Design Yearbook 2017

2017

School of Architecture, Planning and Landscape

Newcastle University

Contents

Welcome

Charrette

BA (Hons) Architecture

Stage 1

Stage 2

Stage 3

Fieldwork and Site Visits

BA Architecture & Urban Planning (AUP)

Stage 1

Stage 2

Stage 3

Thinking-Through-Making Week

MArch

Stage 5

Stage 6

Fieldwork and Site Visits

Research in Architecture

BA Dissertation

MArch Dissertation

Linked Research

Taught Masters Programmes

PhD / PhD by Creative Practice

Creative Practice Symposium

Architecture Research Collaborative

Scaling the Heights Exhibition

Awards

Contributors

NUAS

Sponsors

3

4

7

67

84

87

158

200

201

202

203

Welcome

Prue Chiles – Director of Architecture

This book celebrates the achievements of students and staff whose hard work is a

testament to the innovative culture and inclusive atmosphere of this School. It has

been an exciting year which has been wonderful to both observe and be a part of.

The creative and intellectual rigour of our approach was again formally recognised as

excellent by the RIBA in the accreditation visit that took place this academic year.

It has been a year of both change and continuity; change, with the addition of a

number of teaching, academic and support staff, their arrival has already been warmly

received and widely appreciated. Our School has always promoted a broad range of

interdisciplinary practices and specialisms within the study of architecture and this

increasing diversity has fostered a wide variety of design and research studios in both

the Bachelor and Master’s degree programmes. For the first time, this has also included

vertical studios which have encouraged collaboration between undergraduate and

postgraduate students.

Change has also come with the first major redevelopment of our School’s

accommodation since 1966: the addition of an extension to the Building Science

building which has doubled our workshop capacity, added new studios, review spaces

and digital fabrication facilities. The latter include a new digital workshop space which

has already been fully exploited by this year’s cohort through a wide range of models

and representational studies. Moreover, investments in new technologies such as virtual

reality equipment have allowed students to explore a wider range of media and further

expand the limits of their architectural imaginations.

Continuity has come in the form of continued success of the live build ‘linked research’

programme, the latest iteration of which was highly commended in the rural initiatives

category of the RIBA MacEwen Award. This programme has worked for a number

of years in collaboration with local residents to design and build small structures in

Northumberland aimed at sustaining rural communities. They have also provided

an opportunity for students to experience the difficulties and delights of seeing a

live architectural project from concept through to completion. This programme

is an example of the close connections between our teaching and the work of the

Architecture Research Collaborative (ARC), the School’s established research group.

Collaborations between researchers and students fill the pages of this yearbook from

the Newcastle After Dark studies, a study of the intricacies of night-time economies in

Newcastle, through to Zanzibar Futures, a journal considering Zanzibar as a microcosm

of geopolitical issues, along with continuing experimental architecture research into

living architectural fabric.

NUAS, the Newcastle University Architecture Society, has been recognised by the

students’ union for the second year running as Best Departmental Society. Students

have also established a student charter of Article 25, an NGO whose name is derived

from the United Nations declaration of human rights, stating that everyone has the

right to adequate and dignified shelter. Work like this continues the School’s tradition

of offering programmes which engage students in a diverse range of social, political and

cultural projects, instilling a strong sense of human values and societal responsibility.

Our research-led teaching is intended to equip graduates not just with the skills they

need to enter the profession but also with skills to help them to stay ahead of a changing

professional landscape during a long career. The work presented in this book illustrates

its diversity, originality, significance and rigour.

3

Charrette

Charrette Week is a whole School, one week, high energy, high productivity series of workshops culminating in a show on the Friday. Students

from all years are mixed into Charrette studios for the week, to encourage cross-year learning and to break down social barriers within the

School. Each Charrette ‘studio’ will typically involve 50 people with students from the upper years expected to exercise team and time

management skills learnt in practice to ensure the projects are delivered on time and on budget! In keeping with the relatively new Charrette

tradition Charrette leaders (typically alumni, architects, engineers and artists) were given three thematic words to respond to, this year’s being:

Charrette 1: Haptic Shadows

Holly Hendry

Charrette 2: Junk Puppets

Hannah Pierce

Charrette 3: Instrumental

Matt Charlton

Tom Randle

Charrette 4: Silence Of The Senses

Hazel McGregor

Charrette 5: Place in Progress

Kate Percival

Lowri Bond

Sara Cooper

Charrette 6: Incubation Station

Matt Rowe

Charrette 7: Touch Me! Let’s Change The School

Amara Roca Inglesias

Charrette 8: Navigating Indeterminacy

Andrew Walker

Charrette 9: Print Shift Repeat

Ruth Sidley

Thomas Henderson Schwartz

Charrette 10: You Spin Me Right Round Baby Right Round

Archie Bell

Charrette 11: A Tale Of Two Cities

Gareth Hudson

Charrette 12: Tantrum City

Yatwan Hui

Charrette 13: Charrette Narratives

Student Run

Charrette 14: Arts Cafe For Chilli Studio

Holly Hendry

Charrette 15: Enchanted Architecture

Sara Nabil Ahmed

Charrette 16: Stu Brew

Red Kellie

Charrette 17: Curating the School

Kieran Connolly

4


Samuel Austin and Simon Hacker – Degree Programme Directors

Newcastle’s RIBA Part I accredited BA programme fosters an inclusive, research-led approach

to architecture. Alongside a thorough grounding in all the skills required to become an

imaginative, culturally informed, socially aware and technically competent design professional,

it offers opportunities to engage in developments at the forefront of current research,

from computation and material science to architectural history and theory. Emphasising

collaboration as well as independent critical enquiry, we encourage students to draw on diverse

methods and fields of knowledge, to follow their own interests and to develop their own design

approach.

We believe that to produce good architecture requires more than rounded abilities and

knowledge; it requires judgements about what we value in the buildings and cities we

inhabit, what to prioritise in the spaces and structures we propose and what contribution

architecture can make. The course doesn’t claim to offer simple – or correct – responses to

these challenges. Our diverse community of researchers and practitioners, each with their

own interests and expertise, introduce students to a range of issues, ideas, traditions and

techniques in architectural design and scholarship. We help students develop fine grained

skills in interpreting spaces and texts, critical thinking to understand the implications of design

decisions, and spatial and material imagination to stretch the boundaries of what architecture

can achieve. Rather than teach a single way of working, we give students the tools to discover

what kind of architect they want to be.

A lively design studio is central to this learning process and to the life of the School. Design

projects, taught by a mix of in-house tutors and practitioners from across the UK, account

for half of all module credits. We promote design as thinking-through-making, an integrated

process of researching and testing ideas in sketchbook, computer, workshop and on site,

of responding to diverse issues and requirements all at once – spatial, material, functional,

social, economic etc. This approach is reinforced by collaborative projects involving artists and

engineers, and at the beginning of each year by week-long design charrettes where students

from all stages of all design programmes work together to respond to diverse design challenges,

through installations around the School and beyond. Lectures, seminars and assignments

in other modules examine the theoretical, historical, cultural, practical and professional

dimensions of architecture, and support students to embed these concerns in studio work.

Stages 1 and 2 are structured to guide students through increasingly challenging scales,

types and contexts of design projects, alongside a breadth of related constructional and

environmental principles and varied themes in architectural history and theory. Briefs invite

experimentation with different architectural ideas and representational skills, first through

projects set in Newcastle, then incorporating study trips to regional towns and cities. As work

increases in depth and complexity – from room to house, community to city, simple enclosure

to multi-storey building – students have more opportunities to develop and focus their own

interests. A dissertation – an in-depth original study into any architecturally related topic – sets

the scene for a year-long Stage 3 final design project. With a choice of diverse thematic studios,

each with its own expert contributors and international study trip, students acquire specialist

skills and knowledge, allowing them to craft their own distinctive portfolio.

7

Stage 1

Some aspects of first year architectural education are reasonably constant and unchanging. The

design module this year has continued to introduce students to the fascinating richness and diversity

of existing architectural discourse and culture; to encourage them to pick up and try out the

eternal tools and instruments of architecture, including scale, context, observation, human form,

inhabitation, structure, manufacture and representation; as well as offering them opportunities to

design and test-out solutions to a range of particular problems and needs.

But this year has also seen some radical changes within Stage 1. All the studio projects were written

and run for the first time, and various new connections have been fostered between the design

and non-design modules, with an intention to build further on these in subsequent years. From a

School context, perhaps the most obvious change has been the hand over from Martin Beattie as

Stage 1 Coordinator this year – after many years of managing, teaching and nurturing first year,

Martin has finally moved on to new pastures within the School and this is an opportunity on behalf

of all staff, tutors and students to thank him for his input and dedication.

Year Coordinator

Martin Beattie

Simon Hacker

Project Leaders

Elizabeth Baldwin Gray

James Longfield

Laura Harty

Simon Hacker

Students

Aaron Cheng

Abigail Elisabeth Hawkins

Afiqah Binti Sulaiman

Akihisa Tomita

Aleksabdria Bolyarova

Alexandra Ellen Duxbury

Alice Katherine Du Fresne

Amna Ahmad I M Fakhro

Ana Paula Godoy

Anastasia Ciorici

Anna Moncarzewska

Anya Beth Donnelly

Anna Volkova

Assem Saparbekova

Atthaphan Sespattanachai

Chi Shen

Chloe May Dalby

Christopher David Anderson

Christopher Liam Carty

Cristina Alicia Gonzales Mitcalf

Danielle Marie Quirke

Demi-Jo Crawford

Edward Benedict Yaoxiang Yan

Elizaveta Streltsova

Emily Jane Morrell

Emily May Simpon

Emily Rachael Pendleton Birch

Emma Fernandez Ruiz

Erin Noelle Dent

Erya Zhu

Esthefpany Mishell Carrillo Monge

Ewan Mark Smith

Faith Mary Hamilton

Flora Rose Sallis-Chandler

George William Cooper

Grant Martin Donaldson

Harry Charlesworth Groom

Harry James Hurst

Hassan Mehboob Sharif

Ho Hang Ryan Fung

Holly Kate Rich

Huyen Anh Do

Iram Kamal

Irene Dumitrascu-Podogrocki

Isabel Lois Fox

Jacob Timothy Weetman Grantham

James Edward David Hall

James Michael Stokoe

Jianing Lyu

Jingyi Zhou

Jody-Ann Goodfellow

Joseph George Allen

Josephine Anne May Coffey

Junwen Luo

Ka Ching Leung

Kareemah Muhammad

Karishma Dayalji

Kate Asolo Woolley

Katie Lara Cottle

Kristin Olivia Read

Leah Charlotte Harrison

Leeza Anna Potanah

Lucy Kay Atwood

Luk Chong Leung

Luke Tim Jonathan Shiner

Lynsey Holt

Madalein Carroll

Maegan Rui Qi Lim

Maharram Mammadzada

Martina Dorothy Hansah

Matthew Chi Ming Warrenberg

Megan Frances Nightingale

Michelle Sie Ee Lim

Milo Carroll

Miruna Ilas

Mohini Devi Tahalooa

Natalie Beata Piorecka

Nathan Alan Cooke-Duffy

Oliver Charles Harrington

Pak Siu Au

Peter Thomas Staniforth

Philomena Chen

Pok Ho Cheung

Qian Yi Choi

Rachel Emmeline Clark

Rachel Sophie Keany

Rebecca Sinead Crowley

Rodrigo Miguel Pereira Domingos

Rosa Sophia Kenny

Ruth Niamh Angele Vidal-Hall

Sabrina May Lauder

Sally Emir Clapp

Samuel Fraquelli

Samuel Mackenzie Bell

Sarah Alexandra Johnsone

Sarah May Bradshaw

Sean Ryan Bartlem

Shaunee Lyn Tan

Shivani Umed Patel

Sienna Poppy Sprong

Sofia Kovalenko

Sofia Grace Turner

Solomon Olufemi Adeyinka Ofoaiye

Sophie Tilley

Thomas James Grantham

Thomas Robert Porritt

Tobias Evan Himawan

Tongyu Chen

Victoria Louise Haslam

Vito Benjamin Sugianto

Wen Hua Huang

Will Peter Tankard

William Harry Taylor

Xin Guo

Xingyu Zhou

Xueqing Zhang

Yeekwan Lam

Yi May Emily Chan

Yingyeung Mo

Zhana Hristova Kokeva

Zhong Zheng

Contributors

See pg.201

8 Text by Simon Hacker Opposite - Tobias Himawan

Process Page 1 of 3

Come On In

Laura Harty

This project asks students to remake and refashion the interiors of particular canonical houses and small buildings of the 20th and 21st

centuries in order to identify what it is about them that makes them individual. It asks them to engage with various architectural tools and to

absorb and claim the new-found spaces for themselves.

Process Page 1 of 3

Process Page 1 of 3

proach Process page 1 of 3

10

Top - Erya Zhu Middle - Erya Zhu Bottom - Ho Hang Ryan Fung

Final Page 1 of 3

Final Pag

Final Page 1 of 3Final Page 2 of 3

Final Pag

Come On In

Come on In

Top left to Bottom right - Erya Zhu(5), Ho Hang Ryan Fung

11

esign.

design

Intervention!

James Longfield

This project invites students to design a small inhabited intervention within a particular surveyed site. Using measured survey drawings,

photographic studies and observational drawings in order to inform ideas for a new small scale ‘micro architecture’, students design an

intervention that houses a particular function and occupies territory between the scale of furniture and architecture.

Linked with AUP Stage 1 (see pg.68)

this is

-

12

Top - Katie Cottle

Bottom - Ho Hang Ryan Fung

ORIGINAL WORK PAGE (1 of 1)

PRESENTATION PAGE

30

27

PRESENTATION PAGE

“what’s inside? i can only silhouettes”

process s 51

“that guy accross the room is talented”

process 53

39

41

Top left to Bottom right - Zhong Zheng, Megan Nightingale, Tobias Himawan(2), Matthew Warenburg (2), Peter Staniforth (2) 13

The Chair and the Figure


In this project, students examine and draw a particular chair, relating it to the proportions of the human body. The project combines

observational drawing of a static design element, with the study of human proportion in movement, looking in particular at the module of

the human form and how it serves as a basis for architectural design.

Linked with AUP Stage 1 (see pg.68)

14 Top left to Bottom right - Anna Volkova, Karishma Dayalji, Qian Yi Choi, Cameron Reid (AUP), Anya Donnelly, Group: Kate Asolo Woolley, Maegan Rui

Qi Lim, Michelle Sie Ee Lim, Anastasia Ciorici, Maisie Jenkins (AUP), Julian Baxter (AUP), Karolina Smok (AUP), Group: Isabel Lois Fox, Jacob Timothy

Weetman Grantham, Jianing Lyu; Leeza Potanah

Top left to Bottom right - Group: Abigail Elisabeth Hawkins, Christopher David Anderson, Luk Chong Leung; Group (AUP): Kirin Gallop, Fabian Kamran,

Natalie Si Wing Lau, Thomas McFall; Alexandra Duxbury, Martina Hansah, Tobias Evan Himawan, Ruth Vidal-Hall, Group (AUP): Ellis Salthouse, Nur

Salymbekov, Ella Sophia Spencer, Thanuyini Suseetharan; Xin Guo, Shivani Patel

15

Market Placed

Simon Hacker

In this final project of the year, students design a small market and enterprise building for the University Campus. The project commences

with the design of individual stalls, booths and small workshops that explore various architectural languages. Working within a group students

then design a collective aggregation or cluster of these small structures on a specific site – a market place. Finally, they individually design a

larger in-door hall in conjunction with a structure and skin that provides shelter for the wider market complex.

Technical drawings and picture

16

Top - Pok Ho Cheung Middle - Megan Nightingale Bottom, left to right - Qian Yi Choi, Natalia Piorecka(2)

PRESENTATION PAGE 1 OF 14

FINAL STORE MODEL

student forum site. It

is going to be selling

frozent younghurt

which people can buy

it and walking around

the market like holding

ice cream or they

can sit on the top

younghurt.

9

BRUTALISM x FREI OTTO | An investigation of the site revealed a assortment of different architectural elements across the site. Claremont

tower is brutalistic, the glass and steel staircase at the old library building reflects the open frame language, and the trees behave like

Frei Otto’s tensile structures.

From left to right:

Fig 22a: Investigation to minimize roof’s elevational

profile

Fig 22b: Reinterpreation of architectural elements

on Site B

Fig 22c: Development of roof’s structural strategy

16

Technical drawings and picture

PROCESS PAGE 3 OF 10

22

18

PRESENTATION PAGE

For the materiality,

glass and timber as

Steel and glass will b

porting material for

the clusters. The ma

ported by the black

those black wire is se

tension cable to resis

roof. I also added tw

outdoor spaces for t

ORIGINAL WORK PAGE 2 OF 6

Top left to Bottom right - Qian Yi Choi, Edward Benedict Yaoxiang Yan, Anastasia Ciorici, Atthaphan Sespattanachai, Pok Ho Cheung, Ho Hang Ryan Fung,

Qian Yi Choi, Katie Lara Cottle, Atthaphan Sespattanachai, Matthew Chi Ming Warrenberg

25

17

Stage 2

Economy forms the basis of our architectural investigations and design explorations in Stage 2 this

year. How architecture is produced by, and productive of, the economies within which we live has

been explored through analysis of urban environments and the imagination of their futures; the design

of collective housing and communal spaces; projects crossing the boundaries between art, architecture

and engineering; and the design of spatial experience.

With projects set in Edinburgh’s historic port, Leith and the Northumberland border town of

Berwick-upon-Tweed, and in the fictional realms of film, projects have moved between the scale of the

dwelling to the scale of space; from the digital to the material and practices of making: always asking

the question of architectures’ role and relation to the economies it is embedded in.

A year of transition, Stage 2 seeks to encourage a growing sense of criticality towards design decisions,

a developing autonomy of thought and action, and an understanding of architectures’ position in

times of social, cultural and economic flux.

Year Coordinators

Andy Campbell

Ed Wainwright

Christos Kakalis

Claire Harper

Project Tutors

Amara Roca Inglesias

Amy Linford

Carolina Ramirez Figuroa

Christos Kakalis

Claire Harper

Dan Kerr

Gillian Peskett

James Longfield

James Perry

Jennie Webb

Jess Davidson

Luke Rigg

Nita Kidd

Stella Migdali

Fine Art Tutors

Adam Goodwin

Archie Bell

Gareth Hudson

Harriet Sutcliffe

Peter Sharpe

Julia Heslop

Rosie Morris

Students

Aaron Swaffer

Abigail May Smart

Alesia Berahavaya

Alysia Lara Arnold

Arran James Noble

Bahram Yaradanguliyev

Benedict Douglas Wigmore

Boris Larico Villagomez

Brandon Athol Few

Callum James Luke

Callum Robert Campbell

Charlie William Donaldson

Cheng Wan Mak

Chi Lam Cheng

Ching Nam Yue

Ching Wah Hong

Chou Ee Ng

Chun Yin Ng

Ciara Catherine McClelland

Cooper Taylor

Danielle Helena Berg

Darcy Eleanor Arnold-Jones

David Michael Gray

David Richard Osorno

Dianne Kwene Aku Odede

Dora Mary Frances Farrelly

Eleanor Waugh

Elliot James Crowe

Elliot Matthew Dolphin

Eloise Aliza Coleman

Emily Catherine Child

Emily Reta Spencer

Emma Elizabeth Kemp

Emma Imogen Moxon

Ethan John Archer

Euan Emilio Alpin McGregor

Eve Kindon

Finlay William Lohoar Self

Freya Jane Emerson

Gemma Louise Duma

Grace Charlotte Ward

Hannah Emily McAvoy

Harry Cameron Tindale

Harry Robert Henderson

Hazel Ruth Cozens

Helenna Abigail Taylor

Henry James Cahill

Ho Sze Jose Cheng

Huiyu Zhou

Ibadullah Shigiwol

Ioana Buzoianu

Irvano Irvian

Jack Oscar Sweet

Jake Thomas Williams-Deoraj

James Edward Bacon

James Gillis

Jamie Schwarz

Jay Antony Hallsworth

Jemima Alice Smith

Jerome Sripetchvandee

Jhon Sebastian Valencia Cortes

Jia Lun Chang

Jiewen Tan

Joanne Lois May Cain

Joel Pacini

Jonathan Pilosof

Jordan Paige Ince

Jose Diogo Lajes Machado

Marques Figueira

Joseph Henry Noah Elbourn

Joshua Willem Jago Knight

Jun Tao Gerald Ser

Junyi Chen

Ka Chun Rico Chow

Ka Hei Chan

Kai Lok Cheng

Katie Ann Elizabeth Campbell

Katy Rose Barnes

Kieran Harrison

King Chi Leung

Kiran Kaur Basi

Konstantins Briskins

Kotryna Navickaite

Levente Mate Borenich

Liam Kieran Rogers

Liam Michael Marcel Davi

Lilian Winifred Davies

Luc James Askew-Vajra

Malgorzata Nicoll Szarnecka

Man Cheong Gabriel Leung

Matilda Louise Durkin

Matilda Marie Barratt

Matthew Edward Harrison

Matthew Oliver Ward

Meina Zhang

Mengxian He

Monica Said

Myeongjin Suh

Nadia Beatriss Young

Nancy Marshall Marrs

Natasha Diyamanthi Trayner

Nicholas Juan Tatang

Nikshith Nagaraja Reddy

Nitichot Setachanadana

Nophill Mohmmd Damaniya

Olga Barkova

Pablo Larrea Wheldon

Phoebe Elizabeth A Shepherd

Polina Morova

Quian Wang

Qian Zhao

Rachael Jeanette Burleigh

Rachen Marie Cummings

Rachel Spencer

Rebecca Charlotte Glancey

Rebecca Jean Maw

Reece Jay Oliver

Rowena Saffron Covarr

Robert Walker Ashworth

Rufus Giles Wilkinson

Samuel George Brooke

Samuel James Hawkins

Seo Ruong Kang

Seyoung Han

Shihao Quan

Simour Elise Button

Siriwardhanalage De Saram

Sophie Ogilvie-Graham

Steven Gary Lennox

Susanna Emily Jane Smith

Tanya Naresh Haldipur

Tashanraj Selvanayagam

Tian Hong Kevin Wong

Tian Yee Lim

Toghrul Mammadov

Weihao Wang

Wing Yung Janet Tam

Xi Lin

Xuanzhi Huang

Yi-En Ling

Yuan Xu

Yuan Xue

Yuehua Wang

Yuze Tian

Zehua Wei

Zhidong Liu

Contributors

See pg.201

18 Text by Christos Kakalis Opposite - Arran Noble

Top left - Name Name Project Title Top right - Nameless Nameless Project Title Bottom - Name Name Project Title

19

At Home in the City

Amara Roca Inglesias & Dan Kerr; Jennie Webb & Luke Rigg; Gillian Peskett & Christos Kakalis; Amy Linford & Stella Migdali; Nita

Kidd & James Perry; Carolina Ramirez Figuroa & James Longfield; Jess Davidson & Claire Harper

How housing is produced, where it is built and who it is for are essential questions, not only for architectural practitioners, but for society at

large. Semester one’s main project, set in Leith, Edinburgh, explored the changing conditions of housing and collective living within a set of

specific economic and social constraints.

