Yearbook 2022

Welcome to the 2022 edition of the School of Architecture, Planning and Landscape’s Design Yearbook. This special centenary edition showcases the achievements of both students and staff after another successful year.

Welcome to the 2022 edition of the School of Architecture, Planning and Landscape’s Design Yearbook. This special centenary edition showcases the achievements of both students and staff after another successful year.


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<strong>2022</strong><br />

Y E A R S<br />

School of Architecture, Planning and Landscape<br />

Newcastle University

Contents<br />

Welcome<br />

100 Years of Architecture<br />

Change Is (Always) Happening: A (Sort-of) Historical Story<br />

A Space is There: On the Threshold of 100 Years of<br />

Architecture at Newcastle University<br />

BA (Hons) Architecture<br />

Stage 1<br />

Stage 2<br />

Stage 3<br />

Master of Architecture<br />

Stage 5<br />

Stage 6<br />

MSc Advanced Architectural Design<br />

BA (Hons) Architecture & Urban Planning (AUP)<br />

Stage 1<br />

Stage 2<br />

Stage 3<br />

MA in Urban Design<br />

Master of Landscape Architecture (MLA)<br />

MA in Landscape Architecture Studies<br />

Research in Architecture<br />

BA Dissertation<br />

AUP Dissertation<br />

MArch Dissertation<br />

Linked Research<br />

PhD / PhD by Creative Practice<br />

Architecture Research Collaborative<br />

ARC Exhibitions<br />

Contributors<br />

Sponsor<br />

3<br />

4<br />

11<br />

69<br />

134<br />

137<br />

154<br />

156<br />

162<br />

164<br />

196<br />

202<br />



Welcome<br />

Samuel Austin – Director of Architecture<br />

This yearbook marks a significant moment for the School: the centenary of accredited architecture<br />

programmes at Newcastle. Coinciding with our emergence from the restrictions of the pandemic,<br />

and the return to in-person teaching, there are many reasons to celebrate. There can be few<br />

moments in the School’s history when the character of architectural education has been reshaped<br />

more suddenly or more profoundly than through the move to online study. And yet that change<br />

has been less lasting than many feared. Last year, we reflected with exhaustion and amazement on<br />

the rapid transformation of our teaching, and the ingenuity of our students in making the best<br />

of constrained working environments. As we draw to the end this academic year, the workshop is<br />

busier than ever, studios are bustling, and the School’s energetic culture of making and material<br />

experimentation (so sorely missed), has bounced back stronger than ever. Here – through our<br />

yearbook and degree shows in Newcastle and London – we celebrate the diversity, creativity,<br />

rigour and care of work across our programmes. I heartily thank all colleagues, academic,<br />

professional and technical, and of course all of our students, for their adaptability, dedication and<br />

resourcefulness which have made this year a great success.<br />

The centenary happily coincides with the fruition of several major developments at the School.<br />

The Hub for Biotechnology in the Built Environment, a collaborative project with Northumbria<br />

University, has now fully opened its extensive new facilities, including a laboratory for exploring<br />

new materials at molecular level, a specialist workshop for larger scale fabrication, and the OME,<br />

an experimental building which allows testing of components and microbial environments. With<br />

connections already into dissertations, linked research and studio projects, this promises to reshape<br />

approaches to materials and ecologies across our programmes. The Farrell Centre launched its<br />

first programme of talks, ‘Towards Another Architecture’ and, in collaboration with the School,<br />

hosted its first exhibition, ‘How We Live Now’. This shows the work of feminist architecture<br />

co-operative Matrix (founder members of which are alumnae of the School) alongside current<br />

projects from the North East inspired by similar themes. We look forward, early next year, to<br />

seeing the completed Farrell Centre open in the Claremont Buildings, providing a new space for<br />

debate, collaboration and engagement across the city and beyond.<br />

The centenary also comes at an exciting moment in the development of our programmes. We<br />

graduate our first cohort in our new Master of Landscape Architecture programme, a milestone<br />

in the resurgence of landscape studies at Newcastle, with particular thanks to the vision of Dr Ian<br />

Thompson, who retired earlier this year, and Dr Usue Ruiz Arana, who now leads the programme<br />

towards full accreditation. Our Architecture and Urban Planning programme is launching new<br />

masters routes, which will enable students to extend their qualification to specialise in architecture<br />

or urban design. Students on both programmes have moved into expanded studios in the fully<br />

refurbished Henry Daysh Building, where they share studio space with students on MA in Urban<br />

Design, MSc in Advanced Architectural Design and MArch. We have welcomed new colleagues,<br />

Dr Charlotte Veal in landscape, and Dr Tolu Onabolu and Dr Stella Mygdali in Architecture, who<br />

each bring new interests and expertise to our teams, while saying goodbye to Professor Rachel<br />

Armstrong, Craig Gray and Elizabeth Baldwin Gray. We wish Professor Andrew Ballantyne well<br />

in his retirement, after so many years of inspirational research and teaching.<br />

We celebrate success in national student awards. In MArch, Nick Honey and Rob Thackeray<br />

won the RIBA Presidents Medals Part II Award for Sustainable Design, while Mark Laverty<br />

& Alex McCulloch received 2nd Prize in the prestigious Pamphlet Architecture Competition.<br />

This year’s Testing Ground student-led live-build project, at Northumberlandia Wildlife Park,<br />

was shortlisted for the Architects’ Journal Small Projects Award, amongst other successes. Stage<br />

1 Architecture student Holly Milton was commended in the RIBA Journal Future Architects<br />

writing competition while, in the Stage 3 House of Memories studio, Colin Elkington won the<br />

Architecture for Health student award and Lewis Baylin and Matteo Hunt-Cafarelli received<br />

commendations. Our student society, NUAS, actively expanded the life of the School as we<br />

returned in-person, encouraging mutual support and a healthy work-life balance. They organised<br />

an ambitious series of ‘Small Talks’ (guests included Amin Taha and Sarah Wigglesworth) and<br />

a design competition for students at both Newcastle and Northumbria universities, relaunched<br />

their architecture zine, ‘Fold’, and hosted a range of social activities, including walks, gallery trips,<br />

and the largest formal ball in the society’s history!<br />

Changes in the structure of architectural education are underway, as the profession responds<br />

to increasingly urgent issues of diversity, equality, safety, and climate change, which may allow<br />

increased flexibility and specialisation within our programmes. Though it has been another year of<br />

uncertainties and challenges, and the legacies of the pandemic continue to affect us all, coinciding<br />

with the centenary, these institutional shifts present an opportunity to look beyond the moment,<br />

forward as well as back, to rethink architectural education for the next hundred years as we reflect<br />

on how much has changed since 1922.<br />


Change Is (Always) Happening: A (Sort-of) Historical Story<br />

Ed Wainwright<br />

In the late evening of Valentine’s Day, 1922, the mostly male<br />

students at Armstrong College, in the city centre of Newcastleupon-Tyne,<br />

are gathered around the one wireless radio set in the<br />

newly founded School of Architecture. A solid hunk of wood, metal,<br />

glass valves and high-voltage electricity is turned on and tuned in to<br />

2MT in anticipation of the world’s first regular radio entertainment<br />

programme. At precisely eight o’clock, the clipped tones of Captain<br />

P.P. Eckersley break through the static and announce, ‘This is Two<br />

Emma Toc, Writtle testing, Writtle testing’. Broadcasting from a<br />

small hut at the Marconi laboratories in Writtle, Essex, Eckersley’s<br />

2MT has been the talk of the School for the past month. Ever<br />

enthusiastic to be at the forefront of technology, the architecture<br />

students have been following the developments of Marconi’s<br />

commercial broadcasts, anticipating the moment when spoken<br />

entertainment is liberated from the fixed constraints of the music<br />

hall and picture palace, and enters the ether. Broadcasting for all of<br />

half an hour, 2MT’s content, we can imagine, might have ranged<br />

from musical interludes to the recent flu epidemic and Washington<br />

Naval Treaty; from Edith Sitwell’s controversial poem, Façade – An<br />

Entertainment, to observations from around the British Empire,<br />

then at its peak. At eight thirty pm, the broadcast ends, the wireless<br />

set returning to the audible crackle of cosmic microwave background<br />

radiation still reverberating from the start of our Universe.<br />

A few days after Valentine’s Day <strong>2022</strong>, Cai’s phone pings as they’re<br />

walking into campus with a notification from AccuWeather. Eunice<br />

- the first of three winter storms to hit the UK within the space<br />

of a week – is due to make landfall at midday. With predicted<br />

wind speeds in excess of 120 miles per hour, Eunice is set to break<br />

records for extreme weather events on the British Isles. Cai’s phone<br />

buzzes again – TikTok’s alive with the news of FNMeka’s virtual<br />

artwork ‘Real Iron Chef’ being sold by the virtual rapper for<br />

over fourteen thousand dollars. Cai’s on the way to a meeting of<br />

NCAN – the Newcastle Climate Action Network, established at the<br />

start of the year at Newcastle University’s School of Architecture,<br />

Planning & Landscape. At the precise moment that Cai steps<br />

onto campus, NASA’s climate monitoring NOAA-20 satellite<br />

completes another polar orbit, sending signals back to its sub-Artic<br />

base station in Svalbard, building a picture of a heating planet, the<br />

satellite’s microwaves cutting through the low intensity hum of the<br />

background radiation that brought us into being.<br />

Image on laptop, the first broadcast transmitter in operation<br />

in Britain, Marconi Works, Writtle, near Chelmsford, Essex,<br />

1919-1920;<br />


Cai steps into the School, aware of a split in their emotions. Excited<br />

by the prospect of continuing their project for growing a centre<br />

for gene therapy for the aging population of the northeast from<br />

modified fungi, they’re also aware of the historical legacy of the<br />

construction industry, and their possible future role in a profession<br />

that’s bound into a carbon economy, still very much alive across<br />

the globe in <strong>2022</strong>. Passing the site where storm Arwen blew down<br />

their favourite eucalyptus tree in the city centre last November,<br />

Cai’s in a quietly sombre mood as the day starts, wondering if the<br />

storms have gotten worse, or is this ‘normal’ for February, and<br />

what even is ‘normal’ as temperatures inexorably nudge upwards?<br />

Cai opens Instagram, uploading a picture of where the eucalyptus<br />

once was and hits the post button: Architecture: Kill or Cure?<br />

sending packets of data through the microwaves and onto the<br />

internet, asking a question that doesn’t really have an answer, but<br />

articulates a sense of changed priorities and an unstable future.<br />

The students tuning into 2MT in 1922 could not have predicted<br />

that the technology they were using to listen to P.P. Eckersley<br />

would eventually morph into the global infrastructure of undersea<br />

fibre optic cables, satellites, land stations, 5G masts and smart<br />

phones that allows Cai to be entertained by the life of an AI rapper<br />

and connected to data from climate tracking satellites, modifying<br />

Cai’s mood on that February morning one hundred years later.<br />

Those students in 1922 could not have predicted the fundamental<br />

role communications technology would go on to have in<br />

connecting the world and extracting its resources. They could<br />

not have foreseen how that self-same technology that enables our<br />

globally interconnected marketplace to function, simultaneously<br />

allows a future designer to sense climate change on a global scale,<br />

to feel hopeless and hopeful at the same time, and to care about<br />

the impact of their decisions on this fragile home planet of ours.<br />

We can often feel a sense of foreclosure of our future. A sense that<br />

the changes to come are somehow known. That the information<br />

we have now tells us what tomorrow will be like, and it’ll be worse.<br />

Perhaps it will be. And perhaps there’s another way of thinking,<br />

too – that each step presents a new world, even in the tinniest<br />

of ways; that events today unfold into surprising and expansive<br />

realities tomorrow; and that change is always happening.<br />

13th June <strong>2022</strong><br />

Image on screen, FNMeka ‘Heading to the Upload Metaverse<br />

experience in the digital afterlife’ Instagram, June <strong>2022</strong>. Taken<br />

by the author at his desk in the Architecture Building in this<br />

centenary year, June <strong>2022</strong>.<br />


A Space is There:<br />

On the Threshold of 100 Years of Architecture at Newcastle University<br />

Ashley Mason<br />

School Library. With text taken from: J. H. Napper, Newcastle Papers in Architecture and Building Science: From the School of Architecture, University of<br />

