani
Ollie Chapman
Rob Johnson
Rumen Dimov
Shoko Kijima
Tolu Onabolu
Students
Abdulaziz Alabdulwahed
Adam Rush
Adam Schell
Alice Gascoigne
Allan Shibu
Amber Hastings
Amy Bradley
Anastasia Edmunds
Andrew Watson
Angus Robinson
Anna Gavrilova
Anne-Joke Dijkstra
Anushka Bellur
Anya Siddiqui
Anzhela Sineva
Araminta Mills
Arina Khokhlova
Ben Foster
Benjamin Staveley Parker
Bertha Paun
Bibiana Shea
Campbell Carmichael
Caspar Barker
Charlotte Bezant
Chen Xu
Chi Tung Emily Hui
Chun Hei Chan
Chun Him Jeffery Wu
Connaire Moorcroft
Courtney Thompson
Crystal Grimshaw
Dahna Castrignano
Daniel Doherty
Daniel-Iulian Branciog
Darcey Naylor
Diana Vedmedovska
Eirini Tsiakka
Eleanor Delaney
Elizabeth Esau
Emily Priestley
Ethan Seow Ping Chew
Euan Ellis
Eva-Maria Dudolenska
Gabriel Hodgkins-Webb
Gabriel Moore
Gabriela Pisko
George Bong
Grace Haigh
Grian Summers
Hanna Oxana Choi
Hannah Innes
Harrison Wade
Harvey Baines
Hector Emery
Helena Bolek
Hiu Sum Chloe Leung
Ho Kam Alex Wong
Ho Wan Li
Hon Lam Sharon Yip
Hongli Harriet Zhou
Hooman Valizadeh
Ioana Manoli
Irel Dzhan Kirazla
Isabelle Waha
Isra Hassan-Ibrahim
Jasmin Yeung
Jasper Weening
Joseph Rowlinson
Josh Kalia
Josie Hackney-Barber
Juliette Douin
Ka Chuen Mike Chan
Ka Hei Gary Leung
Kar-Yan Phan
Kayvee Abdullah
Kei Man Didi Lee
Kim Dorruci
Kin Kei Karina Hung
Laiba Javed
Lara Sinclair-Banks
Leticia Rohl Rodrigues
Lewis Evans
Liam Sephton
Libby Metherell
Long Ki Kylie Wong
Louis Gardener
Lucy Hutson
Luisa Lobo-Guerrero
Luke Rae
Magdalena Mroczkowska
Maria Lisnic
Maria Savva
Maria-Dionysia Axioti
Maryam Hanashi
Matas Janulionis
Melissa Streuber
Mian Muhammad Arham
Min Kiat Shannon Tan
Misela Benina
Mohamed Hassan
Molly Gregory
Morgan Cockroft
Muhammad Ido Ridho
Nathan Metcalfe
Navandeep Chahal
Nicole Pfeifer
Nok Ting Sarina Wong
Nontanit Ivan Panyarachun
Oliver Clemetson
Oliver Walsh
Owen Browning
Phoebe Barnes-Clay
Poppy Beardsell
Rahul Patcha
Rhiannon Williams
Rohan Smith
Said Al Kalbani
Samuel Millard
Samuel Rainford
Samuel Read
Samuel Stokes
Sangmin Philip Lee
Seakhour Liv
Shang-Wei Kyle Lin
Shiuh Lin Chan
Shivani Patel
Shuntaro Moriyama
Sinead Holdsworth
Sophie Newbery
Sumaiya Aziz
Supparat Surachit
Sze Lok Justina Leung
Tamar Sarkissian
Thomas Boulton
Toby Snoswell
Trina Zadorojnai
Tsz Ying Ella Hui
Ursula Blyth Morter
Wanru Li
Wing Tung Cherrie Cheng
Yat Tung Yumi Lam
Yee Ching Kelly Tang
Yee Man Zoey Pang
Yina Gu
Youjing Liu
Youngchan Choi
Yu-Chieh Kuo
Yuxuan Shen
Zaki McGarragle
18 Text by Kieran Connolly Opposite - Rohan Smith

19

At Home in the City
For our first design project of the year, students explored housing design and its role in shaping communities. Based in the rich and varied
context of Shieldfield – a residential neighbourhood just to the east of Newcastle city centre – students explored seven distinct ‘themes’ and
house ‘types’, from row houses to apartment blocks, co-housing to temporary accommodation for migrants and refugees.
Throughout the project, students were asked to think carefully about ‘who’ they were designing for, working across a range of scales that
addressed the detailed design of domestic space through to urban scale thinking about how their proposals responded to the physical context
of the city as well as the social context of the existing Shieldfield community.
20 Above - Campbell Carmichael

Top Left to Right - Amy Bradley, Anastasia Edmunds Mid Left to Right- Helena Bolek, Sinead Holdsworth Bottom - Caspar Baker
21

22 Top - Andrew Watson Bottom - Chen Xu

Top Left to Right - Chole Leung, Anna Gavrilova Mid Left to Right - Campbell Carmichael, Grian Summers Bottom - Libby Metherell
23

Future ecologies: architecture in the climate crisis
For the second project of the year, students have explored ways of cultivating ecologically responsive design practices in a direct response to
the ever-more urgent global climate emergency. Working on a selection of sites across the Fish Quay, North Shields, at the mouth of the
River Tyne; projects offer propositions for a small-to-medium-sized public building and spatial programmes developed around five keywords:
testing, fixing, connecting, performing, and learning.
Importantly, throughout the duration of the project, students were expected to demonstrate a rounded-awareness of the potential climaterelated
impacts of their design decisions and to further demonstrate a deeper understanding of more sustainable construction and material
selection through critical evaluation of the choices made during the development and realisation of their design proposals.
24 Above - Anushka Bellur, Crystal Grimshaw, Yuxuan Shen, Hooman Valizadeh, and Harrison Wade - Framing exhibition

Top - Harrison Wade
Bottom - Joe Rowlinson
25

26 Top - Owen Browning Bottom - Shivani Patel

Top Left - Leiticia Rohl Rodrigues Top Right - Misela Benina , Rhiannon Williams Bottom - Campbell Carmichael
27

28 Top - Jasmin Yeung Bottom - Rahul Patcha

Top - Caspar Barker Bottom Left - Zoey Pang Bottom Right - Crystal Grimshaw
29

Stage 3
Our stage 3 students have responded admirably to the challenges that have been presented to them through their
education and are emerging into the world even more widely skilled, resourceful, flexible and resilient than usual.
We have maintained our tradition at Newcastle for year-long ‘studios’ and this year students were given a choice of 8
studios. Each studio was taught by a pair of tutors – comprising varied combinations of academics and practitioners –
who set themes that broadly reflect their practice and research interests. Whilst the studios share a common timetable
they are encouraged to pursue and explore different methodologies and themes – from environmental modelling,
through systemic design to art practice.
Studio themes this year were typically diverse including circular material economies (with sites all around the world),
future sustainable industries and tourism around Redcar, dementia care facilities in Newcastle and re-purposing the
brutalist Civic Centre in Sunderland.
This year we have increased our focus on the climate crisis – with all studios now requiring the students to respond
to different aspects of this, including attitudes to existing structures, consideration of low carbon technologies and
circular economies. We have also included more ‘team working’ aspects to the course and further opportunities for
peer learning and reviews. Further to this we hope you can see from the projects developed by students this year an
ever-increasing interest in the architect’s role in wider social issues.
Year Coordinators
Matthew Margetts
Cara Lund
Jack Mutton
Studio Leaders
Andrew Ballantyne
Anna Czigler
Cara Lund
Harriet Sutcliffe
Hazel Cowie
Jack Mutton
James Perry
Jess Davidson
Jianfei Zhu
John Kinsley
Luke Rigg
Matthew Margetts
Neil Burford
Neveen Hamza
Sophie Baldwin
Stephen Parnell
Steve Ibbotson
Stuart Franklin
Tom Randle
Students
Abigail Elisabeth Hawkins
Adam Bashir Ramadan Hawisa
Adel Wahab
Afopefoluwa Oluwatamilore Carew
Aijia Zhang
Ailish Niamh Burger
Alexander Jacob Caminero McCall
Alma Eliza Shiamtani
Alyssia Constance Thompson
Amy Louise Baynes
Anastasia Dombrovskaia
Anastasiia Tymkiv
Anastassiya Galkina
Aris Skenderis
Auguste Baranauskaite
Augustinas Zaromskis
Ayesha Lyn Miraflores Isahac
Bethany Sprigg
Cameron Dryden Straughan
Cameron Reiss Clark
Chaehyun Cho
Charlotte Louise Brooks
Chenghao Xu
Cheuk Tin Constantine Kwan
Chi Wun Rex Cheng
Christian Thomas Davies
Christopher James Hegg
Conan Michael Quigley
Dana Sikman
Daniel Hodgson
Daniel Maarten Bird
Djiesica Carennia
Dominique Romero
Dylan Charles Young
Edward Harry Salisbury
Elena Isabelle Crockett
Eliza Grace Creedy Smith
Elliot Stirman
Elsa Sophie Mills
Emily Rose Millward
Emma Jane Willis
Esmeralda Hysen
Fai Mak
Fangxu ZHU
Fay Harvey
Gabija Jasiunaite
Gabriel Cheuk Sum Au-Yeung
Gabriele Dauksaite
Genesis De Los Angeles Bravo Sanchez
Genevieve Penelope Clare Sligo-Young
George Douglas Bennett
George Francis Decker Whipple
George Joseph Avery
George Oliver Watson
Georgia Doireann Minson
Georgie Tallulah Richardson
Grace Carroll
Guoyi Huang
Haekal Dzikri Ananta Putra
Hannah Maria Batho
Harun Kilic
Hawraa Ali Abdallah Al- Alawiya
Hei Ka Tang
Hiu Tsun Michelle Mok
Ho Man Ng
Ho Wing Tam
Hoi Ting Chloe Tam
Hoi Yan Lam
Hong Tung Chau
Ian Mellish
Iason Bezas
Isabel Maria Mora Rubio
Ivan Malov
Jacob Bowell
James Robert Charles Skinner
Jedd Howie Payumo Manlulu
Jemima Tiger Droney
Jiahui Yao
Jing Hao
Jingqi Li
Jirong Peng
Jonatan Peter Muller
Jordan Niels Patrick Shanks
Joseph Alexander Kavanagh
Josh Gordon Stanton
Joshua Simmons
Justyna Nowosad
Kacper Roman Brach
Kathryn Ann Patterson
Kayleigh Louise
Metcalf
Khaled Walid Abdelhamid Abdelkader
Laurence Beau Bonson Evans
Lily Alexandra Kerr
Lily Belle Elgood
Lixuan Huan
Luke Samuel Pearce
Maisie Emily Church
Marianne Mikhail
Maryam Humaira Binti Ahmad Amer
Max Dexter Friedman
Michelle Sie Ee Lim
Mingyeong Kim
Monserrat Brenes Mata
Muhammad Zaki Agung
Mustafa Cem Tole
Nadia Iskandar
Namo Hong
Natalie Franziska Yau
Neelam Sangeeta Priyanka
Majumder
Niamh Hannah Kelly
Nicholas Barker
Nicole Law
Nikolay Plamenov Tinev
Noor Khalid H M Al-khayat
Oi Yan Li
Olivia Emily Roberts
Pak Hin Tsang
Patrikas Areska
Paworaprat Phinyo
Peter Anthony Windle
Philip David Gerald Russell
Phoebe Amelia Powers
Pooja Lade
Prajwal Balija Pradeep
Quynh Anh Nguyen
Rachel Lauren Baldwin
Rafaella Barahona Maldonado
Robert Brentnall Gowing
Rodrigo Rafael Riofrio Colina
Ruby Marie Lovatt
Ruoxuan Jiang
Salma Hussameldeen Sayed
Abdelghany
Sam Austin Hudson
Samer Alayan
Samuel Barker
Samuel Duncan Hewitson
Sandhy Thaddeus Sumadi
Sandra Sara Muzykant
Sara Fahmi Moh’d Bassam Yaish
Serena Kathryn Martineau Walker
Si Cheng Fong
Sin Yu Soe Chan
Sofia Peracha
Sophie Stubbs
Sophie Caroline Daisy
Robson
Stephanie Alice Freeland
Supapit Tangsakul
Taichen Jiang
Tanisha Jain
Thomas Rhys Smith
Tiffany Angel Fang
Ting Cheung Lam
Troy Vimalasatya
Rahardja
Tsz Ching Wong
Vicente Theobald
Baum
Woosang Park
Xingjiang HU
Xiwen Xu
Xixian Wu
Xuhan Zhang
Yaqing Tu
Yi Chun Kuo
Yingjin Wang
Yuan Zhang
Yuheng Zhang
Yuk Ying Ho
Yuqing Liu
Zainab Fatima
Zuzanna Iga Zapart
30
Text by Matthew Margetts
Opposite - Thinking through Making Exhibition

31

Stage 3 Thinking Through Making Week
Thinking Through Making Week takes place in week one of semester two and is an opportunity for Stage 3 to produce a conceptual made piece
exploring the tectonic themes inherent in their project. 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 making inflects thinking underlies the production of architecture. Thinking Through
Making Week challenges students to use the skills and knowledge acquired during Semester 1’s Tools for Designing workshops series to
produce an explorative model that embodies the material and tectonic qualities of their emerging design projects. Throughout the week,
students explored the possibilities of a chosen material or selection of material(s), the potentials of technologies, and the viability of systems or
structures through acts of making. Students were asked to approach the week with an open mind, allowing themselves to be experimental in
their choice of material and the processes of making whilst embracing both success and failure as a productive experience.
Workshop List:
Re-mediating site: clay as a vessel of
recollection
Alex Blanchard
Design for bamboo durability
John Naylor
Exploring and recording sites
Helen Shaddock
Examining process
Michael Choi
Designing through sketch models &
digital drawing
Green Mat Studio
Axonometric studies for spatial
exploration
David Boyd
Casting with concrete
Ellie Gair
32

33

WORMS EYE VIEW
DomestiCITY
Hazel Cowie & Jess Davidson
DomestiCITY is a housing-based studio that asks students to examine the role that housing can play in developing ideas of civic space. Taking
the position that housing is not only a manifestation of power relations within society, but a vehicle through which an alternative social order
can be imagined, the studio works towards developing a new housing and civic landscape for Gateshead. We explore ideas around the right to
the city, and question the conformist and compliant role that architecture is often seen to have in the production of housing. Our theoretical
approach also extends to material and tectonic thinking where we explore creative uses of prefabrication and off-site manufacture and the
effect these might have on the shape of architectural practice in the future
Celebration Piece 04 - Thinking Through Modeling
34 Top - Georgie Richardson Bottom Left - Ivan Molov Bottom Right - Eliza Creedy Smith

- P E R S P E C T I V E S E C T I O N -
Top Left - Sam Hewitson Top Right - Namo Hong, Jordan Shanks Bottom - Kathryn Annie Patterson
35

Celebration piece 4:
*
Kitchen of the day-care centre:
73
36 Top Left - Prajwal Balija Pradeep Top Right - Sam Austin Hudson, Sofia Peracha Bottom - Patrikas Areska

78
Top Left to Right - Dana Sikman, Jiahui Yao Bottom Left - Sandra Muzykant Bottom Right - Ting C. Lam
37

Work in Progress
Jack Mutton & Harriet Sutcliffe
This studio is engaged in ideas concerning context, historical narrative and materials that create enduring architecture in search of a wider
intelligibility. Working through a process of research, rather than invention, we are looking to create architecture that is rooted in place and
explores the experiential potential of materials, carefully pieced together in a celebration of craft. We are looking to create architecture that is
contemporary yet not isolated in time.
This year we consider how we can deploy process-led methods to create architectural proposals that are rich in narrative, spatial complexity and
identify with their surroundings. We consider the changing nature of an architecture that lives on well beyond the designer and will continue
to be added to, adjusted and modified over time - we explore building as a continual process - a work-in-progress.
We investigate architecture as process and study the city using works of art from artists such as Eva Hesse, Robert Morris, Phyllida Barlow
and Eduardo Paolozzi as a lens - a way of seeing and making sense of our surroundings. These observations form the basis of our proposals
and we look to create figurative and characterful buildings that re-use and adapt existing structures. Working in Jesmond Dene our projects
sit between rural and urban, providing a series of work-spaces and shared facilities for creative communities.
38 Above - Monserrat Brenes Mata

Above - Adel Wahab
39

40 Top Left to Right - Chi Wun Cheng, Tanisha Jain Middle - Ayesha Lyn Miraflores Isahac Bottom Left to Right - Hoi Ting Chloe Tam

Top, Left to Right - Elsa Sophie Mills, Sophie Stubbs
Middle and Bottom - Nicole Law
41

Ghost in the Machine
Matthew Margetts & Cara Lund
For several years now our studio has been interested in people and their relationship with systems and infrastructures. These can be hidden
(intangible – e.g. social networks or local legends and stories) or visible (tangible – e.g. buildings and railways). We are particularly interested
in how these systems respond to change and how they can be adapted or appropriated. This year we selected Redcar as our test bed for applying
a System Thinking approach to design. Granted it is not the most glamorous location, so why Redcar? Redcar and the stretch of coastline
from the high street up to the South Gare is a fascinating manufactured strip of land which incorporates a multitude of territorial conditions,
including, post-industrial steelworks, beaches, retail, sites of special scientific interest, ex gun batteries, water sports and fishing huts. Its
industrial heritage is under threat, and in most cases has been erased; we will explore the afterimage of that industry. This studio asks students
to consider the agency of an architect in augmenting a landscape such as Redcar, in the shadow of its industrial past and in the context of a
desire to increase staycations in the area. Tourism has a long history with architecture and they are often inextricably linked; tourism can have
a profound impact on our built environment, as heritage is preserved manicured and framed for the tourist. How can tourism have a reciprocal
relationship with its surroundings? We explore new and experimental tools to view place from the perspective of a chosen protagonist(s) (user).
Drawing from a variety of sources, including systemic design, storytelling, science-fiction, digital design, graphic design and cartographies.
We work with Redcar and Cleveland Borough Council as part of our practice work, and we intend to engage with the Council through the
studio, providing students with a real-world client experience.
42
Above - Lixuan Huan

Top Left - Lixuan Huan Top Right - Tsz Ching Wong Bottom Left - Elena Isabelle Crockett Bottom - Hoi Yan Lam
43

44 Top - Gabriel Cheuk Sum Au-Yeung, Cameron Reiss Clark Middle -Gabriel Cheuk Sum Au-Yeung, Fai Mak Bottom - Olivia Emily Roberts

From REDCAR with love
South Gare, Redcar, Cleveland
Top Left - Djiesica Carennia Top Right -Max Dexter Friedman, Anastasiia Tymkiv Bottom - Olivia Emily Roberts
45

House of Memories
Neveen Hamza & Stuart Franklin
This studio develops an approach towards a non-institutional architecture in health care settings, that reduces the societal stigma of dementia,
with a clear approach to addressing climate change and diminishing natural resources without compromising the needs of fragile users. As
an evidenced-based studio, insights from environmental psychology research and advances in building and urban performance simulation
modelling are utilized to inform a dementia user-centric yet energy efficient and sustainable architectural design approaches. The studio takes
us on a journey to explore creative architectural designs that provide meaningful multi-sensory experiences, social engagement, indoors and
outdoors space design that compensate for cognitive deficits, environmentally comfortable yet energy efficient environments that reduces
agitative behaviour and slows progression of the disease.
46
Top- Supapit Tangsakul
Bottom- Anastasia Dombrovskaia

Top - Stephanie Alice Freeland Middle Left to Right - Supapit Tangsakul, Stephanie Alice Freeland and Nicholas Barker Bottom - Jing Hao
47

48 Top, Left to Right - Nicholas Barker, Xixian Wu Middle - Rafaella Barahona Maldonado Bottom - Xiwen Xu

Top - Phoebe Amelia Powers
Middle and Bottom - Lily Alexandra Kerr
49

Weaving in Wallsend
Luke Rigg, Sophie Baldwin & Tom Randle
Weaving in Wallsend explores ideas of civic space through the construction of ‘urban commons’: networked sites of shared public resources
and community facilities that are carefully woven into the fabric and ecologies of the city.
More broadly, the studio considers how architects can operate as advocates, agents that seek proactive social change, questioning the typical
roles of power within the construction industry and re-emphasising the importance of citizen empowerment and inclusivity. Members of
the studio were asked to consider who they are advocating for, speculate on the ‘right to architecture’ and actively seek methods and design
practices formed by social consciousness and activist tendencies.
Working within the wider context of Wallsend, the studio developed retrofit strategies for the Forum Shopping Centre reimagining it as
an ‘urban commons’ — a site of community, culture and exchange that prioritises inclusivity over exclusivity, public over private and the
community over the individual.
50
Above - Troy Vimalasatya Rahardja

Top Left - Nikolay Tinev Top Right, top to bottom - Niamh Hannah Kelly, Nadia Iskandar Bottom - Sara Yaish
51

52 Top - Mingyeong Kim, Maryam Binti Ahmad Amer Middle Left to Right - Chris Hegg, Jirong Peng Bottom - Yuk Ying Ho

Top Left to Right - Aris Skenderis, Ho Wing Tam Middle Right - Afopefoluwa Carew, Ailish Burger Bottom - Emma Willis
53