20 Top - Henry Cahill Bottom - Samuel Brooke

Top - Brandon Few Middle, left to right - Toghrul Mammadov, Hazel Cozens, Jose Lajes Machando Marques Figueira Bottom - Brandon Few

21

Engineering Experience



Through a collaborative project involving students, staff and practitioners from architecture, fine art and engineering, filmic environments

were reimagined as a set of physical artworks to be moved into, through, over, under – experienced through human motion and the camera,

and re-filmed to re-tell a specific experience from each film.

22

Top and Middle - Charlie William Donaldson

Bottom, left to right - Irvano Irvian, Alesia Berahavaya

Left - Alesia Berahavaya

Right, top to bottom - Ethan John Archer, Irvano Irvian

23

Exploring Experience



Can we think of architecture through an experiential understanding of materiality? Producing, treating and working with materials suggest

practices and processes that can inform design to unpack diverse architectural events taking place in different levels: from drawing to

construction and inhabitation. The project, set in Berwick-upon-Tweed, explores the ways materiality is embodied in architecture seeking, to

unravel its complex and dynamic character.

24 Top - Benedict Wigmore Middle, left to right - Levente Borenich, Bahram Yaradanguliyev, Gemma Duma Bottom - Liam Davi

Top - Katie Campbell Middle - MatthewWard Bottom - CharlieDonaldson

25

Stage 3

Following RIBA Bronze Medal success last year, this year’s Stage 3 were given the choice of nine yearlong

studios covering a wide range of themes and issues. Three of the studios were also taught vertically,

split between the graduating Stages 3 and 6, providing a platform for peer learning and increased crosspollination

between the BA and MArch.

Studios covered subjects ranging from the re-use of the Bank of England site, through unconscious

rituals and contemporary monastic practice to a revisit of Cedric Price’s ‘Potteries Think Belt’. Field

trips ranged from a stay in Barcelona, an Italian ‘Grand Tour’, visits to Ronchamp and La Tourette and

a road trip to Nottingham, Leicester and Walsall. The studios followed the pattern established last year

of a six week primer, followed by ‘Staging’ (including a field trip), Realization and Refinement stages.

The ‘Primer’ exercise is designed to develop and define the studio’s unique thematic framework. Students

then developed their own projects, from a complex range of issues into a structured and synthetic

whole. New innovations this year included ‘Theory into Practice’ and ‘Architectural Technology’

symposium days, an increased focus on technical integration through focused technical reviews and

expanded academic portfolios.

Year Coordinator

Matthew Margetts

Cara Lund

Project Leaders

Aldric Rodriguez Iborra

Amy Linford

Andy Campbell

Armelle Tardiveau

Cara Lund

Carolina Figueroa

Christos Kakalis

Colin Ross

Daniel Mallo

David McKenna

Hugh Miller

Ivan Marquez

Josep Maria Garcia Fuentes

James Londfield

Kati Blom

Martyn Dade Robertson

Matthew Margetts

Michael Simpson

Students

Agatha Mary MacEwan Savage

Aishath Mohaned Rasheed

Alena Pavlenko

Alexander Willaim

Alexander William Mackay

Alexander James McCulloch

Alice Elizabeth Reeves

Alice Elizabeth Simpkins-Wood

Amber Natasha Farrow

Ameeta Praful Ladwa

Andreas Lukita Haliman

Angus James Campbell Brown

Anna Vershinina

April Glasby

Arthur Anuma Bayele

Assem Nurymbayeva

Benjamin James Taylor

Boram Kwon

Charlotte Goodfellow

Charlotte Laura Victoria Lorgues

Chao Shen

Chi-Yao Lin

Ciaran Horscraft

Claudia Kim Bannatyne

Daniel Barrett

Daniel Francis Hill

David Stuart Jones

Douglas Gardner

Ekren Sungur

Elizabeth Rose Ridland

Eliza Hague

Elle-May Simmonds

Emily Yasmin Georgina O’Hara

Emma Kate Burles

Esme Hallam

Farrah Noelle Colilles

Gabrielle Faith Beaumont

George Windsor Oliver

Grace de Rome

Groffrey Nicholls

Hao Zhuang

Harrison Jack Avery

Hector Adam Laird

Henry William Orlando Valori

Hoi Yuet Chau

Ho Yin Chung

Huey Ee Yong

Isabel Mills Lyle

Jack David Ranby

Jacob Alexander Smith

James Alexander Kennedy

Jennifer Louise Betts

Ji Chuen Ng

John Kenneth Knight

John Joesph O’Brien

Jonathon McDonald

Joseph William Firth Smith

Juan Felipe Lopez Arbelaez

Ka Chun Tsang

Kate Francis Byrne

Kate Hannah Longmore

Kate Helena Stephenson

Katherina Weiwei Bruh

Katherine Isabel Rhodes

Katherine Marguerite Mitchell

Laura Jane Cushine

Lawrance Loc Man Wong

Liam Costain

Lilly Francis Street

Lilly Rebekah Travers

Lucy Emily Heal

Marina Ryzhkova

Marisa Rachel Bamberg

Mark Andrew Laverty

Mattew Davies Smith

Matthew Donald Lovat Hearn

Matthew Layford

Matthew Patrick Rooney

Melitni Athanasiou

Men Hin Choi

Muhammad Ahmed Asfand

Natalie Mok Suet Yin

Nial Simran Parkash

Nicholas William Gilchrist Honey

Nita Harieth Semgalawe

Nurul ‘Aqilah Binti Ali

Octorino Tjandra

Oliver James Crossley

Pannawat Sermsuk

Paul Mathew Johnson

Philippa Grace McLeod-Brown

Pitaruthai Longyan

Prajwal Limbu

Pui Wing Clarins Chan

Quynh Dang Le Tu

Rebecca Rowland

Regen James Gregg

Rhiannon Jade Graham

Robert John Thackeray

Robert Thurtell

Richard Harry Mayhew

Rufaro Natalie Matanda

Ryan Daniel Bemrose

Ryoga Adityo Dipowikoro

Sam McDonough

Samuel Richard

Sam Welbourne

Sean Martyn Hoisington

Shuyi Chen

Sirawat Thepcharoen

Thasnia Haque

Timothy Seymour Lucas

Trung Hieu Tran

Tung Son Cao

Tristan Patrick Chammey Searight

Vincent Zeno MacDonald

Wai Yip Tsang

William Mansell

Wing Kei So

Xueyang Bai

Yanjie Song

Yee Yuen Ku

Yi Shu

Zhuoran Li

Ziyun Wang

Contributors

See pg.201

26

Text by Matthew Margetts

Opposite - George Oliver

Studio 1 - Acting Town

Daniel Mallo & Armelle Tardiveau

Based in the Georgian market town of Richmond (North Yorkshire), the Acting Town studio focused on the creation of spaces for performativity

bringing to the fore interaction, events and processes. The studio placed a strong emphasis on urban and material research with a view to

interweave experimental spaces for performing arts within the urban fabric. The year started exploring the themes of variation, seriality and

repetition within the dense amalgamation of Richmond town centre; it culminated with the design of a Laboratory for Performing Arts

unfolding the approach of building as a ‘village’, a series of sequentially interconnected rooms, outdoor plazas and alleys.

28

Left - Nick Honey

Right, top to bottom - Liam Costain, Nick Honey, Ekrem Sungar

Left, top to bottom - Aui Longyan, Mark Laverty, Nita Semgalawe Right, top to bottom - Liam Costain(2), George Oliver 29

30 Top left to Bottom right - April Glasby, Gloria Chen, Quynh Dang Le Tu, Pan Sermsuk

Top left to Bottom right - James Kennedy, Pui Wing Chan, Anna Vershinina, Grace de Rome(2), Shuyi Chen 31

Studio 2 - Enclosed Order

Ivan Marquez Munoz & Christos Kakalis

The Enclosed Order studio proposed an investigation of monastic architecture, divided into two main stages:

In the first stage, students were asked to define the individual character and the community that will inhabit the suggested complex,

being required to imagine, formally explore and design the unit/monastic cell that this character is going to inhabit, emphasising on its

atmosphere,and intangible qualities.

In the second stage,students were asked to design a monastic/retreat complex based upon the line of enquiry developed in the first stage,

refining their own briefs and narratives.

32

Andreas Hliman

Top left to Bottom right - Ciaran Horscraft, Andreas Hliman, Matthew Hearn, Sean Hosington, Marisa Bamberg, Ryoga Dipowikoro, Laura Cushnie 33

34

Top, left to right - Melitini Athanasiou, Ka Chun Tsang Middle - Yi Shu Bottom - Chi-Yao Lin

Top - Timothy Lucas Middle, left to right - Wing Kei So, Nurul Ali Bottom - Laura Cushnie 35

Studio 3 - Experimental Architecture

Martyn Dade-Robertson & Carolina Figueroa

This year the Experimental Architecture studio anticipated the implications of a new generation of ‘Living Technologies’ on the design of the

built environment. The studio made use of the University’s world-class research in biology and biotechnology to anticipate a new building

technology. We introduced students to the idea of experiment and experimental practices in architecture – combining scientific experiments

with creative and open-ended design processes. The studio was sited in Dunston Staiths where the students were asked to “fill the gap” in a

fire damaged portion of this industrial timber structure on the River Tyne. The students developed propositions based on a range of lab and

studio combined facilities.

36 Exhibition - Group work

Top - Kate Stephenson Middle - Kate Stephenson Bottom - Trung Hieu Tran 37

38 Top - Amber Farrow Middle - Pippa Mcleod-Brown Bottom - Vincent MacDonald

Left, top to bottom - Alexander McCulloch, Amber Forrow Right, top to bottom - Emma Burles, Kate Byrne, Hector Laird, Robert Thackery, Matthew Layford 39

Studio 4 - Getting Away From It All

Colin Ross & Michael Simpson

The studio is led by Colin Ross and Michael Simpson. Both practicing architects, they have a shared interest in cross disciplinary design which

encourages students to develop an expanded creative practice beyond building focussed architectural outcomes.

Studio ambitions were to a) explore design across scales and disciplines with ‘building’ as a centre of a layered design response, b) discover coast

and community through a process of immersive, collaborative study with peers, c) create a tourist destination to boost local economy - a tool

for regeneration with local, regional or national focus.

40

Top - Jon McDonald Middle, left to right - Joseph Smith, Claudia Bannatyne, Arthur Bayel Bottom - Jon McDonald

perspective section with airflow

PERSPECTIVE SECTION 1:100 WITH AIRFLOW

1:100

Top - Esme Hallam Middle - Alice Simpkins Bottom - Will Mansell 41

42

Top - Matthew Rooney Middle, left to right - Elizabeth Ridland, Agatha Savage, Katherine Mitchell Bottom - Katherine Mitchell

Left - Matthew Rooney Right, top to bottom - Matthew Rooney, Richard Mayhew, Gabrielle Beaumont(3) 43

Studio 5 - Material Poetics

James Longfield & Amy Linford

Material qualities are central to the production of architecture, both technically, in terms of the pragmatics of construction, and through the

social meanings, rituals and memories they embody. Our studio encouraged students to engage with material as the ‘stuff’ of architecture,

real, rather than rendered, the thickness, thinness, density, weight of building elements, and the effect these qualities have on the sensory

experience of occupation.

Through the studio each student has explored a specific material through hands-on investigations, and through a year-long engagement with

Scarborough as a site of reflection and production. Students’ projects have addressed materiality as a way of thinking about building design

and detailing as a thoughtful and critical process of material assembly which emerges out of the pragmatics and poetics of material contexts,

cultures and politics.

44

Left - Ho Yin Chung

Right, top to bottom - Lilly Street, Aishath Rasheed, Lilly Street

Top left to Bottom right - Angus Brown, Katherine Rodes, Ryan Bemrose, Ji Chuen Ng, Natalie Mok, Rhiannon Graham, Thasnia Haque 45

46 Top to Bottom - Lilly Travers(2), Aishath Rasheed, Natalie Matanda

Top - Ameeta Ladwa Middle - Natalie Matanda Bottom - Alive Reeves 47

Studio 6 - The Very Hungry Caterpillar

Andy Campbell

The Very Hungry Caterpillar studio focuses on helping something grow, evolve and flourish. Students were asked to support the seed of an

idea to creatively re-use a vacant, under-used building in Glasgow. An architecture of preservation will allow this ordinary building to be

inhabited by a creative, artistic community in the short-medium term while an architectural strategy for the longer term will help protect this

community through an envisioned gentrification of the surrounding area.

48 Top - Daniel Hill Bottom - Ziyun Wang

1:200 Exploded Axonometric

Seeking a New Corporate Architecture

Katie Longmore

Main Entrance Elevation

Left, top to bottom - Juan Lopez Arbelaez, Katie Longmore

Right, top to bottom - Wai Yip Tsang, Ziyun Wang(2)

49

50 Top left - Rebecca Rowland Top right - Wai Yip Tsang Middle - Rebecca Rowland Bottom - Sirawat Thepcharoen

Left, top to bottom - Juan Lopez Arbelaez, Katie Longmore, Daniel Hill

Right, top to bottom - Regen James Gregg, Daniel Hill

51

Studio 7 - Potteries Thinkbelt

Matthew Margetts & Cara Lund

Continuing an interest in Infrastructure as background processes and systems this year we have revisited Cedric Price’s ‘Potteries Think Belt’

- 50 years after its conception. We used the Potteries Think Belt plan as a ‘treasure map’ to navigate the delights of contemporary Stoke-on-

Trent.

The studio was one of three ‘vertical’ studios pioneered this year, taught jointly between Stages 3 and 6, and began with the group exercise of

building a ‘Stoke-o-Matic’ dynamic mapping model. The model was used to explore systematic relationships between transport, education,

environment and identity with enjoyably unpredictable results.

Stage 3 students were then asked to develop their own hybrid briefs based on components of the Potteries Thinkbelt’s original brief –

incubators, knowledge stores, accommodation units and interchange stations. Sites were selected along infrastructural routes past, present

and future.

Linked with Stage 6 (see pg.144)

52 Symposium - Group work

Top, left to right - Chao Shen, Hao Zhuang Middle, left to right - Sam Wellbourne, Chao Shen Bottom - Chao Shen

53

54 Top and Middle - Boram Kwon Bottom - Hao Zhuang

Left, top to bottom - Ben Taylor(3), Hao Zhuang

Right - Elle Simmonds(2), Sam Wellbourne

55

Studio 8 - Building Upon Building

Josep-Maria García-Fuentes & Aldric Rodriguez Iborra

This studio explored preservation as architecture, as it understands they are both placed within a cultural continuum and are the outcome of

a complex cultural, social and political struggle. This idea was explored through the design of a major addition to/or the transformation of

an existing heritage building. This required an understanding of the existing building in all of the ways its architecture and materials express

the values it sought to represent and serve at the time, and in the ways that those meanings might or might not be extended, enriched or

transformed and reshaped by the new addition.


56 Lawrence Wong

Top - Yanjie Song

Bottom - Octorino Tjandra

57

58 Xueyang Bai

Sketch and Final Sections, 1:200

at A1

Top - Henry Valori Middle - Octorino Tjandra Bottom - Jack Ranby

59

Studio 9 – Rituals and the Unconscious

Kati Blom, David McKenna & Hugh Miller

In Rituals (and the unconscious) students designed a small tea ceremony room in a site in Tynemouth. After developing spatial themes and

landscape strategies from this intervention, they continued to design a craft or an architecture school using the same site. A Japanese joinery

workshop helped with concept development.


60 Top - Matthew Smith Bottom, left to right - Hue Yong, Matthew Smith, Daniel Barrett

Top left - Daniel Barrett Top right - Eliza Hague Bottom - Hue Yong

61

62 Top - Eliza Hague Middle and Bottom - Daniel Barrett

Left, top to bottom - Yuen Ku(2), Paul Johnson

Right, top to bottom - Harrison Avery, Eliza Hague

63

Stage 3 - Fieldwork & Site Visits


As part of Stage 3 the varied studios undertake a range of field trips in the first semester, travelling to a diverse locations around Europe.

Studio 1: Acting Town

Madrid

Studio 2: Enclosed Order

Basel

La Tourette

Lyon

Ronchamp

Vitra Foundation - London - Barcelona

Studio 3: Experimental Architecture

Barcelona

London

Studio 4: Getting Away From It All

Edinburgh

Studio 5: Material Poetics

Barcelona

Studio 6: The Very Hungry Caterpillar

Glasgow

Studio 7: Potteries Thinkbelt

Birmingham

Leicester

Nottingham

Walsall

Studio 8: Building on Building

London

Rome

Verona

Venice

Studio 9: Rituals and Unconscious

Finland

64

Barcelona Centre

KATI DON’T WALK IN FRONT OF THE CAMERA

BA Architecture & Urban Planning (AUP)

Andrew Law & Armelle Tardiveau – Degree Programme Directors

The BA (Hons) Architecture and Urban Planning (AUP) is an evolving three-year

programme that seeks to unite academic themes and approaches from the architecture

and urban planning programmes across the School. The AUP degree carries its own

intellectual and pedagogical themes that cannot be found on other programmes

elsewhere in the School. There are four conceptual strands, which includes one major

theme, ‘alternative practice’, and three minor themes: visual culture, urban design and

spatial practice as well as social enterprise.

The alternative practice strand responds to a critique of twentieth century architecture

and planning as overly technocratic and individualised. Returning to these critiques,

alternative practice bring to the fore social, cultural, political and environmental

concerns in the design and construction of the built environment. Our course has

drawn inspiration from a range of thinkers and practitioners concerned with the built

environment (including philosophers, political activists, sociologists, geographers,

architects and planners) that have sought to engage and include communities in design

and building (sometimes self-build, sometimes co-production).

The design work from Stages 1, 2 and 3 of the programme selectively showcases much of

the intellectual and practical academic content of the degree while helping the students

to develop visual and spatial skills; we aim to engage students in developing their own

agenda and interests making clear the connections between social, environmental and

design issues and the built environment as the driving spirit of their endeavors.

67

AUP Stage 1

The AUP programme is radically interdisciplinary and offers an integrated approach to both

Architecture and Urban Planning. The first semester focuses on skill building with formative

design projects allowing students to develop drawing abilities in free hand and orthographic

representation, as well as engage them in materialising spatial ideas three dimensionally through

modelling and sketching.

Students begin the year with the study of an urban scene in Siena painted by Lorenzetti in 1339;

they interrogate the socio-spatial relationships and model to scale their interpretation of the

urban fabric. This first exercise is intended to set the tone of the programme and engage students

in unpacking traditional questions in urban studies at all scales (city, building, people). This is

supported in greater depth with non-design modules such as ‘Alternative Practice Histories’

and ‘Social Worlds’ allowing students to develop critical thinking of the power of the standard

profession while broadening the spectrum of the myriad of other actors of the built environment.

The design projects together with the ‘Introduction to Architectural History’ and ‘Architectural

Technology’ are shared with Stage 1 BA Architecture ensuring that AUP students are familiar with

existing architectural practice, discourse and culture. As such the artists and design contributors

from Architecture provide an invaluable input and grounding into the first year programme.

Linked with BA Stage 1 (see pg.12-15)

Project Leaders

Armelle Tardiveau

David McKenna

Elizabeth Baldwin Grey

James Longfield

Kati Blom

Sean Douglas

Stage 1

Abell Ene

Aimee Akinola

Amabelle Aranas

Andrew Fong

Andrew Webb

Anqi Li

Cameron Reid

Chloe Cummings

Chunyang Song

Daniel Carr

Dongjae Lee

Dwayne De Vera

Ella Spencer

Ellis Salthouse

Emma Van Der Welle

Fabian Kamran

Farah Binti Ashraf

Haziqah Hafiz Howe

Henry Oswald

Julian Baxter

Juliette Smith

Karim Shaltout

Karolina Smok

Kelly Morris

Kirin Gallop

Luis Henriques Menezes Pataca

Maisie Jenkins

Matthew Li

Mohammad Hassan

Natalie Lau

Nik Binti Azman

Nur Salymbekov

Oliver Timms

Oyinkansola Omotola

Ryan Hancock

Salar Butt

Samantha Chong

Sara Fulton

Sebestyen Laszlo Tali

Shuli Wu

Sophie Wakenshaw

Stephen Teale

Thanuyini Suseetharan

Thomas McFall

Thomas Sheridan

Contributors

See pg.201

68

Text by Armelle Tardiveau

Opposite - Sophie Wakenshaw

Reading Into/Drawing From

Armelle Tardiveau

The project focuses on The Allegory of Good and Bad Government, an urban scene set in the city of Siena, Italy, painted by Ambrogio

Lorenzetti between 1338-39. By observing, sketching and drawing the ensembles of buildings that can be read into Lorenzetti’s painting,

students delve into a three-dimensional interpretation of the traditional urban fabric depicted. Working in groups, the outcome is the

articulation of a plan and a model of the scene.

70

Group Work: Sophie Wakenshaw; Ryan Hancock; Luis Pataca, Shuli Wu; Juliette Smith; Karolina Smok; Oliver Timms, Amabelle Aranas; Julian Baxter; Dwayne

De Vera; Sara Fulton, Karolina Smok, Oyinkansola Omotola, Haziqah Hafiz Howe, Daniel Carr; Sebestyen Laszlo Tali; Emma Van Der Welle

Measure

David McKenna

There are 14 boat houses belonging to various colleges, schools and amateur rowing clubs located along the Wear in Durham. The earliest dates

from the early 1800s and coincide with the founding of the University. Measure required the design of a 15th boat house and cafe that would

form a gateway from the city centre to the University playing fields with particular consideration of sunlight and floodwater.