Newcastle upon Tyne (Newcastle: Oriel Press, 1970).<br />

In 1973, the School of Architecture at Newcastle University<br />

curated an exhibition titled ‘A Space is There’. Held as the<br />

construction of Ralph Erskine’s Byker Estate was underway and<br />

the demolition of Newcastle’s Town Hall and T Dan Smith’s<br />

career were complete, this exhibition was conceived to show<br />

‘some aspects of architectural education’. Displayed at Newcastle<br />

City Library, it appears to have been a showcase event, with the<br />

advertisement detailing all of the educational offerings of the<br />

School, from undergraduate courses to live projects, noting its<br />

pioneering work within this field through the early formation of<br />

the Project Office (now re-established as Design Office, one of<br />

AJ’s 40 under 40 practices for 2020). Few other details of the<br />

exhibition remain; indeed, gaps frequent the School’s scattered<br />

records, meaning a space is there for speculation and intervention.<br />

The 1972–73 school year can be found to mark a midway point,<br />

a threshold, in the School’s history, from its recognition by the<br />

RIBA (up to ‘Intermediate’ standard) in 1922 to today, when we<br />

celebrate the centenary of the School of Architecture at Newcastle<br />

University (once upon a time Armstrong College, later King’s<br />

College of The University of Durham). The first halves of the<br />

following images, almost all taken from the 1972–73 handbook<br />

and (perhaps) displayed during the ‘A Space is There’ exhibition,<br />

reveal a freshly rejuvenated school, following its consolidation<br />

within a newly renovated former Agriculture Building in 1966,<br />

where previously it had occupied temporary huts, the top floor of<br />

the Physics Building, and even the attic of Fine Art. Though there<br />

remained a trace of impermanence through the Mobile Research<br />

Laboratory of Building Science, the spaces of architectural<br />

education at Newcastle were for the first time brought into<br />

proximity, seemingly eschewing precarity. Nonetheless, the<br />

images are perhaps too clean, too bare; they doubtless do not<br />

reveal the messy reality and temporality of life within the design<br />

studio, where paths can converge and diverge, where materials<br />

are transformed, and where critical and creative exchange occurs.<br />

Later that same decade, in 1978, a group of students at the School<br />

began a movement called ‘Threshold’, which they established to<br />

‘provide a forum for critical discussion’. Once more, additional facts<br />

about the movement are not easily locatable; we are instead left to<br />

infer the exchanges that may have taken place. A threshold is, here,<br />

not a boundary, but a permeable, dialogic space in between. Indeed,<br />

to move across a threshold requires collaboration, cooperation, and<br />

coproduction. In Yearning (1990), bell hooks writes:<br />


Exhibition Room. With text taken from: [n.a.], Newcastle University School of Architecture <strong>Yearbook</strong> 1992–93 (unpublished, 1993).<br />

Lecture Theatre. With text taken from: [n.a.], Who’s What and Why: School of Architecture (unpublished, 1979).<br />

Students’ Workshop. With text taken from: [n.a.], University of Newcastle upon Tyne School of Architecture Opening (Newcastle: Oriel Studios, 1966).<br />

Mid image from Departments of Architecture, Fine Art, Town and Country Planning Prospectus — Academic Year 1969-70 (Portsmouth: Eyre and Spottisdwoode<br />

Ltd. at Grosvenor Press, 1969), p. 15.<br />


First Year Studio. With text taken from: Patrick Hannay, ‘Newcastle: Good Neighbours,’ The Architects’ Journal, 182.41 (9 October 1985): 56; [n.a.],<br />

‘Newcastle: School of Architecture University of Newcastle upon Tyne,’ 167.11 (15 March 1978): 505.<br />

To some extent, ruptures, surfaces, contextuality, and a host of<br />

other happenings create gaps that make space for oppositional<br />

practices which no longer require intellectuals to be confined to<br />

narrow separate spheres with no meaningful connection to the<br />

world of the everyday. […] One can talk about what we are<br />

seeing, thinking, or listening to; a space is there for critical<br />

exchange […and] this may very well be ‘the’ central future<br />

location of resistance struggle, a meeting place where new and<br />

radical happenings can occur. (p. 31)<br />

Thus, the second halves of each photographic pairing seek to convey<br />

the porosity and transitory actualities of the threshold spaces within<br />

which such critical and creative architectural questioning and<br />

exchange occurs, with words (lifted from various papers and places<br />

documenting the history of the School of Architecture at Newcastle<br />

University over its 100 years) seeping into the spaces in between.<br />

As Ed Wainwright’s poignant opening text notes, change is (always)<br />

happening. The scale of change is sometimes small, sometimes<br />

sweeping; the duration of change is sometimes long-lived, sometimes<br />

fleeting. Indeed, throughout its lifetime the School of Architecture has<br />

been through many changes, has been on the cusp of many thresholds<br />

– between technological innovations, between social revolutions.<br />

The photographs capture correspondingly in-between locations<br />

and situations. Yet, they may also raise uncomfortable questions of<br />

equality, diversity, and inclusion.<br />

Changes have taken place, though doubtless can (and will, with<br />

our combined will) go further. A School should always be willing<br />

to confront and rectify pre-existing inequalities, to advocate for the<br />

marginalised (whether human or non-human; whether of built or<br />

unbuilt environments). As we find ourselves situated within another<br />

threshold, a meeting place between the past 100 years and (hopefully)<br />

the next, we have a responsibility to make sure – through a collective,<br />

collaborative, and cooperative commitment to making space (a phrase<br />

indebted to feminist design collective Matrix, whose ground-breaking<br />

work is currently exhibited at Newcastle Contemporary Art on the<br />

occasion that founder members and alumni Fran Bradshaw and Anne<br />

Thorne receive their honorary degrees), as well as taking, sharing<br />

and keeping space (as explored within complementary projects from<br />

the North East of England by contributors to the Project Space<br />

accompanying the Matrix exhibition) – that, within the School of<br />

Architecture at Newcastle University in the forthcoming 100 years, a<br />

space is there for critical and creative exchange.<br />

Project Office Conference. With text taken from: [n.a.], Project Office: School of Architecture (unpublished, n.d.).<br />


Entrance Hall. With text taken from: The Art and Profession of Architecture: A Handbook Produced by the School of Architecture in the University of<br />

Newcastle upon Tyne (Newcastle: Oriel Press, 1972).<br />

Lecture Theatre. With text taken from: [n.a.], Who’s What and Why: School of Architecture (unpublished, 1979).<br />

Testing a Structural Model, in the Quad. With text taken from: this piece.<br />

Images from The Art and Profession of Architecture: A Handbook Produced by the School of Architecture in the University of Newcastle upon Tyne (Newcastle: Oriel<br />

Press, 1972)<br />


10 Above - Cheuk Wing

BA (Hons) Architecture<br />

Toby Blackman– Degree Programme Director<br />

As a School of Architecture, Planning and Landscape, we are interested in the ways<br />

in which relational architectural ecologies are made, remade, translated and renewed<br />

in an expanded field of critical processes and practices at the intersection of political,<br />

ecological, material, social and cultural concerns. Our students demonstrated practices<br />

of inclusion and consideration throughout the profoundly difficult social, cultural,<br />

and spatial circumstances of the pandemic. They formed community, and quotidian<br />

practices of care; their processes and practices – their work – speaks to this directly.<br />

The architectural provocations and proposals documented and reflected upon here<br />

are socially engaged, culturally informed, technically sophisticated, and ethically<br />

positioned. The work examines questions of and for architecture across its many sites<br />

of meaning-production – drawing, building, model, text, film and photograph – whilst<br />

remaining focussed on disciplinary questions and parameters of ethics, climate, context,<br />

space, political and social relations.<br />

In September 2021 – at the start of the current academic year – we made a return to<br />

the physical, proximate, social, and material examination of architecture. We began<br />

Semester 1 in a hybrid mode, delivering and facilitating 50% of teaching and learning<br />

in-person. In Semester 2, we moved all activities to in-person. We supported each<br />

other – students and staff – whilst the ongoing pandemic served to heighten awareness<br />

of the inextricably shared experience of teaching and learning. In-person teaching<br />

and learning re-activated the School, the community of practice, and the cultures of<br />

making, drawing, and modelling at the heart of the student experience. It is a credit to<br />

our students’ ethics, and their preparedness for dialogue that a student-initiated, crossschool,<br />

cross-programme working group formed in <strong>2022</strong> committed to decolonising<br />

the curriculum. Together, we seek to bring equality to teaching and learning, to<br />

liberate form, content, and means of producing knowledge. The programme seeks to<br />

nurture equal, diverse, representational, and expansive sites for architectural meaning<br />

production, drawing lessons from beyond Europe and the Global North, questioning<br />

that which is elevated to the canon, and enabling students to form new paradigms,<br />

and critical methodologies of and for architecture, and its practice. From the Stage 1<br />

module, Introduction to Architecture, through the concerns of About Architecture:<br />

Cities, Cultures, Space and the Future Ecologies studio project in Stage 2, to the<br />

positional declaration formed in the dissertation, and brief development in Stage 3<br />

studio, students have engaged actively and deeply with questions of ethical practice,<br />

intersectionality, material heritage, legacy, and climate. Students have formed new<br />

connections and methods, examining agency and responsibility, whilst revealing and<br />

forming knowledge of individual subjects and objects of architectural study.<br />

We hope you enjoy this yearbook as much as we have enjoyed putting it together, and<br />

as much as we have enjoyed working with students on the BA Architecture programme<br />

over the course of the current academic year. Final Stage students on the programme<br />

have prepared themselves diligently for ethical spatial practice at a time when inequality<br />

is increasing across gender, orientation, race, class, political and social divides by global<br />

health, conflict, and climate events and change. The future is theirs; the future is bright.<br />


Stage 1<br />

From the outset, Stage 1 Architecture students are taught to observe, record, respond to, and represent, a wide variety<br />

of contexts and conditions ranging from small hand-held objects to city mapping and the wide-open Town Moor or<br />

Ouseburn vistas. Rather than simply teaching theory, the emphasis throughout is on experiencing and communicating<br />

architecture in a personal and meaningful way. As well as introducing constructional, environmental, and structural<br />

design principles, the ‘Technology’ modules provide an insight into how architects engage with making and crafting<br />

architecture. Likewise, the ‘Introduction to Architecture’ module introduces history and theory but also invites students<br />

to tell their own story by planning a personal architectural history walk. The ‘Architectural Representation’ modules<br />

teach a wide spectrum of analogue and digital skills including measuring, drawing, modelling and photography, with<br />

a focus on the appropriate use of, and application of these in different design project contexts. The ‘Architectural<br />

Design’ module builds in complexity through the year, commencing with small, modelled explorations of architectural<br />

language and the conceptualisation of their walking experiences to equally open their eyes to the natural world and<br />

non-human environment. These lead, quite naturally, to a first proper design project - the creation of a small single<br />

room platform in the Quadrangle. This and exploration of the group model build, frame play and focus on design<br />

methods leads to the last short project in Ouseburn Valley for an observational tower, chamber, and landscaped<br />

courtyard. In addition to preparing them for the remainder of the degree program, we hope to encourage students to<br />

be outward looking and questioning – more aware of their surroundings, those of others and the natural world, but<br />

also better equipped to start imagining and appropriately engaging with them.<br />