Stolen Futures
Stephen Parnell & James Perry
The built environment may be a constructed representation of society, but that doesn’t mean that a different architecture will result in a
different society: architecture cannot solve society’s problems, though, considering that buildings are responsible for 40% of carbon emissions,
it can certainly add to them. Nevertheless, Stolen Futures asks students to imagine an alternative society and the architecture that it will need.
We look at the issue of adaptively reusing post-war buildings, specifically those of the Brutalist idiom, in the belief that the greenest building
is probably one that already exists. This year we looked at Sunderland Civic Centre and asked how it could be repurposed if Sunderland
Council were to promote a programme of community wealth building along the lines of the so-called ‘Preston model’. We looked at what a
civic architecture of the future might be in an age of care, cooperation, and climate responsibility.
54
Top - Fangxu Zhu
Bottom - Ho Man Ng

0 1 5 10m
Celebration Piece 4 /
Sectional perspective
showing the inhabitation
Top to Bottom - Gabija Jasiunaite Mid - Alma Eliza Shiamtani, Sin Yu Soe Cha Bottom - Alma Eliza Shiamtani
55

56 Top Left - Isabel Maria Mora Rubio Top Right, Top to Bottom - Auguste Baranauskaite, Alyssia Constance Thompson Bottom - Cheuk Tin Constantine Kwan

Top Left to Right - Xingjiang Hu, Rodrigo Rafael Riofrio Colina
Middle Left to Right - Yaqing Tu, Luke Samuel Pearce Bottom - Sophie Caroline Daisy Robson
57

Material Systems
John Kinsley & Anna Czigler
When we think of context in our design projects we might conventionally consider neighbouring buildings, the street and community, or
even the town or city where the project is located. But construction in the 21st century is an international process, using raw materials and
fabrication processes from all over the world. What implication does this ‘bigger here’ have for the choice of materials? Similarly, when we
think of a building’s lifespan, we might consider how our projects can be de-constructed at the end of their life, but what happens to their
fabric after that? How can the materials be re-used or recycled and continue to be useful in a ‘longer now’?
This studio focuses on the creative use of materials, and the geological, ecological, technological and social systems that make up the process
from sourcing them to using them. We look at strategies to use materials in many shapes and forms: historic, local, high-tech, vernacular,
not-yet-existing or recycled.
Our projects aim at developing a set of architectural moves to create a new infrastructure for mapping, sourcing, transporting, making, using,
disassembling or reusing a creative range of materials.
58
Top - Sandhy Thaddeus Sumadi Bottom Left - Jedd Manlulu Bottom Right - Salma Abdelghany

Top - Gabriele Dauksaite Middle - Vicente Theobald Baum Bottom - Iason Bezas
59

60 Top - Anna Li Mid Left - Adam Hawisa Mid Right - Genesis Bravo Bottom - Aijia Zhang

Top - Hei Ka Tang, Natalie Franziska Yau Middle - Metcalf Kayleigh, Elliot Stirman Bottom - Haekal Putar, YuHeng Zhang
61

Curating the City
Neil Burford, Jianfei Zhu & Andrew Ballantyne
The studio explores the ideas of ‘curating’ as a method to critically engage a World Heritage Site – Saltaire in West Yorkshire. Built in 1851-
53, Saltaire was a model village/town comprising of, then, the largest and most advanced textile mills, with workers housing and communal
facilities, all in a coherent planning of townscape and landscape. A culmination of industrial settlement development over a century, and a
pioneer of ideas of town planning and the Garden City to come, Saltaire – now a World Heritage Site – commands a pivotal position in the
Industrial Age and the forming of ideas that constituted the meaning of being modern – such as welfare society and city planning. The task
within the studio is to develop a way of curating the site by contributing a research-led design intervention using theorized agendas that engage
the past and the present, placing an emphasis on ecology, landscape and cityscape. Exploring a network of ideas and using the toolkit and
conceptual armoury of ‘critical heritage studies’, curation is used as a key concept and method to address the two different concerns (history
itself and our perspective and relations with it) – curating our seeing, reading, knowing, interacting, contributing and promoting values of
the site.
62
Above - Samuel Barker

Top Left, Top to Bottom - Kacper Brach, Laurence Evans Top Right - Charlotte Brooks Bottom - Zuzanna Zapart
63

64 Top - Si Cheng Fong Middle -Yuqing Liu Bottom - Bethany Sprigg

Top Left - Ruby Marie Lovatt Top Right, top to bottom - Mustafa Cem Tole, Ruby Marie Lovatt Bottom - Laurence Beau Bonson Evans
65

BA Field Trips
Following the return to in-person teaching this year, we also re-introduced the very popular Field Trips, with a UK focus for now. Destinations
ranged from Glasgow to Hastings, including building visits that covered well established ‘classics’ such as the Leicester Engineering Building
and a wide range of contemporary projects such as the Drawing Matter Archive in Somerset.
Destinations:
Ghost in the Machine:
Hastings, Folkstone via Leicester
Stolen Futures:
Manchester, Sheffield and Preston
Work in Progress:
Glasgow
Weaving in Wallsend:
London
House of Memories:
Manchester and Liverpool
Curating the City:
Bath, Newt, Hauser and Wirth, Drawing Matter Archive, Hooke
Park in Dorset and the East Pier Community Centre, Watchet,
Devon
DomestiCITY:
London
Material Systems:
Scottish Construction Centre and BSW Sawmill, Dumfries
66

67

68

Master of Architecture (MArch)
Iván J. Márquez Muñoz – Degree Programme Director
The MArch programme is designed to help students develop their critical and creative
thinking and stretch the boundaries of their imagination. It places a strong emphasis
on developing an independent approach to design, encouraging students to test and
discover what architecture means to them and what they might want to do with their
degree. The programme aims to provide students with a supportive and intellectually
stimulating environment in which they are encouraged to pursue their own design
research agendas.
The programme comprises two years of study, first year (Stage 5) and second year
(Stage 6). There is also the option to undertake a 3-year MArch with International
Study Year, taking a gap year of exchange studies between Stages 5 and 6 at one of
our international partner institutions. Set around different locations, and approaching
design in very different ways, Stage 5 contains two semester-long projects that build
one on the other to form an in-depth critical study and re-imagining of a particular
urban context. The first semester’s project approaches architectural design from
the wider scale of the urban context; and the second semester’s project gravitates
towards the building scale with a focus on details, tectonics, materials, construction,
environmental and atmospheric considerations. Stage 6 builds on this by synthesising
knowledge and ideas into a design thesis split over two semesters, which ultimately
sets out the student’s architectural position as a designer at the end of their formal
design education.
The design modules of the programme are delivered through vertical studios across
both years of the MArch, all with distinct briefs that pose specific challenges formulated
by their respective tutors. Every studio is formed by a mixture of both Stage 5 and
Stage 6 students working together throughout the year, creating an integrated studio
structure that provides a well-defined intellectual framework for projects. The weekly
design tutorials are supported by frequent seminars, lectures, and specialist technical
consultancies. These are also completed by critic-led reviews with panels of expert
academics and practitioners invited from across the country, as well as cross-year
reviews that broadened the range of discussions.
Our curriculum is designed to help students define the kind of architect they want
to be and tailor their portfolio towards the practices in which they want to work or
areas in which they would like to demonstrate their expertise. To this end, alongside
the design studios, a series of non-design modules complete the programme through
which students can choose an elective pathway to be carried out over the two years of
the programme, effectively tailoring the programme according to their areas of interest.
A wide range of options allows students to either write a research Dissertation; to work
in small groups to develop a Linked Research Project, on a project associated with
research proposed by a member of staff; or to develop a specialism in Urban Planning
or Urban Design selecting a series of modules from our School’s respective Masters in
those disciplines, which could ultimately lead to a dual qualification if that particular
route is continued after graduation.
Text - Iván J. Márquez Muñoz
Opposite - Jay Hallsworth
69

Stage 5 & 6 Vertical Studios
This academic year the design modules of the MArch programme were delivered through six vertical studios across
both years of the degree. The research-led masters vertical studios included: “Building Upon Building”, a studio
that challenged students to design upon existing buildings designed by Sir Norman Foster – i.e. through a new
building, a major addition or a transformation of it; “The Big Here and The Long Now”, a studio which focused on
the creative use of materials and the geological, ecological, technological and social systems that make up the process
from sourcing them to using them; “Edge Conditions”, a studio that proposed investigating architectural responses to
border conditions, conceived both literally and figuratively; “Material Change”, a studio that questioned how our cities
can reinvent themselves in response to the global climate emergency; “Remapping the Neo-Avant-Garde”, a studio
in which built and unbuilt projects were considered as providing models for developing methods for addressing the
complexities of intervening in historical contexts, on existing structures and in traditional urban settings; and a studio
titled “Degrowth and Design”, which aimed to rethink what architecture and architects can do, what tools are needed
and what practices can be adopted to respond and contribute to an optimistic future, for architecture, for people and
for the future of a city.
Stage 5 Coordinator
Iván J. Márquez Muñoz
Stage 6 Coordinator
Claire Harper
Project Leaders
Anna Czigler
Christos Kakalis
Claire Harper
Daniel Burn
David Boyd
Graham Farmer
Iván J. Márquez Muñoz
John Kinsley
Josep-Maria Garcia-Fuentes
Lola Mulledy García
Nathaniel Coleman
Prue Chiles
Tom Ardron
Stage 5 Students
Afiq Rozhan
Anna Kupriyanova
Anushka Atamprakash Juneja
Cameron Alexander McKay
Chloe May Dalby
Chun Hoi Wong
Eve Pardoe
Florence Nancy Muwanga Nayiga
Harry Boakes
Hastie Mirsamadi
Hiu Lam Jessica Cheng
Hope Frances Foster
Hyelim Lee
Iulianiya Grigoryeva
Jack Menzies-Astley
John Roberts
Jose Diogo Figueira
Kwok Tung Constance Tso
Martina Dorothy Hansah
Matthew Nam Xing Tan
Natalie Si Wing Lau
Oliver Spurr
Olivia Rose Jackson
Qixing Huang
Roxana Andreea Caplan
Senjeeven Dhanen Mungapen
Shahryar Abad
Shivani Umed Patel
Siu Chung Tong
Sophie Hannah Heuch
Stuart Lanigan
Sze Man Wong
Thomas Barnetson
Tin Wai Ma
Yan Cheng
Yu Hua Lee
Zeyu Chen
Zongshui Jiang
Stage 6 Students
Abbey Mcguire
Anastasia Winifred Cockerill
Aysel Imanova
Ben Dean
Beth Paige Hardy
Bohan Qiao
Brandon Athol Few
Chi Ming Ng
Dana Raslan
Dora Mary Frances Farrelly
Emily Jane Charlton
Erya Zhu
Feyzan Sarachoglu
Frazer Morgan Ellis Watson
George Salsbury Spendlove
Harry Charlesworth Groom
Heather Annie O’Mara
Hiu Kit Brian Hui
Hizkia Widyanto
Ho Hang Ryan Fung
Holly Veitch
Ibadullah Shigiwol
Irene Dumitrascu-Podogrocki
Isabel Lois Fox
Jacob Oliver Botting
Jake Thomas Williams-Deoraj
Jason Francis Glionna
Jay Antony Hallsworth
Jemima Alice Smith
Jing Olyvia Tam
Joshua Willem Jago Knight
Juan Felipe Lopez Arbelaez
Kushi Lai
Liam Kieran Rogers
Maria Aksenova
Marina Patsia
Mollie Macdonald
Momoko Otsuka
Natasha Alexandra Rice
Nathan Alan Cooke-Duffy
Olga Karchevska
Robert Lloyd
Rory Patrick Durnin
Sarah Marie Askew
Sarah Safwan Moh’d Hasan Al Hasan
Solomon Olufemi Adeyinka Ofoaiye
Sophie Agnes Wakenshaw
Sophie Charlotte Spoor
Sophie Grace Collins
Tashanraj Selvanayagam
Tunu Maya Nichol Brown
Victoria Louise Haslam
Xingtong Li
Xueqing Zhang
Yuan Chen
Zacharias Yiassoumis
Zhana Hristova Kokeva
70
Text - Iván J. Márquez Muñoz
Opposite - Roxana Caplan

71

Material Change
Daniel Burn, Lola Mulledy García & Graham Farmer
Our studio this year has focused on Gateshead Riverside Park with the simple aim of understanding the qualities of the space in order to
speculate on future opportunities for the park and local area. The park sits on the south side of the River Tyne between Dunston Staiths and
the High-Level Bridge. The park is in a strategic position alongside the established and emerging residential communities of central Gateshead
and Dunston Staiths and the leisure and employment opportunities on the riverside, Gateshead Quays and the Town Centre. The park’s
current character is as an informal recreational space with multiple access points and edges that overlap with a complex and varied collection
of neighbouring uses. The space is also characterised by a complex topography defined by its position on the sloping flanks of the River Tyne.
The site has a rich and important industrial history and retains many heritage features such as the Dunston Staiths and the bridge landing
of the former Redheugh Bridge. The topography of the river valley retains the marks of the former industrial uses and beneath the site there
are disused mining tunnels, which limit the scope of development at the surface. The park is home to many art installations, including work
by Andy Goldsworthy and Richard Deacon. The programme of art installation has been led by the local authority to reshape the space as
an attraction for leisure uses. The site is also an important ecological resource, and the mudflat and saltmarsh landscape are of particular
importance as are the woodland areas.
In keeping with the approach followed by our studio in previous years, we aim to maintain a focus on material research and building methods
with the intention to learn more about how we can reduce the impact our buildings have on the environment by design structures that use
less embodied carbon and reduce the amount of carbon in use. Our work at GRP also seeks to create design briefs that are appropriate for the
site, looking to future uses and connections to make buildings that will have a long useful life.
The group began their work with an in-depth group research report, analysis of the physical and social context of the site, and the
environmental and cultural context of the site. The work culminated in a shared research document and masterplan manifesto that was
presented to Gateshead City council in October 2021. From this position each member of the studio developed a proposition for a built
intervention within the environs of the park.
Timber construction methods have been a key consideration of the studio brief this year. We have studied opportunities for sourcing materials
locally, with Kielder Forest an important candidate for sourcing material. We have visited the Egger plant at Hexham to witness large scale
production methods for timber products. We have also made a study visit to London to meet engineers and architects that specialise in
building with timber.
72
Above - Sophie Wakenshaw

Top - Jing Olyvia Tam
Bottom - Kushi Lai
73

RESIDENTIAL COMMUNITIES
CO-WORK STUDIOS
LEISURE & AMENITY
74 Top - George Spendlove Bottom - George Spendlove

URBAN FARMING
MARKET & DECKING PLAZA
20m
Top - Juan Lopez Arbelaez
Bottom - George Spendlove
75

76 Top, Middle - Harry Groom Bottom - Victoria Haslam

Top, Middle - Sophie Wakenshaw
Bottom - Jing Olyvia Tam
77

78 Top - Juan Lopez Arbelaez Bottom - Thomas Barnetson

Top, left to right - Aysel Imanova, Kushi Lai
Middle, Bottom - Natalie Si Wing Lau
79

80 Top - Oliver Spurr Middle - Thomas Barnetson Bottom, left to right - Aysel Imanova, Victoria Haslam

Top, Middle - Olivia Rose Jackson
Bottom. left to right - Victoria Haslam, Olivia Rose Jackson
81

Architecture and its Education Redux: Remapping the Neo-Avant-Garde
Nathaniel Coleman & David Boyd
The central challenge of the Architecture and its Education Redux: Remapping the Neo-Avant-Garde studio is to confront the seemingly
irresolvable contradictions between architecture’s myths of autonomy and its entrapment within the building industry (which largely limits
work to reproducing capitalist spatial practises and modes of production). As such, the studio’s alternative title could be Socialising Formalist
Methods in the Production of Space.
Contrary to neoliberalism’s fetishisation of the NEW, Remapping students endeavour to identify intersections between Design Research
and Historical Research (without being defeated by either conservatism or vapid novelty). Bricolage ‒ the ‘construction or creation’ of
something ‘from a diverse range of available things’ ‒ is where architectural neo-avant-gardes and Punk meet, and could be a corrective to
the fundamentalist orthodoxy of architectural modernisms. Bricolage, loosely translated as ‘do-it-yourself’, is cognate with Punk’s DIY ethos,
aligning both with the studio’s consideration of fragments.
Building with available and discarded materials subverts the catastrophic illogic of resource intensive overproduction threatening planetary
survival. Although architecture’s perfection consciousness renders bricolage a consumable style, Punk’s anarchistic DIY ethos can recuperate
it by bringing practises closer to the historical avant-gardes, while suggesting tactics for responding to climate crisis. Despite its relative
invisibility to architectural neo-avant-gardes and banal practises, DIY’s embrace of failure constitutes an implicit/explicit critique of capitalist
spatial practises, modes of production and autonomy illusions.
Directly related to the studio’s setting in Italy (virtual field-trip destinations and site locations), the Italian Arte Povera movement provides
clues to alternative spatial practises, material possibilities and modes of production potentially easier to transpose architecturally than Punk,
while sharing its DIY ethos. Explorations of the historical conditions of architecture’s fragmentation facilitates students’ critical responses to
cultivating reimagined grounds of architectural invention. The interrelation of history, form, structure, building systems, building character
and use is introduced as central to cultural work and for design theory research and experimentation as a framing device for bringing whatever
sense of order one imagines to such an unruly bunch of demands.
Across the two stages of the Remapping Studio, built and unbuilt projects provide generative models for navigating the complexities of
intervening in historical contexts; reimagining existing structures; rethinking traditional urban settings; and for addressing the predicament
of institutional structures and ideological crises, evident in the seeming irreconcilability of form and content, signification and representation,
theory and practice, surface and structure, poetry and technology, and claims and results.
82
Above - Holly Veitch

Dora Mary Frances Farrelly
83

84 Top, left to right - Sarah Al Hasan, Robert Lloyd Bottom - Ho Hang Ryan Fung
116

Top - Isabel Fox
Bottom - Tashanraj Selvanayagam
85

89 90
86 Top - Robert Lloyd Middle - Holly Veitch Bottom - Isabel Fox

36 37
Top - Robert Lloyd
Bottom - Dora Mary Frances Farrelly
87

88 Top - Isabel Fox Middle - Erya Zhu Bottom, left to right - Ho Hang Ryan Fung, Erya Zhu

1:50
These inhabitants are weavers,
they have learnt through
their tools and their labours,
to build extensions of the
looms, weaving the salvaged
materials of the forgotten city,
construction from the inside
out.
1:50
1:50
DETAIL E1
DETAIL E2
Top, left to right - Dora Mary Frances Farrelly, Ho Hang Ryan Fung
Bottom - Holly Veitch
89

90 Top - Tashanraj Selvanayagam Bottom - Sarah Al Hasan

Top - Erya Zhu
Bottom - Sarah Al Hasan
91

Building upon Building - Norman Foster
Josep-Maria Garcia-Fuentes & Tom Ardron
This studio explores experimental preservation in architecture. The brief is grounded upon the idea that architecture and preservation are
both placed within a cultural continuum and are the outcome of a complex cultural, social and political struggle. These ideas are investigated
through the design of a major addition to — or the transformation of — a heritage building. This process requires an understanding of the
existing construction, including all the ways its architecture and materials express the values it sought to represent and serve at the time, and
the ways these meanings may or may not be extended, enriched, transformed or reshaped by a new addition.
This year the studio has focused on Norman Foster. Throughout his life, Foster has remained passionate about innovation to address present
challenges. His early start in the profession with Buckminster Fuller helps us understand the source of this approach to architecture. Concerns
around efficiency, ecology and sustainability are at the core of his agenda founded at the beginning of his career, as well as a strong dialogue
with architectural history and spatial experience. The studio has researched Foster’s ideas and intellectual anxieties throughout his career, and
it has mapped how these evolved and informed his designs and professional positions within a wider and comparative architectural sense.
The studio, thus, explores ways to move forward in our current ecological and climate challenges through the investigation of Foster’s works
and the use of experimental preservation.
92
Above - Bohan Qiao

Above - Stuart Lanigan
93

94 Top - Stuart Lanigan Middle - Xingtong Li Bottom - Stuart Lanigan

Top, Middle - Xingtong Li
Bottom - Hiu Lam Jessica Cheng
95

96 Senjeeven Mungapen

Top - Bohan Qiao
Bottom - Hiu Lam Jessica Cheng
97

0 1m 2m
1:20
London average rainfall 25mm
Water flows down along the direction
of CLT roof and PV panels
Rainwater is collected from the gutter
and also the soil containers, then send
down through the tank pipes
An basic layout of the water treatment
plant, where for a building as a public
‘museum’, it should contain more
water tanks for the capacity
Greywater from toilet and cleaning
point are coming through serive
pipes.
98 Top - Hyelim Lee Middle, left to right - Qixing Huang, Hyelim Lee Bottom - Qixing Huang

Top - Florence Nayiga
Bottom - Hyelim Lee
99

CARRE D’ART
(Square of Art)
MAISON D’ART
(House of Art)
100 Top - Solomon Ofoaiye Bottom - Jemima Smith

MAISON CARREE
(Square House)
CANOPEE CARRE
(Square Canopy)
Top and Middle - Solomon Ofoaiye
Bottom - Jemima Smith
101