Top, left to right - Natalie Lau, Sophie Wakenshaw, Haziqah Hafiz Howe Middle - Ella Spencer Bottom - Kirin Gallop

71

72 Top left to Bottom right - Haziqah Hafiz Howe, Natalie Lau, Shuli Wu(2), Karolina Smok, Chloe Cummings, Luis Henriques Menezes Pataca, Kirin Gallop

Top left to Bottom right - Ella Spencer, Anabelle Arana, Natalie Lau, Chloe Cummings, Andrew Webb

73

AUP Stage 2

Delving into greater depth in the alternative practice ethos, students develop further critical thinking

by being exposed to theories pertaining to architecture and planning in the widest possible range of

cultures and social groups. Positionality in both theory and design becomes a leading aspect of the

AUP Stage 2. In addition, students are provided the opportunity to choose from a variety of options

so that they can carve their own career path and further develop skills and imagination in design

projects but also specialisms in planning, social enterprise, poverty and informal housing as well as

sociology and the politics of urban space. The optional field trip to the Netherlands is a highlight

of the second semester where students are exposed to alternative practice projects and governance

methods as well as sustainable approaches to the built environment.

Project Leaders

Rutter Carroll

Stage 2

Abbey Forster

Adil Zeynalov

Ahmet Hayta

Ben Johnson

Beyza Celebi

Bunkechukwu Obiagwu

Dominica Bates

Emily Whyman

Flynn Linklater-Johnson

Georgia Miles

Hannah Hiscock

Jeffrey Korworrakul

Jieyang Zhou

Jing Su

Joshua Beattie

Junqiang Chen

Ka Hei Wong

Michael Rosciszewski Dodgson

Minsub Lee

Racheal Osinuga

Richard Gilliatt

Ryan Thomas

Sahir Thapar

Sanghyeok Lee

Shaoyun Wang

Sonali Venkateswaran

Sutong Yu

Theodore VostBond

Ting En Wu

Van Abner Tabigue Consul

Winnie Wong

Zeynab Bozorg

Contributors

See pg.201

74

Text by Armelle Tardiveau

Opposite - Group work

Theory and Form

Rutter Carroll

The module considered the development of architectural expression in response to the economic challenges and social optimism that

characterises the North East region.

Students considered a Theory + Form approach in the submission of an essay and design project pursuing a strategy for the re-use/conversion/

extension/adaptation of an existing post war building on Tyneside.

The Salvation Army Men’s Hostel, by Ryder and Yates, a key building from the post war period in the region, was identified for study and

analysis by allowing students to assess the design through a series of lectures, visits, seminars, design analysis tutorials and exercises.

76

Top - Salvation Army Men’s Hostel, by Ryder and Yates 1974

Bottom - Group work: Junqiang Chen, Minsub Lee, Ka Hei Wong, Ting En Wu

Group Work: Jing Su, Shaoyun Wang, Sutong Yu, Jieyang Zhou, Ahmet Halil Hayta, Sanghyeok Lee, Reacheal Felicia Modupeayo Osinuga, Winnie Wing Yee

Wong, Zeynab Bozorg, Van Abner Tabigue, Consul, Sahir Thaper, Ryan Patrick Thomas, Fatma Beyza Celebi, Bunkechukwu Chiagoziem Obiagwu, Sonali

Venkateswaran, Dominica Ruby Bates, Joshua Edward Beattie, Theodore Christian Robert VostBond, Emily Whyman

77

AUP Stage 3

The major component of Stage 3 is the dissertation. In order to cater for the variety of strengths and

abilities of the cohort, students may choose to write a Social Science dissertation or Creative Practice

dissertation using design as a form of enquiry. The design modules offered, including housing for

vulnerable populations and co-production of space, ensure an incremental experience of working

in/for/with communities. Furthermore, the Erasmus exchange to Amsterdam and Stockholm in

semester one reinforces the diversity of approaches around alternative practice. The year culminates

with a series of talks by a variety of practitioners and activists of the built environment with a view

to inspire students for their next academic or professional steps – these include Amy Lindford

of MUF Architects,Kate Percival and Sara Cooper of 22 Sheds, Dr Emma Coffield curator of

Newcastle City Futures, Michael Crilly of Studio Urban Area, Ryan Conlon a student from the

MA Urban Design student (AUP 15/16 graduate), Sally Watson Architectural Curator and Dhruv

Sookhoo, architect, planner and developer.

Project Leaders

Armelle Tardiveau

Daniel Mallo

Tim Townshend

Stage 3

Alex Robson

Ali Alshirawi

Andrew Blandford-Newson

Anthony Choy

Chia-Yuan Chang

Christopher Hau

Eleanor Chapman

George Jeavons-Fellows

Hannah Knott

Henry Morgan

Jieyu Xiong

Jonas Grytnes

Luke Leung

Nadine Landes

Natalie Sung

Phuong Anh Pham

Runyu Zhang

Sheryl Lee

Simona Penkauskaite

Thomas Gibbons

Yeqian Gao

Yilan Zhang

Yuxiang Wang

Contributors

See pg.201

78

Text be Armelle Tardiveau

Opposite - Group work

Housing For Vulnerable Populations

Tim Townshend

During the 2020s a point will be reached where 25% of the UK’s population is 65 or over. However people are not simply living longer,

but living more active lives into older age. There is a huge challenge to meet the needs and aspirations of these active ‘third agers’. Working

with Armstrong House an independent charity providing ‘independent living with support‘, in the village of Bamburgh, Northumberland

explored the complexities of providing a safe, stimulating and desirable home for older people in the existing setting of a listed building.

80 Top - Luke Leung Middle - Jonas Grytne Bottom - Anthony Choy and Yuxiang Xang

S E N S O R Y G A R D E N S M E L L T O U C H S O U N D S I G H T

S E N S O R Y G A R D E N S M E L L T O U C H S O U N D S I G H T

HONEYSUCKLE

HONEYSUCKLE

HONEYSUCKLE

LAMB’S EARS

LAMB’S EARS

LAMB’S EARS

LAVENDER

LAVENDER

LAVENDER

SUCCULENT

SUCCULENT

SUCCULENT

ASHLAR

ASHLAR

ASHLAR

GLASS

GLASS

GLASS

TIMBER BEAM

TIMBER BEAM

TIMBER BEAM

PEBBLE DASH

PEBBLE DASH

PEBBLE DASH

STONE PATH

STONE PATH

STONE PATH

FOUNTAIN GRASS

FOUNTAIN GRASS

FOUNTAIN GRASS

CURRY PLANT

CURRY PLANT

CURRY PLANT

SECTION 11 : : 200

COURTYARD LOUNGE

SECTION 1 : 200

Top - Sheryl Lee Middle - Yequian Gao Bottom - Simona Penkauskaite

81

Co-Production of Space: Probing the Future

Daniel Mallo & Armelle Tardiveau

Set in the West End of Newcastle upon Tyne, this project aimed to promote/expand on the initiatives of Edible Elswick. Students designed

and built a prototype that would enhance the practices of planting, growing and cooking initiatives in an ethnically diverse neighbourhood.

This informed the design of a master plan for Mill Lane using urban agriculture as the leading drive for an inclusive urban space that engages

social groups from diverse age, social and religious backgrounds.

82

Group Work: Shelley Xiong, Runyu Zhang, Yilan Zhang, Andy Chang, Natalie Sung, Simona Penkauskaite, Yu / Jason Wang, Ali Alshirawi, Hannah Knott,

Nadine Landes, Ellie Chapman, Andrew Blandford-Newson, Jonas Grytnes, Yeqian Gao, Sheryl Lee, Luke Leung

Group Work: Alex Robson, Chris Hau, Tom Gibbons, Henry Morgan, Jonas Grytnes, Yeqian Gao, Sheryl Lee, Luke Leung

83

Thinking-Through-Making Week

Thinking-Through-Making Week continues our theme of collaborations with artists, engineers, architects, musicians, thinkers and makers.

The week is for final year BA and MArch students in the second semester of the year. With a focus on material and making, this week-long

series of lectures and workshops asks students to approach architecture through the process of making and drawing at large-scale, bringing

material back to the core of architecture’s exploration.

Brick and Clay

Matt Rowe

Building Wth Round Poles: Joints and Meshes

Amara Roca Iglesias

Creative Concrete

Leigh Cameron

Film and Photography

Matt Lawes

Golden Journey

with Matt Rowe

Organic Casting

Amy Linford

Stone Carving

with Russ Coleman

84

https://thinkingthroughmaking.org/workshops/

MArch

Zeynep Kezer – Degree Programme Director

‘What can architecture do? Where might architectural thinking take us?’

These are essential questions that drive Newcastle’s two-year MArch Programme. We

offer a research-led approach to education, alternately challenging and encouraging

students to stretch their architectural and critical imaginations, to think harder and

more deeply about what architecture is and what it could be. As a result, the output

every year is diverse, threaded by an interest in architecture as a collective, cultural

endeavour. The projects interrogate architectural production in all its aspects, from

material processes, to modes of design, representation and construction, to the ways

that architecture shapes - and is shaped by - the society and culture in which it is

situated.

As an RIBA accredited Part II programme - the second of three steps towards

qualification as a UK Architect - MArch is geared to develop advanced skills in

analysis, representation, design, and technical resolution through projects of

considerable scale and complexity. But it is also rooted in the belief that architectural

training must go beyond professional competence. The MArch draws on the diverse

expertise of Architectural Research Collaborative, our School’s multidisciplinary

research collaborative, to push explorative ways of working and thinking

architecturally. Students are given incentives to undertake original investigations

into issues and techniques at the forefront of contemporary developments in

architecture and beyond - from synthetic biology to the space of the psyche - while

at the same time grounding their work in a specific material, social, cultural and

intellectual context. Cross-studio reviews, exhibitions (in and out of our premises)

and symposia support a lively exchange of ideas and challenge students to position

their work in relation to trends in architectural production and discourse.

Teaching in MArch cuts across common distinctions between design, technology,

history and theory, promoting an integrated approach that treats all aspects of

architecture as opportunities for critical creative enquiry. Studio modules play a

central role, incorporating lectures, seminars, consultancies and workshops spanning

the curriculum, as well as cross-year events such as ‘Charrettes’ and ‘Thinking-

Through-Making’ Week. Projects are undertaken in small design-research studios,

each exploring particular issues or themes that resonate with the research interests

of tutors. Briefs invite an open process of investigation between staff and students,

fostering the development of an independent approach and distinctive critical

stance, all grounded in rigorous research. In Stage 5, two semester-long projects set

in a major European city (currently based in Rotterdam) interrogate the complexities

of architecture’s relation to context, from urban to detail-scale, allowing students to

test new approaches, methods, and ideas. With most of the prescribed curriculum

covered during Stage 5, Stage 6 is freed up to focus on a specific interest or question,

pursued in depth through a year-long thesis project.

With a rich range of opportunities for specialisation, the MArch programme at

Newcastle allows students to develop their own fields of expertise and to showcase

these in a distinctive portfolio. Alongside the design studio, students can choose to

pursue independent research through a dissertation, to join a linked research design

project in which they collaborate on a live research project led by a member of

staff, or to take a tailored set of modules from one of our other specialist Masters

programmes - such as Sustainable Buildings and Environments, Town Planning,

or Urban Design - with the potential of accumulating credits towards a second

postgraduate degree. Bridging between the two years of MArch, these activities

spark ideas and develop skills that often feed into thesis projects. The School

also has a series of exchange agreements with leading schools of architecture in

Europe and around the world, including KTH Stockholm, National University of

Singapore, and the University of Sydney. MArch students can study abroad for one

or two semesters of Stage 5, and the programme benefits from the diverse skills and

experiences of students who join our projects.

87

Stage 5

Stage 5 is a year for in-depth experimentation: for exploring architecture in all its cultural, social,

political, material and historical contexts, for testing new approaches to design, representation and

technology. Briefs emphasize critical thinking and require students to engage with current debates

in architecture and society at large. The year’s work focuses on a particular international city – this

year Rotterdam – beginning with an intensive week long study visit, including architectural tours,

excursions, talks, group urban analysis and social events. Students undertake a critical reimagining

of the city through two semester long projects which challenge them to work at two radically

different scales – first urban, then detail. Framing design as a rigorous, as well as speculative process,

they foster design-research skills and interests in preparation for Stage 6.

In semester one, ‘Plan Rotterdam’ asked students to engage with the urban fabric of the city, its

historical layers, cultural currents and social differences. The project was taught as five distinct

studios that each took on a different urban area and issue. Common themes include the interplay

of buildings, infrastructure, land and water in a city below sea level, architecture’s role in the

production of images, experiences and lifestyles, and the politics of regeneration in a place

renowned for visionary architectural and urban ideas. The project is paired with the ‘Tools for

Thinking about Architecture’ module, which introduces a range of critical approaches through

lectures, workshops and seminars.

Semester two’s ‘Rematerializing Rotterdam’ switched focus to material and technical imagination,

taking detail, construction and atmosphere as opportunities for creative and critical exploration.

The brief asked students to interrogate a [g]host architecture – built or unbuilt, in Rotterdam

or elsewhere – and to reimagine it in the contemporary city. A detail and environment lecture

series, supported by expert consultancies, encouraged students to pursue a technical specialism that

embodies the intentions of the project.

Year Coordinators

James Craig

Stephen Parnell

Project Leaders

Bethan Kay

Ivan Marquez Munoz

James Craig

Laura Harty

Ken MacLeod

Nathaniel Coleman

Stephen Parnell

Students

Abigail Murphy

Adam Hill

Adel Kamashki

Alexander Blanchard

Alice Ravenhill

Alina Tamciuc

Babatunde Ibrahim

Clare Bond

Cynthia Wong

Daniel Sprawson

Demetris Socratus

Emma Gibson

Emma Kingman

Elizabeth Holroyd

Henry Brook

James Anderson

James Hunt

Jessica Goodwin

Jessica Mulvey

Karl Mok

Laura McClorey

Lorna Clements

Luana Kwok

Matthew Turnbull

Oliver Wolf

Preena Mistry

Robert Douglas

Robert Wills

Sophie Baldwin

Theodora Kyrtata

Thomas Sharlot

Thomas Cowman

Erasmus Students

Cyrillus Carpreau

Elin Stensils

Mirjam Konrad

Contributors

See pg.201

88

Text by James Craig

Opposite - Sophie Baldwin

Dreamland

James Craig

In this studio, we interrogated Rotterdam’s ‘metropolitan’ attributes as a means to creating our own urban laboratory; a theme-park dedicated

to metropolitan simulation.

The site for this studio is the area in and around the Rijnhaven-Maashaven basins. This site has been marked as the first in a series of postindustrial

harbour basins to be transformed in the next 20 years under the Stadshavens development plan.

90

Cynthia Wong

Top - Sophie Baldwin Middle, left to right - Preena Mistry, Becca Lewis Bottom, left to right - Mirjam Konrad, Jessica Goodwin

91

The Early Days Of A Better Nation

Stephen Parnell & Ken MacLeod

The aim of this project was to envision a Rotterdam of 2086. This was achieved through working with Science Fiction novelist Ken MacLeod

to first establish a post-human scenario with each student then designing a fragment of that scenario with their own brief, set in 2086, on a

site in Heijplaat.

92

Matthew Turnbull

Top - Elin Stensils Bottom, left - James Anderson Bottom, right - Alice Ravenhill, Adan Hill

93

This Could Be Rotterdam (Or Anywhere)

Bethan Kay

The magnificence of central Rotterdam’s architectural ambitions cloaks the fact that much of the city sprawls out in relative banality to the

encircling infrastructures. It is these ‘non-places’, bearing no defining characteristics of history or identity, which this studio set out to explore

through in-depth analysis and a critique of the ‘Image of the City’. Focusing on the dullness of Rotterdam’s Brainpark, a highly-planned but

declining backwater (where 36% of the office space stands empty), students were challenged to question what could reactivate the site and

put it back on the approved map.

94

Top - Robert Douglas

Bottom - Lorna Clements

Top - Emma Kingman(2), Abigail Murphy Middle - Robert Douglas Bottom, left to right - Karl Mok, Clare Bond

95

In Media Res

Laura Harty

This studio was interested in prising apart the clear binary of public and private within the urban realm, and seeked to extrapolate and

interrogate the tensions and possibilities that lie between.

The studio title ‘In Medias Res’, Latin for ‘in the middle of things’ suggests that sites exist within a nexus of multiple defining criteria. One of

the students’ tasks was to distil these criteria into a typology of urban places which scale between public and private.

96

Robert Wills

Top and Middle - Luana Kwok

Bottom, left to right - Thomas Sharlot, Adel Kameshki

97

Lost Spaces

Ivan Marquez Munoz

The Lost Spaces studio proposed a design-based reflection about the value of lost spaces, in the process of decay in their lifecycle. The task was

to create an intervention that provided living accommodation and associated common facilities for a particular protagonist in need of care,

implementing a strategy of socially integrated and architecturally sustainable neighbourhood.

98

Left - Demetris Socratus

Right, top to bottom - Abigail Murphy, Emma Gibson, Clare Bond

Top - Demetris Socratus Middle - Emma Gibson Bottom - Clare Bond

99

Hybrid Objects

James Craig

Hybrid Objects asked students to create an architectural response to the complex space that exists between viewers and objects. This space, a

foggy territory where myriad meanings can be made, is the zone where projected meanings collide to create a space of betweenness. The result

is a hybrid object; constituted from entangled meanings that exist between observers and objects. Through the selection and unpacking of

an object from the permanent collection of the Museum Boijmans Van Beuningen, each student developed their own art depository in the

Museumpark area of Rotterdam.

100

Alice Ravenhill

Elin’s exploded axo here

Section

BB

Section

AA

Section

AA

Section

BB

Painting Storage

Basement Plan - 1:200

Top - Elizabeth Holroyd Middle, left to right - Elizabeth Holroyd, Elin Stensils,Theodora Kyrtata Bottom - Thomas Cowman

101

Tell-Tale Tectonics

Bethan Kay

Situated between Rotterdam’s spectacular Wilhelminapier and the declining port, the rapidly gentrifying peninsula of Katendrecht formed the

site for this semester’s enquiry. Expanding on the themes explored in Marco Frascari’s ‘Tell-The-Tale Detail’, the studio embraced the value of

details as the union of representation and function, and as generator of a scheme. Delving into the area’s rich history - from industry to jazz,

immigration to art, tattooing to prostitution and everything in-between - each student adopted a ghost from the district’s past to act as the

catalyst for a wide range of tectonic explorations rooted in the narrative of place – tectonics that tell-a-tale.

102

Preena Mistry

Top - Mirjam Konrad Middle - Cynthia Wong Bottom - Preena Mistry

103

Spectres of Utopia and Modernism

Nathaniel Coleman

Students excavated indwelling ‘ghosts of modernism’ in surviving Rotterdam examples of heroic modernist architecture from the 1920s and

1930s, and in orthodox post-war modernist buildings constructed between 1945-1960. In quarrying for ghosts of modernism, students also

chased spectres of Utopia, harbouring the potential for tragedy and the promise of better ways of being at the same time.

The modernity students resuscitated is one of near infinite possibilities, bound up with re-enchanting the world; not the spent modernity of

technocratic excess. The Utopia pursued was as a method for shaping desires for better ways of being – not the catastrophic totalising Utopia

of convention.

104

Top - Alex Blanchard

Bottom, left to right - Adam Hill, Jessica Goodwin

Top - Adel Kamashki Middle - Sophie Baldwin Bottom - Robert Douglas

105

Stage 5 & 6 Fieldwork & Site Visits

MArch

As part of Stage 5 and 6 varied field trips were taken across the year. Stage 5 visited Rotterdam as a group which gave the opportunity for

students to experience the city and embark on site visits. Stage 6 visited places from Stoke-On-Trent to Zanzibar, as well as students taking

individual trips related to their thesis projects.

MArch Stage 5

Rotterdam

MArch Stage 6

Studio 1: Caravanserai - Zanzibar

Zanzibar

Studio 2: Experimental Architecture

Venice

Studio 3: Intoxicated Space

Berlin

Studio 7: Potteries Thinkbelt

Stoke-on-Trent

Studio 8: Building Upon Building

Rome

Verona

Venice

Studio 9: Rituals and the Unconscious

Finland

106

Stage 6

In Stage 6 students undertake a year-long thesis project with a self-generated brief, within a

theoretical framework established by their chosen studio. This year an unprecedented nine studios

were on offer, including three studios running in a vertical orientation with Stage 3 in which

students responded to variants of the same thematic concerns.

All nine studios offer a comparable level of complexity, but they cover a broad range of issues

and geographies leading to a diverse variety of outcomes. They showcase the interactions between

studio leaders’ research expertise and the evolving interests and competences of Stage 6 students.

To achieve this, students’ individual thesis projects are developed within each studio’s thematic,

balancing their individual learning objectives with the studio’s area of interest. Students build upon

experience gained from previous years’ representational techniques and experimentation, as well as

the technical and critical knowledge they gain in Stage 5.

In the MArch, studios range from ‘The Architectural Biography’, in which students respond to the

oeuvre of a chosen architect with their own projects, through to ‘Caravanserai Zanzibar’, continuing

Professor Prue Chiles’ work with students on the island. The Matter Studio develops APL’s tradition

of working with the properties of materials, which this year has been greatly enhanced by the

opening of brand new and extensive workshop facilities. Similarly, the Experimental Architecture

Studio builds on Professor Rachel Armstrong’s research into biological drivers for architecture.

Each of the studios has a strong and burgeoning identity within the School, and this year’s excellent

student work reflects the diverse and broad range of research-led teaching at the School.