Year Coordinators<br />

Kati Blom<br />

Simon Hacker<br />

Students<br />

Abbie Joanna Lowdon<br />

Ahmed Kooheji<br />

Aidan Paolo Elias Togonon<br />

Amelia Daisy Spiteri<br />

Amelia Liis Mikk<br />

Anvitha Vallamsetty<br />

Arnas Vrubliauskas<br />

Aung Swan Htet<br />

Benjamin Peter Gath<br />

Berzan Karakas<br />

Blake Williamson<br />

Bobby Beswick<br />

Chee Kit Wong<br />

Cheuk Kwan Chiu<br />

Cheuk Wing Lam<br />

Chisomebi Obi<br />

Chloe Garrett<br />

Chloe Maestre Bridger<br />

Conrad Whale<br />

Daniel Robert Barton<br />

Darya Tsoy<br />

Edward Pettitt<br />

Eka Raj Bhatt<br />

Eleanor Heisler<br />

Elena Frances Heath<br />

Elizabeth Robinson<br />

Ella-Jade Chudleigh-Lyle<br />

Emilia Burdett<br />

Emily-Kate Hobson<br />

Emma Louise Purchase<br />

Esha Vishal Saraf<br />

Ethan Fox<br />

Evie Alice Thorne<br />

Felix Amaury van Eyseren<br />

Finley Jay Carroll<br />

Flora Ferguson<br />

Florence Lola May Evenden<br />

Frederic Samuel<br />

Downes<br />

Frederick Handy<br />

Freya Isabel Maxwell<br />

Gaurav Dhoot<br />

Georgina Layla Spendiff<br />

Girius Gadonas<br />

Guy Michael Waddilove<br />

Hamish Iain Alfred Macmillan-<br />

Clare<br />

Hannah Rae<br />

Hannah Rolfe<br />

Helena Mizgajeva<br />

Henrietta Octavia Hunt<br />

Henry Barlow<br />

Henry Simcox<br />

Hin Nok Lo<br />

Hin Pak Harry Tse<br />

Hollie Rebecca Anne Reed<br />

Holly Milton<br />

Ian Gao<br />

Ibrahim Khaleel Abba<br />

Dasuki<br />

Ioannis Pourikkos<br />

Ioli Loukia Christoforidou<br />

Ishkhan Arutyunyan<br />

Ismail Ali<br />

Jack Bradley<br />

Jed Phillips<br />

Jemima Taswell-Fryer<br />

Joshua Edward Carr<br />

Jude Clark<br />

Jude Purcell<br />

Juhee Kim<br />

Juhyun Park<br />

Katherine Stafford<br />

Katherine Nichole Hutchins<br />

Kei Ching Chan<br />

Layne Murphy<br />

Leanda Estell-Gibson<br />

Leo Merryfield<br />

Leon Doolan<br />

Lewis Bell<br />

Lloyd Andrei Aguilos<br />

Logan Martin Anderson<br />

Johnson<br />

Luca Greenway<br />

Lucas William Billington<br />

Lucy Jordan<br />

Lucy Matthews<br />

Lucy Topp<br />

Luke Newmarch<br />

Madeline Anderson<br />

Matthew Marshall<br />

Maya Ruth Dugdale<br />

Richardson<br />

Michael Harvey<br />

Mitsuki Kobayashi<br />

Molly Smith<br />

Muhannad Mohamed<br />

Mahdi Al Lawati<br />

Natalie Tomoko Norman<br />

Nia McSweeney<br />

Nina Ysabela Beleno<br />

Odaro Jamali Omonuwa<br />

Oliver Archie Nizar Higgins<br />

Oliver Harry Cowell<br />

Oliver Kim Johnson<br />

On Yi Lee<br />

Philippa Emily Porter<br />

Phoo Myat Nay Chi Lwin<br />

Preethi Tera<br />

Raazin Kooloth Anwar<br />

Hussain<br />

Rares-Ioan Naum<br />

Rebecca Graham<br />

Robbie Birch<br />

Roman George Jackiw<br />

Rudolf Kalman<br />

Ruixue Wu<br />

Safaa Kallas<br />

Sam McClelland<br />

Sam Shapin<br />

Seth Jackson<br />

Shani Tea Karni<br />

Shau Mand Vivian Hang<br />

Luo<br />

Shreya Sri Garlapati<br />

Sofia Sakkou<br />

Sophie Anderson<br />

Sophie Lee<br />

Sophie Ann Bloyce<br />

Su Hyeon Yoon<br />

Suet Wing Cheung<br />

Sze Wing Kelly Pang<br />

Tanishka Umesh More<br />

Thamanda Theresa Phuong<br />

Cam Van Malmberg<br />

Theo Greenland<br />

Thom de Visser<br />

Thomas Jack Balsdon<br />

Thomas Michael Perceval<br />

Tianhao Zhou<br />

Tiara Puspita Nugroho<br />

William Parsons<br />

Wing On Tse<br />

Xuejun Hao<br />

Yasho Vardhan Aggarwal<br />

Yuqiao Chen<br />

Yuxuan Chen<br />

Zack Glover<br />

Zafirah Sadiq<br />

Zijun Yang<br />

Zinan Zhang<br />

Contributors<br />

Adam Fryett<br />

Adam Sharr<br />

Aileen Hoenerloh<br />

Alex Blanchard<br />

Andrew Ballantyne<br />

Anna Cumberland<br />

Armelle Tardiveau<br />

Assia Stefanova<br />

Becky Wise<br />

Byron Duncan<br />

Carlos Calderon<br />

Chloe Gill<br />

Chris Charlton<br />

Chris Elias<br />

Damien Wootten<br />

Daniel Mallo<br />

David McKenna<br />

Dilan Ozkan<br />

Ed Wainwright<br />

Eddy Robinson<br />

Elinoah Eitani<br />

Emma Kirk<br />

Ewan Thompson<br />

Harry Thompson<br />

Henna Asikainen<br />

Ivan Marquez Munoz<br />

James Harrington<br />

James Morton<br />

Jianfei Zhu<br />

Joey Curtis<br />

John Kinsley<br />

Joseph Wilson<br />

Juliet Odgers<br />

Karl Mok<br />

Katie Lloyd Thomas<br />

Malcolm Green<br />

Marina Kempa<br />

Michael Chapman<br />

Michelle Allen<br />

Mike Veitch<br />

Nagham El Elani<br />

Neil Burford<br />

Neveen Hamza<br />

Nick Clark<br />

Noor Jan-Mohamed<br />

Otis Murdoch<br />

Peter St Julien<br />

Prue Chiles<br />

Ruth Hayward<br />

Ruth Sidey<br />

Sam Austin<br />

Sana Al-Naimi<br />

Scott McAuley<br />

Sneha Solanki<br />

Sonali Dhanpal<br />

Sophie Cobley<br />

Sophie Collins<br />

Sophie Ellis<br />

Stephen Parnell<br />

Taz Nasser<br />

Tracey Tofield<br />

William Knight<br />

12 Text by Simon Hacker Opposite - Ellie Heath


Semester 1<br />

Routes to Architecture and SITE<br />

Kati Blom and Ed Wainwright<br />

Project 1.1. Routes to Architecture (Kati Blom) introduces students to architectural design asking them first to compose models using each<br />

of three spatial languages open frame, planar and volumetric. The application of these to a common shape encourages consideration of the<br />

limitations and potentials of these distinctive spatial principles. Secondly, students record the city’s streetscape and produce a conceptual<br />

three-dimensional model of aesthetic aspects of the route which they walked several times during the first month.<br />

Project 1.2, SITE (Ed Wainwright), took us onto Newcastle’s largest open space - the Town Moor. Home to beings large and small, human<br />

and other, plant and animal, we sat with, listened to, felt, smelt and otherwise sensed our ways into a collaboration with non-human builders<br />

and the moor itself, to explore how architecture can be brought back to the act of dwelling, making space for all beings to be.<br />

14 Top - Jude Purcell , Rudolf Kahlman Bottom Left - Matthew Marshal Bottom Right - Arnas Vrubliauskas, Abbie Lowdon

Semester 1<br />

Architectural Representation<br />

Kati Blom<br />

Tasks explore varied techniques for recording and expressing the character of buildings and places, including: orthographic drawings of<br />

hollow objects, students’ own rooms and surveyed spaces, as well as observational drawings of objects, rooms, human figures and city views.<br />

Top - Nina Beleno, Abbie Lowdon<br />

Bottom - Finley Carroll, Mitsuki<br />


Semester 2<br />

Frame [Works] and Urban Observatory Kati Blom and Simon Hacker<br />

Project 1.3 - Frame[Works] (Simon Hacker): Running across three weeks (and alternating with architectural technology) this project focussed on<br />

human-scale, the study and exploration of precedents, and the principles of simple timber-framed construction. Four deliberately disparate<br />

individual Tasks coalesced in two group activities: Task 5 Frames of Reference saw the students measure and construct a 1:10 precedent model,<br />

while the final Task 6 Inhabited Section asked the groups to create a 1:2 scale sectional drawing of the same building.<br />

Project 1.4 - Urban Observatory (Simon Hacker): The final project provided an opportunity to apply the learning and skills from the<br />

previous projects. Working on a small urban site in Newcastle, the students designed an Urban Observatory facility - a timber-constructed<br />

building comprising a tower (focussed on the observation and recording of climate change) a chamber (a space for the promotion and<br />

exhibition of climate action and response) and a courtyard (an external gathering and demonstration space).<br />

16 Top - Matthew Marshall, John Park Bottom - Aidan Togonon, Joy Kim

Semester 2<br />

Architectural Technology: Precedent Models<br />

Neveen Hamza<br />

These large-scale explorations - often assembled without glue - allow students to engage with materials, to encounter the relationship<br />

between space and structure, as well as encouraging the exploration of experiential qualities including air-movement and light.<br />

Top Left - Abbie Lowdon, Jude Purcell Top Right - Abbie Lowdon Bottom - William Parsons<br />


Stage 2<br />

Falling between the first and final year of the BA programme, Stage 2 is a year of transition for many of our<br />

students. Building on the learning and skills acquired in Stage 1, the structure of the year provides a firm footing<br />

for each student to experiment and explore with a varied range of methods, ideas, practices, and processes.<br />

This year, as we have slowly emerged from the aftermath of the Covid-19 pandemic, has seen additional<br />

emphasis placed on working together. In each design project, students have worked collaboratively in a small<br />

study group, sharing their ideas and design process whilst also seeking to cultivate a common ground of shared<br />

design principles and ethical practices to help support and enrich their learning and knowledge.<br />

The projects presented on the following pages describe the outcomes from two semester-long design projects.<br />

Each project expands students’ knowledge of architectural design, encouraging thoughtful inquiry and dialogic<br />

learning to aid the development of a meaningful design process that reflects the personal interests, ethics, and<br />

values of our diverse and engaging cohort.<br />

Year Coordinators<br />

Kieran Connolly<br />

Rosie Parnell<br />

Project Tutors<br />

Alex Blanchard<br />

Christos Kakalis<br />

Dan Sprawson<br />

Gillian Peskett<br />

Harry Thompson<br />

Hazel Cowie<br />

Jack Scaffardi<br />

James Longfield<br />

Juliet Odgers<br />

Kati Blom<br />

Luke Rigg<br />

Marianna Janowicz<br />

Nagham El Elani<br />

Ollie Chapman<br />

Rob Johnson<br />

Rumen Dimov<br />

Shoko Kijima<br />

Tolu Onabolu<br />

Students<br />

Abdulaziz Alabdulwahed<br />

Adam Rush<br />

Adam Schell<br />

Alice Gascoigne<br />

Allan Shibu<br />

Amber Hastings<br />

Amy Bradley<br />

Anastasia Edmunds<br />

Andrew Watson<br />

Angus Robinson<br />

Anna Gavrilova<br />

Anne-Joke Dijkstra<br />

Anushka Bellur<br />

Anya Siddiqui<br />

Anzhela Sineva<br />

Araminta Mills<br />

Arina Khokhlova<br />

Ben Foster<br />

Benjamin Staveley Parker<br />

Bertha Paun<br />

Bibiana Shea<br />

Campbell Carmichael<br />

Caspar Barker<br />

Charlotte Bezant<br />

Chen Xu<br />

Chi Tung Emily Hui<br />

Chun Hei Chan<br />

Chun Him Jeffery Wu<br />

Connaire Moorcroft<br />

Courtney Thompson<br />

Crystal Grimshaw<br />

Dahna Castrignano<br />

Daniel Doherty<br />

Daniel-Iulian Branciog<br />

Darcey Naylor<br />

Diana Vedmedovska<br />

Eirini Tsiakka<br />

Eleanor Delaney<br />

Elizabeth Esau<br />

Emily Priestley<br />

Ethan Seow Ping Chew<br />

Euan Ellis<br />

Eva-Maria Dudolenska<br />

Gabriel Hodgkins-Webb<br />

Gabriel Moore<br />

Gabriela Pisko<br />

George Bong<br />

Grace Haigh<br />

Grian Summers<br />

Hanna Oxana Choi<br />

Hannah Innes<br />

Harrison Wade<br />

Harvey Baines<br />

Hector Emery<br />

Helena Bolek<br />

Hiu Sum Chloe Leung<br />

Ho Kam Alex Wong<br />

Ho Wan Li<br />

Hon Lam Sharon Yip<br />

Hongli Harriet Zhou<br />

Hooman Valizadeh<br />

Ioana Manoli<br />

Irel Dzhan Kirazla<br />

Isabelle Waha<br />

Isra Hassan-Ibrahim<br />

Jasmin Yeung<br />

Jasper Weening<br />

Joseph Rowlinson<br />

Josh Kalia<br />

Josie Hackney-Barber<br />

Juliette Douin<br />

Ka Chuen Mike Chan<br />

Ka Hei Gary Leung<br />

Kar-Yan Phan<br />

Kayvee Abdullah<br />

Kei Man Didi Lee<br />

Kim Dorruci<br />

Kin Kei Karina Hung<br />

Laiba Javed<br />

Lara Sinclair-Banks<br />

Leticia Rohl Rodrigues<br />

Lewis Evans<br />

Liam Sephton<br />

Libby Metherell<br />

Long Ki Kylie Wong<br />

Louis Gardener<br />

Lucy Hutson<br />

Luisa Lobo-Guerrero<br />

Luke Rae<br />

Magdalena Mroczkowska<br />

Maria Lisnic<br />

Maria Savva<br />

Maria-Dionysia Axioti<br />

Maryam Hanashi<br />

Matas Janulionis<br />

Melissa Streuber<br />

Mian Muhammad Arham<br />

Min Kiat Shannon Tan<br />

Misela Benina<br />

Mohamed Hassan<br />

Molly Gregory<br />

Morgan Cockroft<br />

Muhammad Ido Ridho<br />

Nathan Metcalfe<br />

Navandeep Chahal<br />

Nicole Pfeifer<br />

Nok Ting Sarina Wong<br />

Nontanit Ivan Panyarachun<br />

Oliver Clemetson<br />

Oliver Walsh<br />

Owen Browning<br />

Phoebe Barnes-Clay<br />

Poppy Beardsell<br />

Rahul Patcha<br />

Rhiannon Williams<br />

Rohan Smith<br />

Said Al Kalbani<br />

Samuel Millard<br />

Samuel Rainford<br />

Samuel Read<br />

Samuel Stokes<br />

Sangmin Philip Lee<br />

Seakhour Liv<br />

Shang-Wei Kyle Lin<br />

Shiuh Lin Chan<br />

Shivani Patel<br />

Shuntaro Moriyama<br />

Sinead Holdsworth<br />

Sophie Newbery<br />

Sumaiya Aziz<br />

Supparat Surachit<br />

Sze Lok Justina Leung<br />

Tamar Sarkissian<br />

Thomas Boulton<br />

Toby Snoswell<br />

Trina Zadorojnai<br />

Tsz Ying Ella Hui<br />

Ursula Blyth Morter<br />

Wanru Li<br />

Wing Tung Cherrie Cheng<br />

Yat Tung Yumi Lam<br />

Yee Ching Kelly Tang<br />

Yee Man Zoey Pang<br />

Yina Gu<br />

Youjing Liu<br />

Youngchan Choi<br />

Yu-Chieh Kuo<br />

Yuxuan Shen<br />

Zaki McGarragle<br />

18 Text by Kieran Connolly Opposite - Rohan Smith


At Home in the City<br />

For our first design project of the year, students explored housing design and its role in shaping communities. Based in the rich and varied<br />

context of Shieldfield – a residential neighbourhood just to the east of Newcastle city centre – students explored seven distinct ‘themes’ and<br />

house ‘types’, from row houses to apartment blocks, co-housing to temporary accommodation for migrants and refugees.<br />