Degrowth and Design - Architectural life in the time of uncertainty
Claire Harper & Prue Chiles
The cultures and practices we have known have been turned inside out, social worlds we had cultivated have migrated to new places of
exchange and the economic system with its default modes of operation that have shaped our experience as citizens, students and architects,
appears increasingly unviable. We are at a critical point, but one which does not have to be claimed by nihilistic claims about the end of
history, of architecture and of the necessity for design. The aim of the studio again this year is to rethink what tactics we need to employ and
what practices we might adopt to respond and contribute to an optimistic future, for architecture, for people and for the future of the city.
The key overarching concept that informs our approach is Degrowth. Degrowth is defined as a planned reduction of energy and resource
use designed to bring the economy back into balance with the living world in a way that reduces inequality and improves human well-being.
We see this as an asset, not a liability. This involves ecological and ethical thinking, and a new attitude towards maintenance and care. This
new thinking also needs new forms of representation, new ideas and ways of drawing those ideas. Re-making revitalization and maintenance
ranges from social justice to visible beauty. Understanding intersectionality and decolonizing our architectural practices need to interrogate
the legacies of late capitalism.
We ask in the studio, what could Sunderland be like in 2070? What theories and perceptions can help to make sense of the future scenarios
presented? What tools and techniques might it deploy, what information would it work from and within this city? Finally, how might we
reshape our practice to be collaborative, curatorial, caring and maintaining?
All of the projects this year work together to create a new Sunderland. They include, transforming the empty civic building complex, into a
new community for the homeless; completely rethinking the city block or neighbourhood; reclaiming the seaside from plastics and sewage;
creating city centre energy from waste and re-use; and reassembling objects from the tiny to the huge. Some projects prioritise the non-human,
some explore the importance of history, craft and the archive for the future city and finally how we might even begin to grasp the most
impossible concept of contemporary energy use – nuclear storage under Sunderland. They range in scale and approach and key themes but
together build a new future and a new manifesto for the Port City of Sunderland in 2070
102 Above - Tunu Brown

Top - Xueqing Zhang
Bottom - Natasha Rice
103

104 Top - Tunu Brown Middle - Chun Hoi Wong Bottom - Maria Aksenova

Top - Xueqing Zhang Middle - Hastie Mirsamadi Bottom - Maria Aksenova
105

106 Jay Hallsworth

Top - Jay Hallsworth
Bottom - Nathan Cooke-Duffy
107

108 Top - Chloe Dalby Middle - Natasha Rice Bottom, left to right - Iulianiya Grigoryeva , Natasha Rice

Top - Beth Paige Hardy Middle - Iulianiya Grigoryeva Bottom - Nathan Cooke-Duffy
109

110 Top - Nathan Cooke-Duffy Middle and Bottom - Abbey Mcguire

Sophie Collins
111

Edge Conditions
Iván J. Márquez Muñoz & Christos Kakalis
This studio was an exploration of architectural responses to Edge Conditions, conceived literally and figuratively. An edge signifies the
boundary between two different spatial conditions ‒ but this boundary can take myriad forms, invoking a wealth of associations and spatial
conditions that can find tectonic expression. Edges may be concrete like a wall or imagined like the time zones, they may be solid, porous
or fluid. This broad and graduated spectrum finds form in an equally diverse vocabulary of design at different scales with walls, façades,
arcades, thresholds, shutters, windows, steps and stairs, gateways and passages which modulate liminality through variations in height, opacity,
material palette and detailing.
In this studio, by proposing Edge Conditions as a deliberately loose frame, we wanted to enable a wide range of experimentations and
iterations from the most literal and material translations of the notion to the most ephemeral and metaphorical. Using the city of Edinburgh
and the Firth of Forth as the background context to provide a framework for the interventions, there was plenty of room for students who
chose to define their projects as serious social criticism, intensifying the practices that exacerbated the inequities on both sides of the boundary
to render them starkly visible and for projects conceived as social satire, articulated as full-blown parodies of the contemporary society of
spectacle.
112
Above - Yan Cheng

Jake Williams-Deoraj
113

114 Top and Middle - Irene Dumitrascu-Podogrocki Bottom - Cameron McKay

Top - Jake Williams-Deoraj
Bottom - Cameron McKay
115

116 Top - Cameron McKay Bottom - Harry Boakes

Top and Middle - Frazer Watson
Bottom, left to right - Frazer Watson, Jake Williams-Deoraj
117

118 Top - Siu Chung Tong Middle - Yan Cheng Bottom - Siu Chung Tong

John Roberts
119

120 Top - Brandon Few Middle - Harry Boakes Bottom - Brandon Few

Brandon Few
121

The Big Here and the Long Now
John Kinsley & Anna Czigler
When we think of context in our design projects we might conventionally consider neighbouring buildings, the street and community, or
even the town or city where the project is located. But construction in the 21st century is an international process, using raw materials and
fabrication processes from all over the world. What implication does this ‘bigger here’ have for the choice of materials? Similarly, when we
think of a building’s lifespan, we might consider how our projects can be de-constructed at the end of their life, but what happens to their
fabric after that? How can the materials be re-used or recycled and continue to be useful in a ‘longer now’?
This studio focuses on the creative use of materials, and the geological, ecological, technological and social systems that make up the process
from sourcing them to using them. We look at strategies to use materials in many shapes and forms: historic, local, high-tech, vernacular,
not-yet-existing or recycled. These strategies are multi-scale throughout the year: regional and urban strategies of sourcing-transportingmanufacturing-building;
building scale strategies of selecting, recycling, constructing, adopting, disassembling; and product scale strategies
ranging from joints to furniture.
A global strategy of reducing carbon emission will need a holistic approach from architects, including a slowly emerging environmental,
economic, architectural and social framework to create systems that are not just more efficient than what we have now, but aiming to be waste
free. Many such strategies exist and have started influencing urban and architectural design, construction and even behavioural principles,
such as cradle-to-cradle and regenerative design principles. We explore these to understand design through a process-oriented systematic
approach. These principles call for ways of integrating needs of communities and society as a whole, while putting sustainability in a wider
system of ecological and technological flows.
While empty, or at a “minimum Architecture” The offices are
The materials acquired by the exchange
are transported up to the private floor,
open plan. Work is done to arrange material acquisitions
as investment, forming the space
by lifts and automated vehicles.
The Floor is Open plan, besides some
permanent storage units on either flank
The flexible space changes as material
arrives, transforming the architecture
As material arrives, rooms form, the space is part office,
part warehouse. Through the constant coming and going
of material, This is how the space is often found.
From Fabrics to facade panels, the
different materials require unique
storage. THe textures and Forms this
creates brings character to the space
As it defines the walls of the Offices
At “Maximum Architecture” The space is purely storage. As
there is no room for further investment, material must
be offloaded.
6 7
122 Above - Joshua Knight

Top - Liam Rogers
Bottom, left to right - Momoko Otsuka, Liam Rogers
123

25
20
22
27
20
26
24
21
23
21
26
Residential housing unit
=£32,727/m²
middle to high-ended
shopping mall
Redevelopment Typology -
high-ended residential blocks+shopping mall
7
16
The Fringe Club
(Venue for Art Performaces)
7
18
Lui Seng Chun
(Chinese Medicine Hub)
Mei Ho House (Hostel)
23 Blue House
(Community Service Centre,
22 PMQ
Restaurant - Social Enterprises)
(Studios, Exhibition Space,
F&B, Retails)
618 Shanghai Street
(Studios, Exhibition Space,
F&B, Retails)
Cold Storage of Dairy
Farm International Holdings
(1890)
Chinese Medicine Clinic
(1943)
‘Mark I’ building in single configuration Old Hollywood Road Police
Part of Shek Kip Mei Estate
Married Quarters
(1950)
(1950)
Tong Lau Residential Building
Notable for Balconies
(1922)
Veranda Type Pre-war Buildings
(1920-30s)
15
1960
2000
2009
2000
2013
2015
2016
2018
2020
2021
17 The Murray House
(Retail & Museum)
19 Jao Tsung-I Academy
(Museum & Exhibition)
Wo Cheong Pawn Shop
(F&B/Retails)
24 Yau Ma Tei Police Station 25 The Mills
(For TV/Movie Set)
(Studios, Exhibition Space,
F&B, Retails, Pet Friendly)
27 Central Market
(Exhibition Space,F&B/Retails)
Former GB Government HQ
(1846)
Former Lai Chi Kok Hospital
(1887)
Pawn Shop
(1888)
Police Station
(1922)
Nan Fung Cotton Mills
(1954)
Central Market for Fresh Food
(1939)
14
19
2
1
Reclamation of Tsim Sha Tsui
Harboufront and demolishing the
Old KCR Station(Railway) for
creating a leisure hub consist of
Hong Kong Cultural Centre, Hong
Kong Soace Museumand Hong
Kong Art Centre.
2
Tai O is an authentic fishing town with a
history of approximately 200 years.The
governemnt urged that stilt houses
should be demolished in replaced with
Thai-style resort houses to boast
tourism. The local community pressed
strongresistance and the demolishemnt
plan was halt. However, the lack of
conservation plan on these traditional
stilt houses resulted in fire accident
(2000) that wiped out 80% of them.
4
The renowned Lee Tung Street
(1950-2005) was characterised with
traditional housing typology, Tonglau,
with shopsoccupying the ground floor
topped with 5-6storeys of housing block.
The street was also named as ‘Wedding
Invitation Street’. Most of the cities’
printing shops were located here and it
wasa tradition that engaged couples
visit this area for selecting their favorable
wedding invitation design.
Inspite of opposing voices from the
community and neighbor, the entire
street was knocked down and named as
an ‘Urban Renewal Project’ for a
commercialized development of
privateresidential block with high-ended
retails on the street level. The new
development is named as ‘Lee Tung
Avenue’.
6
Queen’s Pier (1925-2008) was demolished
regardless of immense public resistance.Demolition
of a public ferry pier that inherited the colonial
history of Hong Kong in order to give way to a
phase of reclamation along theVictoria Harbour.
The pier carried collective memories as it is a
landmark and a public space that situated in
Central (CBD) the heart of the city. The City Town
Hall Situates right behind it. It was a popular hang
out spot in the past. The new harbourfront is
characteristed with generic ‘Hong Kong Eye’ and a
vast public space for outdoor events (usually with
an entrance fee).
7
9
10
18
3
15 Reclamation of
13 State Theatre Lung Kwu Tan
1
13
11
12
9
6
17
16
Choiyuen Village ( Demolished in 2010). A village
located at the West New Territories where local
farmers grew and sold crops locally. The village was
wiped in order to give way to the construction of the
High Speed Rail connecting West Kowloon to
mainland China.
4
5
8 Kwun Tong Centre Redevelopment Project (Demolished in
2007, 1st phase completed in 2014, entire development will
be completed by 2030). The redevelopment involves
53,500m² replacing Tonglau with new residential-commercial
projects.
The extensive aggregation of high rise residetnial blocks
casued ventialted issues. Moreover, the government rushed
through the demolishment procedures without resolving
8
Stonewall Trees at Bonham
? ?
Road >150 years
Four stonewall trees were
removed secretly shortly
after a stonewall tree was
toppled at the same street.
The natural scenery was
seriously disputed overnight
and the originally trees
provide natural a vast natural
shading along the street with
11 Sai Wan Pier/ 14 RTHK, Education
bus stops.
Instagram Pier Television Centre
New
? ?
Original
17
1841
The Great Britain
Colonised Hong Kong
1978
1997 1998 2008 2010 2014 2015
2004 2005 2007 2021
Handover of Hong Kong from
The United Kigdom to China
3 The West Kowloon Cultrual District 5 The Wan Chai Market was demolished
Community recommendation was not for a new market complex and private
adopted and the bidding of theconstrcution
favours international architectrual
residential development on top.
firm’s design proposal.
The residents are relaocted to a new territory nearby.
The new village design proposal was a collective effort
from HKU Faculty of Archtiecture Professor Wang
WeiJing, NGO and the community.
the resettlement of local small business/hawkers whose
premises were removed. The design proposals were
modified without notifying the public staekholders as the
government concerned to deal with only the developer
point of interest.
10
Sung Wong Toi Station. An Archaeological
site was found during the construction of the
metro station of Tuen-Ma Line. Only parital
area was preserved and incorperated onto
the station design.
124 Top - Matthew Nam Xing Tan Bottom - Tin Wai Ma

Sophie Heuch
125

126 Top - Jacob Botting Middle - Momoko Otsuka Bottom - Liam Roggers

Roxana Caplan
127

128 Heather O’Mara

Kwok Tung Constance Tso
129

130 Top - Zhana Kokeva Middle, left to right - Afiq Rozhan, Zhana Kokeva Bottom - Afiq Rozhan

Top - Sze Man Wong
Bottom - Tin Wai Ma
131

MArch Fields Trips
Following the gradual lifting of Covid-related travel restrictions, this academic year we were able to resume field trips in the MArch. From visits to cities
like London, Edinburgh, Glasgow, or Dundee, to rural destinations such as Hadrian’s Wall or Kielder Forest, the field trips offered an opportunity to
reinforce the themes presented by each vertical studio and allowed students to further explore a particular context, site or building technology. In this
context, some of the studio field trips included a visit to specialist technical centres, such as the Construction Scotland Innovation Centre in Blantyre,
the Centre for Alternative Technology in Machynlleth, the Zero Energy Laboratory in Dundee, and the Egger UK plant in Hexham.
Destinations:
Architecture and its Education Redux:
Remapping the Neo-Avant-Garde
Hadrian’s Wall and Edinburgh
Building upon Building
London
Material Change
Kielder Forest, Egger Plant Hexham,
Cullinan Studio and Waugh Thisleton London,
Barbican London
The Big Here and The Long Now
Construction Scotland Innovation Centre and
BSW Sawmill, Dumfries
Edge Conditions
Glasgow and Dundee
Degrowth and Design
Centre for Alternative Technology Machynlleth
132

133

MSc Advanced Architectural Design
James Craig and Matt Ozga-Lawn
Contributors: Jianfei Zhu, Smajo Beso, Emily Scullion, David Boyd, Jennifer Jin, Samuel Austin, Ruth Morrow, Ed Wainwright
The MSc Advanced Architectural Design is a unique degree for students to enhance their design and research skills. The Architecture and Cities
pathway focuses on the dialogue and interconnection between architecture and the fabric of cities. It helps students appreciate architectural
design in the broader social, cultural, and economic contexts of cities. Individual buildings are considered as component parts of cities, rather
than as isolated objects within it. The pathway focuses on how architecture can be derived from detailed studies of urban communities and
determine what is appropriate in the strategic and detailed development of specific urban sites.
Semester one introduces students to urban design and context including issues of site program, movement, open space, community, heritage,
morphology, massing, and materiality. The second semester project focusses more on the architectural scale, exploring ideas of meaning and
identity in the urban environment and the role that public space and buildings play in articulating notions of citizenship and community.
Architecture as a civic element is emphasised, including concentration on the relation between exterior and interior spaces. Thesis projects
developed during the third semester provide students with opportunities for elaborating on many of the themes introduced earlier in the
course. The thesis is a major design project framed by individual students which is largely produced independently.
134 Top to Bottom - Darya Churkina, Bunthon Ly

Top to Bottom, left to right - Vinaya Adhau, Tianzhu Liu, Zitao Zhu, Zoe Xu, Shang Ming, Keegan Lopes Murray, Jinyi Liu, Skaria Abraham, Won Chung, Guansong Pang
135

136

BA (Hons) Architecture and Urban Planning (AUP)
Armelle Tardiveau - Degree Programme Director
So much joy has marked this year!
AUP students and staff have had the great pleasure to return to studios and offices, even
more importantly AUP have been blessed with newly refurbished studios, delivered
a day before Induction – a warm thank you for all those involved who have made
this possible. The AUP Stage 1 studio offers a breath-taking view over Newcastle city
centre which acts as the best possible welcome to our incoming cohort. Even better, the
AUP studios share corridor and lobby with other design students including the MA
in Urban Design and Landscape Architecture – many of whom are AUP graduates.
Design tutorials have returned to be face to face, or more precisely mask to mask – for
this I am very grateful to all students who have been respectful of colleagues’ infection
concerns and have accepted the burden of wearing masks during teaching sessions
throughout the year. The design studio is known for its pedagogical benefit: students
have repeatedly reported how much they enjoy working, hanging out, socialising,
sharing practices alongside teaching activities in their studio. Also colleagues teaching
research skills have used the studio for dynamic workshop sessions involving library
staff too. This consolidates pedagogical innovation on the programme but also ensures
that the studio is a space for all students. We hope to nurture this nascent studio
culture.
An additional accredited pathway strengthens the Royal Town Planning Institute
pathway. The programme now offers a pathway towards the Royal Institute of British
Architects and Architects Registration Board accreditation. Following the completion
of traditional portfolio interviews at the end of Stage 1, an unexpected number of AUP
students have firmly embraced this new opportunity. They feel it provides them with
time to explore the kind of discipline that they might want to embrace. It is only at
the end of Stage 2 that students will have to make the decision towards their pathway,
whether accredited or not. The AUP programme will celebrate 10 years of existence
next year (22/23) when we will reflect on the multitudes of professions in the built
environment our graduates have gone into.
This year, the AUP pages provide an insight on design for the collective and the
communal: a key theme of the programme. ARC1007 Architectural Design with
Architecture Occupied project offers the opportunity in first year to explore a
wide range of collective housing with different typologies, material cultures, and
construction approaches. Albeit all conceived as aggregated units, students study these
precedents through analysing plans and sections and translating those into models at
1:50 and 1:20. The aim is to scrutinise the relationship between inside and outside, in
particular the spaces of social interaction both internally and as part of the surrounding
public realm. In turn APL2006 Living Communally explores co-housing as a vehicle
to promote social and climate ecologies, where sharing resources enables sustainable
responses. Students are asked to design a brief as part of a future co-housing group
and establish shared values for living communally. APL3001 Co-producing space is a
“Live Project”, a real-life brief set in a collaborative and participatory context working
with local people and stakeholders. Working in Fenham, students built upon Fenham
Pocket Park, the ongoing creative practice research of APL academics, and designed a
series of engagement and participatory actions to explore social and climate imaginaries
with local people and stakeholders. The project concluded with the staging of Fenham
Parliament #1 that fostered a debate amongst the community about their visions and
wishes for the social and climate futures of their neighbourhood.
137

AUP Stage 1 - Architecture Occupied
James Longfield
As designers we work between reality and representation to document, imagine and
project new possibilities. The skills required to propose, test and implement possible
futures exist in the same realm as documentations of existing realities. A studious
discovery of precedents may therefore perform the dual function of transporting
us to real places that are remote from our immediate physical surroundings, and
teach us how to project alternative possibilities through use of the same manners
and means. This project, running for the past 5 years, encourages students to take on
an active role in occupying architecture through studying its representations before
producing proto-architecture through re-making their own versions of it primed for
inhabitation.
This imaginative inhabitation has focussed on a broad range of housing projects.
Changing year on year, schemes have been chosen both for the variety of architectural
expression, and for offering intensified relationships between housing as an individual
unit and its expression of social collectively. In most cases, the process of design,
construction or inhabitation offers space for residents to make a meaningful
contribution to the ongoing or final materiality and configuration of the spaces,
thereby offering students concrete applications of the participatory approaches
introduced throughout the AUP course. Projects such as the Malings and Byker
have allowed us to engage more closely with the local context around us, whilst
concurrently, imaginatively learning from distant projects – like ELEMENTAL’s
housing in Chile and Balkrishna Doshi’s Arayana incremental housing in India –
reflects the diverse and international backgrounds and professional futures of many
of our students.
Centrally – drawing on the strength of the AUP programme – students are given the
opportunity to investigate the interrelation of an individual dwelling with the wider
urban, economic, social and environmental context and its experience at the level of
personal inhabitation.
In groups students are asked to trace 1/50 scale drawings of adjacent housing units,
then to create a complete 1/50 model of the dwellings and their adjacent public
spaces. Photographically studying the 3D representation, alongside knowledge
developed through research, students individually select a key ‘threshold moment’ to
investigate in further detail. These thresholds often illuminate the interface between
private space and the adjacent public realm. An experimental collage, drawing on art
practice, allows students to empathetically and imaginatively express the atmospheric
character of their threshold moment – its experienced qualities of light, texture,
surface and material and activity. This study leads to a final 1/20 modelled exploration
that realises the imagined life projected by each student.
Stage 1 Students
Aayushi Derasadi
Adolf Mwesige
Aisha Al Musafir
Alice Moore
Amelia Trattles
Angus Donald
Archie Hurst
Ayanda Dedicoat
Ben Lindgren
Benjamin Cox
Bryan Wong
Charlie Shields
Chiana BhoolaJ
Dasha Seedin
Ella Ashley
Ellie Craven
Emily Zheng
Freddie Naylor
George Crowe
Hope Xu
Iona Gibb
Qinyue Guo
James Dawson
James Worker
Jamie Charlton
Jessica Hacking
Joshua Torczynowycz
Kurt Lo
Louis Winfield
Luke Harrison
Luke Henworth
Maria Syed
Martha Waples
Natasha Kyalo
Noah Holland
Ruben Dascombe
Siddhant Nandwani
Theodore Weldon
Thomas Hunt
Tobiloba Owolabi
Valerija Konovalova
Contributors
Anna Cumberland
Damien Wootten
Daniel Mallo
Elinoah Eitani
Harry Thompson
Jane Millican
Kaniz Shanzida
Loes Veldpaus
Luke Leung
Mike Veitch
Whilst the project over the years has established a valuable catalogue of precedent
study, perhaps its greater value has been the introduction of students to a malleable
working methodology for learning and interrogating future proposals that they can
draw on as they step into a professional sphere. Being able to establish an empathetic
and embodied connection between space as technically described through drawing
and model conventions and its reality as an atmospheric place of sensory experience
relating the to practicalities of daily occupation is central to the production of
relevant, appropriate and empowering architecture.
138

Left, Top to Bottom - Maud Webster, Martha Waples and Ruth Jeffries
Right, Top to Bottom - Hoi Ning Wong, Edward Thomas
139

AUP Stage 1 - MapMe
Armelle Tardiveau
Contributors: Elinoah Eitani and Dan Russell
140
Top - Maria Syed, Emily Zheng Middle - Dasha Seedin, Archie Hurst Bottom - Ayanda Dedicoat, Adolf Mwesige