Year Coordinators

Matthew Ozga-Lawn

Zeynep Kezer

Project Leaders


Andrew Ballantyne

Cara Lund

Claire Harper

David McKenna

Edward Wainwright

Graham Farmer

Hugh Miller

James Craig

Josep-Maria Garcia-Fuentes

Kati Blom

Matthew Margetts

Matthew Ozga-Lawn

Nathaniel Coleman

Paul Rigby

Prue Chiles

Rachel Armstrong

Samuel Austin

Students

Adam Hampton-Matthews

Alexandra Carausu

Alexander Baldwin-Cole

Angie Hei Man lau

Carl Reid

Cleo Kyriacou

Daniel Duffield

David Boyd

Deryan Teh

Gavin Wu

Gregory Edward Murrell

James Street

Jessica Wilkie

Joseph Dent

Joseph Wilson

Justin Moorton

Kathleen Jenkins

Katie Fisher

Kayleigh Anne Creighton

Kim Alicia Gault

Laurence Ashley

Malcolm Greer Pritchard

Mariya Lapteva

Martin Parsons

Matthew Wilcox

Matthew Sharman-Hayles

Matthew Westgate

Michael Southern

Nedelina Atanasova

Nicola Blincow

Nikolas Ward

Noor Jan-Mohamed

Raphael Selby

Rebecca Wise

Richard John Spilsbury

Robert Evans

Rosie O’Halloran

Ruochen Zhang

Samuel Halliday

Sophie Cobley

Stavri Rousounidou

Su Ann Lim

Thomas Saxton

Ulwin Beetham

Vili-Valtteri Welroos

Wallace Ho

Contributors

see pg.201

108 Text by Matthew Ozga-Lawn Opposite - David Boyd The Draughtsman’s Quietus

Studio 1 – Caravanserai - Zanzibar

Prue Chiles & Claire Harper

This studio builds upon the body of work and progressive thinking of previous years in an ongoing research project, which seeks to understand

and conceptualise new paradigms for architecture and spatial planning in Zanzibar: a semi-autonomous archipelago on the East-African

‘Swahili Coast’. The projects all address tightly interwoven economic and socio-political issues but from different angles, and although the

chosen sites are spread around Unguja: Zanzibar’s largest and most populated island, just as much attention and conversation has gone into

the wider issues and connections. Collaboration began with a 2060 scenario-based mapping exercise, which through certain assumptions,

precedents, strategies, and the mediation of carefully measured contingencies, proposed a sustainable spatial schematic for Unguja in just

over 40 years time. In December 2016, the team travelled to Zanzibar to validate research to-date, and armed with individual mappings

of key subjects to be explored, they began to enrich their lines of enquiry. The countless interactions, observations and discussions; from

liaising with the Local Planning Department to designing and constructing a new public toilet block with a local NGO; were all invaluable

to understanding some of Zanzibar’s most pertinent development issues, so that they could be addressed through responsive and responsible

architectural proposals.

110

Angie Hei Man Lau Empowering Rural Zanzibar

Deryan Teh Mkokotoni a Town for Fish

111

10.

9.

8.

7.

6.

4.

5.

3.

2.

1.

112

Justin Moorton Zanzibar Academy of Culinary Arts

Kayleigh Creighton Shwahili Community Co-operative

113

114 Malcolm Pritchard Caravanserai

Nicola Blincow From Home to Island

115

Studio 2 – Experimental Architecture

Rachel Armstrong & Andrew Ballantyne

Experimental Architecture prepares students for changing architectural ideas and emerging new technologies, relevant to a globally connected,

highly complex and constantly evolving world. By establishing a starting point from which established design tropes may be challenged, such

as the use of inert building materials, new opportunities, like the use of ‘living’ fabrics and technologies, may be explored by developing

prototypes that relate to an original building proposal. Students attending the course will therefore develop a set of architectural design

tools, graphical notations, and experimental studio practices that can not only be applied during their final year but also throughout their

professional development.

116

Top and Middle - Staithes Group Field Trip

Bottom - Su Ann Lim

Su Ann Lim The Ephemeral Halophytic Saltscape

117

118 Kim Gault Waste Palaces

Matthew Sharman-Hayles The Bio-Analogue City

119

120 Michael Southern Gaudy Architecture

Fabric sculptures in the Lagoon Garden

Nedelina Atanasova Lagoon Fabrics

121

LAGOON FABRICS

35

122 Thomas Saxton The Sensory Cenobium

Wallace Ho Academy of Decay

123

Studio 3 – Intoxicated Space

Edward Wainwright, Kieran Connolly & Samuel Austin

‘… the rapture of the Dionysian state with its annihilation of the ordinary bounds and limits of existence contains, while it lasts, a lethargic

element in which all personal experience of the past became immersed. This chasm of oblivion separates the worlds of everyday reality and

the Dionysian reality.’

- Friedrich Nietzsche, The Dionysian Worldview, pg.88

Dionysius takes us to spaces outside our daily lives, breaks the chains of the known world and permits an insight into alternate experiences

of being. These spaces are both mental and physical, created by a state of intoxication. This state can itself be induced by many stimuli – the

effect of rhythm, touch, excess, desire, art, belief…

These stimuli do not operate on the human in a vacuum. They take place always in, and through, space: the pub, club, bedroom, brothel,

stadium, gallery, church. Ritual, sensory intensities and deprivations are key to their effect – experiences are played out over time, through

space, on and with the body.

Intoxicated Space situates itself as a studio focusing on design practice. Here, intoxication is understood as being produced through spatial,

material and aesthetic intensities across a range of themes: desire, immersion, repetition, contact, touch, the body and crowds. The studio

has sought not to define a product as its core output, but to explore the development of methods of architectural design. We have sought to

critically interrogate each other’s pre-conceived design methods and practices coming into the final year of the MArch, with the aim to define,

borrowing from Jane Rendell, modes of a critical spatial practice.

124

Cleo Kyriacou EROS desire

INTOXICATED SPACE

INTOXICATED SPACE

127

129

INTOXICATED INTOXICATED SPACE SPACE

129

127

Daniel Duffield BECOMING

125

fig 50 Stage 5 Material

Explorations. Earth brick

productions.

fig 51 Stage 5 Material

Explorations. Earth brick

productions.

fig 33 (top) Sarah.

A first iteration for

developing a technique

of representing a

41problematised body.

fig 34 (bottom) Reappropriation

of a Hannah

Höch collage

fig 35 Reappropriation of

a Hannah Höch collage

fig 36 Reappropriation of

a Hannah Höch collage

28 29

Following on from looking at the

work of Monica Bonvicini especially,

I conducted a series of models and

drawings, that studied the objects

of disabled embodiments and there

meanings. These provocations

collided those elements in order to

demonstrate tensions and propose

new potentials. For example, the

reconcieving of the safety cord

handle in an accessible toilet as a

black tassel!

fig 60 Stage 6

Provocation piece.

fig 61 Stage 6

Provocation piece.

46 47

126 Gregory Murrell Aesthetic Intoxication

Laurence Ashley Intoxication Intensities Trust in Capital

127

128 Noor Jan-Mohamed A Dissolution of Boundaries

Stavri Rousounidou Durational Extentions of the Russian State Hermitage

129

Studio 4 – Matter

Graham Farmer & Paul Rigby

The studio celebrates ‘Matter’ and encourages design processes that are founded on a dialogic and emergent understanding of materiality.

The studio challenges the notion of buildings as static assemblies of neutral products and instead seeks concrete material practices in which

technology is always both contextual and performative.

Students start by selecting their own matter to ‘collaborate’ with and as a group have explored new understandings of conventional construction

materials like timber and ceramics, along with experimental new materialities interrogating growth, form-making and formlessness. Themes of

making, manufacture, entropy, flux, transformation and environmental renewal are all prominent in the student work.

130

Alexander Baldwin-Cole Bakethin Weir Facility

Adam Hampton-Matthews Restless Landscapes

131

132 Martin Parsons Weaving Architecture

Vili Welroos Origin

133

Studio 5 – The Architectural Biography

James Craig & Matthew Ozga-Lawn

This studio develops from the representation and exploration of the life and experiences of prominent individuals, as found in our previous

studio ‘Landscapes of Human Endeavour.’ This time we refocus attention onto the figure of the architect. Students selected a range of

architects and produced projects which mediated between their own imagined constructions, and a biographical reading of the architect

they are engaged with. This year the lives and projects of Aldo Rossi, Peter Eisenman, Paulo Soleri, Raimund Abraham, Joseph Gandy and

Alexander Brodsky were reimagined by students in the studio.

134

Gavin Wu The Scrimshaw Missiles

P1_5B

& P1_5C

P1_13Di-iii

P1_13Fi-iii

P1_5Fi

P1_13Eii

P1_13Eiii

P1_13Ei

P1_5A[L]

P1_5Fiii

P1_5Eiv

P1_5A[R]

P1_4A

P1_5Ev

P1_13Div-v

P1_13Fiv-v

P1_8Aiv

P1_12D

P1_12E

P1_4C

P3_4A

P3_1C

P1_5B

P1_5D

P1_11Aiii

P1_5Ci-vii

P1_1A[R]

P2_1Aii

Position: South Facing; Above Ground.

Access:

Public Landscape. Private self

contained towers.

Position: North Facing; Below Ground.

Access:

Private routes. Vault Access &

maintenance.

Position: East Facing; Top of Structure.

Samuel Halliday Vaults of Origin

Access: Semi Public/Private

Landscape on roof.

135

136 Mariya Lapteva The Venice

House - 1:50

School - 1:500

Checkpoint - 1:250

Nautical Club - 1:250

Stadium - 1:200

Hotel - 1:100

Nikolas Ward Houses of Tension

137

RECYCLING HARBOR

SLUDGE TREATMENT FACTORY

CENTRAL PAVILION

COMMUNITY CENTRE

ALTERNATIVE URBANIZATION

1:250

PRODUCTION CENTRE

FIRING CENTRE

SLUDGE RECYCLING SYSTEM

LIVING UNITS PRUDUCTION SYSTEM

138 Ruochen Zhang Urban Laboratory: River of Waste

Joseph Dent Peter Eisenman, Midtown Manhattan and House 2

139

Studio 6 – The Rhythmanalysis of Concrete Utopias

Nathaniel Coleman

The End of the City?

Students in this studio were challenged to develop proposals for concrete utopias in the city. If the 20th century can be understood as a long

period of unmaking cities that continues, despite their apparent resurgence, the aim of this studio is the production of projects for the reurbanization

of city centres, in particular those that might be considered successful examples of regeneration but in achieving this sucsess have

become so sanitised that the city is no longer ‘city-like.’

The projects produced in this studio have examined the possibilities revealed by using ‘Utopia as Method’ in the design process.

140

Alexandra Carausu A Digital Cemetery in a Transhumanist Future

2

1

3

Alexandra Carausu A Digital Cemetery in a Transhumanist Future

141

142 David Boyd The Draughtsman’s Quietus

Matthew Wilcox The City That Built Itself

143

Studio 7 – Potteries Thinkbelt


Continuing an interest in infrastructure as background processes and systems this year we have revisited Cedric Price’s ‘Potteries Think Belt’

– 50 years after its conception. We used the ‘Potteries Think Belt’ plan as a ‘treasure map’ to navigate the delights of contemporary Stokeon-Trent.

The studio was one of three ‘vertical’ studios pioneered this year – taught jointly between Stages 3 and 6, and began with the group exercise

of building a ‘Stoke-o-Matic’ dynamic mapping model. The model was used to explore systematic relationships between transport, education,

environment and identity with enjoyably unpredictable results.

Stage 6 students were given much more latitude and typically chose to focus on more societal infrastructures such as education, retail and

third sector networks.


144

Jessica Wilkie The Learning Precinct

Joseph Wilson Touching Ground

145

146 Robert Evans Stow-ke

Robert Evans Stow-ke

147

Studio 8 – Building Upon Building

Josep-Maria Garcia-Fuentes & Aldric Rodriguez Iborra

This studio understands preservation as architecture, as it explores architecture, heritage, authenticity and preservation tied to ever-changing

political and cultural processes, which inescapably mean that their constant changes cannot be avoided or stopped. Grounding on this

approach the studio discusses the contemporary concern with heritage and the ever–expanding preservation movement. Ultimately the

studio questions what it means to preserve and whether it is really possible to preserve. The projects in the studio explore new approaches to

experimental preservation to better suit this profound and changing essence of heritage and respond appropriately to its current contemporary

challenges.


148

Carl Reid British Museum and a Critique on Preservation of Artefacts

Raphael Selby Park of the People

149

150 Matthew Westgate The 21st Century Pedestrian Reformation of Venice

Red Doors

Katie Fisher Gresham Red Door Workshop

Asylum Documents

151

Studio 9 – Rituals and the Unconscious

Kati Blom, David McKenna & Hugh Miller

Rituals and the Unconscious is a vertical studio. The theoretical background, in both Stage 3 and Stage 6 studio, is similar, but structure and

focus were different. Both groups took part in the trip to Finland. During the first part of the year, Stage 6 had theoretical seminars about

phenomenology, perception psychology and psychoanalytical literature, on top of normal tutorials. The overall aim was to choose a ritual

important to each student. The thesis question evolved from the premise to revitalise this ritual. During the primer phase, various approaches

were developed concentrating on projection, processes of daily or creative rituals, or the ritual of death. Students then chose individual

methods to test the limits of the revitalising of a ritual through design, in variety of places: New York financial centre, RIBA headquarters in

London, Lindisfarne Island, London’s Islington and Newcastle.


152

Primer Group Work Freud Room

Kathleen Jenkins The Moonshot Factory at Portland Place

153

154 James Street Translation

Rosie O’Halloran Islington Projection House

155

156 Rebecca Wise Meditative Architecture

Ulwin Beetham La Danse Macabre

157

Research in Architecture

Multidisciplinary research in architecture is flourishing, and we are particularly pleased this year

that our successes in winning major project funding, developing collaborations between colleagues

and building a strong postgraduate research community which are also benefitting students in

the BA and MArch through innovative research-led teaching. 2016-17 saw the launch of Prof

Rachel Armstrong’s Horizon 2020-funded £3.2 million LIAR (Living Architecture) project

and Dr Martyn Dade-Robertson’s Thinking Soils has just won ESPRC funding, enabling us to

recruit a talented group of Research Associates and strengthen our unique focus on Experimental

Architecture. The School is establishing itself as a UK leader in architectural design research; we

had our first creative practice PhD completions from Dr James Longfield and Dr Luis Herna; fine

artist Dr Polly Gould joined our Architecture Research Collaborative (ARC) as postdoctoral fellow

in Design-led Research, and together with Prof Prue Chiles organised the inaugural Architecture:

Creative Practice Symposium (25-26 th April 2017) where this year’s visiting professor Julieanna

Preston (Massey, NZ) joined contributors from across the UK to mentor junior colleagues and

present her participatory project Murmur about the Town Wall.

ARC staged a number of public events which took research into the spaces it is about; Scaling the

Heights, an ARC-organised collaboration held in the abandoned space of the Tyne Bridge’s North

Tower (18-25 th Nov 2016) as part of the AHRC Being Human Festival of the Humanities, featured

the urban explorer Lucinda Grange and had over 400 visitors including local MP Chi Onwurah.

Dr Emma Cheatle recorded birth stories in Maternity Tales in the RVI and Laing (17-18 th Nov

2016) and MArch students presented their Newcastle After Dark research in local night-club Tiger

Tiger (12 th Feb 2017). They were one of eleven linked research groups which ran this year – an

offer which is unique in the UK as far as we know where MArch students can elect to work in small

groups on a research project led by one or two staff – on projects as diverse as studying international

brutalism to building pavilions at Kielder Water. This year we also introduced a new research-led

module in the BA – with 15 dissertation electives offered by staff across the disciplines, further

enabling all students to benefit from the rich research culture in the School.

Ecologies,

Insfrastructures

and Sustainable

Environments

Rachel Armstrong

Samuel Austin

Carlos Calderon

Graham Farmer

Simone Ferracina

Neveen Hamza

John Kamara

Zeynep Kezer

Experimental

Architecture

Rachel Armstrong

Andrew Ballantyne

Carlos Calderon

James A Craig

Martyn Dade-Robertson

Graham Farmer

Simone Ferracine

Matthew Ozga-Lawn

Futures and

Imaginaries

Nathaniel Coleman

James A Craig



Matthew Ozga-Lawn

Stephen Parnell

Ian Thompson

History, Cultures and

Landscape

Samuel Austin

Andrew Ballantyne

Martin Beattie

Kati Blom

Nathaniel Coleman


Claire Harper

Peter Kellett

Zeynep Kezer

Stephen Prnell

Adam Sharr

Edward Wainwright

Industries of

Archicture

Prue Chiles

Neveen Hamza

John Kamara

Katie Lloyd Thomas

Daniel Mallo

Adam Sharr

Armelle Tardiveau

Processes and Practices

of Architecture

Prue Chile

Nathaniel Coleman

Graham Farmer

Claire Harper

Peter Kellett

Katie Lloyd Thomas

Daniel Mallo

Dhruv Sookhoo

Armelle Tardiveau

Edward Wainwright

Mountains and

Megastructures

Rachel Armstrong

Andrew Ballantyne

Martin Beattie

Prue Chiles

James A Craig

Graham Farmer


Zeynep Kezer

Adam Sharr

Visiting Professors,

PhD examiners and

contributors

Amy Butt

Anna Holder

Becky Shore

Catrin Huber

Chris Muller

Chris Speed

David Greenwood

Ian Wiblin

Jane Rendell

Julia Heslop

Juileanna Preston

Katja Grillner

Lucinda Grange

M. Sohail

Neil Barker

Nikoletta Karasthani

Penny McCarthy

Rutter Carroll

Simon Taylor

Steve Sharples

Ye Huang

PhD students


Ali Salih

Ashley Mason

Carolina Ramirez Figueroa

Charles Makun

Cheng Wang

Dhruv Sookhoo

Djuang Sodikin

Hazel Cowie

Ivan Marquez Munoz

James Craig

James Longfield

Javier Rodriguez Corral

Javier Urquizo Calderon

Khalid Setaih

Kieran Connolly

Luis Hernandez Hernandez

Macarena Beltan Rodriguez

Matthew Ozga-Lawn

Nergis Kalli

Ohoud Kamal

Oluwatoyin Akin

Pierangelo Scravaglieri

Ray Verrall

Ruth Lang

Sadanu Sukkasame

Sam Clark

Sana Al-Naimi

Sarah Cahyadini

Sinead Hennessy

Tijana Stevanovic

Usue Ruiz Arana

Xi Chen

Xi Ye

Yasser Megahed

Yomna Elghazi

158 Text by Katie Lloyd Thomas Opposite - Scaling the Heights

BA Dissertations

Vernacular Architecture of Nomads: Transmission of principles and knowledge from

traditional Kazakh architecture to the architecture of 21st century

Assem Nurymbayeva

This dissertation set out to investigate and discuss Vernacular Nomadic Architecture and how

its fundamental efficient engineering basics and other aspects have been applied and used in the

contemporary construction field. Study on the historical background and structural principles

of nomadic dwellings is important in order to get a better understanding of traditional Kazakh

Architecture, to test and analyse the ancient structures and research the subject of cultural

influence. In this dissertation the Case Study on the aspect of implementing the features of

nomads’ dwellings in the time of 21st Century is reviewed and studied. Moreover, purpose of

this research is to assess the extent to which information gathered from the Literature Review

unravelled nomadic constructions - Yurts. Their examination and inspection with the aim

of obtaining holistic critique will be implemented by collecting primary data of thermal

performance and feedback from the occupants. The notion of combining technological

innovations of today and extremely valuable traditional experience and knowledge accumulated

by the human race for many centuries is the focus of this dissertation.

Rebuilding Identity: Acknowledging the traumas of architectural destruction

Daniel Barrett

My dissertation aims to investigate the troubling state of identity within refugee camps,

following the biggest migration crisis since World War II. I began by defining the routes to

a positive sense of identity under the two classifications of accomplishment. This provided

an architectural and spatial framework from which to view identity in refugee camps, which

naturally led to an uncovering of the tensions at the heart of humanitarian design that constrict

identity growth: Permanence – Temporary, Independence – Control.

Considering the spatial clues for these categories, an analysis of the formal and informal

refugee settlements seemed to reveal that the further towards the permanent and independent

side of the spectrum, the more identity is able to flourish.

The dissection of the Za’atari camp was important as it showed the development of identity

over a wide time frame in a highly controlled environment (a refugee camp ‘sandbox’). The

steady swing from temporary to permanent, and from control to independence, over the

course of five years unveiled a gradual rebirth of Syrian Identity. I tell this story through the

accomplishments of the refugees in Za’atari.

Classifying Concrete: A study of existing irregularities in concrete’s characteristics and

how this could affect its position in the current classification system of material properties

Quynh Dang Le Tu

This dissertation originated from my interest in finding out what could be regarded as ‘irregular’

in architecture. This is not the kind of striking unusualness that calls for attention like the

extravagant cladding of Frank Gehry’s Guggenheim Museum or Zaha Hadid’s extreme curved

style in Heydar Aliyev Centre. I wanted to study something which exceeded the ‘normal’ in a

subtle way but which also has a significant impact on the work of architecture.

At the outset, concrete came to my research as fabric formwork, something contrasting to

the density of the common concrete. What interested me was its plasticity, but moreover the

appreciation of the material itself more than just about the constructional aspect. Concrete

cannot be defined by one category and I wanted to find ways to express its ability ‘to be both’

of concrete. While determining concrete’s indeterminacy I have also realised that I might as

well have created a new class for its properties. Because of being ‘in-between’, concrete has

moments of irregularity and does not fit into the conventional property system. This led me to

question whether it was the classification that could not cope with the properties of concrete

and caused irregularities in it. And if that is the case, could there be another framework that

accepts concrete’s properties as another standard category?

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At The Threshold: Investigating the work of Sou Fujimoto in relation to ideas of the ‘inbetween’

in Dutch structuralism and in the Japanese notion of ‘Ma’

Pannawat Sermsuk

Every day we unconsciously cross a number of threshold spaces. Transitional spaces are key

moments in architecture yet these spaces are much neglected. Aldo Van Eyck, a key figure

in Dutch Structuralism, believed that threshold spaces promise a potential to create a

continuous sense of place. Influenced by Einstein’s theory of relativity where space and time

are interrelated, Van Eyck began to form the concept of the ‘in-between’.