Throughout the project, students were asked to think carefully about ‘who’ they were designing for, working across a range of scales that<br />

addressed the detailed design of domestic space through to urban scale thinking about how their proposals responded to the physical context<br />

of the city as well as the social context of the existing Shieldfield community.<br />

20 Above - Campbell Carmichael

Top Left to Right - Amy Bradley, Anastasia Edmunds Mid Left to Right- Helena Bolek, Sinead Holdsworth Bottom - Caspar Baker<br />


22 Top - Andrew Watson Bottom - Chen Xu

Top Left to Right - Chole Leung, Anna Gavrilova Mid Left to Right - Campbell Carmichael, Grian Summers Bottom - Libby Metherell<br />


Future ecologies: architecture in the climate crisis<br />

For the second project of the year, students have explored ways of cultivating ecologically responsive design practices in a direct response to<br />

the ever-more urgent global climate emergency. Working on a selection of sites across the Fish Quay, North Shields, at the mouth of the<br />

River Tyne; projects offer propositions for a small-to-medium-sized public building and spatial programmes developed around five keywords:<br />

testing, fixing, connecting, performing, and learning.<br />

Importantly, throughout the duration of the project, students were expected to demonstrate a rounded-awareness of the potential climaterelated<br />

impacts of their design decisions and to further demonstrate a deeper understanding of more sustainable construction and material<br />

selection through critical evaluation of the choices made during the development and realisation of their design proposals.<br />

24 Above - Anushka Bellur, Crystal Grimshaw, Yuxuan Shen, Hooman Valizadeh, and Harrison Wade - Framing exhibition

Top - Harrison Wade<br />

Bottom - Joe Rowlinson<br />


26 Top - Owen Browning Bottom - Shivani Patel

Top Left - Leiticia Rohl Rodrigues Top Right - Misela Benina , Rhiannon Williams Bottom - Campbell Carmichael<br />


28 Top - Jasmin Yeung Bottom - Rahul Patcha

Top - Caspar Barker Bottom Left - Zoey Pang Bottom Right - Crystal Grimshaw<br />


Stage 3<br />

Our stage 3 students have responded admirably to the challenges that have been presented to them through their<br />

education and are emerging into the world even more widely skilled, resourceful, flexible and resilient than usual.<br />

We have maintained our tradition at Newcastle for year-long ‘studios’ and this year students were given a choice of 8<br />

studios. Each studio was taught by a pair of tutors – comprising varied combinations of academics and practitioners –<br />

who set themes that broadly reflect their practice and research interests. Whilst the studios share a common timetable<br />

they are encouraged to pursue and explore different methodologies and themes – from environmental modelling,<br />

through systemic design to art practice.<br />

Studio themes this year were typically diverse including circular material economies (with sites all around the world),<br />

future sustainable industries and tourism around Redcar, dementia care facilities in Newcastle and re-purposing the<br />

brutalist Civic Centre in Sunderland.<br />

This year we have increased our focus on the climate crisis – with all studios now requiring the students to respond<br />

to different aspects of this, including attitudes to existing structures, consideration of low carbon technologies and<br />

circular economies. We have also included more ‘team working’ aspects to the course and further opportunities for<br />

peer learning and reviews. Further to this we hope you can see from the projects developed by students this year an<br />

ever-increasing interest in the architect’s role in wider social issues.<br />

Year Coordinators<br />

Matthew Margetts<br />

Cara Lund<br />

Jack Mutton<br />

Studio Leaders<br />

Andrew Ballantyne<br />

Anna Czigler<br />

Cara Lund<br />

Harriet Sutcliffe<br />

Hazel Cowie<br />

Jack Mutton<br />

James Perry<br />

Jess Davidson<br />

Jianfei Zhu<br />

John Kinsley<br />

Luke Rigg<br />

Matthew Margetts<br />

Neil Burford<br />

Neveen Hamza<br />

Sophie Baldwin<br />

Stephen Parnell<br />

Steve Ibbotson<br />

Stuart Franklin<br />

Tom Randle<br />

Students<br />

Abigail Elisabeth Hawkins<br />

Adam Bashir Ramadan Hawisa<br />

Adel Wahab<br />

Afopefoluwa Oluwatamilore Carew<br />

Aijia Zhang<br />

Ailish Niamh Burger<br />

Alexander Jacob Caminero McCall<br />

Alma Eliza Shiamtani<br />

Alyssia Constance Thompson<br />

Amy Louise Baynes<br />

Anastasia Dombrovskaia<br />

Anastasiia Tymkiv<br />

Anastassiya Galkina<br />

Aris Skenderis<br />

Auguste Baranauskaite<br />

Augustinas Zaromskis<br />

Ayesha Lyn Miraflores Isahac<br />

Bethany Sprigg<br />

Cameron Dryden Straughan<br />

Cameron Reiss Clark<br />

Chaehyun Cho<br />

Charlotte Louise Brooks<br />

Chenghao Xu<br />

Cheuk Tin Constantine Kwan<br />

Chi Wun Rex Cheng<br />

Christian Thomas Davies<br />

Christopher James Hegg<br />

Conan Michael Quigley<br />

Dana Sikman<br />

Daniel Hodgson<br />

Daniel Maarten Bird<br />

Djiesica Carennia<br />

Dominique Romero<br />

Dylan Charles Young<br />

Edward Harry Salisbury<br />

Elena Isabelle Crockett<br />

Eliza Grace Creedy Smith<br />

Elliot Stirman<br />

Elsa Sophie Mills<br />

Emily Rose Millward<br />

Emma Jane Willis<br />

Esmeralda Hysen<br />

Fai Mak<br />

Fangxu ZHU<br />

Fay Harvey<br />

Gabija Jasiunaite<br />

Gabriel Cheuk Sum Au-Yeung<br />

Gabriele Dauksaite<br />

Genesis De Los Angeles Bravo Sanchez<br />

Genevieve Penelope Clare Sligo-Young<br />

George Douglas Bennett<br />

George Francis Decker Whipple<br />

George Joseph Avery<br />

George Oliver Watson<br />

Georgia Doireann Minson<br />

Georgie Tallulah Richardson<br />

Grace Carroll<br />

Guoyi Huang<br />

Haekal Dzikri Ananta Putra<br />

Hannah Maria Batho<br />

Harun Kilic<br />

Hawraa Ali Abdallah Al- Alawiya<br />

Hei Ka Tang<br />

Hiu Tsun Michelle Mok<br />

Ho Man Ng<br />

Ho Wing Tam<br />

Hoi Ting Chloe Tam<br />

Hoi Yan Lam<br />

Hong Tung Chau<br />

Ian Mellish<br />

Iason Bezas<br />

Isabel Maria Mora Rubio<br />

Ivan Malov<br />

Jacob Bowell<br />

James Robert Charles Skinner<br />

Jedd Howie Payumo Manlulu<br />

Jemima Tiger Droney<br />

Jiahui Yao<br />

Jing Hao<br />

Jingqi Li<br />

Jirong Peng<br />

Jonatan Peter Muller<br />

Jordan Niels Patrick Shanks<br />

Joseph Alexander Kavanagh<br />

Josh Gordon Stanton<br />

Joshua Simmons<br />

Justyna Nowosad<br />

Kacper Roman Brach<br />

Kathryn Ann Patterson<br />

Kayleigh Louise<br />

Metcalf<br />

Khaled Walid Abdelhamid Abdelkader<br />

Laurence Beau Bonson Evans<br />

Lily Alexandra Kerr<br />

Lily Belle Elgood<br />

Lixuan Huan<br />

Luke Samuel Pearce<br />

Maisie Emily Church<br />

Marianne Mikhail<br />

Maryam Humaira Binti Ahmad Amer<br />

Max Dexter Friedman<br />

Michelle Sie Ee Lim<br />

Mingyeong Kim<br />

Monserrat Brenes Mata<br />

Muhammad Zaki Agung<br />

Mustafa Cem Tole<br />

Nadia Iskandar<br />

Namo Hong<br />

Natalie Franziska Yau<br />

Neelam Sangeeta Priyanka<br />

Majumder<br />

Niamh Hannah Kelly<br />

Nicholas Barker<br />

Nicole Law<br />

Nikolay Plamenov Tinev<br />

Noor Khalid H M Al-khayat<br />

Oi Yan Li<br />

Olivia Emily Roberts<br />

Pak Hin Tsang<br />

Patrikas Areska<br />

Paworaprat Phinyo<br />

Peter Anthony Windle<br />

Philip David Gerald Russell<br />

Phoebe Amelia Powers<br />

Pooja Lade<br />

Prajwal Balija Pradeep<br />

Quynh Anh Nguyen<br />

Rachel Lauren Baldwin<br />

Rafaella Barahona Maldonado<br />

Robert Brentnall Gowing<br />

Rodrigo Rafael Riofrio Colina<br />

Ruby Marie Lovatt<br />

Ruoxuan Jiang<br />

Salma Hussameldeen Sayed<br />

Abdelghany<br />

Sam Austin Hudson<br />

Samer Alayan<br />

Samuel Barker<br />

Samuel Duncan Hewitson<br />

Sandhy Thaddeus Sumadi<br />

Sandra Sara Muzykant<br />

Sara Fahmi Moh’d Bassam Yaish<br />

Serena Kathryn Martineau Walker<br />

Si Cheng Fong<br />

Sin Yu Soe Chan<br />

Sofia Peracha<br />

Sophie Stubbs<br />

Sophie Caroline Daisy<br />

Robson<br />

Stephanie Alice Freeland<br />

Supapit Tangsakul<br />

Taichen Jiang<br />

Tanisha Jain<br />

Thomas Rhys Smith<br />

Tiffany Angel Fang<br />

Ting Cheung Lam<br />

Troy Vimalasatya<br />

Rahardja<br />

Tsz Ching Wong<br />

Vicente Theobald<br />

Baum<br />

Woosang Park<br />

Xingjiang HU<br />

Xiwen Xu<br />

Xixian Wu<br />

Xuhan Zhang<br />

Yaqing Tu<br />

Yi Chun Kuo<br />

Yingjin Wang<br />

Yuan Zhang<br />

Yuheng Zhang<br />

Yuk Ying Ho<br />

Yuqing Liu<br />

Zainab Fatima<br />

Zuzanna Iga Zapart<br />

30<br />

Text by Matthew Margetts<br />

Opposite - Thinking through Making Exhibition


Stage 3 Thinking Through Making Week<br />

Thinking Through Making Week takes place in week one of semester two and is an opportunity for Stage 3 to produce a conceptual made piece<br />

exploring the tectonic themes inherent in their project. Material forms the core of architecture’s practice - be it the material of construction or<br />

that of the drawing board or digital interface, the way making inflects thinking underlies the production of architecture. Thinking Through<br />

Making Week challenges students to use the skills and knowledge acquired during Semester 1’s Tools for Designing workshops series to<br />

produce an explorative model that embodies the material and tectonic qualities of their emerging design projects. Throughout the week,<br />

students explored the possibilities of a chosen material or selection of material(s), the potentials of technologies, and the viability of systems or<br />

structures through acts of making. Students were asked to approach the week with an open mind, allowing themselves to be experimental in<br />

their choice of material and the processes of making whilst embracing both success and failure as a productive experience.<br />

Workshop List:<br />

Re-mediating site: clay as a vessel of<br />

recollection<br />

Alex Blanchard<br />

Design for bamboo durability<br />

John Naylor<br />

Exploring and recording sites<br />

Helen Shaddock<br />

Examining process<br />

Michael Choi<br />

Designing through sketch models &<br />

digital drawing<br />

Green Mat Studio<br />

Axonometric studies for spatial<br />

exploration<br />

David Boyd<br />

Casting with concrete<br />

Ellie Gair<br />




DomestiCITY<br />

Hazel Cowie & Jess Davidson<br />

DomestiCITY is a housing-based studio that asks students to examine the role that housing can play in developing ideas of civic space. Taking<br />

the position that housing is not only a manifestation of power relations within society, but a vehicle through which an alternative social order<br />

can be imagined, the studio works towards developing a new housing and civic landscape for Gateshead. We explore ideas around the right to<br />

the city, and question the conformist and compliant role that architecture is often seen to have in the production of housing. Our theoretical<br />

approach also extends to material and tectonic thinking where we explore creative uses of prefabrication and off-site manufacture and the<br />

effect these might have on the shape of architectural practice in the future<br />