AUP Stage 1 - Taking Measure
Daniel Mallo
Contributors: Daniel Mallo, Ellie Gair, Rusudan Mirzikashvili, Elinoah Eitani, Jane Millican, Mike Veitch and Damien Wootten
Top - Ayanda Dedicoat , Hope Xu
Bottom - Noah Holland, Kurt Lo
141

AUP Stage 1 - Interpreting Lorenzetti
Daniel Mallo & Loes Veldpaus
Contributors: Isabel Fox, Jay Hallsworth and Jake Williams-Deoraj
142
Top - Group1: Shu Ming Shermaine Leung, Luke Henworth, Noah Holland and Iona Gibb
Middle and Bottom - Group2: Siddhant Nandwani, Samuel Fry, Benjamin Harris and Jessica Hacking

AUP Stage 1 - Jetty
David McKenna
Contributors: David McKenna, Ellie Gair, James Longfield, Elinoah Eitani, Jane Millican and Mike Veitch
Top, Left to Right - Martha Waples, Jessica Hacking and Charlie Shields
Bottom - Martha Waples, Adolf Mwesige
143

AUP Stage 1 - Urban Observatory
Daniel Mallo
Contributors: Daniel Mallo, Anna Cumberland and Karl Mok
144
Top - Charlie Shields, Adolf Mwesige Middle - Amelia Trattles Bottom - Valerija Konovalova

145

AUP Stage 2 - Relational Mapping, Design and Representation
Armelle Tardiveau
The Relational Mapping studio design project invited students to explore a site
carefully and to understand how architecture and urban space are designed,
experienced, and enjoyed by the public before making suggestions for its future. We
introduced the practice of creative mapping to explore and understand the varied
dynamics and uncertainties of urban sites, and to help students find inspiration
to create architectural intervention projects within the chosen site. By mapping
accurately both the physical qualities of the area as well as non-physical data,
experiences and uncertainties, students understood both the Byker Estate and the
Byker neighbourhood. These insights informed the next stages of the project. James
Corner, the well-known landscape architect, writes that ‘maps can unfold potential
and allow creative thinking, they are a cultural project, creating and building the
world as much as measuring and describing it’. He believes that new and speculative
forms of mapping may generate new practices of creativity and by showing the
world ‘in new ways, unexpected solutions and effects may emerge’. Whilst there
has been no shortage of new ideas and theories in design and planning there has been
little advancement and invention of those specific tools and techniques ‒ including
mapping – that are so crucial for the ‘effective construal and construction of new
worlds’.
Stage 2 Students
Amelia Pegrum
Connor Humble
Douglas Butt
Eddie Adams
Elif Akbas
Jay Chuang
Jordan Shaw
Kwan Kwan
Lan Guo
Miles Thomas
Patrick Douglas
Quanah Clark
Samuel Gaisie
Contributors
Anna Cumberland
Armelle Tardiveau
Bryony Simcox
Nick Simpson
The famous Byker estate lies to the east of Newcastle city centre. Byker nestles itself
like an Italian hill-top town rising above its neighbours of Ouseburn and Shield Road
and looks down on the River Tyne. The Byker we see today is the replacement of
the demolished Victorian working-class area of densely built terraces, designed by
the Architect Ralph Erskine. The estate, characterised by its huge embracing Byker
Wall, was seen as an exemplar of architectural and landscape design and public
participation. However, despite a vibrant community action group, it has complex
ongoing problems.
At the beginning of the project we managed a field trip to Byker and Ouseburn,
allowing most of us to meet in person and explore through walking, discussing
and drawing. The studio was supplemented with talks and seminars from visiting
professionals working on and in Byker and by talks on representation and urban
design techniques and tactics. The brief for the project used the scenario that groups
of students have been commisioned by the Byker Community Trust to anaylse a
particular area within Byker and to propose architectural interventions to celebrate
and improve the diverse areas of the Estate. The group mapping explorations in the
first few weeks informed a manifesto, a narrative written as a group of what is needed
and desired and what kind of intervention might enhance, improve and celebrate
either the public space, landscape, buildings or a combination of these. The manifesto
developed into a proposed site plan where each member of the group designed an
element of this, ensuring that their individual final designs were integrated into
the overall group proposal. The projects successfully illustrated a knowledge and
understanding of mapping as a vehicle of revealing the complexity of socio-spatial
networks that make up the urban environment of Byker. The students showed an
evolving personal, ethical and sustainable attitude to the project, grounded in civic
engagement, as much as was possible this year, and this formed the basis for their
designs and decision-making. Students developed their own working practices,
online especially, whether working independently or in groups and articulated their
ideas at neighbourhood design scale (1:500) as well as at a detailed scale (1:50/1:20).
Particularly impressive this year was the way students worked in groups with each
other, some members of the studio in far flung countries and others able to visit
Byker. This made for a rewarding team working experience.
146

Top, Left to Right - Miles Thomas, Eddie Adams, Quanah Clark
Bottom - Douglas Butt
147

AUP Stage 2 - Living Communally
Claire Harper, James Longfield supported Sarah Bird & Nick Simpson
Living Communally offers the opportunity to work through the project as a group,
in a shared group setting, on a site the students are already familiar with. The brief
– to design a new co-housing neighbourhood on the edge of the Byker estate in
Newcastle’s east end – encourages the students to consider the complexities and
challenges of communality from different perspectives. As designers, what might it
mean to work with a community? What tools and techniques do practitioners need
to navigate the multiple needs and aspirations of different households and potential
conflicts that might emerge? Furthermore, how does the communal nature of cohousing
affect the way that spaces inside and outside the home are used?
Stage 2 Students
Amelia Pegrum
Douglas Butt
Eddie Adams
Elif Akbas
Jay Chuang
Jordan Shaw
Kwan Kwan
Lan Guo
Miles Thomas
Quanah Clark
As urban dwellers most of the spaces we occupy daily: the street, shop,
playground, classroom, office, gym and pub, are shared spaces. This
sharing usually takes place without conscious thought, directed instead
by embodied, collectively understood rules about how space is used and
the behaviour expected of us in a particular environment. This common
understanding ‒ about private versus public space and the symbolic
importance of different thresholds ‒ underpins many of the standards that
govern the design of new residential environments. Co-housing provides
the potential to challenge these rules.
The history of co-housing as a designed collective housing typology originated with
the Danish bofœllskab projects (translated as ‘living togetherness’) and Swedish
kollectivhus, developed during the mid-1960s. Since then the model has been
adapted by different groups with different organisational structures, but all broadly
defined by the term ‘intentional’ communities. The intentionality inherent in cohousing,
as social geographer and co-housing member Helen Jarvis describes it, ‘to
simultaneously reject the mainstream options and create a better alternative’ offers an
opportunity for students to design domestic space from a first principles approach.
We ask the students to imagine themselves as a resident of this future co-housing
community. A key part of the project is to reflect on the challenges of organising
as a group and reaching collective decisions and compromises to inform the design
brief for the project. Many are able to draw on their experience of shared student
housing, bringing both tactics and methods for negotiating shared living, as well as
understanding of how the spatial configuration of the home might affect relationships
both within the household, and between each household and other co-housing
residents. The task of designing for these relationships, presenting proposals to their
peers (and would-be neighbours) and grappling with the importance of shared spaces
within and around the site are essential to understanding the role and value that
designers can bring to community projects, if they have the right tools.
148

Top - Quanah Clark Bottom Left - Jordan Shaw Bottom Right, Top to Bottom - Douglas Butt, Eddie Adams
149

AUP Stage 3 - Green Infrastructure for Well-being and Diversity
Tim Townshend
Tutor: Tim Townshend and Smajo Beso
Stage 3 Students
Adrian Yee
Benjamin Duncan
Cleve Yu
Danna Mercado
David Lok
Eisha Malik
Ewan Mears
Gabriela Serafin
Ghaidaa Al Jamali
Jake Anderson
James Ross
Khadijat Ismail
Matt Payne
Maud Webster
Megan Dennison
Peiyi Chen
Stephanie Chan
Suksheetha Adulla
Will Smith
150
Top - Ewan Mears Middle - MaudWebster Bottom - Matthew Payne

Top - Group Project
151

AUP Stage 3 - Fenham Pocket Park
Daniel Mallo & Armelle Tardiveau
The Live Project which concludes the AUP design pathway is one of the features that
makes this programme unique. It brings together the ethos of the degree: performative
engagement in the urban realm in the form of ‘actions’ and ‘interventions’ that seek
to unpack existing socio-spatial practices, foreground power asymmetries, claim
forgotten spaces, revive past memories or open up new possibilities and capacities.
The design studio becomes a ‘field’ of material and social exploration where students
draw from their embodied experience of making, sharing, learning, and projecting
future imaginaries.
Fenham Pocket Park, a community-led green urban space, which opened six years
ago was the setting for this year’s live project. Located in Fenham (Newcastle upon
Tyne), the Park has been praised as a welcoming, calming environment open to
local residents for planting, nurturing, maintaining and celebrating. It is deemed
as an urban haven of biodiversity that contributes to the Newcastle City Council
climate action plan which was rewarded with the Green Flag Community Award
in autumn 2021. However, the area continues to be severely struck by the impact
of austerity and the retreat of public services: the closure of the adjacent swimming
pool in 2019 has led to a drastic loss of footfall, which has been exacerbated by the
COVID-19 pandemic.
AUP students took the challenge to re-kindle the momentum lost during the
pandemic and the closure of Fenham Swimming Pool, and collectively re-imagine
with community members social and climate future for the area. Students initially
developed visions that re-centre the Park at the heart of the community taking on
the wide range of social, ethnic, age groups as well as turning Fenham into a climate
resilient beacon. The narrative of the project entailed three phases: visioning, enacting
and prototyping / engaging that were recorded and disseminated through a blog that
helped reflect on engagement, communicate with residents and stakeholders and
publicise events: https://blogs.ncl.ac.uk/fenhamfutures/
Initially students engaged in exploring social and climate imaginaries, drawing
from existing community groups (including communities of interest, digital
communities, resident-led initiatives). Students then explored social and climate
imaginaries through a process of visioning aimed at regaining a collective momentum
and triggering opportunities for social innovation and climate action. This led
to experimenting and enacting social and climate imaginaries which entailed the
translation of these visions in the form of installations and engaged community
groups in open-ended conversations to stimulate imagination as well as capture
stories and narratives for Fenham Futures.
Stage 3 Students
Adrian Yee
Aurore Henrotte
Benjamin Duncan
Cleve Yu
Danna Mercado
David Lok
Eisha Malik
Ewan Mears
Gabriela Serafin
Ghaidaa Al Jamali
Jake Anderson
James Ross
Khadijat Ismail
Matt Payne
Maud Webster
Megan Dennison
Peiyi Chen
Sajid Ali
Stephanie Chan
Suksheetha Adulla
Will Smith
Contributors
Friends of the Pocket Park: Helen
Hardman, Imogen Cloet, Mark Pardoe,
Stuart Stephenson, and supporters:
Winnie Wong, Jane Lancaster and
daughter;
Library Services and user groups at
Fenham Library: Matty Starforth
(Newcastle Public Health); Sandra
Adams (PROPS: Family Recovery
Service; Claire McCardle (NTaR:
Newcastle Treatment and Recovery);
Emma Mould (FoodNewcastle /
Nourish Food School); Chris Smith
(Men’s Pie Club);
Andrew Venus (Library Services
Newcastle City Council).
Academic colleagues: Tim Townshend,
Emma Coffield, Mara Ferreri,
Lucy Hatt, David Webb and Abby
Schoneboom.
The engagement concluded with the Fenham Futures Parliament #1. Students
staged and orchestrated a space for debate with residents and community actors
to deepen the three emerging themes from the initial engagement: Heritage and
creative reuse opening up opportunities for creative reuse of Fenham Pool; Social
economy initiatives stimulating local businesses and non-monetary exchanges;
and Climate Futures promoting low carbon transport, greening and decarbonising
Fenham. This project has enabled community groups to re-engage with Fenham
Pocket Park and unlock opportunities for collectively envisioning a socially inclusive
and climate resilient Fenham.
152

Top, Left to Right - Sarah Bird, Diana Mihailova, Group: Diana Mihailova, Rachel Turnbull, Jack McMunn, Changrui Li
Bottom, Left to Right- Emma Itu, Group: Diana Mihailova, Rachel Turnbull, Jack McMunn, Changrui Li
153

MA in Urban Design
Martin Beattie
Contributors: Martin Beattie, Smajo Beso, Hazel Cowie, Hugh Daglish, Julia Heslop, Natalia Villamizar Duarte, Georgia Giannopoulou,
Ali Madanipour, Danny Oswell, James Perry, Emily Scullion, Tim Townshend
The MA in Urban Design is a well established interdisciplinary programme at Newcastle University that draws on expertise from the disciplines
represented in the School. The programme foregrounds a strong agenda of social and ecological engagement, together with a relational
approach to the built environment and public life. Three distinct design projects punctuate the year and are supported by theory courses and
critical debate around the practice of urban design. The projects engage with varying localities and the challenges and themes emerging from
the place as well as themes of regeneration and societal challenge. The first major project sits on a complex site on the Fish Quay in North
Shields and deals with issues of post-industrial renewal. The project familiarises students with the urban design scale and context including
issues of site program, movement, open space and communities, as well as issues of heritage, morphology, massing, and materiality relating to
the architectural scale. Students develop a design brief and detailed masterplan for the site. The second major project, ‘Housing alternatives’
examines new models of neighbourhood design in the context of the housing crisis and housing needs in Gateshead. The project explores
concepts of affordability, sustainable living, and community led models as well as new and contemporary models for living, addressing issues
of resilience and changing patterns of working. The use of design codes is introduced in semester 2 through a project based in the Ouseburn
Valley. Students are tasked with creating a master-planning vision for character areas 1, or 2, Central Ouseburn, as designated by the Ouseburn
Design Code. Their projects are realised as physical models and presented in pairs. The year concludes with the final major project, an urban
design thesis, a major research-led design project, on topics selected by individual students around their interests. The project provides
students with opportunities for elaborating on many of the themes introduced throughout the course.
154
Bottom - Tom Coutanche

Top Left - Arundhati Chitnis Right Top to Bottom - Muhammad Ogunniyi, Luke Leung, Gabie Kim Bottom Left - Group Project
155

Master of Landscape Architecture (MLA)
Usue Ruiz Arana
Programme Team: Charlotte Veal, Clive Davies, Geoff Whitten, Ian Thompson, James Craig
Contributors: Andy Laurie, Annabel Downs, Catherine Dee, Emma Fletcher, Gary Cartwright,
Liam Haggarty, Lotte Dijkstra, Louise Hudspith, Lucy Green, Mike Goodall, Robert Golden, Sally
Watson, Scott Matthews and Stef Leach
The Master of Landscape Architecture is a two-year, full-time postgraduate conversion course for
graduates in other disciplines who wish to pursue professional studies in the UK. The course has
candidate accreditation with the Landscape Institute.
Landscape Architects are uniquely placed to tackle our current climate emergency, facilitate contact
with nature, and promote physical activity and social interaction. These issues are central to stages 1
and 2 of the MLA. Through a range of innovative design studios of increasing complexity, students
develop an ethical awareness and commitment to ecological, social and climate issues, whilst being
gradually introduced to the practice, theories and methods of Landscape Architecture.
Students
Aditi Ravindra Shinde
Akhila Reddy Ankinapalli
Alison Unsworth
Anjani Maulik Patel
Aparna Jayasree Sivakumar
Aryo Mohseni
Bethany Ruth Meer
Cheng Hu
Cheuk Him Leung
Chun Wing Yeung
David William Reid
Jahnabi Barua
Jake Mcclay
Jiapeng Tao
Jiusen Zhao
Kai Sang Nip
Kai-Hsin Lo
Kaniz Shanzida
Kejia Chen
Lisa Shajan Kezhuvanthanam
Malgorzata EwaGudel
Mian Han
Ni Sang
Nikitha Rosa Poovathur John
Oi Ying Chung
Parisa Panahi
Pooja Raviendran Kutty
Ran Wang
Sarah Georgina Louise Hawes
Sicheng Chen
Tsz Hang Chu
Victoria Hole
Xiaohan Qin
Yifan Fang
Yuen Tung Tsoi
Yuhuan Li
Yuqi Xu
Zhengtao Tang
Zhixin Hu
Zihe Xu
156
Opposite - MLA Stage 2 Exhibition Flyer

157

MLA - Stage 1
In stage 1, students started the year designing a sculpture park for multi-species inhabitation, getting to grips with the behaviour and needs of
a variety of animal species including willow tits, honey bees and bats. Through this project, students developed foundational landscape design
skills to apply to future projects, and de-centred human agency in design. This project was followed in semester 2 by a pocket park design
set in the year 2030, to coincide with the implementation of Newcastle City Council’s Net Zero action plan. Here, students turned a now
superfluous car park into a rich space for relaxation and social interaction, minimising in the process, the carbon footprint of their proposals,
and including Sustainable Urban Drainage Systems to alleviate existing flooding issues. Following Julie Bargmann’s motto of ‘No Material
Leaves the Site’, students worked with the existing materiality of the site, and developed an understanding of materials used in landscape
architectural design, their environmental impacts, and the ways that these can be used in the process of construction.
In semester 2, MLA students also worked with MALAS students to develop a large-scale masterplanning project, examining complex
landscape issues and problems. Working in groups, students re-thought Newcastle City Centre as a resilient city, imagining and responding
to the threats that the city might face in the next 30 years. The groups produced innovative and thoughtful masterplan reports, described by
our Landscape Institute’s Professional Review Group as of professional quality and standard.
Studio projects were supported by theory modules that included History of the Designed Landscape, Conceptualising Landscape and Green
Infrastructure and Landscape Planning. In History of the Designed Landscape, students related developments in landscape design to the social
and economic conditions with prevailed during various periods and in various locations, as well as to cultural and scientific developments.
In Green Infrastructure and Landscape Planning, students undertook a critical review of an existing landscape scale plan or a strategy in
the first teaching semester. Students were also introduced to important concepts and framework models including the Steinitz framework
for landscape planning and the Lafortezza et al framework for green infrastructure. These plans and strategies are international and several
examples were from China along with mainland Europe and the United Kingdom. We were again ‒ following COVID-19 ‒ able to restart the
field visit which is a popular and important part of the course. In October we visited the National Trust owned folly at Penshaw Monument
in County Durham (where it was blowing a serious gale!) followed by visits to the Durham Heritage Coast at Seaham Harbour and the World
Heritage site peninsula in the City of Durham. In semester two students undertook to prepare a green infrastructure or landscape plan of
their own choosing in small teams, each with a support teacher. Amongst the ideas explored were those that encompass landscape ecology,
heritage landscapes, urban green infrastructure and food landscapes with a focus on local growing.
All in all, an enriching and fruitful year for our stage 1 students.
158
Bottom - Grays Group Diverse City

Top - Jahnabi Barua, Sicheng Chen and David Reid Bat Castle Mid - David Reid Hunter’s Moor Sculpture Park Bottom - Percys Group The Sky Garden
159

MLA - Stage 2
In stage 2, Landscape Architecture students gradually develop their independence and confidence as they prepare for their future careers in
practice. The year started with a Planting Design and Management studio, where students designed the planting for a high security mental
hospital and researched the role of gardening and access to nature for health and well-being. They also worked in short lived planting exercises,
including a ‘Scores for Wilding’ design studio, where students pretended to be a non-human being and researched the impact of noise in
non-human health and behaviour, and potential solutions to it through planting design and management.
Alongside the planting studio, students undertook Landscape Professional Practice, Planning and Law and Research Methods modules.
Landscape Professional Practice follows the Landscape Institute’s Pathway to Chartership syllabus and introduces the students to a wide range
of subjects, including professional ethics, environmental legislation and contract administration. In this module, we welcomed several local
practitioners for guest lectures, and students researched weekly questions of relevance to the topics discussed in lectures. Through this module,
students learnt to relate topics across the syllabus, as they apply into practice.
In semester 2, students were immersed in their Design Thesis schemes, working on topics and sites of their choice. The design thesis puts into
practice all the skills and knowledge that the students have acquired over the course of two years, and it showcases the students’ innovation,
creativity, ethical awareness and commitment to ecological, social and climate issues. Some of the resulting interventions were subtle, yet
highly effective, responding to environmental conditions to allow existing and new habitats to develop in time. Other interventions resulted
from an active engagement with local communities, a personal attachment to place in, in-depth research into lost cultural and historical layers
of a site. All interventions were successful in promoting contact with nature and setting the stage for a myriad of activities to take place.
We concluded the year with a Design Thesis exhibition opened to the wider school and local practitioners. The students enjoyed interacting
with local practitioners, who took the time to engage with the students and their work.
As we waved goodbye to our first set of graduates, we welcomed the news that the Master of Landscape Architecture has been re-accredited by
the Landscape Institute, a testament to the hard work of all of our students and staff.
160
Bottom - Daniel Chu Bring Back the Loch

Top - Mian Han Urban Farming Mid - Estee Tsoi Rethinking History Bottom Right - Edwin Yeung Duneoasis Bottom Left - Oi Ying Chung St. Marys Island
161