In parallel to Dutch structuralism, the idea of in-between has long embedded in Japanese

architecture known as ‘Ma’. It is also an architectural inherent being reinterpreted into a

contemporary context by architects like Sou Fujimoto. Also inspired by Einstein’s theory

of relativity, the concept of homogenised continuity of interiority and exteriority becomes

prominent in Fujimoto’s work. His architecture involves spaces which connect together in

‘loose order’ – of which he called ‘weak architecture’.

Acknowledging those differences, and without suggesting any direct influence of one architect

on another, this dissertation sets out to explore certain parallels between Van Eyck’s notion of

the in-between and the work of Sou Fujimoto. It will trace an approach to an in-between realm

that will help in breaking down boundaries between public and private, inside and outside,

and create a continuous sense of place where a person can feel ‘belong’ wherever they are.

The International Flying Circus: Architects and branding within an evolving media

landscape

Katherine Marguerite Michell

Architecture has always been understood as more than purely shelter. Primarily a tool for

communication, architecture is read as a symbol of broader social order; carrying inherent

economic and cultural significance. Conversely, architecture can also be the spatial

manifestation of the individual ego and culturally-distinguished celebrity.

This role of celebrity architect has powerful ramifications in the field of political strategy;

ramifications that are explored through this writing which examines the media’s role in

sponsorship of the architectural ego.

As starchitects are increasingly fetishised as cultural icon and mainstream ‘celebrity’, the aura

of architectural mystique that once preserved this high-cultural status is now being dispelled

by selfies and socks.

By examining different value systems that propagate architectural eminence, this writing

explores how the platforms of social media are altering these established values. Whether

aura is diminished, or starchitects are increasingly fetishised as celebrity, these changes will

inevitably play out in the future global landscape. The International Flying Circus adopts a

speculative look ahead at the political implications of a shift in architectural status.

Architectural Soundscapes: The communication of the sonic experience within art

galleries

Jack Ranby

The dominance of the visual appraisal of architecture means that the significance of auditory

spatial awareness is generally overlooked. Whilst greatly influencing the way we navigate and

perceive space and promoting a feeling of social cohesion, the ignorance towards the role of

sound in architecture comes primarily from our perception of space and time.

In this dissertation, the overall role of sound in architecture will be discussed, along with the

development or ‘deterioration’ of the urban soundscape and its causes. This will ultimately

lead to an investigation of the means of representing and communicating aural information in

order to reinforce the use of sound for a rational design methodology.

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BA Dissertations

The Carpets of Venice: Was venetian façade ornamentation influenced by the carpet trade

1300-1600?

Angus Brown

Art historians have drawn a link between Islamic carpets and Italian painting. This dissertation

will attempt to establish a further link between oriental rugs and the ornamentation of

Venetian architecture (1300-1600). This will be achieved by examining the relationship

between Venice and the East centred around the carpet trade, followed by an exploration of its

influence on Italian paintings, before attempting to discover whether such a link can be drawn

to Venetian architecture.

The first chapter will discuss the early depictions of Anatolian carpets in Venice. To help

inform the discussion we will look at some of the common motifs and patterns displayed on

oriental carpets. Inventories will also help us to establish the extent of the carpet trade. The

second chapter will establish why vernacular architecture was receptive to Islamic influence

with analysis of the tripartite plan and Gottfired Semper’s Stoff-Wechsel theory. The third

chapter will address whether carpets have become part of the city’s permanent display,

discerning whether there is a connection between the mihrab niche found on Moslem prayer

mats and Venetian fenestration. To complete the discussion, we will analyse the surviving

façade paintings of the city and discern whether these too were influenced by the patterns

found on carpets.

Terrestrial Ecopoiesis: The choreography of life within an encapsulated world

Robert Thackeray

Whether it’s to travel into the depths of space, or to sit out the apocalypse here on earth, closed

system ecologies strive to provide a space that can sustain human life. By mixing together

disciplines such as biology, ecology, anthropology, and a whole load of other ‘ologies’ to go

with them, the closed systems created in the past present a very experimental architectural

typology.

Delving into these ideas, and how their ecologies will be inhabited by people, this essay

tries to emulate their experimental approach. Combining scientific analysis with descriptive

postulations and fiction, or using poetry, religion and myth to accentuate experimentations,

the essay strives to cross disciplines, and therefore styles, to give a rounded understanding of

such a multifaceted typology.

HygroSpores: A report into early experiments on the design and fabrication of bacteria

spore based actuators

Pippa McLeod-Brown

Energy reduction policies imposed by the government have led to technological innovations

to lower energy consumption in architectural design and building practices. Building systems

“reduce energy use by means of technologically enabled climate-responsiveness”. Actuators are

primary examples of this; they are used to regulate internal building environments by reducing

nuances such as solar heat gain. Bioclimatic design has been the focus for attaining lower energy

consumption figures, however the use of active building systems is still sporadically required

when external environmental conditions do not favour the passive systems implemented.

In recent years there has been a growing interest in developing organic material to replace

traditional mechanical systems. Natural systems perpetually respond to the environment using

genetically ingrained survival mechanisms. This has inspired a new generation of responsive

materials in architecture that are capable of reacting intelligently to their environment. The

properties of materials such as wood have been researched to understand how the natural

systems function so we can programme them to work for human benefit.

This dissertation will describe a series of experiments that explore a new type of hygromorphic

material which uses a mutated strain of Bacillus Subtilis spores that can be applied to a thin,

passive, polymer substrate and programmed into an actuating system.

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AUP Creative Practice / Social Sciences Dissertations

Window: mediation between two spaces: The inhabitants and the street watchers?

Yeqian Gao

I chose the window and the transparency behaviology around the window as the key words

of my dissertation. The main inspiration was from a study trip to the Netherlands which took

place in April 2016. During the trip, we did several neighbourhood site visits. One thing

that impressed me was the design of the windows. I could not help but look in the rooms

behind every window. Even though sometimes nobody was at home just looking at the stylish

interiors greatly enhanced my experience. It got more interesting when there were people

inside, then you get to see all sorts of activities take place and even eye contact when they

realized pedestrians like me, were looking through the window. Also, when a whole group of

students with a guide walking around your neighbourhood, the residents will get curious and

attempt to look out from the window.

Soon, a question of what other contribution these windows by the street have to their

neighbourhood and street experience in residential area? Rather than just playing a role of

natural surveillance, which was from the eyes on the street theory from Jane Jacob, from my

own observation and experience, the window contributes to the liveliness of the street and

neighbourhood and therefore improve the walking experience among the neighbourhoods.

Along with the research, the literature reading started based on the keywords: urban scale,

lively street and neighbourhoods, private and public urban space, walk, window… However,

most of the literature covers the topic of urban design only assume the public space as urban

area and more specifically majority were about boosting economic in commercial area. Walking

experience researches, that I covered, had more attention to neighbourhoods, nonetheless,

they often relate to healthy urban. All enhanced the purpose of this research. Therefore, at this

stage, I ste my research question into two aspects, windowology and within neighborhoods.

Five site visits have done in Newcastle Upon Tyne, throughout different typology of the

neighborhoods in Newcastle, linkages and clues are coming up slowly, and in this draft, I

would like to share my findings basing on three of the Newcastle window experience.

The Impact of Street Art Graffiti in the Process of Regeneration

Lok Hang Luke Leung

The importance of art that surrounds us in our society – among our built environment there

is undiscovered uniqueness, for each passage and alleyways there is something mysterious. Of

which, street and graffiti artists operate in these scenes, captivity transforming urban waste

into a city canvas. These artists are the urban regenerators, reflecting their work on the social

political aspect of the media. Furthermore, to contact these invisible figures among our society,

I used the platform of Instagram to attract artist’s attention, as well as keeping a recording of

this subcultural movement. Overall, the study revealed that city acceptance toward street and

graffiti are the main contributors in elevating the creative industries within a city, however, it

is the individuals that underline the city success.

What are the impaction of Graffiti in the process of regeneration? How has Culture shifted?

Making Street Art and Graffiti as part of our culture? Does Street Art and Graffiti have benefits

to the wider norms of society?

An Investigation into Subterranean Residential Developments within the Royal Borough

of Kensington and Chelsea

Andrew Blandford-Newson

This dissertation explores the incentives behind the new popular method of undertaking

subterranean residential developments within Kensington and Chelsea and how their impacts

have labelled such constructions as an issue for concern over recent years, leading to respective

local planning legislation changes. Through a qualitative research process, material from

professionals, local residents and submitted Planning Applications are analysed to better

understand such impacts and the adequacy of such newly established policies within the

planning system itself. The results show an insight into the important role that the planning

system plays in ensuring planning for the future in the best interest of serving the public.

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MArch Dissertations

The 10,000 word MArch dissertation offers students the opportunity to undertake a sustained enquiry into a topic of particular interest to

them and to develop their own modes of writing and presentation. Where appropriate the timing of the dissertation allows for topics explored

to inform their final thesis design project. The research has a growing profile in the School, with two public presentations taking place in

October and February, and the dissertation is now a feature of the Degree Shows in Newcastle and London.

Scales of Aggregation: Material variation in architecture

Justin Moorton

Standardisation has historically been promoted as a means of driving down manufacturing

costs and hence improving the accessibility of products through economies of scale. Yet

the materials which make our built environments are all starting to look the same, and this

flavourless homogeneity may be taking an emotional toll on the people forced to live in and

around them. A growing body of cognitive science research is revealing how oppressively dull

environs can create stress and raise blood pressure as a direct result of boredom, and how

variety can improve our quality of life. This paper looks at reasons why visual variation in

architectural materiality is a property worth examining and retaining. To do so, scale and

texture were employed as metrological frameworks for approaching the design of heterogeneous

surfaces. This concern is especially valid considering the huge technological advances in digital

fabrication of late. Multi-material printing is already possible and in the not-so-distant future

it is anticipated that we will be able to embed and weave multiple materials into complex

micro-structures specified with micron-scale precision. However, it is shown that there are

other ways of orchestrating heterogeneity, mostly involving relinquishing some for of agency

or control. The deterministic specification of variation is a much more complicated endeavour

and an interdisciplinary method of approach is outlined.

Although this dissertation quite clearly had the secondary agenda of highlighting some of the

pitfalls of material standardisation, it has ended on a positive note. Whether by cultivating

the need for craft and community participation in contemporary construction, or enabling

material variety to become ‘free’ and accessible to all, a contingency which can be made

possible through the wider availability of 3D printing, the refocusing of design energies to

include the smallest scales of material design has the potential for real political and social

traction in today’s world of every-increasing giganticism. And we do live in very exciting times:

where the material concoctions we produce may soon be as varied as our imaginations will

allow.

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Theatrical Reconstructions: Case studies on authenticity within the politics of heritage

construction

Vili Welroos

Originating from ideas conceived in the 19th century, precise reconstructions are a 20th

century phenomenon caused by the urge to preserve our legacy within a narrative of heritage

construction. It has come to be used and abused by those in control of a dynamic Bourdieuian

field of ‘heritage production’. In the 21st century, this phenomenon is rapidly accelerating

via innovative methods of recording and the possibility for seemingly authentic replication

through new technologies. The project typology, perhaps, highlights an evolving perception

of heritage; one that is built on what existed, or preserved as a physical manifestation of the

past after its destruction. Analysis of perceptions of historic authenticity is performed by

juxtaposing three different case studies – St. Mark’s Campanile, the Berlin City Palace and the

Triumphal Arch of Palmyra. The reason for using these examples is due to their underlying

differences in terms of reconstruction and a comparative analysis based on a theoretical

understanding of the preservation debate is performed. This research proposes that architects

take a critical attitude towards the built (and rebuilt) environment which forms a part of a

complex socio-political struggle taking place before us right now and in the future. Recording

and archiving information renders it usable within reconstructions whilst keeping memories

hidden forever makes their recording obsolete. The dilemma is that it always contains a level of

political contestation. Destruction may be inevitable, but retaining a record allows humanity

to celebrate the physical manifestation of memories in the present, making it indispensable as a

tool for solace. Nevertheless, the debate carries on evolving towards a new type of transformed

neo-physical preservation. What can the differing attitudes taken towards authenticity and

precision tell us about the political struggle they are part of, and what can architects learn

from it today?

Social Housing, The Discography: A soundtrack to Britain’s modernist estates

Adam Hampton-Matthews

The phrases council estate and tower block have become two of the most stigmatised terms

in the English language. Simply thinking about them brings about a plethora of negative

connotations that we subconsciously associate with them. So much so that many of Britain’s

estates are now brandished with the same caustic typologies of ‘dead-ends, vandalism, violence,

and the absence of escape routes’. This ‘fear’ of crime and social malaise within estates is deeply

rooted in British history and politics.

Britain’s modernist estates have long been a social backdrop to which a variety of popular

culture platforms are situated featuring heavily in motion pictures, yet what is less well

documented is the way Britain’s estates have been portrayed in music. Often overlooked in

writings of architectural representation, music could prove a particularly intriguing subject

due to the close and personal relationship artists have with their lyrics; providing a deeper

insight into what these estates meant to the people who lived in them, and how they were

perceived both within a local context as well as across Britain.

The dissertation begins with a study of prolific dystopian-novelist J.G. Ballard, focusing

specifically on his influences within the emerging genre of New Wave music during the 1970s,

reflecting on how artists began to comment on Ballard’s dystopian vision and the realities of

British housing. The subsequent chapters include a comprehensive study of the modernist

housing that developed in Coventry and Sheffield. Over the years, these utopian cities have

proved to be a powerful tool for creativity for some of Britain’s most influential artists in the

music industry. Taking a journey through the music ‘scenes’, this study aims to gain a better

understanding of the relationship between the perceptions of Britain’s modernist estates and

the genres that emerged.

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Linked Research

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 or partners inside and outside

the University. This year an unprecedented eight linked research projects were completed, ranging

from explorations of Newcastle’s unique nightlife to the study of abandoned and empty swimming

pools. Linked Research is an increasingly popular option for students in our MArch, offering

students first-hand access to the ongoing research of staff at APL, and allowing novel ways of

collaborative learning that break new ground in how we educate at the School.

Architecture by Default

Kieran Connolly

James Street

Noor Jan-Mohamed

Beyond Representation

James Craig

Matthew Ozga-Lawn

David Boyd

Joseph Dent

Nikolas Ward

Ruochen Zhang

Empty Pool

Katie Lloyd Thomas

Rona Lee

Martin Parsons

Stavri Rousounidou

Theodora Kyrtata

International Brutalisms

Steve Parnell

Testing Ground

Graham Farmer

Alexander Baldwin- Cole

Kathleen Jenkins

Katie Fisher

Laurence Ashley

Matthew Westgate

Robert Evans

Samuel Halliday

Sophie Cobley

Ulwin Beetham

Zanzibar Futures

Prue Chiles

Alexandra Carausu

Malcolm Pritchard

Matthew Wilcox

Nicola Blincow

Joseph Wilson

Raphael Selby

Learning Space

Matthew Margetts

Cara Lund

Carl Reid

Gavin Wu

Jessica Wilkie

Kayleigh Creigton

Thomas Cowman

Newcastle After Dark

Edward Wainwright

Samuel Austin

Matthew Sharman Hayles

Rosie O’Halloran

Thomas Saxton

166 Text by Matthew Ozga-Lawn Opposite - Raphael Selby International Brutalisms

Architecture by Default

Kieran Connolly

Situated in the buildings and spaces which form the generic environments of contemporary architecture, Architecture by Default is a critical

investigation into spatial production predicated on values of efficiency, economy, management and organisation. Through the reading of

industry wide material specification documents employed by corporate facility management services, a catalogue of construction systems –

from the suspended ceiling tile to plastic trunking – are identified and their repetition across a variety of rooms, spaces and building types is

documented and analysed.

These are the spaces procured by spreadsheet, by a committee of people not usually too interested in what a space looks like but how it

performs. Examples are cited where the vision for a building or a space are dictated by the specification of the systems which form it; how they

meet certain regulations, are packaged with particular warranties and fit into tightly controlled budgets. Conclusively the project addresses

how these dominant products and systems affect the design of space and the wider impact this has on how modern buildings are constructed.

It speculates on the wide range of default processes embedded in architectural production, from the use of standardised construction systems

to the specification’s which dictate their implementation.

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Beyond Representation

James Craig & Matthew Ozga-Lawn

Beyond Representation is a project based around an earlier project by STASUS titled Everest Death Zone. This project consisted of four

drawings and a short text concerning the bodies of endeavourers who tried and failed to ascend Mount Everest. STASUS invited students

to extend one of the drawings, based on the most famous endeavourer, George Mallory, into a physical installation at the ‘Mountains &

Megastructures’ symposium (March 2016 at APL). The installation included performative and atmospheric experimentation and students

worked with STASUS on designing, fabricating and installing the work.

The installation was then extended and developed as part of ARC’s Scaling the Heights event in the North Tower of the Tyne Bridge (see

pg.198) Students were tasked with installing the work, along with the work of other collaborators, as part of a battery-powered temporary

exhibition in the tower.

Finally, students were tasked with translating the installation into a virtual, embodied drawing through VR technology. Using the School’s new

VR room, students exhibited work that mediated between a virtual representation of Everest’s landscape, the North Tower, the installation,

and a physical apparatus within the room itself. This complex and multi-layered set-up bridged formerly distinct representational frameworks

and allowed us to move and interact with architectural drawing in new and unexpected ways.

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Empty Pool

Katie Lloyd Thomas & Rona Lee

Acknowledging the various ways of defining emptiness, the study of The Empty Pool revolves around the state that follows the removal of

water. This decision is derived from the intrinsic link between the pool’s main modus usandi – swimming and paddling. The specificity of the

pool’s form prevents programmatic alteration, a constraint that offers ample space for imagination and discussion. The peculiarity at the sight

of the pool’s exposed form, segregated from its intention, is an exceptionally intriguing theme, open for interpretation. Site visits, theoretical

readings and film screenings were used as resources for the development of the project.

The outcome of the group research was an inventory of empty pools, compiled in a book for the purposes of an exhibition. A volumetric study

through a series of physical models was conducted for a selection of pools. The pool shapes in 1:500 scale were sunk into plaster rectangles,

the dimension of which was derived from the standard swimming pool tile.

Within the project students formulated individual research topics. Martin explored the purpose and patterns of oceanic lidos, a pool typology

which is currently reviving throughout the British Isles. Stavri investigated the physical animation of the female body in the element of water

through researching psychoanalysis, feminine theories and the swimming pool’s cinematic history. Theodora defined a typology under the

name ‘exotic pool’ and used the exposed volumes of Tropicana Pool in Rotterdam as a lens to deconstruct and decipher the illusion of a tropical

landscape fantasy.

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International Brutalisms

Steve Parnell

The group research looked at International Brutalisms – focusing on the ethical aspect of the movement as opposed to Reyner Banham’s

aesthetic. Brutalism (whether called by the same name or not) appeared in many countries in the post war period. There is currently a debate

on the future of these buildings as due to their age, they demand refurbishment, restoration, or demolition.

The group focused on researching the context of Brutalism internationally by each student choosing a country to study and catalogue its key

brutalist buildings. The purpose of this was understand the Brutalism in its native context and assess whether the findings could contribute

to the British debate.

The first semester of the project looked at the historical background of Brutalism, to understand style of architecture and how to identify it.

This included literary and periodical research to identify key buildings and later, travelling to the chosen country to document the buildings,

as well as interviews with local academics and architects, during the summer vacation. The final semester consisted of completing a written

dissertation which also included the documentation of the buildings.

The Architectural Journal of US Brutalism

Joe Wilson

My dissertation, led with the question “what characteristics constitute to defining Brutalist architecture in

the United States of America, and do they focus on architectural aesthetics, as opposed to having an ethical

stance promoted by British Brutalism?” This question was posed because North America did not suffer the

same physical devastation as that of the UK and other European countries during the Second World War.

I found that US ‘Brutalist’ architects’ ideologies did not carry the social missions as British Brutalist

architects. From my conversations with U.S. architects, I discovered that it was the heavy, monumental,

and sculptural aesthetic qualities of Le Corbusier’s work that captured U.S. architects’ imaginations. Le

Corbusier presented concrete as a building material that offered sculptural plasticity. This freedom offered

US architects an escape from the rectilinear style of sharp modernism, instead providing endless variability

in form allowing inhabitants to engage with the architecture more intimately.

I sought to confirm whether U.S. Brutalism is exclusively associated with concrete, and identified that

the expressive use of concrete in the USA often resulted in three recurring features: monumentality,

sculpturalism, experientialism.

I explored Brutalism’s reception in the USA, with regards to the architecture itself and the terminology.

I found that US architects believed that the word ‘Brutalism’ held negative connotations and that they

referred to their work as ‘concrete modernism’ or ‘expressionism’. I concluded that the term Brutalism

within American architecture is a superimposition by journalists for assemblage of aesthetically similar

buildings that were constructed in concrete during the late modernist period.

Brazilian Brutalism: An analysis of Brutalism in the context of Brazil

Raphael Selby

The dissertation aims to discover the essence of Brazilian Brutalism through an analysis of essential

characteristics of the buildings researched. The term Brutalism has been used to refer to a widespread

selection of modern architecture from the 1950s to the 1980s. The study argues that Brutalism in Brazil,

although similar in aesthetics to other Brutalisms around the world, is native to the country.

A recent ‘aestheticisation’ of Brutalism has seen the popularity of these buildings grow on social media.

However, there is little knowledge outside Brazil regarding the context of these buildings, their purpose in

the urban fabric and how they are inhabited and experienced. Field work in Brazil, which included visiting

the buildings and interviewing key academics and architects, was crucial in providing the data required for

the analysis of the buildings and their architectural qualities.

The understanding of ethic as ‘essence’ - derived from the word “ethos” - rather than implying a notion

of morality, is concerned with the intrinsic nature and essential quality of a material or space. It is such

meaning, that determines the character of the building, resulting in more than just an aesthetic experience.

By observing, documenting, photographing and drawing the buildings first-hand an analysis of three

‘essential characteristics’, namely the ground plane, monumentality and natural light - argues for the essence

of Brazilian Brutalism.

By studying Brutalism in Brazil, the need for further research became clear. There is a large number of

buildings requiring to be documented. The age and condition of the buildings, require academics and

architects to identify their architectural importance, allowing for their appreciation, understanding and

subsequent preservation.