Celebration Piece 04 - Thinking Through Modeling<br />

34 Top - Georgie Richardson Bottom Left - Ivan Molov Bottom Right - Eliza Creedy Smith

- P E R S P E C T I V E S E C T I O N -<br />

Top Left - Sam Hewitson Top Right - Namo Hong, Jordan Shanks Bottom - Kathryn Annie Patterson<br />


Celebration piece 4:<br />

*<br />

Kitchen of the day-care centre:<br />

73<br />

36 Top Left - Prajwal Balija Pradeep Top Right - Sam Austin Hudson, Sofia Peracha Bottom - Patrikas Areska

78<br />

Top Left to Right - Dana Sikman, Jiahui Yao Bottom Left - Sandra Muzykant Bottom Right - Ting C. Lam<br />


Work in Progress<br />

Jack Mutton & Harriet Sutcliffe<br />

This studio is engaged in ideas concerning context, historical narrative and materials that create enduring architecture in search of a wider<br />

intelligibility. Working through a process of research, rather than invention, we are looking to create architecture that is rooted in place and<br />

explores the experiential potential of materials, carefully pieced together in a celebration of craft. We are looking to create architecture that is<br />

contemporary yet not isolated in time.<br />

This year we consider how we can deploy process-led methods to create architectural proposals that are rich in narrative, spatial complexity and<br />

identify with their surroundings. We consider the changing nature of an architecture that lives on well beyond the designer and will continue<br />

to be added to, adjusted and modified over time - we explore building as a continual process - a work-in-progress.<br />

We investigate architecture as process and study the city using works of art from artists such as Eva Hesse, Robert Morris, Phyllida Barlow<br />

and Eduardo Paolozzi as a lens - a way of seeing and making sense of our surroundings. These observations form the basis of our proposals<br />

and we look to create figurative and characterful buildings that re-use and adapt existing structures. Working in Jesmond Dene our projects<br />

sit between rural and urban, providing a series of work-spaces and shared facilities for creative communities.<br />

38 Above - Monserrat Brenes Mata

Above - Adel Wahab<br />


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

Top, Left to Right - Elsa Sophie Mills, Sophie Stubbs<br />

Middle and Bottom - Nicole Law<br />


Ghost in the Machine<br />

Matthew Margetts & Cara Lund<br />

For several years now our studio has been interested in people and their relationship with systems and infrastructures. These can be hidden<br />

(intangible – e.g. social networks or local legends and stories) or visible (tangible – e.g. buildings and railways). We are particularly interested<br />

in how these systems respond to change and how they can be adapted or appropriated. This year we selected Redcar as our test bed for applying<br />

a System Thinking approach to design. Granted it is not the most glamorous location, so why Redcar? Redcar and the stretch of coastline<br />

from the high street up to the South Gare is a fascinating manufactured strip of land which incorporates a multitude of territorial conditions,<br />

including, post-industrial steelworks, beaches, retail, sites of special scientific interest, ex gun batteries, water sports and fishing huts. Its<br />

industrial heritage is under threat, and in most cases has been erased; we will explore the afterimage of that industry. This studio asks students<br />

to consider the agency of an architect in augmenting a landscape such as Redcar, in the shadow of its industrial past and in the context of a<br />

desire to increase staycations in the area. Tourism has a long history with architecture and they are often inextricably linked; tourism can have<br />

a profound impact on our built environment, as heritage is preserved manicured and framed for the tourist. How can tourism have a reciprocal<br />

relationship with its surroundings? We explore new and experimental tools to view place from the perspective of a chosen protagonist(s) (user).<br />

Drawing from a variety of sources, including systemic design, storytelling, science-fiction, digital design, graphic design and cartographies.<br />

We work with Redcar and Cleveland Borough Council as part of our practice work, and we intend to engage with the Council through the<br />

studio, providing students with a real-world client experience.<br />

42<br />

Above - Lixuan Huan

Top Left - Lixuan Huan Top Right - Tsz Ching Wong Bottom Left - Elena Isabelle Crockett Bottom - Hoi Yan Lam<br />


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

From REDCAR with love<br />

South Gare, Redcar, Cleveland<br />

Top Left - Djiesica Carennia Top Right -Max Dexter Friedman, Anastasiia Tymkiv Bottom - Olivia Emily Roberts<br />


House of Memories<br />

Neveen Hamza & Stuart Franklin<br />

This studio develops an approach towards a non-institutional architecture in health care settings, that reduces the societal stigma of dementia,<br />

with a clear approach to addressing climate change and diminishing natural resources without compromising the needs of fragile users. As<br />

an evidenced-based studio, insights from environmental psychology research and advances in building and urban performance simulation<br />

modelling are utilized to inform a dementia user-centric yet energy efficient and sustainable architectural design approaches. The studio takes<br />

us on a journey to explore creative architectural designs that provide meaningful multi-sensory experiences, social engagement, indoors and<br />

outdoors space design that compensate for cognitive deficits, environmentally comfortable yet energy efficient environments that reduces<br />

agitative behaviour and slows progression of the disease.<br />

46<br />

Top- Supapit Tangsakul<br />

Bottom- Anastasia Dombrovskaia

Top - Stephanie Alice Freeland Middle Left to Right - Supapit Tangsakul, Stephanie Alice Freeland and Nicholas Barker Bottom - Jing Hao<br />


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

Top - Phoebe Amelia Powers<br />

Middle and Bottom - Lily Alexandra Kerr<br />


Weaving in Wallsend<br />

Luke Rigg, Sophie Baldwin & Tom Randle<br />

Weaving in Wallsend explores ideas of civic space through the construction of ‘urban commons’: networked sites of shared public resources<br />

and community facilities that are carefully woven into the fabric and ecologies of the city.<br />

More broadly, the studio considers how architects can operate as advocates, agents that seek proactive social change, questioning the typical<br />

roles of power within the construction industry and re-emphasising the importance of citizen empowerment and inclusivity. Members of<br />

the studio were asked to consider who they are advocating for, speculate on the ‘right to architecture’ and actively seek methods and design<br />

practices formed by social consciousness and activist tendencies.<br />

Working within the wider context of Wallsend, the studio developed retrofit strategies for the Forum Shopping Centre reimagining it as<br />

an ‘urban commons’ — a site of community, culture and exchange that prioritises inclusivity over exclusivity, public over private and the<br />

community over the individual.<br />

50<br />

Above - Troy Vimalasatya Rahardja

Top Left - Nikolay Tinev Top Right, top to bottom - Niamh Hannah Kelly, Nadia Iskandar Bottom - Sara Yaish<br />


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

Top Left to Right - Aris Skenderis, Ho Wing Tam Middle Right - Afopefoluwa Carew, Ailish Burger Bottom - Emma Willis<br />


Stolen Futures<br />

Stephen Parnell & James Perry<br />

The built environment may be a constructed representation of society, but that doesn’t mean that a different architecture will result in a<br />

different society: architecture cannot solve society’s problems, though, considering that buildings are responsible for 40% of carbon emissions,<br />

it can certainly add to them. Nevertheless, Stolen Futures asks students to imagine an alternative society and the architecture that it will need.<br />

We look at the issue of adaptively reusing post-war buildings, specifically those of the Brutalist idiom, in the belief that the greenest building<br />

is probably one that already exists. This year we looked at Sunderland Civic Centre and asked how it could be repurposed if Sunderland<br />

Council were to promote a programme of community wealth building along the lines of the so-called ‘Preston model’. We looked at what a<br />

civic architecture of the future might be in an age of care, cooperation, and climate responsibility.<br />

54<br />

Top - Fangxu Zhu<br />

Bottom - Ho Man Ng

0 1 5 10m<br />

Celebration Piece 4 /<br />

Sectional perspective<br />

showing the inhabitation<br />

Top to Bottom - Gabija Jasiunaite Mid - Alma Eliza Shiamtani, Sin Yu Soe Cha Bottom - Alma Eliza Shiamtani<br />


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

Top Left to Right - Xingjiang Hu, Rodrigo Rafael Riofrio Colina<br />

Middle Left to Right - Yaqing Tu, Luke Samuel Pearce Bottom - Sophie Caroline Daisy Robson<br />


Material Systems<br />

John Kinsley & Anna Czigler<br />

When we think of context in our design projects we might conventionally consider neighbouring buildings, the street and community, or<br />

even the town or city where the project is located. But construction in the 21st century is an international process, using raw materials and<br />

fabrication processes from all over the world. What implication does this ‘bigger here’ have for the choice of materials? Similarly, when we<br />

think of a building’s lifespan, we might consider how our projects can be de-constructed at the end of their life, but what happens to their<br />

fabric after that? How can the materials be re-used or recycled and continue to be useful in a ‘longer now’?<br />

This studio focuses on the creative use of materials, and the geological, ecological, technological and social systems that make up the process<br />

from sourcing them to using them. We look at strategies to use materials in many shapes and forms: historic, local, high-tech, vernacular,<br />

not-yet-existing or recycled.<br />

Our projects aim at developing a set of architectural moves to create a new infrastructure for mapping, sourcing, transporting, making, using,<br />

disassembling or reusing a creative range of materials.<br />

58<br />

Top - Sandhy Thaddeus Sumadi Bottom Left - Jedd Manlulu Bottom Right - Salma Abdelghany

Top - Gabriele Dauksaite Middle - Vicente Theobald Baum Bottom - Iason Bezas<br />


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

Top - Hei Ka Tang, Natalie Franziska Yau Middle - Metcalf Kayleigh, Elliot Stirman Bottom - Haekal Putar, YuHeng Zhang<br />


Curating the City<br />

Neil Burford, Jianfei Zhu & Andrew Ballantyne<br />

The studio explores the ideas of ‘curating’ as a method to critically engage a World Heritage Site – Saltaire in West Yorkshire. Built in 1851-<br />

53, Saltaire was a model village/town comprising of, then, the largest and most advanced textile mills, with workers housing and communal<br />

facilities, all in a coherent planning of townscape and landscape. A culmination of industrial settlement development over a century, and a<br />

pioneer of ideas of town planning and the Garden City to come, Saltaire – now a World Heritage Site – commands a pivotal position in the<br />

Industrial Age and the forming of ideas that constituted the meaning of being modern – such as welfare society and city planning. The task<br />

within the studio is to develop a way of curating the site by contributing a research-led design intervention using theorized agendas that engage<br />

the past and the present, placing an emphasis on ecology, landscape and cityscape. Exploring a network of ideas and using the toolkit and<br />

conceptual armoury of ‘critical heritage studies’, curation is used as a key concept and method to address the two different concerns (history<br />

itself and our perspective and relations with it) – curating our seeing, reading, knowing, interacting, contributing and promoting values of<br />

the site.<br />

62<br />

Above - Samuel Barker

Top Left, Top to Bottom - Kacper Brach, Laurence Evans Top Right - Charlotte Brooks Bottom - Zuzanna Zapart<br />


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

Top Left - Ruby Marie Lovatt Top Right, top to bottom - Mustafa Cem Tole, Ruby Marie Lovatt Bottom - Laurence Beau Bonson Evans<br />


BA Field Trips<br />

Following the return to in-person teaching this year, we also re-introduced the very popular Field Trips, with a UK focus for now. Destinations<br />

ranged from Glasgow to Hastings, including building visits that covered well established ‘classics’ such as the Leicester Engineering Building<br />

and a wide range of contemporary projects such as the Drawing Matter Archive in Somerset.<br />

Destinations:<br />

Ghost in the Machine:<br />

Hastings, Folkstone via Leicester<br />

Stolen Futures:<br />

Manchester, Sheffield and Preston<br />

Work in Progress:<br />

Glasgow<br />

Weaving in Wallsend:<br />

London<br />

House of Memories:<br />

Manchester and Liverpool<br />

Curating the City:<br />

Bath, Newt, Hauser and Wirth, Drawing Matter Archive, Hooke<br />

Park in Dorset and the East Pier Community Centre, Watchet,<br />

Devon<br />

DomestiCITY:<br />

London<br />

Material Systems:<br />

Scottish Construction Centre and BSW Sawmill, Dumfries<br />




Master of Architecture (MArch)<br />

Iván J. Márquez Muñoz – Degree Programme Director<br />

The MArch programme is designed to help students develop their critical and creative<br />

thinking and stretch the boundaries of their imagination. It places a strong emphasis<br />

on developing an independent approach to design, encouraging students to test and<br />

discover what architecture means to them and what they might want to do with their<br />

degree. The programme aims to provide students with a supportive and intellectually<br />

stimulating environment in which they are encouraged to pursue their own design<br />

research agendas.<br />

The programme comprises two years of study, first year (Stage 5) and second year<br />

(Stage 6). There is also the option to undertake a 3-year MArch with International<br />

Study Year, taking a gap year of exchange studies between Stages 5 and 6 at one of<br />

our international partner institutions. Set around different locations, and approaching<br />

design in very different ways, Stage 5 contains two semester-long projects that build<br />

one on the other to form an in-depth critical study and re-imagining of a particular<br />

urban context. The first semester’s project approaches architectural design from<br />

the wider scale of the urban context; and the second semester’s project gravitates<br />

towards the building scale with a focus on details, tectonics, materials, construction,<br />

environmental and atmospheric considerations. Stage 6 builds on this by synthesising<br />

knowledge and ideas into a design thesis split over two semesters, which ultimately<br />

sets out the student’s architectural position as a designer at the end of their formal<br />

design education.<br />

The design modules of the programme are delivered through vertical studios across<br />

both years of the MArch, all with distinct briefs that pose specific challenges formulated<br />

by their respective tutors. Every studio is formed by a mixture of both Stage 5 and<br />