MA in Landscape Architecture Studies
Charlotte Veal
Programme Team: Usue Ruiz Arana, Geoff Whitten and Ian Thompson
Contributors: Lotte Dijkstra, Clive Davies, Scott Matthews, Liam Haggarty, Gary Cartwright, Robert Golden, Mike Goodall and
Sally Watson
The MA Landscape Architecture Studies is a one-year taught masters-level programme which provides opportunities for students to develop
systematic knowledge and understanding of Landscape Architecture and its interface with Planning and Architecture. Students develop the
capacity for critical thinking about the design of place and space and gain skills to enable them to deal with complex aspects of landscape design
and planning in a creative and innovative way. Through studio-based design projects, students refine their design skills and develop the ability to
critically analyse and discuss landscape projects and styles.
APL8004: Within Conceptualising Landscape, students are introduced to a myriad of landscape concepts and theories. From these, students are
encouraged to critically reflect on the sometimes competing and opposed ways in which landscape has been conceptualised, defined and understood.
Interdisciplinary in its outlook, the module explores themes including landscape art, imaginaries of landscape, phenomenology, heritage landscapes,
migratory landscape, landscape and justice, and haunted landscapes, connecting these with the crises of our time: globalisation, urban sprawl, climate
change, loss of biodiversity, and mass migrations (human and non-human). Students produce a reflective weekly journal, in which they assess lecture
material in the context of wider literature, provide critical reflections on its implications for Landscape Architecture, and a creative response – with
students opting for poems, collage, photography and sketches. In Spring 2022 we visited Kirkleatham Walled Garden as part of a session on heritage
landscapes.
APL8006: Design Studio 2 is an advanced planning and design skills module where students individually, and in small groups, examine complex
landscape issues and problems, with particular reference to large scale master-planning. Students undertake site surveys, conduct extensive analysis
(historical, character, structure, spatial), evaluate the issues, conflicts, opportunities and potentials of sites, and integrate sustainable solutions in the
form of landscape change (masterplan) proposals. Project 1 invites students to re-think the future of Newcastle’s City Centre through a master-planning
exercise and to compile a guiding strategy/principle for their Resilient City 2050. Project 2 is the site selection process for the Design Thesis module.
The project sees students identify three possible sites, with the selection of a final site to take forward. Students are required to write their own brief for
the site and undertake initial survey work, detailing the constraints and opportunities it poses.
APL8007: The Design Thesis is an independent research project where students have time and space to individually sketch out and develop advanced
research and design skills. Working in self-selected sites, students write their own well-defined design issue or question and develop a design response
to the issues raised by the research. Throughout the module, students are supported in their learning through tutorials and critical reviews that
comprise concept development, masterplan proposal, detailed areas, construction, planting strategy and overall strategy. The results of which are read in
conjunction with a report that outlines the philosophy and main objectives of the proposed development in landscape terms. In the past students have
designed sports parks, riverside sculpture parks, cultural quarters, ecological reserves, heritage parks and much more!
APL8008: History of the Designed Landscape is an advanced level module that critically probes the history of the designed landscape, relating
developments in landscape design to the social and economic conditions which prevailed during various periods and in various locations, as well as to
cultural and scientific developments. It is designed to help landscape architecture students to appreciate the possibilities open to landscape design as
well as explore linkages between landscape architecture and related disciplines (art, architecture, geography, town planning) at these various stages. In
past years, students have been able to explore local historical landscape through field trips (e.g. Mowbury Park). Students complete a 2000 word essay
choosing from one of five questions.
162 Above: Tianqi Gao - LEAZES PARK: Analysis & Improvement

Location 4.
Affected Buildings
Rooftop car park
Rooftops off Northumberland St.
Eldon Square shopping centre
Grainger St.
The densely developed nature of Newcastle does bring
the opportunity to utilise a number of rooftop spaces
for agricultural purposes. Retaining the majority of the
buildings which constitute Eldon Square shopping centre
and Northumberland Street means the retention of the
cities commercial centre whilst also utilising the often
empty rooftop spaces which could be used for a variety of
growing purposes.
Grey St.
ildings in the
flat, spacious
al locations
. Whilst the
s in this area
rcing before
r areas such
structurally
ale farming
r park would
vate car use
ng decades.
Top left - Jingying Cai Landscape layout plan Top right - Fangrong Mou Hunter’s Moor Sculpture Park Bottom - Group Project
163

Research and Engagement:
Architectural Research Collaborative
ARC concentrates on nurturing collaborations inside and outside of the department and the School,
providing a dynamic environment in which research and teaching are rigorously linked. This year we have
concentrated on making a collegiate atmosphere, putting a priority on getting people back into a room,
talking about ideas after lockdown.
Our regular meetings include presentations from staff on their work, and faculty and University initiatives
are discussed in a convivial environment. Landscape research is flourishing with the new Landscape
courses and they are becoming a larger contingent within ARC. This year we also joined forces with
GURU, our colleagues in Planning, to hold a joint session on the climate emergency.
Our members have been working on diverse projects that cut across traditional thematics and connect
researchers with different expertise to stimulate innovation and bear collectively on the complexity
demanded by architectural, cultural and societal questions.
This year the research in ARC was highly successful in the Research Excellence Framework (REF) 2021,
with a large number of the 3 and 4* publications. All staff on research contracts were submitted, reflecting
ARC’s rigorous contribution to the research agenda of SAPL and the vibrant Architectural research culture
in the School.
Prof Katie Lloyd Thomas and Dr Claire Harper re-staged the Barbican’s hugely popular exhibition on
Femist Architecture Co-operative Matrix at Newcastle Contemporary Art Gallery. Originally co-curated
by Jon Astbury (Barbican) and Jos Boys (ex-Matrix), How We Live Now – in Newcastle has been restaged
by the gallery’s curator Helen Smith in collaboration with the Farrell Centre. This also built on the
re-publication of Making Space (originally Pluto Press, 1984) co-authored by the Feminist Architecture
Co-operative Matrix, who were largely Newcastle graduates. The exhibition aims to engage audiences
from Newcastle and the region with the exhibition’s key ideas and concepts: how the built environment is
constructed – physically, socially and culturally; the impacts of gender and other forms of discrimination
on the built environment; how we might effect meaningful change in creating a more inclusive, diverse
and equitable built environment.
In addition, the Hub for Biotechnology in the Built Environment (HBBE, 2019), the largest grant ever
awarded to the discipline of Architecture in the UK, is going from strength to strength, developing and
producing interesting experimental pieces of work from both research staff and PhD students. The world’s
first experimental biological house, ‘The OME’ (£1.1m) adjacent to, and operating as part of, the Great
North Museum is now open, providing both public interaction space with biotechnologies in the built
environment and a site for industrial collaborations. Rosie Parnell’s large covid fund research ‘At Home
with Children: Learning from Lockdown’ is coming to a conclusion creating a ‘Home Hack Toolkit’
providing guidance to inform domestic design and space standards.
Following the successful experimental conduct of Embodied Awareness of Space Symposium (April
2021), an online documentation of the event was designed by our PhD Candidate David Boyd: EAS
(davidboyd.net) as well as a contract for a volume entitled Embodied Awareness of Space: Body, Agency and
Current Practice (edited by Christos Kakalis and David Boyd, Palgrave Macmillan, 2023) that does not
only reflect the collaborative ethos of ARC, but also connections with other organisations and universities
in and outside of the UK.
A number of other books and publications included Katie Lloyd Thomas’ Building Materials: Material
Theory and the Architectural Specification (Bloomsbury, December 2021) and Prue Chiles’ Enabling the
City (Routledge, September 2021), an edited and co-written collaborative volume including work from
colleagues in ARC and around Europe and funded by a European grant.
A number of MArch linked research projects have been cultivated and further developed in the
environment of collaboration and support by ARC during this academic year. Themes include, livebuilt
projects, historical documentation, architectural biographies, creative practice recordings of urban
environments, community led documentation and design propositions for different (urban or rural) areas,
sustainability studies as in the case of ‘Mobile Sanctuaries: Ritual Ecologies and Transnational Religious
Communities of the Highlands’ by Neil Burford and Christos Kakalis.
The following pages illustrate a selection of research projects from our staff colleagues,PhD, Masters and
undergraduate students, and also illustrate the exciting exhibitions in the School and the City.
164 Text by Prue Chiles
Opposite - How We Live Now. Matrix Archive Installation View, NCA, 2022.
Courtesy of the Farrell Centre. Photo: Colin Davison Photography

165

BA Dissertations
Module leader: Juliet Odgers
The dissertations produced in this academic year respond to the range of agendas informing the nineteen electives offered by tutors at the School. Some
of these were centred in building science, some in history and theory, others in professional and creative practice. The electives provide a starting point
and intellectual framework for the students’ work, developed over the course of a year, bridging Stage 2 and 3 of the undergraduate degree. This year we
are happy to say that the work has again been of a very high standard, despite the difficulties posed by Covid restrictions.
Congratulations to our Stage 3!
01. Playful Cities
Tutor: Alkistis Pitsikali
The group focussed on playful cities, and ‘play spaces’ in the city. This term ‘play spaces’ refers not
only to playrooms and playgrounds (although these are of great interest) but also to impromptu
spatialities that support playfulness. Students were asked to think of play in the city in broad terms
and explore not only its spatialities but also its effects on urban space and social life. We approached
play as an activity running through a person’s lifespan, taking particular interest in intergenerational
play (play engaging both adults and children), and how this can facilitate agency and inclusion
in the urban realm allowing appropriation of public space and the creation of multiple spaces of
representation.
Title: Urban Design & Playfulness: How Have People’s Playful Practices Evolved as a Result of Urban
Design Changes in Tbilisi?
Anastasia Dombrovskaia
02. Architecture of Place
Tutors: Andrew Ballantyne & Josep María García Fuentes
We are interested in the effects that place can have on architecture. This might be because a building
responds to features in the surrounding landscape, such as a mountain ‒ either by being placed in
a dramatic position, or by incorporating ideas from the mountain’s form ‒ or maybe the building
is placed as an incident in an arcadian idyll. Whatever the case: buildings can enhance the places
where they are built, by paying attention to the specific spot, its form or its culture, and making a
creative response to it. The dissertations in this group are concerned with buildings of the recent or
distant past that make inspired responses to the places where they are to be found.
Title: A Study of the Evolution of Stilted Dwelling
Jing Hao
03. Net Zero Carbon
Tutor: Carlos Calderon
Students in this elective were asked to develop a project framed within the well established research
area of net zero futures. As we know, energy efficiency improvements to existing buildings can
reduce emissions, cut energy bills, and help tackle fuel poverty. Heating buildings makes up a high
proportion of the UK’s carbon footprint, yet insulation installation rates are low, uptake of heat
pumps is minimal and we are still constructing buildings with traditional carbon-intensive heating
systems. The challenges are clear, and the solutions are available. Dissertations in this elective are
oriented towards innovating together to plan a climate restorative future!
Title: Urban Food and Energy Production: An Experimental Study Exploring the Potential for a
Symbiotic Relationship between Anaerobic Digestion and Hydroponic Farming to be used within the
Urban Realm in the Effort to become Net-Zero.
Georgie Richardson
166

04. Appropriations
Tutors: Christos Kakalis and Zeynep Kezer
Appropriation entails taking possession of something that does not belong to you to make it yours,
often without permission or consent. Consequently, the act typically involves an asymmetry of
power at its inception and, importantly, its consequences may reverberate for a long time, often
inflecting the character of future events and relationships. The dissertation elective initiated a
conversation around different types of appropriation processes. We maintained a broad perspective,
exploring a diverse range of people, places, and practices. We asked how various appropriations
and their consequences play out in space, time, lives, and landscapes and from this the students
developed a broad range of topics.
Title: The Fernsehturm Berlin: A Crystallisation of Socialist Ambiguities
Sam Barker
05. Architecture Beyond Duality
Tutor: Ed Wainwright
Understanding architecture as a product of ideas that come into contact with matter, this dissertation
elective looked at how we rethink those ideas (being as we can’t quite yet force matter to be other
than it is). We sought to think architectural practice through a lens of the ecological – how the
beings and things of the world have a right and a place here that isn’t always in response to human
needs. Engaging in a close, week-by-week reading of Tim Morton’s The Ecological Thought, students
were invited to take an aspect of our emerging architectural practice for a creative reimagining
through these ecological thoughts... touching on questions of the more-than- human, spirituality
and the ethics of love.
(Upper)
Title: Tales of the Lake District: A Parable for the Present & Our Future
Charlotte Brookes
(Lower)
Title: Architecture beyond Duality: Towards an Architecture of Coexistence
Ng Ho Man
06. Memoryscapes
Tutor: James Craig
This elective examines the role memory plays in our understanding of the built environment.
Memory is a faculty relevant to everyone, providing a lens through which to understand how the
social, economic and political forces of the past have come to shape our present environs. Thus,
memory is ‘living history, the remembered past that exists in the present’ (Frisch 1990: xxiii).
The past, then, is all around us, in our neighbourhoods and streets and manifested through our
memorials and museums. With such places in mind, the elective explores the relationship between
history and memory and discusses the past’s ongoing influence on the present conditions of our
built world.
Title: Colonial Nostalgia: Approaches to Heritage Conservation in Hong Kong
Fai Mak
167

07. War, Geopolitics and Architecture
Tutor: Jianfei Zhu
Architectural discourse has not been sufficiently grounded on geographic conditions and geopolitical
dynamics. Architectural knowledge has been largely formalist and universalist. Yet every project and
statement in architecture is entangled with local politics and geopolitical contentions at various
scales. Today, with the daily escalation of street protest, (dis)information, media interference,
military build-up, catastrophic death toll, mutations of deadly virus, big power conflict, and big
ideological rivalry, it is dishonest not to see the process as a war of an unknown form and magnitude
pressing upon us all. Today, we must study the changing forms of war (symbolic, aesthetic, cultural
and social), and how war conditions have shaped culture, urban practice and architectural design
– and continue to do so.
Title: A Study of War Architecture (The Case of Flak Towers): Their Rise and Repercussions
Alyssia Thompson
08. Architecture’s Six Themes
Tutor: Kati Blom
Our explorations began with phenomenological texts by Juhani Pallasmaa and David Leatherbarrow,
fantastic literature by Italo Calvino and Laszlo Krasznahorkai, and architectural texts by Steven
Holl and Neil Young. Through these readings we began to create a futuristic vision for future
architectural challenges. Our four seminars addressed conceptual thinking, fantastic thinking,
realism, futurism and evolving tectonics. As each text was addressed an appropriate architectural
example was chosen and reflected upon with a free drawing or photographic expression. By the
end of the seminars each student has either selected their own theme from the presented ones or
suggested their own. To reinforce this decision, each student made a book cover, and chose a piece
of architecture to analyse according to the theme.
Title: Skybridges as an Agent to Strengthen both Human and Urban Connectivity in Cities
Genevieve Sligo-Yong
09. instruct_construct
Tutor: Katie Lloyd Thomas
With new technical objects such as smartphones designed to facilitate intuitive self-learning and
YouTube tutorials available to talk you through everything from cutting an avocado for sushi to
setting up a hand-in on Canvas, the days of paper instructions and handbooks may be coming to
an end. This elective asked what this could mean for architects – given that a great part of our work
is the preparation of instructions (written and drawn) for the construction of a building? With
this the focus is shifted from the object-to-be-made to the instructions that inform the processes
of construction. Looking at manuals, guides, briefs, handbooks, treatises, recipes, specifications,
instructional artworks, we enquired into the histories, politics, social norms etc that frame these
documents.
Title: Do-It-Yourself Transaction: From a Need to a Desire
Dominique Romero
168

10. Colonial Exchanges: Meetings Between ‘East’ and ‘West’
Tutor: Martin Beattie
This elective investigates how (colonial) cultures mix, or not as the case may be, and how that
process manifests itself in architecture. In a foreign context, the making of architecture can be
seen as a dialogical process, entailing negotiation, domestication, appropriation, the reworking of
local symbolic and material resources, and interaction with the surrounding social and physical
landscape. How structures designed in a particular geo-political situation may be perceived and
used in new ways after disruptions, or crises of the local, or international order, is also an interesting
aspect of their meaning and symbolic function. Not only visual and stylistic, but also functional
and social hybridity may be a component of the life of these buildings, especially in contexts where
the boundaries between ‘east’ and ‘west’ were not yet rigidly established.
(Upper)
Title: The Decolonisation of Statue Square: a Case Study on Hong Kong’s Lost Colonial Urban Fabric
by the Imperial Power
Gabriel Chuek Sum Au-Yeung
(Lower)
Title: ‘The Musée du Quai Branly: To What Extent Does the Design of the Musée du Quai Branly
Demonstrate the Perpetuation of a Colonialist Midset in France?
Elsa Mills
11. Architecture and Narrative
Tutor: Matthew Ozga-Lawn
This elective explored the relationship between narrative and architecture. This has been the focus
of renewed study in recent years, with a diverse range of authors considering it. We looked at
how both built and drawn architecture constructs and utilises stories and storytelling under the
categories of Architecture as Narrative, Architectural Representation as Narrative, and Architectural
Narratives in Other Media (film, for example). Examining key texts, such as Georges Perec’s Species
of Spaces, we considered how text, as a medium, can be thought of spatially and constructed to
create compelling narrative experiences.
Title: Deconstructing my Drawing Practice: Finding Methods to Represent Movement and Narrative in
Architectural Drawing, through the Lens of Wes Anderson’s Filmmaking
Emily Millward
12. METHODS: ARCHITECTURE from the INSIDE OUT
Tutor: Nathaniel Coleman
What one does with the content in their writing determines whether or not a persuasive dissertation
has been crafted. A developing ability to evaluate one’s own work depends on being able to reflect
on the form and structure of written work, which is why in this seminar group, students research
and write on methods. Students in the group selected one of the methods listed:
free association as method; DIY as method; surrealism as method; transduction as
method; rhythmanalysis as method; paranoid critical method; Utopia as method;
(negative) dialectical method; hope (hermeneutics of) as method; narrativity as
method; fairy tales & golden dust as method; configurative discipline as method;
critical thick description as method; anticipatory illumination as method; critical
phenomenology as method.
Title: Utopia and Architecture: Discovering Possibilities Through Architecture
Yuqing Liu
169

13. Invisible Energies
Tutor: Neveen Hamza
‘We shape our buildings, then our buildings shape us’ - Winston Churchill
In this dissertation group we explored how the endeavour to build and design comfortable
environments has multiple influences on their occupants. Students were asked to look at
environmental factors influencing architectural design in various cultural contexts, climates, and
indeed for accommodating specific needs and age groups such as the ageing and frail, schoolchildren
or university students. In this group our work was informed by reading into theories of ‘place
attachment’ and ‘Salutogenics’ with a variety of other concerns such as post occupancy evaluation,
environmental psychology, philosophies to save natural resources, technologies that reduce energy
demand and encourage material innovation, building regulations and sustainability codes.
Title: Rethinking the Office: An Exploration into Sustainable Construction Solutions
George Avery
14. Home, the Agency and Negotiation of Domesticity
Tutor: Prue Chiles
The notion of domesticity and the home, with its privacy and comfort, has been revered, challenged
and ridiculed by modern artists, architects and designers. Domesticity, itself an invention of the
modern age, became the antithesis of modernity. And yet, it can be the most complex, the most
interesting and the most culturally prominent architectural form. Domesticity is, of course, a
feminist issue. This elective engaged with the many ways and means by which we can find home
in the world and how architectural thinking and making has informed this. We explored different
ways in which we navigate around the meanings of home ‒ from political, social and cultural
literature; from architectural writing, from anthropology and from fine art.
(Upper)
Title: Transitional Housing, a Solution to Ease Grassroots Housing Problems in Hong Kong?
Constantine Kwan
(Lower)
Title: Why Does the Power and Image of the Dacha Endure Today
Sophie Stubbs
15. Hybrid Space: Zoom, TikTok and the Physical-Digital Spaces of the Pandemic
Tutor: Owen Hopkins
The term ‘meatspace’ coined as far back as the early 1990s, refers to the spaces where we meet in
person, spaces where we are surrounded by other bodies, as opposed to the corporeal isolation of
the screen – ‘cyberspace’. This dissertation elective emerged from the proposition that lockdown
has irretrievably collapsed the distinction between ‘meatspace’ and ‘cyberspace’, leading to the
emergence of a new hybrid space, simultaneously physical and digital. Here, our digital personas
– as manifested in the way we present ourselves on screen through our visual appearances, the
platforms we use and the content we share – have begun to supersede those we project IRL. At the
same time, our in-person meetings are increasingly mediated by technology, whether smartphones,
wearables or other ‘smart’ devices. Dynamic, non-hierarchical, intensely individualised, both public
and private, what does this new hybrid space mean for architecture?
Title: Investigation of Ubiquitous Computing: Perception of Augmented Space
Dijesica Carennia
170

16. The Wicked Home
Tutors: Rachel Armstrong and Toby Blackman
In transitioning from an industrial to an ecological era, this elective proposed that we must
challenge the foundations of the archetypical housing standards (including consideration of
other-than-human perspectives) re-thinking the notion of home as an expression of inhabiting
our environment. To start this process, we embraced the notion of ‘wickedness’ ‒ or irreducible
complexity. In design contexts, ‘wicked’ embraces incomplete, contradictory, and changing
requirements that are often difficult to disentangle from each other.
Drawing on new materialist texts, scientific essays, ecological theory and architectural references,
matter is considered vibrant and possessing an agency of its own or expressed within its congregations
with other matters (assemblages), positioning inhabited spaces not as empty vessels to be filled
up with the life within it, but as living beings themselves. Within this context, architecture is
more than the choreography of matter but is fundamentally ethical, invoking notions of care and
community for our habitats and constructions.
Title: Through Taking on the Perspective of a Plant, Can We Gain a Further Understanding of Our True
Needs and Wellbeing?
Ruby Lovatt
17. Constructing the Architect
Tutor: Ray Verrall
This dissertation elective explored the idea of what ‘being an architect’ is supposed to mean. We
usually think about architecture as the product of architects, but could we also consider architects
themselves as being constructions of their discipline? From the unique ways in which we are
educated in architecture school to the professional codes we are expected to follow in practice,
we are socialised into a certain set of beliefs about what it means to be an architect. Our field has
historically entertained a variety of approaches to architectural training and practice, but since the
formation of organisations such as the RIBA in the nineteenth century, a rather singular, academic,
professional mode has been powerfully promoted. Recent years have, however, witnessed renewed
interest in ‘alternative’ approaches to architectural education and practice, along with shifting
definitions of the architect’s identity. Perhaps the title of ‘architect’ doesn’t quite fit any more.
Perhaps it is actually a hindrance to developing more relevant, emerging modes of practice.
Title: The Legacy of Walter Gropius and his Bauhaus Years
Ian Mellish
18. Re-thinking the Spaces of Childhood
Tutor: Rosie Parnell
Everyday spaces of childhood in the global north have been critiqued as sites of control and
discipline – places where adults can curate children’s lives while isolating them from the adult world
and public realm. Where young people challenge these spatial boundaries they are often labelled in
mainstream discourse as being a nuisance, or having behavioural problems. The elective explored
these critiques relating them to the design of schools, nurseries, children’s museums, playgrounds
etc. We reflected on the recent wave of climate activism by young people awakened by Greta
Thunberg and the pandemic’s challenge to our assumption that children’s learning environments
and adult work spaces cannot co-exist. We examined children’s access to and roles in the processes
of architectural design and production. Finally, we explored some of the implications of new
materialism for this area of study and practice.
Title: The Guide to the Principles of Good Playgrounds
Anastassiya Galkina
171