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Learning Space


Building on our previous linked research collaboration with Sunderland University’s Psychology Department, ‘Slides, Deckchairs and

Watercoolers’, we continue our exploration into the psychology behind places, spaces and furniture designed for interaction. This year the

focus was on increasing our understanding design which encourages people to physically engage with and modify a space/piece of adaptable

furniture.

Much modern workplace and education furniture is designed to be flexible. But it is only flexible if people engage with it and change it. Our

practice experience in British Council for Offices’ award winning workplace design suggests this rarely happens in reality or as intended. Thus

the central line of enquiry was to gain a better understanding of the psychological parameters, and having spatialized these, test an intervention

in the architecture school, before refining and testing in a real-life workplace.

Our students were challenged to work across disciplines, with real end users, to develop dynamic mapping tools and to undertake their own

reflective ‘live build’.

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Newcastle After Dark

Edward Wainwright & Samuel Austin

Newcastle has become nationally and internationally famous for its nightlife. From ‘stag and hen do’s’ to the ‘trebles bar’ phenomena, the

city has evolved spatially, economically and legislatively to accommodate a playground of desire, consumption and intoxication. Heavily

dependent on the night time economy, Newcastle is continually developing spaces for the after-dark. The areas of the Bigg Market and the

‘Diamond Strip’ of Collingwood street have been explored through film and photography, documenting the activities and experiences that

contribute to the night-time streetscape.

Newcastle After Dark explores the city at night; a dense fabric of interior spaces catering for excitement and excess, that spill out onto

the streets and urban spaces in between. Nocturnal environments of the city - the bar, pub, nightclub - are well understood through their

economic and social geography, but there have been few comprehensive, architecturally-led surveys of spaces of intoxication, despite their

significant influence on the identity of post-industrial cities across the UK.

This staff and student research project takes an architectural approach to to explore the spaces of the night – looking at their forms, materials,

aesthetics and experiences – in the context of the city. Research into the city’s night-time economies, and their evolution, history, and role

within Newcastle’s culture, informs an examination of how intoxication is enacted in, and through, the city’s space, and how space in turn is

transformed through night time desires.

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Testing Ground

Graham Farmer

The Testing Ground Programme provides the opportunity for students to collaborate with a range of related disciplines, external organisations

and building users through the vehicle of ‘live’ projects.

This year the students worked on two main projects. The first involved a collaboration with The Middlesbrough Institute of Modern

Art (MIMA) where the students designed and constructed the furniture infrastructure for the exhibition ‘If All Relations Were to Reach

Equilibrium..…’ This project involving display, and public programmes explored the subject of migration on Teesside and elsewhere, bringing

together artefacts and artworks made by asylum seekers as well as established artists.

The second project engaged the students in the design and construction of a Heritage Lottery funded Wildlife Hide at the Bakethin Conservation

Area, Kielder. The students navigated complex statutory and client requirements including making the structure fully accessible

and only specifying materials from sustainable sources. The students worked closely with the Northumbrian Wildlife Trust and the resulting

timber-framed structure contains two ‘pods’ on split levels, one for bird watching and one for forest viewing. The Hide is clad in charred larch,

has a moss roof and includes innovative sash windows that slide into the wall to give unobstructed views

174

Zanzibar Futures

Prue Chiles

This project seeks to explore the geo-politics of Zanzibar: a small island archipelago just off the East-African ‘Swahili coast’. Zanzibar has the

ambition of being the most sustainable island in Africa, despite currently facing pressing development issues of rapid population growth and

scarcity of resources. With a population of just under one million, Unguja, Zanzibar’s principal island, is truly a microcosm of the most critical

nternational development challenges.

The culmination of this linked research project was a journal, Zanzibar Futures, which represents a year-long documentation of the cultural,

social and development issues on Unguja, resulting in a combination of research inquiry, design thinking and live building. The team’s journey

began with fieldwork in February 2016, which formed an invaluable foundation for the subsequent research. Working together with the

Ministry of Urban and Rural Planning in Zanzibar and the NGO Sustainable East Africa, they were briefed and informed on current practice

and approaches toward local development planning.

Featured in the journal are four key essays, which although individually authored are a result of closely related and interrelated research topics.

Therefore, like much of the included work, these represent a collective endeavour and support the other ethnographic, historical and design

studies. The essays also highlight different academic and architectural modes of production and methods used in their research. Alexandra’s

essay on the typologies of Architecture in Zanzibar is an architectural polemic focusing on how the buildings in Zanzibar relate to each other

spatially, materially and stylistically with regards to their varying cultural influences. Malcolm’s essay, overtly political, elaborates on studies

of Zanzibar’s education systems, whilst simultaneously acting as commentary on the architectural design principals and construction patterns

surrounding local education. Matt’s essay discusses one of the conundrums of contemporary exchange and commercial culture, by questioning

the degree to which markets can be formalised, whilst finding ways to quantify in ways meaningful to architecture the variety of exchange and

activity patterns of a marketplace. Finally Nicola’s essay on the cultural value of trees, highlights through both sytematic and poetic means

the enormous political, social and economic value of trees in Zanzibar. From their fundamental importance throughout colonial and local

histories, to the current economy and identity of the region, trees carry particular social importance and make a huge contribution to urban

public space.

Finally the team worked on developing a website to document the collective academic work which has been carried out in Zanzibar over

the last four years by students from both the Universities of Sheffield and Newcastle. The website aims to bring together the design projects,

studies and papers so that they can be shared with partners in Zanzibar, whilst also being accessible to other disciplines and anyone else

interested in learning about the geopolitical, socio-economic and architectural complexities of this fascinating region.

175

MA in Urban Design

Georgia Giannopoulou, Tim Townshend, Ali Madanipour

Contributors: John Devlin, Roger Meier, Martin Bonner, Aidan Oswell, Richard Smith, William Ault, Dhruv Sookhoo, Colin Haylock, Michael

Crilly, Tony Wyatt, Sarah Miller, Geoff Whitten, Prue Chiles, Steve Graham, Cristina Pallini, Smajo Beso

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, namely Architecture, Planning and Landscape. The programme brings to the foreground 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 for regeneration and societal challenges. The

two major projects are parts of a year-long project on a complex site in the city centre of Newcastle and deal with issues of post-industrial

urban renewal; the first part of the project Skills in Urban Regeneration engages with contemporary concepts of Digital/Smart Cities, as well as

sustainability in the context of a mixed use masterplan for this key site in the city. Housing Alternatives, forming the latter part of this project,

examines new models of neighbourhood design in the context of the housing crisis and housing needs. 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,

changing patterns of working, and an ageing population centred on the increasingly popular in the UK cohousing model.

The European field trip to Milan (Italy) aims to introduce alternative approaches to Urban Design using concepts of landscape, health

and GreenBlue infrastructure. The project is based on a derelict site planned for a railway station on the Milan-Mortara line, including

an unfinished railway structure by Aldo Rossi. Students are tasked with producing proposals for developing a salutogenic landscape using

theoretical explorations on the theme as well as taking into consideration the city’s history in relation to its water systems and fitting into the

context. The year concludes with the Urban Design Thesis, a major research-led design project, on topics selected by the individual students

around their interests. The course features a robust engagement with urban design process including issues of financial viability and delivery

across the design projects. Students in the course have many opportunities for visiting places within the UK and in Europe in the context of

the projects.

176

Top left to Bottom right - Group: Xuan Zhou, Peijun Yao, Group: Adem Altunkaya, Jackson Leong, Group: Ryan Conlon, Diva Jain, Group: Laurence Bonner,

Adem Altunkaya, Ryan Conlon, Group: Adem Altunkaya, Jackson Leong

Top - Group: Diva Jain, Ryan Conlon, Adem Altunkaya, Laurence Bonner Upper Middle - Group: Laurence Bonner, Ryan Conlon, Adem Altunkaya, Diva Jain

Lower Middle - Group: Diva Jain, Ryan Conlon

Bottom - Group: Diva Jain, Ryan Conlon

177

MA in Architecture, Planning and Landscape (Design)

Martin Beattie

Contributors: Astrid Lund, Nathaniel Coleman,Tony Watson

The Master of Architecture, Planning and Landscape-Design (MAAPL-D) course encourages students to develop a deeper understanding

of varieties of identity in cities. Students conduct detailed studies of particular urban communities, concentrating on determining strategies

of appropriate development for specific urban sites. In each of the three semesters of the course, developing projects presuppose devising

community based urban design frameworks for selected sites that broadly consider the surrounding context. In each semester, holistic design

frameworks articulating the potential character and quality of the environment initiated by the proposed project support reasonably complex

building designs.

Semester one is divided proportionally between group explorations of the city and individual project work, augmented by developing research

into the history, theory and design of cultural buildings in an urban context. The second semester project explores 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.

Students produce three architectural/urban design schemes of increasing scale and complexity for a specific urban location. Architecture as a

civic element is emphasised, including concentration on the relation between exterior and interior spaces.

The problematic of public space within an increasingly privatised built environment; the degree to which theory can be verified by the design;

and the support of both by close readings of set theoretical texts that consider architecture and the city from a range of perspectives are

central to the course; as is a developing understanding of architecture within the expanded field of an urban context in relation to notions of

identity, community, and culture more generally. No matter their scale, projects are construed as complex public buildings with key interior

and exterior public spaces specific to their location and purpose. 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 that they largely produce independently.

The MAAPL-D course challenges students’ preconceived notions of architecture, planning, urban design and the city, as well as their ingrained

habits of architectural conceptualization and representation. In the course, individual buildings are considered as component parts of cities,

rather than as isolated objects within it. As such, tendencies to over-emphasise buildings as spectacular image, interesting form, or virtuosic

technological novelty are counter-balanced by the urban, social, and tectonic qualities of projects. Within the expanded field of the city, urban

buildings are emphasised as socio-cultural elements rather than primarily as abstract objects of aesthetic (or visual) appreciation.

178 Top -Mohamed Elghoneimy Bottom - Jemma El Chidiac

Top left to Bottom right - Jemma El Chidiac, Hala Almalkawi(2), Jiayin Zhong, Xinjue Wang, Xiaoli Tian(2)

179

MSc in Experimental Architecture

Martyn Dade-Robertson, Rachel Armstrong

Contributors: Carolina Ramirez Figueroa, Andrew Ballantyne, Simone Ferracina, Aurelie Guyet, Luis Hernan, Rolf Hughes

The MSc in Experimental Architecture is a new and exciting programme based on a visionary architectural practice that deals with global 21st

century challenges that prepares students for a rapidly evolving professional environment. Our approach is grounded in an experimental designled

methodology to working with new types of materials, methods and technologies that create the context for further social, political, economic

and cultural reflection that, which are expressed through an architectural design project which is simultaneously provocative and visionary, but

also grounded and rigorous.

The course is design based and centred around two Studios: Living Technologies and Synthetic Ecologies (run in semesters 1 and 2 respectively).

The studios are supported by lectures and workshops in drawing, modelling computation, fabrication and design methods. Students are expected

to emerge from the programme with world-class design portfolios that also embody an informed position on the role of the 21st century architect.

Students are encouraged to challenge accepted modes and practices in architecture using a variety of approaches that include design-led

and scientific experiment. Such an approach seeks to address forward-focussed engagement with architectural agendas while also providing

opportunities for young architects to develop the intellectual and practical skills by which they may develop strategies for dealing with a rapidly

evolving professional environment that is being shaped by global challenges, such as rapidly rising populations, and emerging technologies.

180 Synthetic Ecologies

Living Technologies

181

MSc in Sustainable Buildings and Environments (SBE)

Neveen Hamza

Contributors: Alan J Murphy, Barry Rankin, Halla Huws, Hassan Hemida, Ivan Marquez Munoz, Liam Haggarty, Richard Allenby, Paul Yeomans

MSc students in SBE use building and urban performance simulation tools and a deeper understanding of building physics to underpin their

architectural design approaches. This academic year we were joined by students from the MArch and MAAPL-D route. The students worked on

three live projects with their estates departments and Newcastle City Council. They engaged with a number of well-established professionals in

the field.

The Engineering Excellence Quarters in Newcastle University Campus studies: we were asked by the University to start looking at massing ideas for

the project to maximize capturing the sustainability aspects of the site. Students looked into the environmental impacts (such as wind speed and

shadowing studies) on pedestrians and how different massing ideas could lead to a unified campus where pedestrian movement is facilitated and

the natural environment is moderated.

The Freeman Hospital in Newcastle: working closely with the Estate Department to improve the 1960’s building. The occupants complain from

drafts in winter and overheating and less effective natural ventilation in the wards year round. The project addressed possibilities of aesthetic

improvements, and insertions of social interaction spaces while moderating the indoors climate using building performance simulations. Students

also expanded their explorations to look at climate change scenarios and environmental architectural concepts can prevent the need for cooling.

Fisherman’s Lodge in Jesmond Dene: the students presented design proposals for the public consultation that was managed by English Heritage

and Newcastle City Council. Fisherman’s Lodge has been derelict for over ten years and ideas for its revival and extensions into various possible

functions were introduced to the council to help them build ideas of potential usage. Building and urban performance simulation were used to

maximize the sustainability potential of the projects and underpin design decisions in such a dark and historic valley.

182 Top -Wuxia Zhang Bottom - Lwigina Ramirez Castillo

1

2

3

4

5

6

6 9

9

8

7

10

11

Top, left to right -Wuxia Zhang, Eliana Peralta Aquino Middle - Lwigina Ramirez Castillo Bottom - Eliana Peralta Aquino

183

Locations

Activities

Byker Community Gardens

Residents Ouseburn Farm YMCA Byker Storehouse Horticulturalist

Byker Community Trust

Education Productive Growing Horticultural Training

Community Orchard Tending Public Spaces Community Meals Cooking Lessons

Engaging with the two

Growing fruit and

Training and teaching

The south facing terraces

Residents employed to

Shared meals between

Utilising fruit and veg grown

primary schools to educate

vegetables in the Byker

new horticultural skills to

of Avondale Rise lend

plant and maintain the

residents developing

around the redevelopment

children on growing

Gardens and around the

residents to help people

themselves to a small

public spaces around

relationships and providing

to teach residents about

plants and care for the

estate. Food grown can be

improve their gardens or

community orchard,

Byker, including planters,

the opportunity for new

healthy eating and cooking.

environment.

used for shared meals.

pursue employment.

growing a range of fruit.

beds and hedges.

social connections.

St Lawrence’s

Primary School

PLANT NURSERY

HORTICULTURAL

TRAINING

EDUCATION

Ouseburn

Farm

PRODUCTIVE

GROWING

YMCA Byker

Byker Aspire

COMMUNITY

ORCHARD

Horticulturalist

Residents

Storehouse

COOKING

LESSONS

Byker Community

Trust

TENDING PUBLIC

SPACES

COMMUNITY

MEALS

BCT Rapid

Response Team

Residents

Recent PhD by Creative Practice Completion

Making Byker: The Situated Amateur Practices of a Citizen Architect

James Longfield

Positioned on the margins of the architectural profession as an informal and amateur practice, my thesis explored connections between

‘expert’ practice and the city as a fluid socio-spatial construct of (re)production and consumption, freed from professional preoccupations with

buildings as formal, static and aesthetic objects.

In 1969, Anglo-Swedish architect Ralph Erskine was commissioned to masterplan and design the Byker redevelopment project in Newcastle

upon Tyne. With colleagues, he established an office on site, and a number of the architects moved to the area to deliver the project. As a result

of this direct engagement with the area, a situated mode of practice emerged in the overlap between their professional personas as practitioners

and their social concerns as residents.

Having moved into a house in Byker in 2011, my work onsite through the PhD drew on the approach of Erskine’s team as a touchstone,

inspiring a mode of relational practice that draws on situated and everyday ways of knowing to inform acts of adaption, (mis)use and

intervention, and that investigated the unique condition of the hobby rooms which Erskine’s team included in the design of the redevelopment.

The investigation of the thesis developed a creative practice methodology to inform and trace a series of tactical and reflective operations that

emerged out of my engagement with the social ecologies and political structures of Byker, as both a resident and an active citizen. Through

the overlapping of my professional and personal identities I pursued a series of architectural projects and practices that sought to traverse

the boundary between the professionally distinct configurations of architect and user to question new possible relations between these two

identities and associated perceptions of the built environment. Through ongoing reflection on these operations, the thesis established four

distinct themes: situated practice, everyday practice, amateur practice and citizen practice, that situate contemporary theoretical positions on

architecture in the context of Byker. A situated drawing, inscribed onto my dining table at home, provides a site to explore each theme and

their intersections.

The work on site explored the historical and contemporary background of the underused and vacant hobby rooms in Byker as spaces of

collectivity and leisure interest. Limited by the inaccessibility of many of these spaces, my investigations explored the spaces of hobby practice

more broadly across the redevelopment in collaboration with Byker residents, identifying hobby space as that which is temporally inhabited

framed by key equipment formed through the ‘everyday design’ of these users. The development of this altered understanding of the nature

and use of hobby space informed the design and construction of a series of pieces of ‘hobby furniture’ for different hobbyists around the Byker

area that explored the possibility for hobby space as deployed across a range of spaces. Reflection on the use of these elements paid closer

attention to the forms of social infrastructure that supports and underpins the use and viability of collective hobby spaces, culminating in

the proposal of a set of ‘hobby agencies’ that speculated on the social relationships that might enable spatial alterations across public spaces

in the area.

The situated actions through which the hobby rooms were addressed also confront the illegitimacy of amateur practice, revealing the creative

and empowering potential of the informal social engagement of the practitioner with the conditions of use and appropriation, alongside other

citizens, embedding practice within a local network of individuals, agencies, local organisations and political bodies.

By deploying professional tools and methods within the context of citizenship, the thesis contributes toward ongoing discussions concerning

the role of participatory practice in architecture, exploring these questions from the perspective of the practitioner’s involvement in the rituals

and rhythms of everyday life. In doing so, it frames an approach to architectural practice that is spatially situated, yet temporally boundless,

a cyclical operation that weaves together spatial, social, and political activity, making a claim for a new mode of situated, amateur, citizen

practice.

Main Supervisor: Adam Sharr, Second Supervisor: Katie Lloyd Thomas, Internal Examiner: Prue Chiles, , External Examiner: Katja Grillner - KTH

School of Architecture - Stockholm, Sweden

BYKER COMMUNITY GARDENS

BYKER COMMUNITY GARDENS

MAKING BYKER

Hobby Agencies: Byker Community Gardens

Hobby Agencies: Byker Community Gardens

184

PhD and PhD by Creative Practice Students

PRACTICEOPOLIS: Journeys in the architectural profession

Yasser Megahed

The contemporary architectural profession displays an on-going struggle for

economic and cultural capital between heterogeneous cultures of practice,

which together comprise what can be described as a state of dynamic

equilibrium. The contemporary profession is dominated by a technical-rational

culture of practice. The term refers to commercially-driven practices that are

often associated with the production of buildings by or for multinational

corporations and tend to echo their values. This research interrogates the

imperatives of this domination on the values of the architectural profession.

It builds upon two strategies: firstly, mapping the alternative cultures of the

present architectural profession; and secondly, identifying the dangers of the

increasing closeness in values between the profession and other actors in the

building industry. The research argues that these increasingly shared values

threaten the unique worth of the architectural profession and the dynamic

equilibrium which characterises it. By inventing Practiceopolis: an imaginary

city of architectural practice, the research aims to investigate the nature of the

profession and the particular values it contributes to the built environment.

Practiceopolis is a city built on diagrammatic relations between different

cultures of practice covering a wide spectrum of the contemporary profession.

The city became envisaged through a sequence of five iterative narratives

whose specific narrations set the foundation for the next. An initial diagram

becomes a map, which becomes the plan for a speculative city. These narratives

are accountable for mapping the contemporary profession by building

the complex metaphor of Practiceopolis. They explore the inhabitation of

Practiceopolis by narrating stories about the competition between prominent

cultures of practice in the city’s imaginary political scene represented through

a graphic novel. The research ends with propositions regarding the particular

values of the architectural profession, and highlights the necessity to explore

how these values could be defined, communicated, and marketed.

Life, Superceiling: A cultural history of the suspended ceiling

Kieran Connolly

Suspended ceilings are a ubiquitous element of contemporary architecture.

From the generic spaces of the shopping mall, corporate office and hospital

wing; to intimate spaces of domestic inhabitation, the suspended ceiling

prevails. Their pervasive presence can be attributed to their simplicity, ease of

construction and inherent repetitious quality. Organised on a regular grid of

600mm x 600mm, the suspended ceiling neatly resolves the problem of how

to conceal the plethora of technical and environmental services desired in the

design of modern buildings. The proliferation of suspended ceiling systems

globally testifies their status as the default ceiling solution for contractors,

designers and clients alike.

The ubiquity of suspended ceilings across our contemporary built

environments, implies that there widespread application is not only enabled by

technical efficiency but by active cultural, political and economic forces. The

research examines and develops an account of the history of technical, social,

cultural and economic factors which have contributed to the global production

and consumption of suspended ceiling systems. Borrowing techniques and

methods deployed by radical Italian design collective Superstudio; multiple

readings of the suspended ceiling are developed, drawing out wider questions

related to prevalent cultural attitudes toward standardisation, industrialisation,

organisation and management. These attitudes are read through the suspended

ceiling, contributing toward a critique of contemporary spatial production

and its relationship to architectural practice.

185

Towards a Synthetic Morphogenesis for Architecture

Paola Carolina Ramirez Figueroa

www.syntheticmorphologies.com

Synthetic Morphologies is a design exploration project that emerges from a

growing design discourse on the possibilities afforded by Synthetic Biology.

The 21st century is poised to be the era of biology, very much like the 20th has

been the age of digital information. The notion comes from recent advances

from Synthetic Biology in manipulating and creating new living organisms

that exhibit unprecedented traits in nature. Design, as many other fields, has

felt the influence of such a paradigmatic shift. In architecture, for instance, a

growing body of speculative work imagines a future material reality enacted by

hybrids of machine and living organisms, whereby building are grown rather

than constructed.

Yet, Synthetic Morphologies poses the possibility that, in fact, Synthetic

Biology presents design with a more profound challenge – one that stirs the

restating of the discipline of design itself. To think, for instance, of buildings

which are grown out of pre-programmed living organisms is, in effect, to

continue the classic paradigm of design wherein the designer is an almighty

giver of form. I propose an alternative approach – an organicist-inspired

material practice for synthetic biology.