Stage 6 students working together throughout the year, creating an integrated studio<br />

structure that provides a well-defined intellectual framework for projects. The weekly<br />

design tutorials are supported by frequent seminars, lectures, and specialist technical<br />

consultancies. These are also completed by critic-led reviews with panels of expert<br />

academics and practitioners invited from across the country, as well as cross-year<br />

reviews that broadened the range of discussions.<br />

Our curriculum is designed to help students define the kind of architect they want<br />

to be and tailor their portfolio towards the practices in which they want to work or<br />

areas in which they would like to demonstrate their expertise. To this end, alongside<br />

the design studios, a series of non-design modules complete the programme through<br />

which students can choose an elective pathway to be carried out over the two years of<br />

the programme, effectively tailoring the programme according to their areas of interest.<br />

A wide range of options allows students to either write a research Dissertation; to work<br />

in small groups to develop a Linked Research Project, on a project associated with<br />

research proposed by a member of staff; or to develop a specialism in Urban Planning<br />

or Urban Design selecting a series of modules from our School’s respective Masters in<br />

those disciplines, which could ultimately lead to a dual qualification if that particular<br />

route is continued after graduation.<br />

Text - Iván J. Márquez Muñoz<br />

Opposite - Jay Hallsworth<br />


Stage 5 & 6 Vertical Studios<br />

This academic year the design modules of the MArch programme were delivered through six vertical studios across<br />

both years of the degree. The research-led masters vertical studios included: “Building Upon Building”, a studio<br />

that challenged students to design upon existing buildings designed by Sir Norman Foster – i.e. through a new<br />

building, a major addition or a transformation of it; “The Big Here and The Long Now”, a studio which focused on<br />

the creative use of materials and the geological, ecological, technological and social systems that make up the process<br />

from sourcing them to using them; “Edge Conditions”, a studio that proposed investigating architectural responses to<br />

border conditions, conceived both literally and figuratively; “Material Change”, a studio that questioned how our cities<br />

can reinvent themselves in response to the global climate emergency; “Remapping the Neo-Avant-Garde”, a studio<br />

in which built and unbuilt projects were considered as providing models for developing methods for addressing the<br />

complexities of intervening in historical contexts, on existing structures and in traditional urban settings; and a studio<br />

titled “Degrowth and Design”, which aimed to rethink what architecture and architects can do, what tools are needed<br />

and what practices can be adopted to respond and contribute to an optimistic future, for architecture, for people and<br />

for the future of a city.<br />

Stage 5 Coordinator<br />

Iván J. Márquez Muñoz<br />

Stage 6 Coordinator<br />

Claire Harper<br />

Project Leaders<br />

Anna Czigler<br />

Christos Kakalis<br />

Claire Harper<br />

Daniel Burn<br />

David Boyd<br />

Graham Farmer<br />

Iván J. Márquez Muñoz<br />

John Kinsley<br />

Josep-Maria Garcia-Fuentes<br />

Lola Mulledy García<br />

Nathaniel Coleman<br />

Prue Chiles<br />

Tom Ardron<br />

Stage 5 Students<br />

Afiq Rozhan<br />

Anna Kupriyanova<br />

Anushka Atamprakash Juneja<br />

Cameron Alexander McKay<br />

Chloe May Dalby<br />

Chun Hoi Wong<br />

Eve Pardoe<br />

Florence Nancy Muwanga Nayiga<br />

Harry Boakes<br />

Hastie Mirsamadi<br />

Hiu Lam Jessica Cheng<br />

Hope Frances Foster<br />

Hyelim Lee<br />

Iulianiya Grigoryeva<br />

Jack Menzies-Astley<br />

John Roberts<br />

Jose Diogo Figueira<br />

Kwok Tung Constance Tso<br />

Martina Dorothy Hansah<br />

Matthew Nam Xing Tan<br />

Natalie Si Wing Lau<br />

Oliver Spurr<br />

Olivia Rose Jackson<br />

Qixing Huang<br />

Roxana Andreea Caplan<br />

Senjeeven Dhanen Mungapen<br />

Shahryar Abad<br />

Shivani Umed Patel<br />

Siu Chung Tong<br />

Sophie Hannah Heuch<br />

Stuart Lanigan<br />

Sze Man Wong<br />

Thomas Barnetson<br />

Tin Wai Ma<br />

Yan Cheng<br />

Yu Hua Lee<br />

Zeyu Chen<br />

Zongshui Jiang<br />

Stage 6 Students<br />

Abbey Mcguire<br />

Anastasia Winifred Cockerill<br />

Aysel Imanova<br />

Ben Dean<br />

Beth Paige Hardy<br />

Bohan Qiao<br />

Brandon Athol Few<br />

Chi Ming Ng<br />

Dana Raslan<br />

Dora Mary Frances Farrelly<br />

Emily Jane Charlton<br />

Erya Zhu<br />

Feyzan Sarachoglu<br />

Frazer Morgan Ellis Watson<br />

George Salsbury Spendlove<br />

Harry Charlesworth Groom<br />

Heather Annie O’Mara<br />

Hiu Kit Brian Hui<br />

Hizkia Widyanto<br />

Ho Hang Ryan Fung<br />

Holly Veitch<br />

Ibadullah Shigiwol<br />

Irene Dumitrascu-Podogrocki<br />

Isabel Lois Fox<br />

Jacob Oliver Botting<br />

Jake Thomas Williams-Deoraj<br />

Jason Francis Glionna<br />

Jay Antony Hallsworth<br />

Jemima Alice Smith<br />

Jing Olyvia Tam<br />

Joshua Willem Jago Knight<br />

Juan Felipe Lopez Arbelaez<br />

Kushi Lai<br />

Liam Kieran Rogers<br />

Maria Aksenova<br />

Marina Patsia<br />

Mollie Macdonald<br />

Momoko Otsuka<br />

Natasha Alexandra Rice<br />

Nathan Alan Cooke-Duffy<br />

Olga Karchevska<br />

Robert Lloyd<br />

Rory Patrick Durnin<br />

Sarah Marie Askew<br />

Sarah Safwan Moh’d Hasan Al Hasan<br />

Solomon Olufemi Adeyinka Ofoaiye<br />

Sophie Agnes Wakenshaw<br />

Sophie Charlotte Spoor<br />

Sophie Grace Collins<br />

Tashanraj Selvanayagam<br />

Tunu Maya Nichol Brown<br />

Victoria Louise Haslam<br />

Xingtong Li<br />

Xueqing Zhang<br />

Yuan Chen<br />

Zacharias Yiassoumis<br />

Zhana Hristova Kokeva<br />

70<br />

Text - Iván J. Márquez Muñoz<br />

Opposite - Roxana Caplan


Material Change<br />

Daniel Burn, Lola Mulledy García & Graham Farmer<br />

Our studio this year has focused on Gateshead Riverside Park with the simple aim of understanding the qualities of the space in order to<br />

speculate on future opportunities for the park and local area. The park sits on the south side of the River Tyne between Dunston Staiths and<br />

the High-Level Bridge. The park is in a strategic position alongside the established and emerging residential communities of central Gateshead<br />

and Dunston Staiths and the leisure and employment opportunities on the riverside, Gateshead Quays and the Town Centre. The park’s<br />

current character is as an informal recreational space with multiple access points and edges that overlap with a complex and varied collection<br />

of neighbouring uses. The space is also characterised by a complex topography defined by its position on the sloping flanks of the River Tyne.<br />

The site has a rich and important industrial history and retains many heritage features such as the Dunston Staiths and the bridge landing<br />

of the former Redheugh Bridge. The topography of the river valley retains the marks of the former industrial uses and beneath the site there<br />

are disused mining tunnels, which limit the scope of development at the surface. The park is home to many art installations, including work<br />

by Andy Goldsworthy and Richard Deacon. The programme of art installation has been led by the local authority to reshape the space as<br />

an attraction for leisure uses. The site is also an important ecological resource, and the mudflat and saltmarsh landscape are of particular<br />

importance as are the woodland areas.<br />

In keeping with the approach followed by our studio in previous years, we aim to maintain a focus on material research and building methods<br />

with the intention to learn more about how we can reduce the impact our buildings have on the environment by design structures that use<br />

less embodied carbon and reduce the amount of carbon in use. Our work at GRP also seeks to create design briefs that are appropriate for the<br />

site, looking to future uses and connections to make buildings that will have a long useful life.<br />

The group began their work with an in-depth group research report, analysis of the physical and social context of the site, and the<br />

environmental and cultural context of the site. The work culminated in a shared research document and masterplan manifesto that was<br />

presented to Gateshead City council in October 2021. From this position each member of the studio developed a proposition for a built<br />

intervention within the environs of the park.<br />

Timber construction methods have been a key consideration of the studio brief this year. We have studied opportunities for sourcing materials<br />

locally, with Kielder Forest an important candidate for sourcing material. We have visited the Egger plant at Hexham to witness large scale<br />

production methods for timber products. We have also made a study visit to London to meet engineers and architects that specialise in<br />

building with timber.<br />

72<br />

Above - Sophie Wakenshaw

Top - Jing Olyvia Tam<br />

Bottom - Kushi Lai<br />





74 Top - George Spendlove Bottom - George Spendlove



20m<br />

Top - Juan Lopez Arbelaez<br />

Bottom - George Spendlove<br />


76 Top, Middle - Harry Groom Bottom - Victoria Haslam

Top, Middle - Sophie Wakenshaw<br />

Bottom - Jing Olyvia Tam<br />


78 Top - Juan Lopez Arbelaez Bottom - Thomas Barnetson

Top, left to right - Aysel Imanova, Kushi Lai<br />

Middle, Bottom - Natalie Si Wing Lau<br />


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

Top, Middle - Olivia Rose Jackson<br />

Bottom. left to right - Victoria Haslam, Olivia Rose Jackson<br />


Architecture and its Education Redux: Remapping the Neo-Avant-Garde<br />

Nathaniel Coleman & David Boyd<br />

The central challenge of the Architecture and its Education Redux: Remapping the Neo-Avant-Garde studio is to confront the seemingly<br />

irresolvable contradictions between architecture’s myths of autonomy and its entrapment within the building industry (which largely limits<br />

work to reproducing capitalist spatial practises and modes of production). As such, the studio’s alternative title could be Socialising Formalist<br />

Methods in the Production of Space.<br />

Contrary to neoliberalism’s fetishisation of the NEW, Remapping students endeavour to identify intersections between Design Research<br />

and Historical Research (without being defeated by either conservatism or vapid novelty). Bricolage ‒ the ‘construction or creation’ of<br />

something ‘from a diverse range of available things’ ‒ is where architectural neo-avant-gardes and Punk meet, and could be a corrective to<br />

the fundamentalist orthodoxy of architectural modernisms. Bricolage, loosely translated as ‘do-it-yourself’, is cognate with Punk’s DIY ethos,<br />

aligning both with the studio’s consideration of fragments.<br />

Building with available and discarded materials subverts the catastrophic illogic of resource intensive overproduction threatening planetary<br />

survival. Although architecture’s perfection consciousness renders bricolage a consumable style, Punk’s anarchistic DIY ethos can recuperate<br />

it by bringing practises closer to the historical avant-gardes, while suggesting tactics for responding to climate crisis. Despite its relative<br />

invisibility to architectural neo-avant-gardes and banal practises, DIY’s embrace of failure constitutes an implicit/explicit critique of capitalist<br />

spatial practises, modes of production and autonomy illusions.<br />

Directly related to the studio’s setting in Italy (virtual field-trip destinations and site locations), the Italian Arte Povera movement provides<br />

clues to alternative spatial practises, material possibilities and modes of production potentially easier to transpose architecturally than Punk,<br />

while sharing its DIY ethos. Explorations of the historical conditions of architecture’s fragmentation facilitates students’ critical responses to<br />

cultivating reimagined grounds of architectural invention. The interrelation of history, form, structure, building systems, building character<br />

and use is introduced as central to cultural work and for design theory research and experimentation as a framing device for bringing whatever<br />

sense of order one imagines to such an unruly bunch of demands.<br />

Across the two stages of the Remapping Studio, built and unbuilt projects provide generative models for navigating the complexities of<br />

intervening in historical contexts; reimagining existing structures; rethinking traditional urban settings; and for addressing the predicament<br />

of institutional structures and ideological crises, evident in the seeming irreconcilability of form and content, signification and representation,<br />

theory and practice, surface and structure, poetry and technology, and claims and results.<br />