19. Power and Architecture
Tutor: Sana Al-Naimi
When thinking of power and its relation to architecture, your mind would perhaps conjure images of
monumental structures like the Egyptian pyramids or the Parthenon atop the Acropolis in Athens.
You might think of triumphal arches or great palaces constructed to honour long-gone emperors. In
this research group, we investigated other ways in which power influences architecture; for example,
how architecture can use it to advance political agendas, how it can facilitate surveillance, or how
political powers can destroy architecture on a large scale in an attempt to achieve total dominance
over the culture that produced it. We also investigated how cultures arise after such dramatic events
and how architecture becomes the catalyst for their revival.
Title: Buzludzha’s Contested Memory: Towards a Preservation or Away from One?
Jemima Tiger Droney
172

Architecture and Urban Planning Dissertations
Module leader: Daniel Mallo
Supervisors: Ali Mandanipour, Abby Schoneboom, Andy Law, Loes Veldpaus, Sally Watson
Reading the City: a Study of Text in Newcastle’s Ouseburn and Byker
Maud Webster
This research project reveals the intricacies of text used within Newcastle’s Ouseburn and Byker,
detailing how textual signage is used for heritage, cultural, regulatory, navigational, commercial, and
political purposes. It explores the role text plays in our experiences of urban spaces, the role it plays in
shaping these spaces into places, and ultimately how text can reveal the visual character of an area and
the changes it is undergoing.
Why is Participatory Design Needed for the Future Renovation of Soviet-Era Prefabricated
Apartment Blocks and for the Regeneration of ‘Space’ in the Context of Post-Soviet Ukraine?
Ancha Myburgh
This research focuses on the potential to renovate Soviet-era prefabricated apartment blocks across
Ukraine, through a participatory design approach. The informal architecture, namely the collage of
illegally constructed balconies on the facade of these Soviet-era prefabricated apartment blocks across
Ukraine, such as the ‘Khrushchyovka’ apartment units, represents the importance of including those
impacted by decisions regarding their urban environment in the decision-making process. This silent,
collective protest against the authoritarian nature of Soviet architecture and planning is explored
through the phenomenon of Ukrainian make-shift balconies and through the on-going conflict
between public and private space. Communities within these apartment blocks often bonded over
the deficiencies and shortcomings of the Soviet-era mass-housing schemes and in turn, displayed a
natural sense of agency. The residents residing within the Soviet-era prefabricated apartment blocks
overcame many of these deficiencies in a collaborative, communal process. This research focuses on
and argues for a participatory approach towards future renovation of the apartment blocks across
Ukraine, through Roman Blazhan’s ‘Enter Through the Balcony’.
The Impact of Social Housing on Tenants Mental and Physical Well-Being; with Case Study
Analysis of Orchard Park Estate, Kingston Upon Hull
Megan Dennison
This study explores the connections between social housing and the impacts on mental and physical
well-being of its tenants, analysing the Orchard Park Estate, Hull. Using an ethnographic approach
alongside a personal relationship with the estate and both its current and former residents allowed
for a unique perspective on these matters, and a more conversational interviewing process that eased
the study participants. The research findings suggest tenants of social housing are disproportionately
disadvantaged comparatively to tenants of privately rented or owned housing, and as a result are
likely to face issues with their mental or physical health at some point in their lifetime. These issues
are evidenced to cause a strain in further areas of life, often causing issues in relationships with family
and friends as problems with mental and physical health become more prominent. By identifying
these issues and the connecting impacts, we are able to assess the causation of the issues at their root,
drawing up plans for further research and strategy implementation to improve the disproportionate
standards of social housing.
173

MArch Dissertations
Module leader: Nathaniel Coleman
The 10,000 word MArch dissertation provides students with opportunities to undertake sustained enquiries into topics from within the
discipline of architecture of particular interest to them, while allowing them to develop effective modes of writing and presentation. Although
not required, students are encouraged to explore topics aligned with their final design thesis project.
Spatial Conditions within the Walled City of Nicosia:
An Urban Void and its Challenges
Marina Patsia
Conflicts in cities originate from unique historical
backgrounds in each circumstance. These conflicts emerge
from national, ethnic, or religious disputes and often
result in urban divisions. In consequence, they affect the
socio-spatial negotiation and the appearance of cities,
places, and their physical structural environment. During
tensions and disagreements, temporal political decisions
and settlements can lead to collaborative developments
between communities. However, in complicated disputes
where it remains infeasible to find resolution, ephemeral
applications become permanent, affecting the landscape
and its boundaries.
Throughout history, divisions have shaped the past,
present and future of cities. The island of Cyprus has been
geographically and politically divided since 1974. Capital
Lefkosìa, or Nicosia, remains the last divided capital in
the world. Due to inter-communal conflicts and violence
between Greeks and Turks (later Greek and Turkish
Cypriots), long before the island’s occupation in 1974,
an emergency buffer zone had formalised a partition
prospecting to cooperative development. Following
the Turkish invasion, the island had officially been
segregated into two distinct parts, where a ‘line’ drawn
by foreign negotiators on a map defines the borders and
the geographic boundaries. The ‘green line’, as commonly
acknowledged, forms an urban void separating the North
and South parts among two diverse ethnicities, The
United Nations (UN) guard and control the space where
the urban unity is interrupted, and most of this area,
still nowadays remains an uninhabited and inaccessible
land. Memories have blurred in the absence of the past
everyday life, nationalism and religions have changed the
borders and faded away connections among communities.
Walled city and the Division
Barriers affect mobility and create spatial conditions on
the urban fabric. The dissertation focused on possible
explorations within the urban void in consideration to
existing situations. Though, it was not an attempt to offer,
propose a solution or a physical plan to political struggles,
the study promoted the vision of filling voids with the
ecological thought in mind. The thought of creating
spaces for humans and non-humans; an encouragement of
forming a common peaceful place. A place where cultures
and ethnicities blend in a social park and environment.
Photographs of the Buffer Zone in Nicosia
174

MArch Dissertations
Gap site on 5 Cross Street, Newcastle upon Tyne
Urban Fragments: Spaces of Urban Resistance
Robert Lloyd
In developed cities, ‘Urban Fragments’ exist in many forms. Ranging from cut throughs and gap
sites to entire urban areas. They are often defined via a measure of perception; these places are seen as
leftover space, unplanned and wasted spaces often associated with refuse and crime. This dissertation
highlights the conflict between the capitalist spaces of our city centres and these overlooked Urban
Fragments that are their bi-product.
Researchers have highlighted the importance of public space. However, empirical research on these
leftover spaces is noticeably absent among urban studies. This results in insufficient information on
how to utilise these Urban Fragments, reflecting their perceived lack of importance. This dissertation
argues that these cracks in our city centres are spaces of great potential.
This dissertation starts from an academic inquiry into the historical development of city centres,
focusing on the forces of privatisation, consumption, and surveillance to present public space as
lost, leading to a case study of several Urban Fragments in Newcastle city centre. Enabled by on site
analysis, this study provides a model for investigation into the creation of spaces of use rather than
spaces of consumption.
Storage lot off Stepney Road
A site-by-site analysis, both qualitative and quantitative, brings to light how these Urban Fragments
are defined and how they differ from their environment. This dissertation develops possible
interventions into these sites as counterpoints to spaces of consumption, referring to the work of
Aldo van Eyck and Constant Nieuwenhuys as well as a number of historical sources. Proposing that
through a negative dialect with modern city centre space, Urban Fragments could be facilitated into
being spaces of Urban Resistance.
The drawings presented are experimental representations of interventions into selected Urban
Fragments found in Newcastle city centre, made following the academic and on-site investigations.
Purposefully represented as abstract, the experiments do not aim to replicate the methods of
production that produce the spaces of modern public city centres. Instead, the drawings present
abstract forms and interventions to create a space to be defined by the user.
Emply overgrown space off City Road
175

MArch Dissertations
Chinese Thames Town: Value of Replication
Olyvia Tam
Designing buildings and towns based on pre-existing designs often splits opinions.
Whilst debates around architectural replication are common, it is frequently
adopted by Chinese developers and planners. This dissertation seeks to explore the
value of architectural replication and how it contributes to the Chinese community,
ultimately studying how it can be perceived as a tool to establish a new-found
Chinese identity. Thames Town, a replica of an English village in Shanghai, is
studied to shed light on the significance of replication to the Chinese context.
This analysis identifies three categories: replication as a means to rewrite history,
to denote culture, and to compete on the global stage. It reveals that replication
prompted a new connection between inhabitants and their built environment,
enabled the construction of an ideal town reflective of cultural values and middleclass
desires, and streamlined construction processes that gave rise to unprecedented
urban development. The Chinese ‘copycat culture’ is examined against European
theories of simulacrum and hyperreality to frame a collective cultural attitude and
perception towards the practice of replication. By investigating the symbolism
behind Thames Town through a historical, cultural, and socioeconomic lens, the
analysis highlights the value of architectural replication as a process of innovation
to redefine one’s national identity.
Map of ‘One City, Nine Towns’ Plan
Comparing Chinese and European theories on
replication
Map of Thames Town
176

MArch Dissertations
Junked, Abandoned, Destroyed, and Selectively Reconstructed”: Dynamics of Social Control in Mixed-Income Housing
Tunu Brown
Low-income, working class communities are repeatedly targeted and stigmatised as cities increasingly seek to design out crime and securitise
public space. Ideological attacks on council housing residents have coincided with the demolition of their homes and communities, as well as
with the rise of mixed-income housing developments. As decentralised, social-mix oriented housing strategies are increasingly implemented in
Inner London, this study questions whether this approach acts to further control, rather than liberate, the city’s working class. Despite the
semblance of inclusivity implied by social-mix policy, stigmatising rhetoric about the poor is reaffirmed by policymakers through concepts
such as the ‘broken society’ narrative, and these are materialised in the design of mixed-income housing. Design features such as segregated
children’s play areas and separate entrances for market-rate and affordable housing residents only further the notion of ‘them’ and ‘us.’ The
treatment of affordable housing residents in mixed-income housing is indicative of the belief that social class is a marker of a deeper identity,
a notion which has enabled policymakers to control where the poor can reside and regulate the spaces they occupy, both inside the home, and
in the public realm. For these reasons, critical urban scholars have denounced mixed-income housing as ‘gentrification by stealth.’ Drawing
on writings on social control, this study provides an in-depth analysis of the methods of control demonstrated in social mix policy. Utilising
The Relay Building as a case study, this study exposes how the control methods implemented in social mix policy are reflected in the designs
of these developments. The paper then explores the wider implications of this, examining how damaging rhetoric reinforces discriminatory
trends in London. As this paper concludes, rhetorically and discursively cloaked as a utopian community building practice, social mix policy
generates avenues to further control the working class’ rights and access to space, and decreases their visibility and movement in the city.
177

Linked Research
Iván J. Márquez Muñoz
Among the most exciting and ambitious modules we offer as a School, the Linked Research module
is unique to the Newcastle curriculum and spans the two Stages in the MArch, enabling year-long
collaborative research projects between staff and students. Linked Research encourages approaches
that extend beyond the conventional studio design project or ‘lone researcher’ dissertation model
allowing space for multiple and speculative forms of research. Projects are often open-ended and
collaborative, and, because they are long term and involve groups working together, they can enable
participatory projects and large-scale production with a wide range of partners inside and outside
the University.
Testing Ground
Graham Farmer & Peter Sharpe
Alexander Mcculloch
Benjamin Taylor
Emily Spencer
Henry Cahill
Katherine Rhoades
Robert Thackeray
Sarah Bedwell
Sergey Dergachev
Vincent Macdonald
Living and Lively Materials
Ruth Morrow & Karolina Bloch
Heather O’Mara
Jay Hallsworth
Zak Yiassoumis
Re-scanning New Bridge
Ed Wainwright
Brandon Few
Isabel Fox
Jake Williams-Deoraj
Sophie Collins
Self Build in a Climatic Crisis
Ben Bridgens
Frazer Watson
Irene Dumitrascu-Podogrocki
Josh Knight
Xingtong Li
Concrete Monstrosity
Owen Hopkins
Dora Farrelly
Erya Zhu
Ryan Fung
4th Order: Functionality Graded Mycostructures
Martyn Dade-Robertson
Dana Raslan
Chi Ming Ng
178 Opposite - Welcome Pavilion at Northumberlandia, Testing Grounds Group Project, Image by Brandon Few

179

Testing Ground
Graham Farmer & Peter Sharpe
Testing Ground is a unique and ongoing programme of architectural design-build research that is grounded in place-based inquiry and
stakeholder engagement. Since 2013 we have collaborated with multiple external partners and actively explored the synergies between design
and build practice, architectural pedagogy, public engagement and academic research. Over the past year we have worked on two projects.
During the summer of 2021 we installed the Welcome Pavilion at Northumberlandia, a digitally prefabricated structure that provides an
arrival and information point as well as sheltered seating for outdoor education, performances and community events. We are delighted that
since completion the pavilion has been recognised by several awards and was also shortlisted in the AJ Small Projects award for 2021.
We have also commenced work on the design of Sensory Hub for the Calvert Trust site at Kielder. The Trust is a charity that aims to enable
people with disabilities to benefit from outdoor activities in the countryside with the aim of helping them to overcome challenges that might
typically be considered too difficult. The Calvert Trust does not accept preconceptions about the ‘abilities’ of people with ‘disabilities’, rather
it aims to support visitors in achieving the ‘impossible’ and as a result they challenge established assumptions around ‘designing for disability’
and the regulatory framework of ‘access for all.’ The pavilion provides an outdoor gathering and meeting space for the Trust’s guests and will
be constructed on site in mid-late 2022.
180
Students: Benjamin Taylor, Katherine Rhoades, Henry Cahill, Vincent Macdonald, Sergey Dergachev, Robert Thackeray, Alexander Mcculloch, Sarah Bedwell,
Emily Spencer

Living and Lively Materials
Ruth Morrow (Professor of Biological Architecture) & Karolina Bloch (Research Assistant, HBBE)
In Living and Lively we worked with novel and evolving bio-based materials. Many of these materials exist chiefly in controlled lab conditions,
and are examined, understood and engineered through technical performance and criteria. In Living and Lively we took them out into the
world to engage and perform with people and complex ecologies. By doing so the students were forced to make sense of biological processes
that naturally lead to new and sometimes challenging aesthetics.
Bacterial Cellulose and Concrete:
Exploring the application of bacterial cellulose in concrete and concrete
in bacterial cellulose.
This work by Jay Hallsworth focused on the relationship between
bacterial cellulose and concrete. Through research and informed material
experiments, he uncovered a means to enhance concrete through the
addition of bacterial cellulose, and in parallel, ways to improve the
qualities of bacterial cellulose through the addition of aggregates.
Strength, Length, Pattern:
In Bacterial Cellulose Biotextiles
Heather O’Mara’s work examined the application of
biotextiles to an architectural context. To do so she
studied a range of precedents in biology, architecture,
textiles and design. She then investigated the strength,
length and pattern properties of bacterial cellulose,
experimenting with the conditions and components
of growth and harvesting, and designing a biotextiles
installation for the OME.
Bacterial Cellulose Formwork:
Reinventing rammed earth casting
In this project Zak Yiassoumis tested the viability of DIY grown bacterial
cellulose as a formwork material for rammed earth walls construction,
through a series of prototypes. By introducing three-dimensional forms
into the bacterial cellulose formwork he was able to explore the potential
of BC formwork to reveal a new casting aesthetic.
Students: Jay Hallsworth, Heather O’Mara, Zak Yiassoumis
181

Re-Scanning NewBridge
Ed Wainwright
Continuing a five-year process of documenting the wandering of the Newcastle and Gateshead based NewBridge Project, from building to
building, and site to site, Re-Scanning NewBridge has used LiDAR scanning technology to map and model the changing spaces of this artist
studio and artist development organisation. Exploring themes of spatial appropriation, re-use, hauntings and the slips of technology and
representation, students and staff have carefully attended to the most recent iteration of the NewBridge Project’s studio spaces on Gateshead
High Street and Carliol Square, Newcastle. Working towards an exhibition thwarted by Omicron, we have continued the development of an
alternative digital archive of the organisation’s buildings over time.
Linked Research B 128 ARC8068
Linked Research B
129
ARC8068
METHODOLOGY: THE TECHNOLOGY
3.0 Scanning & Data Processes
The Digital Production of an Archive:
Site No.1: Carliol House
February 2021 - Site Visit/Appraisal
March 20211
Scanning
April 20211
Site No.2 NewBridge Gateshead
October 2021 - Site Visit/Appraisal
October 10th-18th - Scanning
Importing scan data from Field 360 to Register 360
Failures and Limitations of Scan Software Technology
Importing scan data from Field 360 to Register 360:
ReCap Pro - from iPad to PC
Figure.1.45 Leica BLK360 FOV diagram
Figure.1.46 Leica BLK360 In-situ
54 ARC8068
Linked Research B
55 ARC8068
182
Students: Sophie Collins, Brandon Few, Isabel Fox, Jake Williams-Deoraj

Self Build in a Climate Crisis
Ben Bridgens
In the late 1970s and early 1980s Walter Segal developed a simple construction system which enabled people to build their own houses,
with minimal training, on sites which were deemed uneconomic for conventional construction. As contemporary construction practice
moves steadily towards global supply chains, off-site manufacture of complex building components and digital technology, Segal’s vision of
communities working together to build simple, low-cost, flexible houses feels increasingly hard to achieve.
We began by critically examining the state-of-the-art in ‘sustainable’ building design, traditional materials and construction practices, and
new innovations in building materials and systems. Each student chose a particular construction material or process and explored new
ways for individuals to construct ultra-low impact buildings by engaging with locally available resources. The project had a strong focus on
materials and construction systems and combined literature studies and detailed building case studies with material experimentation and 1:1
prototyping of building components.
Students: Irene Dumitrascu-Podogrocki, Josh Knight, Xingtong Li, Frazer Watson
183