I believe the intersection of design and synthetic biology invites us to think

of design as a negotiation between different actors, some of which include the

chemical environment, mechanical conditions, designers and living organisms

themselves. Throughout my doctoral research I’ve engaged in different

projects which characterise and trace the evolution of the speculative discourse

initiated by synthetic biology, and which eventually leads to the notion of

a biologically-oriented material practice: a technique to engage with the

processes of designing through and with living organisms.

Space Thickening and the Digital Ethereal: Production of architecture in

the digital age

Jose-Luis Hernandez-Hernandez

www.digitalethereal.com

Digital Ethereal came about as a design discourse on digital technologies, and

the invisible infrastructure underpinning it. I believe our interaction with

this landscape of electromagnetic signals, described by Antony Dunne as

Hertzian Space, can be characterised in the same terms as that with ghosts and

spectra. They both are paradoxical entities, whose untypical substance allows

them to be an invisible presence. In the same way, they undergo a process of

gradual substantiation to become temporarily available to perception. Finally,

they both haunt us: ghosts, as Derrida would have it, with the secrets of past

generations; Hertzian Space, with the frustration of interference and slowness.

But it is these same traits of Hertzian Space that affords the potential for a

spatially rich interaction with information systems, one that more closely

resembles the interaction with real architecture. The challenge however lies

in how to design with systems that are fundamentally invisible. They can

be ‘translated’ – changing their modality into one which is tangible. This

modality change is however always laced with cultural charges, which changes

the nature of Hertzian Space.

In order to take advantage of Hertzian Space, I advocate for a creative

practice aimed at creating new objects, indexed to Hertzian Space, but

which also captures the cultural and social complexity imbued in the use of

such technologies. I call this new series of objects the digital ethereal. The

design work created throughout this project blends together disciplines and

techniques such as performance, photography, design, programming and

electronics.

186

Shared Identity: Buildings, Memories, and Meanings

Stephen Grinsell

News stories about either the decision to save or demolish many buildings of

the 1960s and early 1970s regularly use the noun monstrosity, usually prefaced

by the word concrete. However, not all concrete buildings create animosity.

The recently demolished Birmingham Central Library, whilst derided by

Prince Charles as looking like ‘a place where books are incinerated, not kept’

(Birmingham Mail, 2014) is also commonly and affectionately called the

‘Ziggurat’, a reference to the stepped terraces of ancient temples. David Parker

and Paul Long in their article ‘“The Mistakes of the Past”? Visual Narratives

of Urban Decline and Regeneration’ write ‘For all their faults, the buildings of

the 1960s and 1970s currently being destroyed supplied Birmingham with an

identity’ (Parker and Long, 2004 p.18). Buildings are given their identity and

meaning, or more accurately, given a multiplicity of meanings, by those who

gaze upon them and allow the building to impact upon them. This impact,

or the experience as a result of that gaze, stirs emotions and evokes memories,

memories that heighten a sense of identity. This identity then becomes a shared

identity as people share their memories, and what the building means to them.

Parker, D., & Long, P. (2004). ‘“The Mistakes of the Past”? Visual Narratives

of Urban Decline and Regeneration’. Visual Culture in Britain, 5(1), 37-58.

The Impacts of Owners’ Participation on ‘Sense of Place’,

the Case of Tehran, Iran

Goran Erfani

A key aspect for urban designers and managers concerns how urban

transformation arising from regeneration of inner-city areas is associated

with ‘sense of place’. Although much academic work tracks individual sense

of place, little interrogates the community aspect and its link with urban

renewal. This study investigated how the urban renewal schemes in Tehran,

Iran have attempted to adopt the owners’ participation into their planning

and implementation. It concentrated especially on diverse ways that different

stakeholders perceived the methods of these schemes and the significance for

community sense of place.

The study examined the urban renewal projects conducted by the municipality

of Tehran which concerns these areas as deprived neighbourhoods with various

physical, social and environmental problems. Two cases were studied, namely

the Oudlajan bazar and the Takhti neighbourhood, which both are located

in the inner city (district 12). Despite similarities, they are distinctive cases.

Oudlajan, which has outstanding heritage value to the city, is a commercial

public space. The Takhti project was about the residential private space. In

addition, each case had diverse socio-cultural and physical transformation.

The selecting of the distinctive cases shaped a better picture of urban

transformation in Tehran.

The techniques applied seek to represent different types of participants, by

means of local observation and semi-structured interviews with a range of

stakeholders in these schemes. Additionally, to elicit what constitutes the

interrelationships between people and place, Photo Elicitation Interview (PEI)

was carried out. The photos captured by the residents were discussed with

them to reveal the potential impact of urban renewal projects on place-based

community attachment, identity and satisfaction in the eyes of individuals.

Concurrently, planners, managers and developers were interviewed. To signify

the intersubjectivity, the results and evidence from the previous phases were

separately discussed with other participant and non-participant residents in

the renewal schemes. Furthermore, the study considered the potential and

limitations for sense of place associated with the urban regeneration schemes.

187

On Repetition: Photograhpy in/as Architectural Criticism - Working

through the Archives of Mies van der Rohe and Lilly Reich’s German

Pavilion and the North American Concrete Grain Elevators

Catalina Mejia-Moreno

www.travesiafoundation.org

‘Many of us, maybe all of us, look at some images repeatedly, but it seems that we do

not write about that repetition, or think it, once written, worth reading by others’.

T.J.Clark. The Sight of Death. An experiment in Art Writing. (New Haven and

London: Yale University Press, 2006) pp. 9.

In the photo-archives of two of the most recognised British architectural

historians of the late twentieth century - Robin Evans and Reyner Banham -

two iconic buildings come across repeatedly, almost compulsively. In Evans’, the

Barcelona Pavilion (1929- reconstructed 1986) and in Banham’s, the Buffalo

Grain Elevators (late nineteenth Century). While these slide sets can be

understood as the result of the empiricist English tradition and the relevance

of direct experience for the buildings’ histories and criticisms, they are also

evidence of a wider phenomenon in architectural history: the drive to re-visit,

the compulsion to re-photograph and the instinct to repeat. In this context,

my PhD project questions photography as the inherent means of repetition

in architectural history, while arguing that the photograph as material object

and object of representation also performs as the criticism itself. By studying

two important moments in time for the photographic dissemination of the

two aforementioned buildings, and by understanding the material history of

photographs as commodities and objects of transaction, I critically examine

the relationship between architectural history, architectural criticism, and

photographic and ideological techniques of (re)production.

Looking Towards Retirement: Alternative Design Approaches to Third-

Ager Housing

Sam Clark

UK society was first categorised ‘aged’ during the 1970s, and is currently

heading towards ‘super-aged’ status, whereby 20 per cent of the population

will be aged sixty-five and over by the year 2025. Indeed scientific evidence

indicates linear increases in life expectancy since 1840, such that UK

population ‘pyramids’ are now looking more like ‘columns’, with fewer

younger people at the base and increasing numbers and proportions of older

people at the top. There are 10,000 centenarians living in the UK today, with

demographers anticipating a five-fold increase by 2030. Half of all babies born

this year can expect to live one hundred years.

Housing plays a significant role in sustaining a good quality of life, and there

is growing opinion that moving to specialist or more age-appropriate housing

has a positive impact on the wellbeing of older people, as well as potential

benefits to the property market as a whole. Recent design research includes a

competition commissioned by McCarthy & Stone to ‘re-imagine ageing’, and

an RIBA report illustrating future scenarios in which ‘Active Third-Agers’ have

made a huge impact on UK towns and cities. Both initiatives were predicated

on the idea that today’s older population (colloquially known as the ‘babyboomers’)

have alternative and more demanding lifestyle expectations that are

likely to drive a step-change in housing choice for older people.

Sam is working in collaboration with national house builder, Churchill

Retirement Living, to further explore the needs and aspirations of those

entering retirement. In this instance a PhD by Creative Practice is being used

as a vehicle for applied design research that will contribute to contemporary

visions for retirement living.

188

Cities, People, Nature: An Exploration

Usue Ruiz Arana

mynaturehood.tumblr.com

With more than half of the world’s population now living in cities, it is the

nature within the city that has the potential to enhance people’s lives on a daily

basis. The city-people-nature trinomial raises a number of questions that form

the basis of this research. My first installation coincided with the ‘Landscape,

Wilderness and the Wild’ conference and explored two initial questions:

Is there a boundary between the natural and cultural in the city?

The relation between nature and culture is complex. The classical notion of

nature is the world devoid of human interaction or activity; and urbanization,

the antithesis of nature. At the other end of the spectrum there is the notion

of nature as a social constructed phenomenon, and the idea that nature as the

untouched doesn’t exist anymore, as human activity has affected the whole

world. What is evident is that cities depend on nature to survive and vice versa,

and it is therefore difficult to see where one ends and the other starts.

Could the expectation of nature in the city be challenged and what could we

tolerate within the urban?

Within the city we tend to arrest the progression of nature in order to maintain

landscapes and spaces looking a certain way, and avoid the chaos or fear that

might result from a ‘wild’ nature. ‘Wilderness’ is found on abandoned sites,

on former industrial sites, in the cracks of the pavements, in the joints of

the walls, reclaimed by nature whilst waiting to be developed or cleared out.

Is looking the reason why we arrest nature, and how is nature experienced

through the other senses?

Revealing Design: A Dialogic Approach

Matthew Ozga-Lawn

www.ncl.ac.uk/apl/staff/profile/matthew.ozga-lawn

My research project attempts to reveal hidden or overlooked agencies within

the studio space and the representational modes therein, which is normally

conceived of as a neutral zone through which designs are simply ‘transmitted’.

In my study, the studio is conflated with a rifle range. The studio, in adopting

the characteristics and agencies of the military space, opens architectural

representation onto codes and phenomena normally considered to be outside

its remit. These phenomena are drawn into the project through historical and

theoretical links established by the rifle range space.

My research blurs the agencies of the military and studio spaces, revealing

coded agencies that we as designers often take for granted in how we relate and

engage with representational artefacts in the studio.

189

Quality Control and Quality Assurance in Construction – Case of Tower

Buildings in Libya

Salem Tarhuni

The Conservation of Twentieth Century Architecture in China

Yun Dai

Comprehensive Intelligence in Sustainable Courtyard House

Architecture

Rand Agha

A Spatial Carbon Analysis Model for Retrofitting the Guayaquil’s

Residential Sector – GURCC as a Case Study

Javier Urquizo

Crisis of Traditional Identity in Built Environment of the Saudi Cities. A

Case Study: The Old City of Tabuk

Mabrouk Alsheliby

Natural Ventilation: An Evaluation of Strategies for Improving Indoor

Air Quality in Hospitals of Semi-Arid Climates

Mohamed Mahgoub Elnabawi

Learning from Vernacular Natural Ventilated Residential Houses

in Mediterranean Climate Zone of Lebanon; and Developing its

Application Methods in Designing Contemporary Housing in Beirut

Najla Mansour

The Contemporary Role and Transformation of Civic Public

Architecture: The Case of Tripoli’s Central Municipal Building, Libya

Abdelatif El-Allous

A Coincidental Plot, For Architecture

Ashley Mason

Natural Ventilation: An Evaluation of Strategies for Improving Indoor

Air Quality in Hospitals of Semi-Arid Climates

Mohammed Mohammed

Architecture for All in the megacity: Spatially Integrated Settlements in

Istanbul Dominated by Desirable Affordable Housing that Values More

than the Total Cost of Construction and Land Values

Ulviye Nergis Kalli

Impact of Community Participation on Peri-Urban Development Projects

in Akure, Nigeria

Oluwatoyin Akim

Usage of Thermally Comfortable Outdoor Space through the Lens of

Adaptive Microclimate

Khalid Setaih

Becoming Planners and Architects: the Formation of Perspectives on

Residential Design Quality

Dhruv Sookhoo

After the Blueprint: Questions around the Unfinished in New Belgrade

Tijana Stevanović

Modelling the Effects of Household Practices on Heating Energy

Consumption in Social Housing. A Case Study in Newcastle upon Tyne

Macarena Beltan Rodriguez

190

Architecture: Creative Practice Symposium

The School of Architecture, Planning & Landscape at Newcastle University

25-26 th April 2017

Architecture: Creative Practice Symposium led by Professor Prue Chiles

was conceived as an in-house event with the addition of notable external

contributors, and the aim was to create a dynamic and informal forum in

which to present, debate and create our sense of the breadth of creative

practice within the School of Architecture, Planning & Landscape, and in

architecture more widely. This small scale and intimate symposium consisted

of workshops, round tables, exhibitions, and discussions creating fruitful

exchanges in a positive and generous atmosphere.

We were delighted to have as opening keynote Professor Jane Rendell from

the Bartlett School of Architecture, UCL. Rendell shared insights into how

architectural design, creative practice, and material experimentation can be

more fully presented as research, followed by an introduction to her work and

the field of terms - critical spatial practice and site-writing - for which she is

renowned.

The evening continued with presentations by: Prof Prue Chiles – Social Ends

And Means; Catrin Huber - Creative Practice; Prof Adam Sharr - Architectural

Design; Prof Rachel Armstrong - Experimental Architecture; Prof Graham

Farmer - Live Build Projects; Ian Wiblin and Dr Chris Müller – Photography;

and a round table discussion led by Prof Katie Lloyd-Thomas. Dinner was then

served in the newly opened Building Sciences Lab. The next day began with

the workshop presentations by Elizabeth Baldwin Gray, Kati Blom, Andrew

Campbell, James A Craig, Claire Harper, Dr Christos Kakalis, Daniel Mallo,

Mags Margetts, Matt Ozga-Lawn, and Dr Ed Wainwright, each followed by

crit-style feedback.

After lunch landscape architect and artist Catherine Dee, and artists Penny

McCarthy, Dr Becky Shaw, (SHU), Dr Polly Gould (APL) framed their

projects, so to explore whether Fine Art offers a model of an emergent academic

system that is useful in Architecture. Reports on visits to other practice research

discussions elsewhere were presented by Dr Anna Holder - Researching

Making/Making Research, Aarhus; Dr Martyn Dade-Robertson - Research

through Design Conference, Edinburgh; James A Craig and Prof Katie Lloyd-

Thomas - PhD By Design Conference, Sheffield; Nikoletta Karastani - RIBA

North East: Dr Emma Cheatle on her practice and Newcastle University

Humanities Research Institute (NUHRI); and Julia Heslop on Protohome.

The coffee breaks were illustrated by landscape architect Dr Ian Thompson’s

photographic work and Dr Peter Kellett’s recent exhibition on everyday objects

in Addis Ababa. Our visiting Professor, Prof Julieanna Preston, Professor of

Spatial Practice at the College of Creative Arts, Massey University, Wellington,

New Zealand, gave the closing keynote; a performative presentation with

voice, image and narrative, that brought the event to a moving close. We then

enjoyed a guided walk with Dr Ed Wainwright past the architectural sites of

note in Newcastle on the way to the sixteenth century building, Alderman

Fenwick’s House, Pilgrim Street where Ian Wiblin presented his exhibition

of black and white photographic prints and video work, with closing drinks.

Image:

Polly Gould

Alpine Architecture: Piz Roseg, 2017

Watercolour on paper

34.5 x 54 cm

New York, VOLTA2017

Improbable architectures for mountain tops after the work of Bruno Taut

(1880-1938)

At points over the two days it was argued that different definitions of

research might be needed in order to accommodate both the distinctive

multidisciplinary nature of architecture, and its knowledge production

through practice. The Symposium provided the opportunity to recognize the

wide range of practice that is occurring at APL and to open questions for

future inquiry.

Text by Polly Gould

191

ARC – Architecture Research Collaborative

Architecture is often considered a mongrel discipline, and architectural research is often perceived as borrowing from many other fields from

art history to civil engineering. We set up ARC with the aim of countering this view – promoting architecture as a discipline in its own right.

We wanted to challenge a model of research which dissects architecture into its technical, social and humanistic components so we proposed

a group composed of themes which would change over time whilst maintaining their collective identity.

This year we have continued with the themes we set in 2015: Namely Ecologies, Infrastructures and Sustainable Environments, Experimental

Architecture, Futures and Imaginaries, History Cultures and Landscape, Industries of Architecture and Processes and Practices of Architecture.

In addition, we have a special and emergent theme Mountains and Megastructures which has framed some of our collaborative activity this

year.

Our AHRC-funded event ‘Scaling the Heights’, part of the Being Human Festival of the Humanities, was held in the in the North Tower of

the Tyne Bridge on the 18–25 th November. The event attracted over 400 visitors to an exhibition which included the installation Everest Death

Zone, presentations by a group lead by STASUS (James A. Craig and Matthew Ozga-Lawn) and presentations from speakers across the School

and beyond. A follow-up publication is being planned.

Our commitment to interdisciplinary research has an international presence through the Cambridge University Press Journal arq –

Architectural Research Quarterly – whose managing editor, Professor Adam Sharr, and the majority of the editorial team are based in ARC . A

special issue this year on Biotechnologies for the Built Environment was edited by Martyn Dade Robertson and Rachel Armstrong.

As our numbers continue to expand with Polly Gould starting as the ARC Research Fellow at the end of last year and new colleagues joining

us we have also turned our attention to how we present our creative practice and design lead research. Traditional research is often measured

in terms of the quality traditional publications. However, in Architecture we seek to practice research through a much greater range of media

and outputs. To this end we held a Creative Practice Symposium on the 25-26 th April to bring together practitioner researchers and research

practitioners to discuss the role creative practice has in their own work. This is the beginning of a new initiative for the School as we develop

emerging areas of research which have been overlooked for too long.

Iraq and the Enduring Legacy of Gertrude Bell

Sana Al-Naimi

History, Cultures and Landscape

In my PhD research I investigate the dramatic changes in the built environment over

the last century in Iraq. I explore the enduring spatial implications of Gertrude Bell’s

vision, which not only shaped post-WWI British Mandate Iraq, but also continued to

inform the actions of consecutive governments. Bell introduced socio-spatial changes

aided by the designs of Scottish architect J.M. Wilson. Both skilfully employed their

shared passion and expertise in Islamic and Mesopotamian archaeology in “sugarcoating”

colonialism. I aim to understand how novel architectural typologies and new

space hierarchies contributed to the current cultural and political instability in Iraq.

Acknowledgments:

This research is funded by the Northern Bridge Doctoral Training Partnership. Artwork

by the author based on images from Gertrude Bell Archive, Newcastle University, PERS_

B004B.

Intoxicated Space

Ed Wainwright


From the nocturnal realm of the bar, club & pub, to the divine realm of the church,

mosque or temple, intoxication – seen as phenomena that moves one outside of the

realm of everyday experience – is enacted in and through space. Understanding the

production of the spaces of intoxication, and how intoxication can be produced through

space forms the basis of this collaboration research project and design studio. Working

with installation artists, architects and researchers, Intoxicated Space seeks to explore

the experience, politics and production of intoxication through practice based research

methods.

Collaborators:

Gareth Hudson (School of Fine Art, Newcastle University)

Students:

Delia Heitmann (RWTH Aachen), Rosie O’Halloran, Tom Saxton, Matt Sharman-

Hayles (APL, Newcastle University)

192

Witch Bottles

Rachel Armstrong

Ecologies, Infrastructure, Sustainable Development

Layering of material according to a chemical and symbolic programmes that speak

to the elements of air, fire and water were located within the grounds of the Robert

Rauschenberg Foundation property as a charm that discusses the values at risk through

sea level rise. They symbolize our hopes, fears and dreams about climate change in a

manner that draws from local traditions – the production of charmed bottles – and

ancient knowledge practices, like channeling. These bottles are now part of the

foundation’s land art collection and were also “virtually” gifted to the BBC Museum of

Curiosity, Series 9 at: http://www.bbc.co.uk/programmes/b07lj6yh

Acknowledgments:

Robert Rauschenberg Foundation Fellowship Residency

Rising Waters 2 confab, April/May 2016

Pre-Columbian Tropical Urbanism

Peter Kellett


This AHRC funded project is evaluating the long term urban traditions exemplified by

the diversity of pre-Columbian tropical cities of Mesoamerica, to inform sustainable

urban futures. A series of interdisciplinary workshops will build on historically integrated

research on tropical urbanism and environmental design to formulate a collaborative

research project to test underlying principles. In addition to academic partners in

several countries, the project will engage with wider audiences through a design ideas

competition and public exhibition to create awareness of the archaeological relevance of

the past for future urban living.

Collaborators:

Benjamin Vis (PI) University of Kent, University of Leiden, University of Gothenburg,

RIBA South East, Sainsbury Centre for the Visual Arts

The Alternative Public

Xi Chen

Processes and Practices of Architecture

The research will investigate the nature and creation public space in the city in Wenzhou,

a coastal city in the southeast of China. The research interrogates the theoretical

analysis and the experimental artistic practice that attempting to test the possibilities

of alternative approach towards the production of public space. It will re-examine the

effects and understanding of the modern introduction of public space in contemporary

Chinese society. By referring to the ‘right to the city’, the research aims to explore whose

power accounts in the development of public space through the cultural, social, spatial

and political lens.

Website:

www.unbuilt.net

Constructing Informality

Peter Kellett


Since 1985 I have been carrying out longitudinal ethnographic research into the growth

and development of informal settlements in the city of Santa Marta, Colombia. The

30 year cumulative data set documents the housing trajectories of communities and

households through changing economic and social circumstances and helps explain how

built form and social formations are mutually and dynamically constituted through

time. Living within a local family in a settlement for extended periods on multiple

occasions makes it possible to explore the interrelationships between processes of housing

construction, furnishing and habitation, and issues of identity (re)construction and the

role of the dwelling in people’s lives.

Collaborators:

Benjamin Vis (PI) University of Kent, University of Leiden, University of Gothenburg,

RIBA South East, Sainsbury Centre for the Visual Arts

193

The Modernism of Birth

Emma Cheatle


This research examines the impact of buildings and interiors on the history of English

maternity. From the 1750s, concurrent with the rise of the novel, the incidental spaces of

home birth were succeeded by lying-in hospitals run by newly established man-midwives.

Across the nineteenth-century, birth was further medicalised and institutionalised in

these purpose made spaces. Analysing particular buildings and novels, this research traces

the developing relationship between the places in which birth took place, the women

and men involved, and the development of instruments and practices. The related Being

Human Festival project, Maternity Tales, spring from the above research.