82<br />

Above - Holly Veitch

Dora Mary Frances Farrelly<br />


84 Top, left to right - Sarah Al Hasan, Robert Lloyd Bottom - Ho Hang Ryan Fung<br />


Top - Isabel Fox<br />

Bottom - Tashanraj Selvanayagam<br />


89 90<br />

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

36 37<br />

Top - Robert Lloyd<br />

Bottom - Dora Mary Frances Farrelly<br />


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

1:50<br />

These inhabitants are weavers,<br />

they have learnt through<br />

their tools and their labours,<br />

to build extensions of the<br />

looms, weaving the salvaged<br />

materials of the forgotten city,<br />

construction from the inside<br />

out.<br />

1:50<br />

1:50<br />

DETAIL E1<br />

DETAIL E2<br />

Top, left to right - Dora Mary Frances Farrelly, Ho Hang Ryan Fung<br />

Bottom - Holly Veitch<br />


90 Top - Tashanraj Selvanayagam Bottom - Sarah Al Hasan

Top - Erya Zhu<br />

Bottom - Sarah Al Hasan<br />


Building upon Building - Norman Foster<br />

Josep-Maria Garcia-Fuentes & Tom Ardron<br />

This studio explores experimental preservation in architecture. The brief is grounded upon the idea that architecture and preservation are<br />

both placed within a cultural continuum and are the outcome of a complex cultural, social and political struggle. These ideas are investigated<br />

through the design of a major addition to — or the transformation of — a heritage building. This process requires an understanding of the<br />

existing construction, including all the ways its architecture and materials express the values it sought to represent and serve at the time, and<br />

the ways these meanings may or may not be extended, enriched, transformed or reshaped by a new addition.<br />

This year the studio has focused on Norman Foster. Throughout his life, Foster has remained passionate about innovation to address present<br />

challenges. His early start in the profession with Buckminster Fuller helps us understand the source of this approach to architecture. Concerns<br />

around efficiency, ecology and sustainability are at the core of his agenda founded at the beginning of his career, as well as a strong dialogue<br />

with architectural history and spatial experience. The studio has researched Foster’s ideas and intellectual anxieties throughout his career, and<br />

it has mapped how these evolved and informed his designs and professional positions within a wider and comparative architectural sense.<br />

The studio, thus, explores ways to move forward in our current ecological and climate challenges through the investigation of Foster’s works<br />

and the use of experimental preservation.<br />

92<br />

Above - Bohan Qiao

Above - Stuart Lanigan<br />


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

Top, Middle - Xingtong Li<br />

Bottom - Hiu Lam Jessica Cheng<br />


96 Senjeeven Mungapen

Top - Bohan Qiao<br />

Bottom - Hiu Lam Jessica Cheng<br />


0 1m 2m<br />

1:20<br />

London average rainfall 25mm<br />

Water flows down along the direction<br />

of CLT roof and PV panels<br />

Rainwater is collected from the gutter<br />

and also the soil containers, then send<br />

down through the tank pipes<br />

An basic layout of the water treatment<br />

plant, where for a building as a public<br />

‘museum’, it should contain more<br />

water tanks for the capacity<br />

Greywater from toilet and cleaning<br />

point are coming through serive<br />

pipes.<br />

98 Top - Hyelim Lee Middle, left to right - Qixing Huang, Hyelim Lee Bottom - Qixing Huang

Top - Florence Nayiga<br />

Bottom - Hyelim Lee<br />



(Square of Art)<br />


(House of Art)<br />

100 Top - Solomon Ofoaiye Bottom - Jemima Smith


(Square House)<br />


(Square Canopy)<br />

Top and Middle - Solomon Ofoaiye<br />

Bottom - Jemima Smith<br />


Degrowth and Design - Architectural life in the time of uncertainty<br />

Claire Harper & Prue Chiles<br />

The cultures and practices we have known have been turned inside out, social worlds we had cultivated have migrated to new places of<br />

exchange and the economic system with its default modes of operation that have shaped our experience as citizens, students and architects,<br />

appears increasingly unviable. We are at a critical point, but one which does not have to be claimed by nihilistic claims about the end of<br />

history, of architecture and of the necessity for design. The aim of the studio again this year is to rethink what tactics we need to employ and<br />

what practices we might adopt to respond and contribute to an optimistic future, for architecture, for people and for the future of the city.<br />

The key overarching concept that informs our approach is Degrowth. Degrowth is defined as a planned reduction of energy and resource<br />

use designed to bring the economy back into balance with the living world in a way that reduces inequality and improves human well-being.<br />

We see this as an asset, not a liability. This involves ecological and ethical thinking, and a new attitude towards maintenance and care. This<br />

new thinking also needs new forms of representation, new ideas and ways of drawing those ideas. Re-making revitalization and maintenance<br />

ranges from social justice to visible beauty. Understanding intersectionality and decolonizing our architectural practices need to interrogate<br />

the legacies of late capitalism.<br />

We ask in the studio, what could Sunderland be like in 2070? What theories and perceptions can help to make sense of the future scenarios<br />

presented? What tools and techniques might it deploy, what information would it work from and within this city? Finally, how might we<br />

reshape our practice to be collaborative, curatorial, caring and maintaining?<br />

All of the projects this year work together to create a new Sunderland. They include, transforming the empty civic building complex, into a<br />

new community for the homeless; completely rethinking the city block or neighbourhood; reclaiming the seaside from plastics and sewage;<br />

creating city centre energy from waste and re-use; and reassembling objects from the tiny to the huge. Some projects prioritise the non-human,<br />

some explore the importance of history, craft and the archive for the future city and finally how we might even begin to grasp the most<br />

impossible concept of contemporary energy use – nuclear storage under Sunderland. They range in scale and approach and key themes but<br />

together build a new future and a new manifesto for the Port City of Sunderland in 2070<br />

102 Above - Tunu Brown

Top - Xueqing Zhang<br />

Bottom - Natasha Rice<br />


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

Top - Xueqing Zhang Middle - Hastie Mirsamadi Bottom - Maria Aksenova<br />


106 Jay Hallsworth

Top - Jay Hallsworth<br />

Bottom - Nathan Cooke-Duffy<br />


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

Top - Beth Paige Hardy Middle - Iulianiya Grigoryeva Bottom - Nathan Cooke-Duffy<br />


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

Sophie Collins<br />


Edge Conditions<br />

Iván J. Márquez Muñoz & Christos Kakalis<br />

This studio was an exploration of architectural responses to Edge Conditions, conceived literally and figuratively. An edge signifies the<br />

boundary between two different spatial conditions ‒ but this boundary can take myriad forms, invoking a wealth of associations and spatial<br />

conditions that can find tectonic expression. Edges may be concrete like a wall or imagined like the time zones, they may be solid, porous<br />

or fluid. This broad and graduated spectrum finds form in an equally diverse vocabulary of design at different scales with walls, façades,<br />

arcades, thresholds, shutters, windows, steps and stairs, gateways and passages which modulate liminality through variations in height, opacity,<br />

material palette and detailing.<br />

In this studio, by proposing Edge Conditions as a deliberately loose frame, we wanted to enable a wide range of experimentations and<br />

iterations from the most literal and material translations of the notion to the most ephemeral and metaphorical. Using the city of Edinburgh<br />

and the Firth of Forth as the background context to provide a framework for the interventions, there was plenty of room for students who<br />

chose to define their projects as serious social criticism, intensifying the practices that exacerbated the inequities on both sides of the boundary<br />

to render them starkly visible and for projects conceived as social satire, articulated as full-blown parodies of the contemporary society of<br />

spectacle.<br />

112<br />

Above - Yan Cheng

Jake Williams-Deoraj<br />


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

Top - Jake Williams-Deoraj<br />

Bottom - Cameron McKay<br />


116 Top - Cameron McKay Bottom - Harry Boakes

Top and Middle - Frazer Watson<br />

Bottom, left to right - Frazer Watson, Jake Williams-Deoraj<br />


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

John Roberts<br />


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

Brandon Few<br />


The Big Here and the Long Now<br />

John Kinsley & Anna Czigler<br />

When we think of context in our design projects we might conventionally consider neighbouring buildings, the street and community, or<br />

even the town or city where the project is located. But construction in the 21st century is an international process, using raw materials and<br />

fabrication processes from all over the world. What implication does this ‘bigger here’ have for the choice of materials? Similarly, when we<br />

think of a building’s lifespan, we might consider how our projects can be de-constructed at the end of their life, but what happens to their<br />

fabric after that? How can the materials be re-used or recycled and continue to be useful in a ‘longer now’?<br />

This studio focuses on the creative use of materials, and the geological, ecological, technological and social systems that make up the process<br />

from sourcing them to using them. We look at strategies to use materials in many shapes and forms: historic, local, high-tech, vernacular,<br />

not-yet-existing or recycled. These strategies are multi-scale throughout the year: regional and urban strategies of sourcing-transportingmanufacturing-building;<br />

building scale strategies of selecting, recycling, constructing, adopting, disassembling; and product scale strategies<br />

ranging from joints to furniture.<br />

A global strategy of reducing carbon emission will need a holistic approach from architects, including a slowly emerging environmental,<br />

economic, architectural and social framework to create systems that are not just more efficient than what we have now, but aiming to be waste<br />

free. Many such strategies exist and have started influencing urban and architectural design, construction and even behavioural principles,<br />

such as cradle-to-cradle and regenerative design principles. We explore these to understand design through a process-oriented systematic<br />

approach. These principles call for ways of integrating needs of communities and society as a whole, while putting sustainability in a wider<br />