1987
T. DAN SMITH: A FU NY THING HA PENED ON THE WAY TO UTOPIA
(Documentary)
(Microcultures, Club X)
A VISION OF BRITAIN
( BC Omnibus Presentation)
OURS TO K EP: INCOMERS
(Channel 4 Documentary)
( BC Documentary)
ʻST ETS IN THE SKYʼ
(BBC Series)
1994
DEMOLISHED
(Photographic series
by Robert Clayton)
ʻESTATEʼ
(Prime Minister)
JOHN MAJOR
(President of RIBA)
MAXWE L HUTCHINSON
‡ 35
(Film)
UK MINERʼ STRIKE
‡ 35
(Blur)
‡ 35
A VISION OF BRITAIN
UTOPIA ON TRIAL
(Alice Coleman)
‡ 41
(Maxwe l Hutchinson)
(HRH The Prince of Wales)
CLORE GA LERY
(Prime Minister)
ALICE COLEMAN
MAXWE L HUTCHINSON
HRH THE PRINCE OF WALES
1999
(Prime Minister)
‡ 37
JG BA LARD
(Newcastle City
Council Member)
‡ 39
(Jailed for co ruption)
(Prime Minister)
HAROLD WILSON
(Prime Minister)
(A rested)
‡ 36
‡ 40
TEAM 10
‡ 38
JACK LYNN and IVOR SMITH
CHAMBERLIN, POWE L and BON
NORMAN ENGLEBACK
JOHN POULSON
LUKE WI LIAMS HOUSE
RED ROAD
(10, 1, 12)
PARK HI L and HYDE PARK
GOLDEN LAN ESTATE
SOUTHBANK CENTRE
(Extension)
LION FARM ESTATE
(Film)
‡ 34
·DOCUMENTED·
(Prime Minister)
(Jane Jacobs)
T. DAN SMITH
(Leader of Newcastle
City Council)
BEGINNING OF NUMBERS GAME
(Conservative Party Conference)
RICHARD CRO SMAN
(Housing Minister)
(Art Exhibition)
W OLWICH FLATS
(Opened by Princess Margaret)
T. DAN SMITH CONSULTAN TO POULSON
SIR ALEC DOUGLAS
(Prime Minister)
HAROLD WILSON
(Prime Minister)
TARGET OF 5 0, 0 HOMES
(Labour Election Manifesto)
(The Kinks)
1956
ʻBARBICAN REGAINEDʼ
(Documentary)
1962
Concrete Monstrosity
Owen Hopkins
This project aims to develop new ways
of conceiving the nearly 100-year history
of modern architecture in Britain – both
architecture that is ‘modernist’ in an
architectural historical sense, and that
which is popularly described as modern.
1995
1996
1997
1998
1950
1951
1952
1953
1954
1955
GRADE I LISTED
The project emerges from the
polarisation that characterises the debate
about modernism and its legacies. On
the one side, there are the modernist
‘histories’, which were written even
as modernism was in its comparative
infancy, charting its rise and eventual –
and, for many of those writers, inevitable
– triumph. And, then on the other side
are the critiques of modernism that
began to go mainstream in the 1970s,
which lambasted its failures – real and
perceived – and even sought to locate
in modernist design principles causes of
crime and anti-social behaviour.
Since then, this battle has continued to
rage as revisionists histories, which have
emerged through changing political
and aesthetic tides, are countered
through continued attacks on modern
architecture, usually but not always,
from the political right.
1988
1989
1986
1990
1985
1991
1984
1992
GRAYSON PE RY M ETS THE BRUTALISM APPRECIATION SOCIETY
1983
1993
ʻSU MER ON TH ESTATEʼ
THE GREAT BRITIS HOUSING DISASTER
(Documentary by Adam Curtis)
(Photographic Exhibition by
Bi l Stephenson)
1982
BUILDING SIGHTS: TRE LICK TOWER
1981
WHOʼD HAVE THOUGHT
(Music Video)
1980
PARTIA LY DEMOLISHED
GRADE I LISTED
(First Postwar Housing)
GRADE I LISTED
1979
INCREDIBLE GAMES
(TV Game Show)
SHO PING
RIBA SP ECH
(150th A niversary)
ʻBEST DAYSʼ
(Extension) DICE
1978
GRADE I LISTED
DOWNING STR ET INTERIOR RIGH TO BUY
ʻOUR FRIENDS IN THE NORTHʼ
( BC Serial Drama)
THE PRINCE OF WALES: RIGHT OR WRONG
NATIONAL GA LERY
(Extension Proposal)
NATIONAL GA LERY
POUNDBURY
MARGARE THATCHER
TONY BLAIR SPEECH AT AYLESBURY
(Prime Minister)
NEW BRITAIN
(Tony Blair)
NEW DEAL FOR CO MUNITIES
LÉON KRIER
ROBERT VENTURI and DENISE SCOTT BROWN
QUINLAN TERRY
ʻUTOPIE DYNAMITʼ
(Gunter Rambow)
MARGARE THATCHER
TONY BLAIR
SOUTHGATE CENTRE
K ELING HOUSE SOLD
(Private Developer)
JAMES CA LAGHAN
ROYAL NATIONAL THEATRE BARBICAN ESTATE
T. DAN SMITH
T. DAN SMITH
HIGH RISE
(JG Ballard)
ʻDAN THE PLANʼ
(Lindisfarne)
LESLIE MARTIN
HUGH CA SON
ROYAL FESTIVAL HA L
SOUTHBANK CENTRE FESTIVAL OF BRITAIN
ALISON and PETER SMITHSON
JOHN POULSON and T. DAN SMITH
SIR WINSTON CHURCHI L
TARGET OF 300, 0 HOMES
GOLDEN LANE
(Proposal)
AHRENDS, BURTON, KORALEK
·PEOPLE·
REDCAR DISTRICT LIBRARY
TRE LICK TOWER ROBIN H OD GARDENS
JOHN POULSON
LIVING A THAMESMEAD
·BUILDINGS·
ROBERT RI G
OIL CRISIS
DENYS LASDUN
JAME STIRLING
ERNO GOLDFINGER
ʻDEFENSIBLE SPACEʼ
(Oscar Newman)
(M eting at CIAM)
(Chief of L C)
LESLIE MARTIN
·PUBLICATIONS·
RAYMOND ERITH
AYLESBURY ESTATE
ʻHOMES IN HIGH FLATSʼ
(Pearl Jephco t)
·EVENTS·
BALFRON TOWER
THAMESMEAD ESTATE
KEELING HOUSE
·POPULAR CULTURE AND ART·
·LAWS AND REGULATIONS·
RONAN POINT
LANGHAM HOUSE CLOSE
TRINITY SQUARE
NEW KINGSHOLD ESTATE
SIR ANTHONY EDEN
EDWARD HEATH
(Prime Minister)
(Prime Minister)
DOWNING STR ET INTERIORS
A CLOCKWORK ORANGE
·DEMOLISHED AND LISTED·
POULSON SCANDAL BEGINS
GET CARTER
HAROLD MACMI LAN
SECOND LAND UTILISATION SURVEY OF BRITAIN
ʻTHE DEATH AND LIFE OF GREAT AMERICAN CITIESʼ
RONAN POINT FIRE
5TH A MENDMEN TO UK BUILDING REGULATIONS
1972
ʻTHIS IS TOMO ROWʼ
T. DAN SMITH MAN OF THE YEAR
(Named by Architectsʼ Journal)
THE SMITHSONS ON HOUSING
( BC Documentary)
THAMESMEAD 1970
(Promotional Film)
1971
WATERL O SUNSET
1970
1969
1957
1968
1958
1967
1959
1966
1960
1965
1961
1964
1963
This project is interested in exploring
the middle ground between these
two positions, as well as between
production and reception, maker and
user, architecture as built object and
architecture as it exists in discourse
and media. We look to expand the
conventional source material of
architectural history into the material
cultures and media in which architecture
exists alongside its built manifestations
Critical also to this approach is exploring
different ways this material might be
assimilated and presented. This means
going beyond the linear narrative
of a book, for instance, and instead
formulating diagrammatic or curatorial
approaches that re-cast the competing
modernist narratives into the form of
waves, cycles and fields.
DICE
UTOPIA ON TRIAL
(Alice Coleman)
RIGHT TO BUY
MARGARET THATCHER
(Prime Minister)
ALICE COLEMAN
1977
MARGARET THATCHER
1976
1975
ROBIN HOOD GARDENS
1974
ʻDEFENSIBLE SPACEʼ
(Oscar Newman)
1973
ʻHOMES IN HIGH FLATSʼ
(Pearl Jephcott)
SECOND LAND UTILISATION SURVEY OF BRITAIN
(Jane Jacobs)
ʻTHE DEATH AND LIFE OF GREAT AMERICAN CITIESʼ
184
Students: Dora Farrelly, Ryan Fung, Erya Zhu

4th Order: Functionality Graded Mycostructures
Martyn Dade-Robertson
There has been a growing interest in the design community in a new generation of Engineered Living Bulk Materials (ELBM). We have
become well accustomed to using natural, biologically synthesised materials to construct buildings (obvious examples include Wood and
Limestone). However, advances in our understating of biology coupled with the need to find alternatives to highly wasteful industrial processes
have led designers to look beyond their usual material repertoire. Designers have started to consider processes which would allow us to grow
our materials - exercising control in the way they develop at the level of individual cells or even manipulating their DNA.
Our linked research project this year focused on Mycelium based-materials Mycelium is a fungus which grows in soils through a complex
network of thin branching threads which absorb nutrients. Mycelium grows rapidly and, when grown through a material like saw dust or
coffee grounds, it will bind the substrate together like a cement binding aggregate. The work shown here is from the project of Dana Raslan
which investigated ways of growing functionally graded mycelium. As part of the project she developed a fabrication strategy which allows
her to grow mycelium with different substrates to produce materials with different mechanical properties. Her project is also the first to use
our new materials testing facilities (part of the Hub for Biotechnology in the Built Environment) including our Instron mechanical testing
machine.
Students: Dana Raslan, Chi Ming Ng
185

PhD and PhD by Creative Practice Students
Continuing PhD Students:
Transformational Spaces for Women
Sarah Ackland
Exploring the Design Delivery Process in
Architectural Firms in Nigeria
Oluwakemi Adeboje
Developing a Framework for Risk Assessment
of Construction Projects in Egypt using Failure
Mode and Effect Analysis (FMEA)
Wahbi Ifreig Mohamed Albasyouni
The Conservation of Historical Buildings in
Mecca, Saudi Arabia, 1955-2018
Mohanad Alfelali
A Green and Unpleasant Land: On British
Model Villages and Architectural Models
Michael Aling
Bacterial Choreography: Designing
Interactions through Biological Induced
Mineralisation
Thora Arnardottir
Ecologies of the Domestic Threshold.
Investigating the Boundary between Domestic
and Public in UK Multi-Unit Housing
Elena Balzarini
Spatial Contest across Scales: A Study of
Transportation Nodes at Dalian and Taipei and
Multi-Scalar Spatial Politics in Japan’s Colonial
Project in East Asia (1895-1945)
Lu Bao
The More-than-Human Relations of
Transplanetary Imaginaries and Habitats
Anne-Sofie Belling
The Effects of Participatory Design Tools
on Community Engagement in Developing
Neighbourhoods
Ikbal Berk
Stolac: A Testing Ground of Practised
Ambiguity
Smajo Beso
B. Subtils Spore Hygromorphs as a Novel
Smart Biomaterial
Emily Birch
Embodiment and Computing at the Architect’s
Interface for Design
Alexander Blanchard
The Art of Conception: Methods to Kill the
Architect
David Boyd
Alien Technology for Alien Worlds:
Design for Biological Construction for Living
Habitation System
Monika Brandic Lipinska
National Reconstruction Projects Concerned
with Security Vulnerabilities Under the Park
Chung-hee Regime in the 1960s and 1970s
Uri Chae
Ceilings by Default
Kieran Connolly
Housing Design and Marketing Images
Hazel Cowie
The Autobiographical Hinge: Revealing
the Intermediate Area of Experience in
Architectural Representation
James Craig
Living in Princely Cities: Residential
Extensions, Bungalow Culture and the
Production of Everyday Spaces in Bangalore
and Mysore, South India ca.1881 to 1920
Sonali Dhanpal
Intersectional Belonging: Exploring Equitabel
Access to Urban Forest Qualities Across
Communities
Lotte Dijkstra
SPACE, a Bridge Connecting Online and
Offline Learning
Nagham El Elani
Architecture, Education and the Empathic
Imagination
Elantha Evans
Reimagining Children’s Spaces with Seven
Stories: The National Centre for Children’s
Books
Daniel Goodricke
Fundamental Principles of Biological
Fabrication in Nature for Upscaling in the
Built Environment
Aileen Hoenerloh
The (Un)Making of Modern Iranian Women:
A Feminist Reading of Everyday Spatial
Experience in Interwar Period Tehran (1918-
39)
Sadaf Hosseini Tabatabaei
Textile Hosting
Romy Kaiser
Participation of Community in Heritage-Led
Regeneration
Brian Hwang
A Construct of the Everyday and Living Space
in War Preparation Projects in China during
Cold War Period (1960-1980)
Lingfei Kong
Syn.Emergent Material
Sunbin Lee
An Investigation into the Use of Building
Energy Performance Simulation as Active
Design Method at Conceptual Design Stage in
the UK practice
Ramy Mahmoud
Experiencing Architecture in the House-
Museum: An Auto-Ethnographical Study of
the Phenomenology of the Domestic Realm in
Walmer Yard
Laura Mark
Vatican II, Modernism and Concrete.
Meaning and Interpretation of the Material in
Post-war Britain
Ivan Marquez Munoz
Robust Architectural Detailing
Joseph George Marshall
Urban Riverfront Revitalisation in 21st
Century Indonesia
Indah Mutia
How Architects Can Increase the Use of Full-
Culm Bamboo to Provide Adequate Urban
Housing in Tropical Developing Economies
John Osmond Naylor
The Materiality of Well-Being: Living Textiles
as Interfaces to Enhance Well-Being in the
Built Environment
Paula Nerlich
The Influence of Occupant Behaviour on
Energy Consumption: A Case of Residential
Buildings in Makkah, Saudi Arabia
Hatem Nojoum
Assessment of Thermal and Daylight Strategies
in Relation to the Agitation Levels of People
with Dementia in Warm Humid Climates
Emmanuel Odugboye
Investigating the Properties of Mycelium to
Develop Free Form Building Materials
Dilan Ozkan
Space and Death – Understanding and
Designing Space for Assisted Dying for the
Terminally Ill
Virginia Rammou
Museums & Landscapes to Shape Modernity
Aldric Rodriguez Iborra
Building Home
Martina Schmuecker
Designing Water. A Living Wall between Land
and Sea
Pierangelo Marco Scravaglieri
Place, Politics and Memory – Contested
Heritage
Ceren Senturk
186

Building Architecture Autonomy: A Study of
Design Knowledge as a Discursive Practice in
China (1995-2015)
Difei Shan
Becoming Planners and Architects: the
Formation of Perspectives on Residential
Design Quality
Dhruv Adam Sookhoo
Beyond Biomimicry: How Can We Create
Designs that Possess the Functions of Living
Things?
Assia Stefanova
The Withdrawn Design: Object-Oriented
Ontology and Architectural Practice
Harry Thompson
Fabrication Through Competition: Developing
a Biological Fabrication Strategy Using the
Mycelium Competition
Ahmet Topcu
Alive: Rhythmic Buildings
Layla Van Ellen
Repositioning the Profession: The 1958
RIBA Oxford Conference and its Impact on
Architectural Education
Raymond Verrall
ALIEN TECHNOLOGY FOR ALIEN WORLDS* Design for Biological Co
Monika Brandić Lipińska | Martyn Dade-Robertson, Meng Zh

PhD Research
Processual Approach to Forming with Unruly Matter
Thora H Arnardottir
This research, combining microbiology and design, focuses on exploring the design
potential of bacterial-induced biomineralisation. It sits within the speculations regarding
our changing relationship with nature through engineered biological systems and new
material processes. The thesis looks at how we, as designers, can begin to adjust our
fabrication techniques. It explores material tinkering and the structuring of custommade
bioreactors and casting vessels that enable the biofabrication process to materialise.
The research aims to capture and expose the process from which the form emerges,
understand what occurs within the casting vessels, and deliver design guides to engage
with the biomineralisation process.
Supervisors: Martyn Dade-Robertson, Helen Mitrani
Funding: ESPRC Thinking Soils project & HBBE’s Research England Expanding Excellence in
England (E3) Fund
Spaces Accommodating Mixed Digital Physical Embodied Learning
Nagham El Elani
This research explores learning environment design for children at primary level,
specifically spaces that can accommodate mixed digital physical embodied learning.
The research applies a participatory action methodology where students and teachers
are considered co-researchers. The research is divided into 3 phases, ‘observations’,
‘workshops and games’, and ‘intervention’. I am currently in the second phase
collaborating with the participants in identifying the spatial qualities of the learning
environments through adopting interactive mixed digital physical embodied methods.
The poster shows the students assembling their own spatial worms made of their selected
preferred images of educational spaces, and the digitized version of their worm where
they explain the reason for selecting the images and their worm’s name.
Supervisors: Rosie Parnell, Pamela Woolner
Collaborators: Two Primary Schools in Newcastle
Spatial Strategies in Dalian and the Northeast under Japan’s Colonial Rule 1897-
1945: Railway Stations and Sea Ports as Key Notes at Multiple Scales
Lu Bao
Dalian, a Chinese city located at the end of the railway lines and the starting point of
sea freight, was a Japanese colony in modern times. Due to its geographical importance
in transportation, this study wants to show the interaction between the urban space and
these transportation nodes. Through the study, on the one hand, not only Japan’s overall
geostrategic expansion across East Asia can be revealed, but regional conflicts between
the colonial authority and the local gentry as well; on the other hand, in the city, colonial
modernity and uneven community development under racism can also be shown.
Funding: Newcastle University & CSC Scholarship
188

Alien Technology for Alien Worlds: Design for Biological Construction of Living
Habitation on Mars
Monika Brandić Lipińska
The project explores the potential and challenges of using bio-composites for space
applications and how these might be addressed. The aim of the research is to develop
a biofabrication strategy for stabilizing regolith (loose layer of Martian soil) using
mycelium, to construct inhabitable structures, in resource-limited Martian conditions.
Based on the idea of engineered living materials, the long-term concept employs the living
biological growth in a controlled environment for the process of material fabrication,
assembly and maintenance. It questions how we construct with the complexity of
biological systems and how we may live in habitats which are themselves, living.
Supervisors: Martyn Dade-Robertson, Meng Zhang, Magdalini Theodoridou
Collaborators: Lynn Rothschild’s Astrobiology Lab, NASA Ames Research Center
Funding: Northern Bridge Consortium & Research England
Intersectional Belonging:
Exploring Equitable Access to Urban Forest Qualities Across Communities
Lotte Dijkstra
Places can mean different things to different people. This research aims to explore how
this notion impacts accessibility to urban forests. How does a sense of intersectional
belonging contribute to increasing equitable access to urban forest qualities? Place-based
narratives are unearthed in collaboration with experts from local communities through
storytelling. Each iterative exploration is a nested loop, layering a narrative around the
core research question and aiming to examine a specific angle. The creative product
will be generated as an ongoing piece of work, culminating in a series of co-produced
illustrated urban forest stories.
Supervisors: Usue Ruiz Arana, Clive Davies & Maggie Roe
Funding: Forshaw Award in Architecture
The [Un]making of Modern Iranian Women: A Feminist Reading of Everyday
Spatial Experience in Interwar Period Tehran (1918-39)
Sadaf Tabatabaei
During the 19th century, and as a result of modernist reforms, Tehran was subjected to
massive physical transformations and became an exemplar of urban renewal projects for
the whole country - a place of simultaneously experimenting and experiencing modernity.
This research aims to provide an alternative feminist architectural history narrative of
the situated Iranian modernity and the variegated experiences of modernisation. This
will be done by analysing the position of women in the inter-war period (1918-39)
and exploring their experience and perception of modernisation being unfolded in their
surrounding built environment.
Architecture, Education, and the Empathic Imagination.
Elantha Evans
Located in the physical, mental, and conceptual space of the ‘architecture design studio’, this project explores wider ideas and potential
applications of empathy, communicative empathy, and of the empathic imagination. These are put forward as skills and places that can be
accessed, enabled, nurtured, and embedded as part of learning, teaching, and design practices. Amplifying the learner voice and expanding
inclusion of diverse cultural values ultimately impacts our future built environment and its making. Using participatory, action-oriented
research methods rooted in strong theoretical understandings and grounded in lived experiences, the project makes connections between
design, pedagogical practices, and learning environments.
Supervisors: Ruth Morrow, Rosie Parnell
189

ARC Research
BioKnit
Jane Scott, Ben Bridgens, Elise Elsacker, Armand Agraviador, Aileen Hoenerloh,
Romy Kaiser, Ahmet Topcu, Dilan Ozkan
BioKnit brings together textiles, biotechnology, and computation in the
production of a free-standing biohybrid structure composed of knitted
fabric, fungal mycelium and bacterial cellulose. Biohybrid systems present an
opportunity to rethink not only the way our buildings are made, transitioning
from construction to growth, but also the form and materiality of our
architectural spaces and surfaces. There is an opportunity to move towards
structurally optimised geometries, and this research seeks to redefine a catenary
logic for materials that transition in state from soft and flexible to rigid and stiff,
through the process of growth. The research has addressed key questions about
the biocompatibility of knit as a scaffolding system for mycelium and bacterial
cellulose, the mechanical performance of the composite system and the challenges
of growing biohybrids both at scale, and outside a lab environment.
Funder: Research England’s Expanding Excellence in England (E3) Fund
190

Unravelling the Live Project: the Entanglement of Architectural Pedagogies in Civil
Society
Daniel Mallo, Armelle Tardiveau, Abigail Schoneboom
This research explores the live project as a rich space for entanglement between students
and civil society. The authors critically argue for a need to acknowledge and chart the
process of learning and sharing across all actors brought together through architectural
pedagogies of engagement (students, community, educators/ facilitators). The argument
is underpinned by principles of critical pedagogy and a claim for equality as part of
a dialogic process of learning. Ultimately, the live project is understood as the setting
for a social process of mutual learning where participants contribute through their
competence and knowledge of what they do and know.
changing
humidity
changing
humidity
changing
humidity
changing
humidity
RESPIRE: Passive, Responsive, Variable Porosity Building Skins
Ben Bridgens, Jane Scott, Natalia Pynirtzi, Kumar Debnath
RESPIRE aims to develop a new generation of low-cost, low-environmental impact,
responsive building skins that moderate internal temperature and humidity by varying
their porosity. The transformative approach of the RESPIRE project would improve
internal air quality and eliminate the need for energy-intensive, high-maintenance
mechanical ventilation systems, enabling fully passive, zero-energy buildings. We
will take advantage of the natural moisture-responsiveness of some abundant organic
materials. Wood, hydrogel (made from seaweed), wool and flax fibres all swell and shrink
in response to varying levels of moisture and can potentially be used to produce novel
breathing building skins.
Funder: Leverhulme Trust Research Project
Routes of Infection, Routes to Safety: Understanding Risk and Viral Imagination
on Public Transport
Charlotte Veal
Emma Roe, Sandra Wilks and Paul Hurley (University of Southampton)
There is an absence of qualitative, interdisciplinary research on the personal application of
infection prevention (IP) measures (hand-washing, mask-wearing), and its effectiveness
beyond the healthcare setting. During the COVID-19 pandemic, IP measures are critical
to building confidence to resume leisure and economic activity. The project integrates
behavioural, microbiological and aesthetic approaches to creatively demonstrate the
interactions of human-microbial transmission. Taking the case study of the bus, the
research: investigates the structural challenges in consistent application of IP in public
spaces; provides microbiological and sociological evidence to inform effective cleaning
practices for bus operators and safe travel practices for bus users; and generates wider
public knowledge of infection risk/prevention and their geographies in shared indoor
spaces.
Funder: AHRC
Collaborators: Regional Bus Operators, Bus Users, Bristol Somali Community
191