Key References:

Emma Cheatle, Part-architecture: the Maison de Verre, Duchamp, Domesticity and

Desire in 1930s Paris (Routledge, 2016)

Emma Cheatle, ‘Recording the absent in the Maison de Verre’, in IDEA Journal (2012)

Standardised Assessment of Building Adaptability

John M. Kamara

Industries of Architecture

The aim of this project is to refine and test a theoretical model for rating the adaptability

of buildings as a first step towards a methodology for the standardised assessment of

building adaptability. The theoretical model is based on indicators of the adaptability

of different elements of a building in relation to six adaptability features: adjustability,

versatility, refit-ability, convertibility, scalability, and movability. Empirical evidence

through case studies and analytical techniques will be used to model building change

and test and refine the theoretical model.

Collaborators:

Dr Oliver Heidrich (school of Civil Engineering, Newcastle University), Dr Vladimir

Ladinski (Principle Architect, Gateshead Council), Professor Mario Dejaco, Professor

Fulvio Re Cecconi and Dr Sebastiano Maltese (Politecnico do Milano, Italy)

Phenomenological Affordance Analysis

Kati Blom


My thesis laid foundations for an analysis of unique architectural experiences which have

heterogeneous elements. The corresponding building offers a set of negative or positive

affordances which may become noted in an experience. To analyse environmental

relations via perception psychology (Gibson) proved to be useful particularly in

evaluating glass buildings and the memorable experiences triggered by them. This

analysis reveals continuities and discontinuities of surfaces of material substances, as well

as the analysis of affordances within. Both exterior and interior can be looked as concave

or convex surfaces.

The Architect as Shopper

Katie Lloyd Thomas

Industries of Architecture

This project investigates the emergence of the architect as ‘shopper’ and handmaiden of

the building products industry in the interwar period – a transformation much debated

at the time, but now largely forgotten, and an unquestioned aspect of contemporary

architectural practice. It explores the role of women who, on the one hand were just

entering the architectural profession, selling building products or working in the

electrical industry, and on the other, were actively targeted as key consumers of building

products. The research is in conjunction with the Building Centre (London) and a

Canadian Centre for Architecture (Montreal) research fellowship to prepare the book

proposal.

Link:

http://www.youtube.com/watch?v=_KSc5m9mWQs

194

Revisiting the Modernist Dream

Prue Chiles


This project explores the newly renovated Park Hill in Sheffield, an iconic modernist

megastructure. We worked with the new residents living there, stakeholders and people

with memories of the old Park Hill, to build up a picture of domesticity, everyday living

and how the residents interact with the building, the concrete and the space. From indepth

interviews and interactive workshops with models and drawings the subsequent

exhibition, we found that the new residents came from a surprisingly wide demographic

and had diverse and inspiring thought and attitudes about their new lives at Park Hill

and how they are making it home.

Collaborators:

Museums Sheffield, Kate Pahl and others at the University of Sheffield. Part of the

‘Imagine’ project sponsored by the AHRC/ESRC 2012-2017

Solar Futures

Prue Chiles

Ecologies, Infrastructures and Sustainable Environments

An experimental, transdisciplinary and collaborative project to develop independent

energy visions and neighbourhood strategies for the future of Stockbridge, South

Yorkshire. Working closely and co-productively with a group of local residents for three

years the project and energy systems modelling to describe the current possibilities,

research ideas and local values of the transition. We explore the role of strategic national

policy and the potential for holistic design in planning energy transitions. We develop

a more visionary set of speculative “what if” projects/scenarios for discussion that could

be relevant for all places like Stocksbridge. The nature of transdisiplinarity and coproduction

in the project were key findings.

Collaborators: In partnership with Durham and Sheffield Universities. An EPSRC

funded project 2012-2016

Art, Economy and Space

Ed Wainwright


Artist’s practices are intimately linked to space – its availability is intricately tied to the

emergence of scenes of artistic activity. The spaces available for use by artists are directly

affected by changing economies. The ebb and flow of capital being reflected in often

surprising ways through environments that become available for studios and workshops.

The effect these spaces have on modes of artistic production and the relations between

artists forms the basis of an emerging research project, with collaborators between

architecture, business and fine art at Newcastle University, and the arts organisation The

NewBridge Project, in Newcastle upon Type.

Collaborators:

David Butler (School of Arts & Culture, Newcastle University) Charlie Gregory (The

NewBrigde Project, Newcastle) Paul Richeter (Newcastle University Business School)

Moon Writing

Rachel Armstrong

Experimental Architecture

Moonlight in the bay around the iconic Fish House at the Robert Rauschenberg

Foundation in Captiva produces graphical traces on the surface of the water that suggest

a correspondence between the sun and the earth, which is orchestrated by the tides.

This Moon Writing invokes the production of symbols from a generative surface, which

raises deeper questions about the kinds of languages that the natural world produces

spontaneously and even understands – be they between cosmic bodies, or bacteria – and

how do we begin to design with them?

Acknowledgments:

Robert Rauschenberg Foundation

195

Rapid Urban Change

Peter Kellett

Ecologies, Infrastructures and Sustainable Environments

Ethiopia is experiencing rapid economic growth, development and modernisation,

including large scale programme to improve the living conditions of the poor and to

modernise the capital, Addis Ababa. Well-established communities are being moved

from centrally located traditional courtyard housing to multi-storey blocks on the urban

periphery. This collaborative research is documenting the lived experience of urban

transformation and social change through case studies of low-income households. The

aim is to give a voice to those with the least control and power and to gain insights into

how communities cope with change, their levels of resilience and how they adapt to

radically different social, spatial and economic circumstances.

Key Outputs:

Kellett, P. and Eyob, Y. (2016) ‘From Courtyards to Condominiums: the experience of

re-housing in Addis Ababa’ paper presented at IAPS 24 International Conference \The

human at home, work and leisure: Sustainable use and development of space in everyday

life’, Lund University, Sweden, June.

Collaborators:

Ethiopian Institute of Architecture and Building Construction (EiABC) at Addis Ababa

University, Newcastle University Institute for Social Renewal

Visual Arts and International Development

Peter Kellett


This exhibition-based project draws on the techniques from contemporary art to

question conventional narratives and world views and thereby contribute to the public

understanding of the international development. Lively assemblages of everyday objects

supported by photographic projections presented stories of celebration, innovation and

creativity alongside development dilemmas and challenges. The exhibitions draw on

material from Ethiopia.

Key Outputs:

Kellett, P. (2015) ‘Made in Ethiopia: Material Culture of Everyday Life’ solo exhibition,

Long Gallery, Department of Fine Art, Newcastle University, April 2015.

Collaborators:

Addis Ababa University, Voluntary Service Overseas (VSO), Newcastle University

Institute for Creative Arts Practice (NiCAP)

Computational Colloids



Imagine a soil, saturated with billions of engineered bacteria cells. As a force is applied

to the ground, bacteria living in the soil would detect an increase in pressure. The

bacteria respond by synthesising a new biological material to blind soil grains together

and increase soil resistance. The resulting structure would consist of a material where

sand grains are only cemented where the forces through the material require. Our

EPSRC funded project will build a proof of concept to show how we might design

a manufacturing process where the material itself acts as manufacturer and designer,

modelling and responding to its environment. The implications of such a project could

be profound. Such a technology would push well beyond the current state of the art

and challenge a new generation of engineering designers to think at multiple scales

from molecular to the built environment and to anticipate civil engineering with living

organisms.

Project Team:

Martyn Dade-Robertson (School of Architecture, Planning and Landscape), Helen

Mitrani (School of Civil Engineering and Geosciences), Anil Wipat (IOS, School of

Computing science), Meng Zhang (Faculty of Life and Health Sciences – Northumbria

University), Aurelie Guyet (School of Architecture, Planning and Landscape), Javier

Rodriguez Corral (School of Architecture, Planning and Landscape)

196

Construction Site for Ideas

Stephen Parnell

History Cultures Landscape

A research programme investigation on the role of architectural media in the construction

and dissemination of architectural ideas and discourse from their beginnings in the

nineteenth century to the present day. It aims to understand the role of the magazine in

the construction of architectural history and its influence on architectural culture and

practice by charting the content and form of architectural periodicals across time, with

particular focus on the contributors and their relationship to the changing nature of

architecture as a profession, practice, and culture.

Key References:

Parnell, S. ‘Architecture Magazines: Playgrounds and Battlegrounds.’ In Common

Ground: A Critical Reader, ed. K. Long and S. Rose, 305-8. Venezia: Marsilio, 2012.

‘Architecture Magazines: Playgrounds and Battlegrounds’, 13th International

Architecture Exhibition, Biennale di Venezia, 29 August – 25 November 2012.

Parnell, S. ‘AR’s and AD’s Post-War Editorial Policies: The Making of Modern Architecture in

Britain.’ The Journal of Architecture 17, no.5 (October 2012).

Parnell, S. ‘The Collision of Scarcity and Expendability in architectural Culture of the 60s/70s.’

Architectural Design, August 2012.

Bacteria Spore Actuators

Martyn Dade-Robertson, Carolina Ramirez-Figueroa & Luis Hernan


Very recent research has shown that bacteria spores combined with an elastomer like

material can be used to create very powerful hydromorphic material. Hydromorphic

materials can respond to changes in humidity by changing shape. There are a number of

hydromorphic materials and most work by combining two layers – which have separate

rates of expansion in the presence of moisture. As one layer expands it forces the other

layer to change its shape causing the material to bend. In architecture there has been

experimentation with timber based hydromorphic materials but, as yet, the bacteria

based hydromorphic materials have not been considered by architectural designers.

We have begun to experiment with the basic material and configurations of Bacilla Spore

actuators and, through a Stage 3 (3rd Year Undergraduate) studio begun to work with

mechanisms that may translate the power of the hydromorphic material to mechanisms

which may form parts of a dynamic building skin.

Output:

Bacteria Hygromorphs: experiments into the integration of soft technologies into

building skin – ACADIA 2016

Out of our Control

Prue Chiles


An ongoing longitudinal auto-ethnographic research project to re-visit, re-evaluate and

encourage the clients’ and builder’s responses to the homes they have lived in and built.

This project turns from the eyes of the architect to the hands of the maker and to the

senses of the dweller to interrogate ideas about the social and built everyday domestic

space, its representation, the final outcome and beyond. Can bricks and mortar be a

reflection of ourselves and transformational to the life of the occupants? Our architectural

field of operation is an expanded site of multiple and layered accumulations of physical

domestic locations, where the relationships, bodies and texts compound into what we

define as Home. Contingencies of site are far more acute for us and placed us at the heart

of a set of relationships and processes that became an expanded field for us beyond the

conventional notion of site.

Collaborators:

The Architectural Practice CE+CA and many other interested parties

197

Scaling the Heights: Mountains and Vertical Megastructures

Tyne Bridge North Tower

18-25 th November 2016

Scaling the Heights: Mountains and Vertical Megastructures was an exhibition and programme of public talks on the physicality and ascent

of tall structures and artificial mountains, presented by the Architecture Research Collaborative (ARC) and temporarily installed in the Tyne

Bridge’s North Tower, providing a rare opportunity to explore one of Newcastle’s iconic buildings. This event was included as part of Being

Human, the UK’s only national festival of the humanities, that took place in over forty-five towns and cities across the UK between 17-25 th

November 2016 and followed that year’s theme ‘Hopes and Fears’.

Contemporary economic and social conditions are driving cities and their inhabitants ever higher into cloud-grazing skyscrapers and highrises.

We invited our audience to experience the long history and mesmerising appeal of all things high and mighty through an exhibition of

mountains and megastructures. The North Tower was unlit, unoccupied, unheated and without electrical supply, and the event was set up as

an entirely battery-powered show. The site was accessible from street level by a flight of stairs that led into the open tower cavity, criss-crossed

by steel supports, home to pigeons, prone to leaking in the rain, and echoing with the rhythm of the bridge traffic overhead.

Each visitor was equipped with a torch in order to navigate the exhibits: the dramatic installation ‘Everest Death Zone’ suspended in the vast,

vertical space by architects STASUS; photographic works by the vertical urban explorer and photographer Lucinda Grange; Amy Butt’s Sci-fi

reading corner; a participatory sound installation derived from recordings from all the Tyne bridges by James Davoll and David de la Haye; a

curatorial cabinet of curiosity by Dr Christos Kakalis.

A programme of events and talks from the exhibitors animated the site over the week: architect Neil Barker’s talk Building the Tyne Bridge;

a walking tour with Rutter Carroll of the Tyne Gorge North Newcastle and Castle Hill and Tyne Gorge South Gateshead and St Mary’s;

Professor Steve Graham and Amy Butt discussing science fiction and the vertical city; Dr Josep-Maria Garcia-Fuentes’ talk The Mountainous

search for a Modern Architecture; Dr Martin Beattie’s talk Travels on the Edge of Empire: John Stapylton Grey Pemberton’s expedition to Darjeeling

and the ‘snowy ranges’; and a chilly film screening of ‘The Epic of Everest’ Captain John Noel, 1924: restored 2013.

ARCs success with opening an iconic but rarely accessible Newcastle building as a site for Scaling the Heights was met with great enthusiasm

by the public, and has created ambition for further forays into temporary site-specific exhibits in the city, so as to profile the architectural

research into the built environment that is coming out of ARC and APL.

SCALING THE

HEIGHTS

MOUNTAINS AND VERTICAL MEGASTRUCTURES

architecture

research

collaborative

NOVEMBER 18-25

TYNE BRIDGE NORTH TOWER

#SCALINGTHEHEIGHTS

#BEINGHUMAN16

Book online at:

www.ncl.ac.uk/apl/events/being-human/scaling-heights

198

Text by Polly Gould

199

Awards

Newcastle University APL Awards


H B Saint (William Bell) Memorial Scholarship for best major project designs:

Mark Laverty

Thomas Faulkner Prize:

Angus Brown

MArch Architecture

H B Saint (William Bell) Memorial Scholarship for best major project designs:

Daniel Duffield

William Glover:

Justin Moorton

Ed Bennett Prize:

Greg Murrell

RIBA Awards


RIBA Bronze Medal nominations:

Daniel Barratt

Mark Laverty

RIBA Hadrian Award nominations:

Kat Bruh

Matthew Rooney

Melitini Athanasiou

Tristan Searight

MArch Architecture

RIBA Silver Medal nominations:

Daniel Duffield

Mariya Lapteva

RIBA Hadrian Award nominations:

David Boyd

Mariya Lapteva

Matthew Sharman-Hayles

Vili Welroos

3DReid Award

Nomination:

Daniel Duffield

www.3dreid.com

200

Top - Mark Laverty Middle - Daniel Duffield Bottom - Mariya Lapteva

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

Alanah Honey

Cath Keay,

Chloe Gill

Damien Wooten

David Davies

Di Leitch


James Longfield

James Morton

Keri Townsend

Laura Harty

Mal Lorimer

Maral Tulip

Mike Veitch

Nathalie Baxter

Robert Johnson

Sean Douglas

Steve Tomlinson

Tara Stewart

Tony Watson

Stage 2

Albane Dullivier

Andy Campbell


Enrico Forestieri

Jamie Anderson

John Lowry

Kieran Connolly

Kieran Gaffney

Luis Hernan

Maria Mitsoula

Nikoletta Karastathi

Patrick Devlin

Sam Clarke

Simone Ferracina

Vlasios Sokos

Stage 3

Adam Storey

Alan Fraser - Structural Engineer

Albane Duvillier - www.aaschool.ac.uk

Alex Gordon - www.jesticowhiles.com

Aurelie Guyet

Bex Gill

Chris French - www.simpsonandbrown.co.uk

Craig McIntyre

Dan Kerr - www.mawsonkerr.co.uk

David Bailey - www.dlgarchitects.com

Declan McCafferty - www.grimshaw.global

Elizabeth Baldwin-Gray

Fraser Halliday - www.harrisonstevens.co.uk

Hazel York - www.hawkinsbrown.com

Hugh Miller - www.hughmillerfurniture.co.uk

Iris Van Dorst - www.faulknerbrowns.co.uk

Jack Green - www.biomorphis.com

James Nelmes - www.bennettsassociates.com

James Perry www.harperperry.co.uk

Javier Rodriguez Corral

John McAulay - www.cundall.com

Josh Duffy - www.arup.com

Luis Hernan

Julie-Anne Delaney

Lee Haldane

Liam Proudlock - (Proudlock Associates)

Luciano Cardellicchio - Kent University

Luis Hernan

Marc Horn - www.studiohorn.com

Mark Johnson - www.brentwoodgroup.co.uk

Mark Sinclair - Structural Engineer

Mike Harrison

Neil Wallace

Nicholas Peters - www.grimshaw.global

Nita Kidd - www.mawsonkerr.co.uk

Paul Bussey - (AHMM)

Rachel Currie - gt3architects.com

Ray Verrall

Rob Morrison - Taktal

Ross Blekinsop - www.studiohorn.com

Rowan Moore - www.theguardian.com

Sean Douglas

Sean Griffiths

Selena Anders - Notre Dame University

Scott Emmett - www.arup.com

Stephen Ibbotson - www.iarch.co.uk

Stephen Richardson - www.sw.co.uk

Stuart Hallett - www.arup.com

Tim Bailey - www.xsitearchitecture.co.uk

Tim Mosedale - www.mosedalegillatt.wordpress.com

Tracey Proudlock - (Proudlock Associates)

Usue Ruiz Arana

Valerio Morabito - Penn Design

Yasser Megahed

AUP

Ali Madanipour

Andrew Donaldson

Dhruv Sookhoo

Diego Garcia Mejuto

Di Leitch

Emma Gibson

Georgia Giannopoulou

Helen Robinson

Irene Curulli

Irene Mosley

James Longfield

Jane Midgley

Joanna Wylie

Joe Dent

Jules Brown

Julia Heslop

Ken Hutchinson

Loes Veldpaus

Martin Bonner

Matt Wilcox

Mike Veitch

Montse Ferres

Neil Powel

Paola Gazzola

Preena Mistry

Raphael Selby

Robert Douglas

Roger Maier

Ronnie Graham

Rutter Carroll

Sana Al-Naimi

Sara Stead

Sophie Ellis

Tara Stewart

Tim Bailey

Usue Ruiz Arana

Xi Chen

Stage 5

Ali Manadipour

Amy Butt

Anna Czigler

Ben Bridgens

Chantelle Stewart

Dik Jarman

Evan Green

Jack Green

James Longfield

James Nelmes

Jenny Conroy

John Ng

Jonnie McGill

Kieran Connolly

Leon Walsh

Lisa Moffit

Luis Hernan

Manja van de Worp

Megan Charnley

Paul Thomas

Remo Pedreschi

Roger Burrows

Ruth Hudson-Silver

Sam Vardy

Sarah Jane Stewart

Simone Ferracina

Tahl Kaminer

Toby Blackman

Stage 6

Alistair Robinson

Andrew Carr

Andrew English

Gary Caldwell

Howard Evans

Rolf Hughes

Maurice Mitchell

Neil Armstrong

Nick Heyward

Patrick Devlin

Pete Brittain

Peter Hoare

Simone Ferracina

Photography

Brandon Few

Ko-Le Chen

Lucinda Grange

201

NUAS

Newcastle University Architecture Society is the student-run representation body within the School. Representing just under 600 students, we

work to provide opportunities that enhance our member’s education through programmes ranging from skills workshops, industry panel talks

to one on one support. For many students in APL the society forms the heart of the School, bringing together students from across different

stages with staff and practitioners in a casual environment. Every year we work to host a variety of events aimed to break up academic teaching

including international trips, socials, and our annual Summer Ball and Charity Ball, which raised over £1000 in aid of Crisis in December.

NUAS continues to go from strength to strength after winning the 2017 ‘IBM Award for Outstanding Contribution to the Student

Community’ highlighting our work to boost cross stage engagement around the School and campaigning to improve students’ safety and

welfare. We are also celebrating winning ‘Best Departmental Society’ for the second year running for our work providing an enjoyable

atmosphere outside of lectures to meet, discuss and challenge the built environment sector.

The Society wishes to thank all the staff of APL for their endless help and enthusiasm as well as RIBA, NAWIC and our industry partners for

their support. Our thanks also goes to our members, for without whom we simply would not of had the outstanding year we have.

President: Jonathan Pilosof, Secretary: Joanne Cain, Treasurer: Jhon Sebastian Valencia Cortes, Events Director: Ellie Waugh, Social Secretary: Helena Taylor, Raising and Giving

Officer: Rowena Covarr, Formals Officer: Farrah Noelle Colilles, Exhibition & Shows Coordinator: Regen James Gregg, Lectures & Talks Coordinator: Jose Figueira, Marketing and

Communication: Bahram Yaradanguliyev, Kofibar Representative: Matilda Barrett, Sports & Activities Coordinator(s): Toghrul Mammadov, Brandon Few

202

Sponsors

This year our thanks go to several special practices who have been kind enough to sponsor our end-of-year degree shows and publications.

The Newcastle-based practice FaulknerBrowns is our principle sponsor and plays a big role in the life of the School, particularly through the

teaching of Paul Rigby, one of the practice’s partners. Hawkins\Brown and Farrells have also provided generous sponsorship and our thanks

as a School goes to each of these practices, which are all active in the Newcastle area and beyond.

203

faulknerbrowns.co.uk

We are proud to support

the School of Architecture,

Planning and Landscape at


hawkinsbrown.com \ @hawkins_brown

208

Newcastle University School of

Architecture, Planning and Landscape

Yearbook ‘17

Editorial Team

Elizabeth Holroyd

Theodora Kyrtata

Matthew Ozga-Lawn

Special Thanks

Alison Pattison

James Craig

& Linked Research Group

“Curating APL” 2014-15

Title Partners

FaulknerBrowns

Printing & Binding

Statex Colour Print

www.statex.co.uk

Typography

Adobe Garamond Pro

Paper

GF Smith

Colourplan, Mandarin, 350gsm

First published in July 2017 by:

The School of Architecture

Planning and Landscape,


Newcastle Upon Tyne.

NE1 7RU

United Kingdom

w: www.ncl.ac.uk/apl/

t: +44 (0) 191 222 5831

e: apl@newcastle.ac.uk

ISBN 978-0-7017-0256-4

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