Routledge Handbook of Chinese Architecture:
Social Production of Buildings and Spaces in History
Jianfei Zhu, Chen Wei, Li Hua
This handbook, representing the collaboration of 41 scholars, provides a multi-faceted
exploration of roughly 6,000 years of Chinese architecture, from ancient times to
the present. This volume formulates a thematic framework for investigating Chinese
architecture, integrating previously fragmented topics and combining the scholarship
of all major periods of Chinese history. It has five parts: traditions of ancient dynasties;
modernization of republican China; enterprises of a socialist republic; a changing China
on the world stage; and socio-cultural theorization. The book provides a pioneering
combination of ancient and modern Chinese architecture into one coherent study.
Routledge Handbook of
Chinese Architecture
Social Production of Buildings and
Spaces in History
Collaborator: Southeast University (China)
Edited by Jianfei Zhu, Chen Wei and Li Hua
Dwellbeing Shieldfield
Julia Heslop
During the last ten years, Shieldfield has seen a 467% increase in student housing. This
has affected the character and social mix of the neighbourhood. In response, Dwellbeing
Shieldfield as a co-operative and Community Benefit Society led by residents, was
founded to generate citizen knowledge on issues affecting people’s lives in Shieldfield.
Through programmes focused on food growing, public space improvements, local
skills building, combatting social isolation, and young people, this has led to positive,
community-led social and environmental change. Through this work the organisation
aims to build local knowledge and skills so residents can address future urban change.
Funders: Faculty Impact Fund, Engagement and Place Fund, Social Justice Fund
BioDwelling
Louise Mackenzie
BioDwelling explores the cultural context of biotechnology in the built environment
through inviting members of the public to interact with, and share their views on living
with, biological materials through artist-led activities. The project uses methodologies
based in sound and imaginative practice to amplify the voice of the non-human in
biotechnology research. Through establishing a network of interest within the local
community, the research invites dialogue around how we can listen to the voice of the
non-human in the context of biotechnology and how we might imagine our relationship
with living biological materials in the home.
Funder: Research England / HBBE
192

Living Manufacture: Principles for a microbial 3D printer
Thora Arnardottir, Sunbin Lee & Martyn Dade-Robertson
Joshua Loh, Katie Gilmour & Meng Zhang (Nothumbria University)
Living Manufacture project is a collaboration between architects and bio-scientists to
build a new type of Engineered Living Material (ELM) based fabrication system. The
project aims to develop a novel digital manufacturing approach by integrating biological
growth and digital fabrication to make 3D functionally graded materials and objects. We
see this work as the basis of a new fabrication technique with potential applications in
a wide range of areas, including biomedical applications, complex composites for highperformance
manufacturing and novel consumer products and the potential to scale-up
to create novel materials and structures for architecture.
Funders: EPSRC Manufacturing the Future and HBBE’s Research England Expanding
Excellence in England (E3) Fund
Translational Teaching
Jianfei Zhu
In his regular guest teaching on critical studies of architecture at China Academy of Art
and Southeast University, Professor Jianfei Zhu has added an Open Lecture Programme
where Newcastle academics in the School of APL were invited to deliver lectures online
to local students and an international audience. In September and October 2021, Adam
Sharr, Katie Lloyd Thomas, and Steve Graham delivered lectures on Heidegger, feminist
thinking, and military urbanism. In June 2022, Stephen Parnell and Jeremy Crampton
delivered lectures on media and magazines, and data politics, at China Academy of Art.
Collaborators: China Academy of Art (Hangzhou) and Southeast University (Nanjing)
Guest Speakers: Adam Sharr, Steve Graham, Katie Lloyd Thomas, Stephen Parnell,
Jeremy Crampton
At Home with Children: Learning from Lockdown
Rosie Parnell
We explore how lessons learned from lockdown can help to re-imagine, refurbish and
design ‘liveable’ homes for the contemporary needs of families with children. Informed
by a nationwide survey and interviews with families, this research explores interrelationships
between social experience, psychological well-being and everyday domestic
space. Adaptations that families made to their homes during lockdown feed into a
codesign process to create a ‘Home Hack Toolkit’. Findings and recommendations also
target housing policy and professionals in family support roles, identifying the settings
and scenarios that present the greatest challenges to families, and providing guidance
informing domestic design and space standards.
Funder: UKRI/AHRC Covid-19 Rapid Research Fund
Collaborators: Husam Abo Kanon, Emily Pattinson and Alkistis Pitsikali from the RA
193

Hub for Biotechnology in the Built Environment (HBBE) Research
Karolina Bloch, Armand Agraviador, Kaaj Modi, Louise Mackenzie, Pippa McLeod-Brown, Ruth Morrow and Ben Bridgens
All work is funded by Research England unless otherwise stated.
Project 1: Bacterial Cellulose Prototype
Synthesising cellulose for use as a façade material for the built environment
Bacterial Cellulose is a bacteria synthesised cellulose, secreted by a genus of bacteria,
known as Komagataeibacter. Research on and use of bacterial cellulose has grown
exponentially over recent decades, chiefly in the fields of biomedical, food, packaging,
product and fashion design. However, in respect to its potential applications in the
Built Environment, significantly less research has occurred. This prototype-led project
therefore uniquely explores bacterial cellulose as a potential façade material for the built
environment, from scaled up production through to its installation, maintenance and
the impact of weathering and environmental conditions.
Collaborators: Mahab Aljannat, Jay Hallsworth, Oliver Perry and Yunhong Jiang and
Meng Zhang from Northumbria University
Project 2: Bio-Circular Concrete Prototype
Microbial induced carbonation on bioreceptive concrete
This project develops and tests bio-receptive concrete panels for the façade. It builds on
previous research with Queen’s University Belfast, which developed a concrete panel
made from 90% waste, where the concrete properties were optimised and the panel
designed to attenuate water infiltration, thus supporting plant life. This prototype aims
to refine the design of the concrete panels to support plant and microbial lifeforms,
thereby increasing the absorption of atmospheric CO2. The project particularly focusses
on 1. investigating whether or not microbial induced carbonation occurs on the concrete
panels and 2. trailing the propagation of indigenous plant species in the designed panel
recesses.
Collaborators: Janet Simkin, Oliver Perry, Angela Sherry, (Northumbria University) Rory
Doherty (QUB), Sree Nanukuttan (QUB) and Elizabeth Gilligan (Material Evolution)
RODUCTION
at OME project will demonstrate a closed-loop
pproach to domestic buildings. Using food
tor, argriculturally influenced cycles working in
with existing technologies installed in the OME
sustainable human habitation. The project
BBE research with existing technologies and
ethodologies.
Project 3: Culina@OME
This is a small-scale pilot project within the Hub for Biotechnology in the Built
Environment, which seeks to develop a closed-loop systematic approach to energy,
water and nutrients in domestic buildings, which will be prototyped at large scale within
and around the OME (http://bbe.ac.uk/ome/). Identifying food as the intersection
of multiple flows and cycles within the home, and a fundamental point of human
interaction with those cycles, the project integrates HBBE research with existing
technologies and traditional methodologies, which range from microbial fuel cells to low
energy food preparation techniques such as fermentation.
Culina at OME’s contribution to a self-sustaining OME.
3
194

Project 4: Mud Futures
Neveen Hamza
Mud Futures 2021-2022 is a global long multi-host multi-location conclave on the
futures of mud in architecture, conceptualised and conducted by the School of Art and
Architecture, Sushant University, India in partnership with Responsible Interactions
Research theme, HBBE. The conclave is an opportunity for a global platform for
ideas, thoughts, research and architectural projects centred around mud. Here, mud is
considered as a material, as an approach, as a vehicle for sustainability, and as the source
of an ideological imperative for the future of the built environment. In March 2022,
HBBE hosted a symposium as part of Mud Futures on the topic of Hybrid Futures.
The event featured speakers from HBBE and industry, speaking about novel industry/
academic collaborations for uses of mud in the built environment.
See https://ipac.page/mudfutures/
Project 5: Mud Matters
HBBE’s Responsible Interactions Team, in collaboration with the Gateshead Riverside
Project and the Mud Futures network, invited artist and filmmaker Michele Allen to
explore the mud-flats at the confluence of the Rivers Tyne, Team and the tidal basin
of Dunston Staiths, as part of a project that researches, maps and creatively explores
the economic, cultural and ecological significance of this landscape. The residency is
presently running for a period of three months (March-May) and Michele has been
thinking about this mud habitat across a range of scales from the microscopic, through
to the creatures living in the mud, birds which feed there and people who live close to it.
She is producing a video work featuring footage of the mud, interviews with locals and
environmental experts, ‘mud mapping’, wildlife, changing ambient noise, and intends to
exhibit this alongside prints and interview transcripts.
Project 6: Crafting Cultures
Through this project we are engaging with four student crafters from architecture and
fine art to work with the biomaterial Bacterial Cellulose (BC), or SCOBY. BC is a highly
novel living material for the built environment, in that it is mostly understood within the
context of the lab or small-scale manufacturing, and does not map to standard methods
of fabrication or assembly. HBBE believes that we can learn much about BCs properties
through the tacit knowledge that crafters possess. By working with BC, a living material
that is itself produced through co-creation between bacteria and yeasts, we might also
engage people into new conversations about ecology, sustainability, and the resourcing of
materials. We are just at the start of this project, funded by NU Engagement and Place
funding, and have been awarded follow-on funding so watch this space!
Project 7: Listen with Mother?
This summer, 6 May to 23 July 2022, the Hub for Biotechnology in the Built
Environment (HBBE) is taking part in the Farrell Centre exhibition, ‘How We Live
Now’ at Newcastle Contemporary Art (NCA). Listen with Mother? is a collaborative
artwork as part of BioDwelling, an artist-led participatory research project by Louise
Mackenzie. It is an evolving installation centred around a SCOBY* mother that will
grow on a kitchen table situated in the gallery over the duration of the exhibition. The
work broadcasts situated voices from architecture, artistic and domestic practices that
explore relationships between human and more-than-human kin through the expanded
concept of the ‘mother’. Researchers from HBBE, artists, architects and other makers
are invited to share how they are working with non-human organisms, exploring diverse
perspectives on more-than-human care, kinship, control, nurture and culture from the
lab, the gallery and the home.
195

ARC Exhibitions
Drawing with Scissors: Architectural Imagination in the
Contested Spaces, Nicosia
Ceren Senturk
Collage generates its own visual reality through the layered coexistence
of image fragments from various contexts, evoking multiple layers
of different meanings and realism. This repurposing of fragments
and statements, as well as the resulting flexibility of interpretation, is
frequently combined with a critical intention that addresses societal,
design, and perception issues. Beyond its easy-to-create visuals, the
collage contains intense artistic and research potential in the design
process. My PhD by Creative Practice is an attempt to explore how
collage, an artistic practice, can provide productive opportunities to
intervene in contentious debates in contested spaces. It locates itself
as a generative space within which to practically test and explore the
potentials of collage and collaging for conceptualising and researching
conflicted spaces. The divided city of Nicosia, serving as a joint capital
for two societies: the Republic of Cyprus in the south and the Turkish
Republic of Northern Cyprus in the north since 1964, is used as a
subject of collage experimentation.
196

Transformative Space for Women:
Wunning in Progress
Sarah Ackland
I run to unpick engrained values, my education, my practice.
My place in society, the city, the past. My creative practice
is my running, by running I take up vast amounts of space
in the city.
How do we know what spaces women take up?
How much space we are allowed to take up?
In a city designed by men what says a woman, was here?
This exhibition collected months of isolated work together
and this exhibition was the inception of the ‘Transformative
Spaces’ series which developed into three key pieces; these
were later exhibited at How We Live Now at the Newcastle
Contemporary Art Gallery.
These pieces are an account of femininity in city and domestic
spaces which is grappling with the object status of the female
body but also a search for roots, healing and transformation.
Through memorialising objects and experiences, the pieces
become public interfaces for discussions about how much
space women are really allowed to take up.
Transformative spaces;
Unravel a torment
Witness transformation
Repair an unequal planet
The stuff of academic life: material and visual cultures
Peter Kellett
Architect and anthropologist Dr Peter Kellett celebrated his retirement last year with an exhibition ‘Packing Up: reflections on a lifetime at
the University’. A seminar accompanied the exhibition which discussed the materials and artefacts on display and explored the thinking and
ideas behind the selection and design of the installation.
197

ARC Exhibitions
Children, the Archive and the City: A Set of Ideas for Accessing Seven Stories’ Collection
Daniel Goodricke
Collaborators:
Newcastle University’s School of Architecture, Planning and Landscape; School of English Literature, Language and Linguistics; and
Seven Stories: The National Centre for Children’s Books as part of Vital North Partnership.
Supervised by Prof. Prue Chiles, Prof. Adam Sharr and Prof. Matthew Grenby.
Funders:
Northumbria University (formerly UK Research and Innovation: Arts and Humanities Research Council)
A creative practice-based PhD project, in collaboration with Seven Stories: The National Centre for Children’s Books – investigating how
children interact with museum, archive and reading spaces, as well as the broader context of the city, and exploring how spaces could be
reimagined with and for children and young people. Much of the collaborative practice comprises novel techniques utilising illustrations and/
or artwork from amongst Seven Stories’ collection. The findings of the project will culminate in the production of a design brief, developed
through the close dialogue with representatives of Seven Stories, end users, neighbouring communities, and other stakeholders.
198

Farrell Centre
Owen Hopkins
The Farrell Centre is a new public centre for architecture and cities at Newcastle
University, inspired by the recommendation of renowned architect-planner and
Newcastle University alumnus, Sir Terry Farrell, that every town and the city should
have an ‘urban room’ where people can go to get involved in shaping the future of
where they live.
In late 2021, work commenced on-site on the building project to transform a former
late-19th-century department store on the edge of campus into the Farrell Centre’s
new home: The Sir Terry Farrell Building. The £4.6 million building project is
designed by local architects SPACE and Elliott Architects who have worked in close
collaboration with Farrell Centre Director, Owen Hopkins. The project is due to
complete in late 2022, ready for the Centre’s opening in early 2023.
In the meantime, the Farrell Centre rolled out its first programme: an online lecture
series, organised in collaboration with APL, which invited practitioners and thinkers
working in a range of fields and geographies to explore their ideas and vision(s) for
‘another architecture’. Lecturers included Studio Ossidiana (Netherlands/Italy), Alice
Brownfield (UK), Gonzalo Herrero Delicado (UK/Spain), Ruth Morrow (UK),
Paradigma Ariadné (Hungary), Cave_bureau (Kenya), Marinela D’Aprile (USA),
Superflux (UK), Afaina de Jong (Netherlands) and Adam Nathaniel Furman and
Joshua Mardell (UK).
199

How We Live Now:
Making Spaces in the North East with Matrix Feminist Design Co-operative
Owen Hopkins
In May 2022, the Farrell Centre, in association with the School of Architecture, Planning and Landscape and Newcastle Contemporary Art,
presented an exhibition exploring the work of 1980s feminist architecture co-operative Matrix, alongside contemporary projects looking at
gender, accessibility, equality and discrimination in the built environment.
Originally curated by Jon Astbury and Jos Boys for the Barbican Centre in London, the exhibition was built around an installation of work
by the radical 1980s feminist architecture co-operative Matrix, whose four founding members met while students at Newcastle University.
Featuring rare films, drawings, photos, architectural models, as well as posters, practice documents and press clippings, the installation
explored Matrix’s approaches to design that aimed to empower groups often excluded in the design of buildings, including Black and Asian
women’s organisations, community and childcare groups and lesbian and gay housing co-operatives, to explore more inclusive ways of
designing, building and occupying spaces.
In the exhibition’s restaging at Newcastle Contemporary Art, the Matrix installation became a jumping off point for a display of contemporary
projects from the North East of England, which engage with the spatial implications of questions around gender, accessibility, equality and
discrimination.
Urban Obsticle Courses’, photograph of Anne Thorne and child taken from
‘Making Space: Women and the Man-Made Environment’
Brick Picnic’, photograph of Matrix workshop day with women from
the Jagonari Centre, researching brick options for the building.
Front Façade of Jagonari Centre
200
Images: Courtesy of Anne Thorne and Matrix Open feminist architecture archive

A-Z Women in Architecture
Members of Matrix in the 1990s. Back, from left:
Mo Hildenbrand, Sheelagh McManus, Raechal Ferguson.
Front, from left: Janie Grote, Annie-Louise Phiri and Julia
Dwyer.
Brick Picnic’, photograph of Matrix workshop day with women from the Jagonari
Centre, researching brick options for the building.
Women, Children and Play on the Street
Images from: Courtesy of Sue Ridge, Kidz Klub Leeds
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Contributors
Each year, the School draws on a vast and extraordinary array of talented architects, artists, critics and other practitioners who substantially
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
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
keep returning, as without their critical input the School would be a very different place.
Stage 1
Adam Fryett
Adam Sharr
Aileen Hoenerloh
Alex Blanchard
Andrew Ballantyne
Anna Cumberland
Armelle Tardiveau
Assia Stefanova
Becky Wise
Byron Duncan
Carlos Calderon
Chloe Gill
Chris Charlton
Chris Elias
Damien Wootten
Daniel Mallo
David McKenna
Dilan Ozkan
Ed Wainwright
Eddy Robinson
Elinoah Eitani
Emma Kirk
Ewan Thompson
Harry Thompson
Henna Asikainen
Ivan Marquez Munoz
James Harrington
James Morton
Jianfei Zhu
Joey Curtis
John Kinsley
Joseph Wilson
Juliet Odgers
Karl Mok
Katie Lloyd Thomas
Malcolm Green
Marina Kempa
Michael Chapman
Michelle Allen
Mike Veitch
Nagham El Elani
Neil Burford
Neveen Hamza
Nick Clark
Noor Jan-Mohamed
Otis Murdoch
Peter St Julien
Prue Chiles
Ruth Hayward
Ruth Sidey
Sam Austin
Sana Al-Naimi
Scott McAuley
Sneha Solanki
Sonali Dhanpal
Sophie Cobley
Sophie Collins
Sophie Ellis
Stephen Parnell
Taz Nasser
Tracey Tofield
William Knight
Stage 2
Alex Blanchard
Christos Kakalis
Dan Sprawson
Gillian Peskett
Harry Thompson
Hazel Cowie
Jack Scaffardi
James Longfield
Juliet Odgers
Kati Blom
Kieran Connolly
Luke Rigg
Marianna Janowicz
Nagham El Elani
Ollie Chapman
Rob Johnson
Rosie Parnell
Rumen Dimov
Shoko Kijima
Tolu Onabolu
Stage 3
Andrew Ballantyne
Anna Czigler
Cara Lund
Harriet Sutcliffe
Hazel Cowie
Jack Mutton
James Perry
Jess Davidson
Jianfei Zhu
John Kinsley
Luke Rigg
Matthew Margetts
Neil Burford
Neveen Hamza
Sophie Baldwin
Stephen Parnell
Steve Ibbotson
Stuart Franklin
Tom Randle
AUP
Anna Cumberland
Armelle Tardiveau
Bryony Simcox
Damien Wootten
Daniel Mallo
David McKenna
Elinoah Eitani
Harry Thompson
James Longfield
Jane Millican
Kaniz Shanzida
Loes Veldpaus
Luke Leung
Mike Veitch
Nick Simpson
MArch
Andrew Ballantyne
Anna Gidman
Carlos Calderon (Guest Reviewer)
Carwyn Thomas (Colour UDL)
Claire Richardson
(Gateshead City Council)
David Lomax (Waugh Thistleton)
Dotte Dijkstra
Ed Wainwright
Giles Wheeldon
(Ian Chalk Architects)
Graham Stephenson
(Gateshead City Council)
Henry Pelly (Max Fordham)
Irina Korneychuk
James Craig (Guest Reviewer)
James Morgan
(Heynes Tillett Steel)
Jane Redmond
Jian Kang
Kevin Fraser
Matteo Ghidoni (Salottobuono)
Muhammad Ogunniyi (Tech
Workshop, Guest Reviewer)
Niall Durney
Patrick McMahon
Paul Rigby
Peter Hunt
Peter Sharpe (Kielder Water &
Forest Park Development Trust)
Phil Graham, Peter Inglis and
Carol Costello (Cullinan Studio)
Polly Gould
Ray Verrall
Review guests (FaulknerBrowns)
Richard Clay
(Newcastle University)
Rory Chisholm
Steve Webb (Webb Yates)
Ufuk Ersoy
Yearbook Contributors
Constance Tso
Mike West
Roxana Caplan
Qixing Allen Huang
202

Sponsors
This year our thanks go to Faulkner Browns who have been kind enough to sponsor our end-of-year degree shows and publication. The
Newcastle-based practice Faulkner Browns is our principle sponsor and plays a big role in the life of the School.
Culture House
Sunderland City Hall
Newcastle Civic Centre
203

Sunderland City Hall
204 faulknerbrowns.com
204

Newcastle University School of
Architecture, Planning and Landscape
Yearbook ‘22
Editorial Team
Constance Tso
Roxana Caplan
Qixing Allen Huang
Special Thanks
Kieran Connolly
Matt Ozga-Lawn
Mike West
Title Partners
FaulknerBrowns
Printing & Binding
Statex Colour Print
www.statex.co.uk
Typography
Adobe Garamond Pro
Paper
GF Smith
Colourplan, Forest, 350gsm
First published in June 2022 by:
The School of Architecture
Planning and Landscape,
Newcastle University
Newcastle Upon Tyne
NE1 7RU
United Kingdom
w: www.ncl.ac.uk/apl/
t: +44 (0) 191 222 5831
e: apl@newcastle.ac.uk
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