system of ecological and technological flows.<br />

While empty, or at a “minimum Architecture” The offices are<br />

The materials acquired by the exchange<br />

are transported up to the private floor,<br />

open plan. Work is done to arrange material acquisitions<br />

as investment, forming the space<br />

by lifts and automated vehicles.<br />

The Floor is Open plan, besides some<br />

permanent storage units on either flank<br />

The flexible space changes as material<br />

arrives, transforming the architecture<br />

As material arrives, rooms form, the space is part office,<br />

part warehouse. Through the constant coming and going<br />

of material, This is how the space is often found.<br />

From Fabrics to facade panels, the<br />

different materials require unique<br />

storage. THe textures and Forms this<br />

creates brings character to the space<br />

As it defines the walls of the Offices<br />

At “Maximum Architecture” The space is purely storage. As<br />

there is no room for further investment, material must<br />

be offloaded.<br />

6 7<br />

122 Above - Joshua Knight

Top - Liam Rogers<br />

Bottom, left to right - Momoko Otsuka, Liam Rogers<br />


25<br />

20<br />

22<br />

27<br />

20<br />

26<br />

24<br />

21<br />

23<br />

21<br />

26<br />

Residential housing unit<br />

=£32,727/m²<br />

<br />

<br />

middle to high-ended<br />

shopping mall<br />

Redevelopment Typology -<br />

high-ended residential blocks+shopping mall<br />

7<br />

16<br />

The Fringe Club<br />

(Venue for Art Performaces)<br />

7<br />

18<br />

Lui Seng Chun<br />

(Chinese Medicine Hub)<br />

Mei Ho House (Hostel)<br />

23 Blue House<br />

(Community Service Centre,<br />

22 PMQ<br />

Restaurant - Social Enterprises)<br />

(Studios, Exhibition Space,<br />

F&B, Retails)<br />

618 Shanghai Street<br />

(Studios, Exhibition Space,<br />

F&B, Retails)<br />

Cold Storage of Dairy<br />

Farm International Holdings<br />

(1890)<br />

Chinese Medicine Clinic<br />

(1943)<br />

‘Mark I’ building in single configuration Old Hollywood Road Police<br />

Part of Shek Kip Mei Estate<br />

Married Quarters<br />

(1950)<br />

(1950)<br />

Tong Lau Residential Building<br />

Notable for Balconies<br />

(1922)<br />

Veranda Type Pre-war Buildings<br />

(1920-30s)<br />

15<br />

1960<br />

2000<br />

2009<br />

2000<br />

2013<br />

2015<br />

2016<br />

2018<br />

2020<br />

2021<br />

17 The Murray House<br />

(Retail & Museum)<br />

19 Jao Tsung-I Academy<br />

(Museum & Exhibition)<br />

Wo Cheong Pawn Shop<br />

(F&B/Retails)<br />

24 Yau Ma Tei Police Station 25 The Mills<br />

(For TV/Movie Set)<br />

(Studios, Exhibition Space,<br />

F&B, Retails, Pet Friendly)<br />

27 Central Market<br />

(Exhibition Space,F&B/Retails)<br />

Former GB Government HQ<br />

(1846)<br />

Former Lai Chi Kok Hospital<br />

(1887)<br />

Pawn Shop<br />

(1888)<br />

Police Station<br />

(1922)<br />

Nan Fung Cotton Mills<br />

(1954)<br />

Central Market for Fresh Food<br />

(1939)<br />

14<br />

19<br />

<br />

<br />

2<br />

1<br />

Reclamation of Tsim Sha Tsui<br />

Harboufront and demolishing the<br />

Old KCR Station(Railway) for<br />

creating a leisure hub consist of<br />

Hong Kong Cultural Centre, Hong<br />

Kong Soace Museumand Hong<br />

Kong Art Centre.<br />

2<br />

Tai O is an authentic fishing town with a<br />

history of approximately 200 years.The<br />

governemnt urged that stilt houses<br />

should be demolished in replaced with<br />

Thai-style resort houses to boast<br />

tourism. The local community pressed<br />

strongresistance and the demolishemnt<br />

plan was halt. However, the lack of<br />

conservation plan on these traditional<br />

stilt houses resulted in fire accident<br />

(2000) that wiped out 80% of them.<br />

4<br />

The renowned Lee Tung Street<br />

(1950-2005) was characterised with<br />

traditional housing typology, Tonglau,<br />

with shopsoccupying the ground floor<br />

topped with 5-6storeys of housing block.<br />

The street was also named as ‘Wedding<br />

Invitation Street’. Most of the cities’<br />

printing shops were located here and it<br />

wasa tradition that engaged couples<br />

visit this area for selecting their favorable<br />

wedding invitation design.<br />

Inspite of opposing voices from the<br />

community and neighbor, the entire<br />

street was knocked down and named as<br />

an ‘Urban Renewal Project’ for a<br />

commercialized development of<br />

privateresidential block with high-ended<br />

retails on the street level. The new<br />

development is named as ‘Lee Tung<br />

Avenue’.<br />

6<br />

Queen’s Pier (1925-2008) was demolished<br />

regardless of immense public resistance.Demolition<br />

of a public ferry pier that inherited the colonial<br />

history of Hong Kong in order to give way to a<br />

phase of reclamation along theVictoria Harbour.<br />

The pier carried collective memories as it is a<br />

landmark and a public space that situated in<br />

Central (CBD) the heart of the city. The City Town<br />

Hall Situates right behind it. It was a popular hang<br />

out spot in the past. The new harbourfront is<br />

characteristed with generic ‘Hong Kong Eye’ and a<br />

vast public space for outdoor events (usually with<br />

an entrance fee).<br />

7<br />

9<br />

10<br />

18<br />

3<br />

15 Reclamation of<br />

13 State Theatre Lung Kwu Tan<br />

1<br />

13<br />

11<br />

12<br />

9<br />

6<br />

17<br />

16<br />

Choiyuen Village ( Demolished in 2010). A village<br />

located at the West New Territories where local<br />

farmers grew and sold crops locally. The village was<br />

wiped in order to give way to the construction of the<br />

High Speed Rail connecting West Kowloon to<br />

mainland China.<br />

4<br />

5<br />

8 Kwun Tong Centre Redevelopment Project (Demolished in<br />

2007, 1st phase completed in 2014, entire development will<br />

be completed by 2030). The redevelopment involves<br />

53,500m² replacing Tonglau with new residential-commercial<br />

projects.<br />

The extensive aggregation of high rise residetnial blocks<br />

casued ventialted issues. Moreover, the government rushed<br />

through the demolishment procedures without resolving<br />

8<br />

Stonewall Trees at Bonham<br />

? ?<br />

Road >150 years<br />

Four stonewall trees were<br />

removed secretly shortly<br />

after a stonewall tree was<br />

toppled at the same street.<br />

The natural scenery was<br />

seriously disputed overnight<br />

and the originally trees<br />

provide natural a vast natural<br />

shading along the street with<br />

11 Sai Wan Pier/ 14 RTHK, Education<br />

bus stops.<br />

Instagram Pier Television Centre<br />

New<br />

? ?<br />

Original<br />

17<br />

1841<br />

The Great Britain<br />

Colonised Hong Kong<br />

1978<br />

1997 1998 2008 2010 2014 2015<br />

2004 2005 2007 2021<br />

Handover of Hong Kong from<br />

The United Kigdom to China<br />

3 The West Kowloon Cultrual District 5 The Wan Chai Market was demolished<br />

Community recommendation was not for a new market complex and private<br />

adopted and the bidding of theconstrcution<br />

favours international architectrual<br />

residential development on top.<br />

firm’s design proposal.<br />

The residents are relaocted to a new territory nearby.<br />

The new village design proposal was a collective effort<br />

from HKU Faculty of Archtiecture Professor Wang<br />

WeiJing, NGO and the community.<br />

the resettlement of local small business/hawkers whose<br />

premises were removed. The design proposals were<br />

modified without notifying the public staekholders as the<br />

government concerned to deal with only the developer<br />

point of interest.<br />

10<br />

Sung Wong Toi Station. An Archaeological<br />

site was found during the construction of the<br />

metro station of Tuen-Ma Line. Only parital<br />

area was preserved and incorperated onto<br />

the station design.<br />

124 Top - Matthew Nam Xing Tan Bottom - Tin Wai Ma

Sophie Heuch<br />


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

Roxana Caplan<br />


128 Heather O’Mara

Kwok Tung Constance Tso<br />


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

Top - Sze Man Wong<br />

Bottom - Tin Wai Ma<br />


MArch Fields Trips<br />

Following the gradual lifting of Covid-related travel restrictions, this academic year we were able to resume field trips in the MArch. From visits to cities<br />

like London, Edinburgh, Glasgow, or Dundee, to rural destinations such as Hadrian’s Wall or Kielder Forest, the field trips offered an opportunity to<br />

reinforce the themes presented by each vertical studio and allowed students to further explore a particular context, site or building technology. In this<br />

context, some of the studio field trips included a visit to specialist technical centres, such as the Construction Scotland Innovation Centre in Blantyre,<br />

the Centre for Alternative Technology in Machynlleth, the Zero Energy Laboratory in Dundee, and the Egger UK plant in Hexham.<br />

Destinations:<br />

Architecture and its Education Redux:<br />

Remapping the Neo-Avant-Garde<br />

Hadrian’s Wall and Edinburgh<br />

Building upon Building<br />

London<br />

Material Change<br />

Kielder Forest, Egger Plant Hexham,<br />

Cullinan Studio and Waugh Thisleton London,<br />

Barbican London<br />

The Big Here and The Long Now<br />

Construction Scotland Innovation Centre and<br />

BSW Sawmill, Dumfries<br />

Edge Conditions<br />

Glasgow and Dundee<br />

Degrowth and Design<br />

Centre for Alternative Technology Machynlleth<br />



MSc Advanced Architectural Design<br />

James Craig and Matt Ozga-Lawn<br />

Contributors: Jianfei Zhu, Smajo Beso, Emily Scullion, David Boyd, Jennifer Jin, Samuel Austin, Ruth Morrow, Ed Wainwright<br />

The MSc Advanced Architectural Design is a unique degree for students to enhance their design and research skills. The Architecture and Cities<br />

pathway focuses on the dialogue and interconnection between architecture and the fabric of cities. It helps students appreciate architectural<br />

design in the broader social, cultural, and economic contexts of cities. Individual buildings are considered as component parts of cities, rather<br />

than as isolated objects within it. The pathway focuses on how architecture can be derived from detailed studies of urban communities and<br />

determine what is appropriate in the strategic and detailed development of specific urban sites.<br />

Semester one introduces students to urban design and context including issues of site program, movement, open space, community, heritage,<br />

morphology, massing, and materiality. The second semester project focusses more on the architectural scale, exploring ideas of meaning and<br />

identity in the urban environment and the role that public space and buildings play in articulating notions of citizenship and community.<br />

Architecture as a civic element is emphasised, including concentration on the relation between exterior and interior spaces. Thesis projects<br />

developed during the third semester provide students with opportunities for elaborating on many of the themes introduced earlier in the<br />

course. The thesis is a major design project framed by individual students which is largely produced independently.<br />

134 Top to Bottom - Darya Churkina, Bunthon Ly

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



BA (Hons) Architecture and Urban Planning (AUP)<br />

Armelle Tardiveau - Degree Programme Director<br />

So much joy has marked this year!<br />

AUP students and staff have had the great pleasure to return to studios and offices, even<br />

more importantly AUP have been blessed with newly refurbished studios, delivered<br />

a day before Induction – a warm thank you for all those involved who have made<br />

this possible. The AUP Stage 1 studio offers a breath-taking view over Newcastle city<br />

centre which acts as the best possible welcome to our incoming cohort. Even better, the<br />

AUP studios share corridor and lobby with other design students including the MA<br />

in Urban Design and Landscape Architecture – many of whom are AUP graduates.<br />

Design tutorials have returned to be face to face, or more precisely mask to mask – for<br />

this I am very grateful to all students who have been respectful of colleagues’ infection<br />

concerns and have accepted the burden of wearing masks during teaching sessions<br />

throughout the year. The design studio is known for its pedagogical benefit: students<br />

have repeatedly reported how much they enjoy working, hanging out, socialising,<br />

sharing practices alongside teaching activities in their studio. Also colleagues teaching<br />

research skills have used the studio for dynamic workshop sessions involving library<br />

staff too. This consolidates pedagogical innovation on the programme but also ensures<br />

that the studio is a space for all students. We hope to nurture this nascent studio<br />

culture.<br />

An additional accredited pathway strengthens the Royal Town Planning Institute<br />

pathway. The programme now offers a pathway towards the Royal Institute of British<br />

Architects and Architects Registration Board accreditation. Following the completion<br />

of traditional portfolio interviews at the end of Stage 1, an unexpected number of AUP<br />

students have firmly embraced this new opportunity. They feel it provides them with<br />

time to explore the kind of discipline that they might want to embrace. It is only at<br />

the end of Stage 2 that students will have to make the decision towards their pathway,<br />

whether accredited or not. The AUP programme will celebrate 10 years of existence<br />

next year (22/23) when we will reflect on the multitudes of professions in the built<br />

environment our graduates have gone into.<br />

This year, the AUP pages provide an insight on design for the collective and the<br />

communal: a key theme of the programme. ARC1007 Architectural Design with<br />

Architecture Occupied project offers the opportunity in first year to explore a<br />

wide range of collective housing with different typologies, material cultures, and<br />

construction approaches. Albeit all conceived as aggregated units, students study these<br />

precedents through analysing plans and sections and translating those into models at<br />

1:50 and 1:20. The aim is to scrutinise the relationship between inside and outside, in<br />

particular the spaces of social interaction both internally and as part of the surrounding<br />

public realm. In turn APL2006 Living Communally explores co-housing as a vehicle<br />

to promote social and climate ecologies, where sharing resources enables sustainable<br />

responses. Students are asked to design a brief as part of a future co-housing group<br />

and establish shared values for living communally. APL3001 Co-producing space is a<br />

“Live Project”, a real-life brief set in a collaborative and participatory context working<br />

with local people and stakeholders. Working in Fenham, students built upon Fenham<br />

Pocket Park, the ongoing creative practice research of APL academics, and designed a<br />

series of engagement and participatory actions to explore social and climate imaginaries<br />

with local people and stakeholders. The project concluded with the staging of Fenham<br />

Parliament #1 that fostered a debate amongst the community about their visions and<br />

wishes for the social and climate futures of their neighbourhood.<br />


AUP Stage 1 - Architecture Occupied<br />

James Longfield<br />

As designers we work between reality and representation to document, imagine and<br />

project new possibilities. The skills required to propose, test and implement possible<br />

futures exist in the same realm as documentations of existing realities. A studious<br />

discovery of precedents may therefore perform the dual function of transporting<br />

us to real places that are remote from our immediate physical surroundings, and<br />

teach us how to project alternative possibilities through use of the same manners<br />

and means. This project, running for the past 5 years, encourages students to take on<br />

an active role in occupying architecture through studying its representations before<br />

producing proto-architecture through re-making their own versions of it primed for<br />

inhabitation.<br />

This imaginative inhabitation has focussed on a broad range of housing projects.<br />

Changing year on year, schemes have been chosen both for the variety of architectural<br />

expression, and for offering intensified relationships between housing as an individual<br />

unit and its expression of social collectively. In most cases, the process of design,<br />

construction or inhabitation offers space for residents to make a meaningful<br />

contribution to the ongoing or final materiality and configuration of the spaces,<br />

thereby offering students concrete applications of the participatory approaches<br />

introduced throughout the AUP course. Projects such as the Malings and Byker<br />

have allowed us to engage more closely with the local context around us, whilst<br />

concurrently, imaginatively learning from distant projects – like ELEMENTAL’s<br />

housing in Chile and Balkrishna Doshi’s Arayana incremental housing in India –<br />

reflects the diverse and international backgrounds and professional futures of many<br />

of our students.<br />

Centrally – drawing on the strength of the AUP programme – students are given the<br />

opportunity to investigate the interrelation of an individual dwelling with the wider<br />

urban, economic, social and environmental context and its experience at the level of<br />

personal inhabitation.<br />

In groups students are asked to trace 1/50 scale drawings of adjacent housing units,<br />

then to create a complete 1/50 model of the dwellings and their adjacent public<br />

spaces. Photographically studying the 3D representation, alongside knowledge<br />

developed through research, students individually select a key ‘threshold moment’ to<br />

investigate in further detail. These thresholds often illuminate the interface between<br />

private space and the adjacent public realm. An experimental collage, drawing on art<br />

practice, allows students to empathetically and imaginatively express the atmospheric<br />

character of their threshold moment – its experienced qualities of light, texture,<br />

surface and material and activity. This study leads to a final 1/20 modelled exploration<br />

that realises the imagined life projected by each student.<br />

Stage 1 Students<br />

Aayushi Derasadi<br />

Adolf Mwesige<br />

Aisha Al Musafir<br />

Alice Moore<br />

Amelia Trattles<br />

Angus Donald<br />

Archie Hurst<br />

Ayanda Dedicoat<br />

Ben Lindgren<br />

Benjamin Cox<br />

Bryan Wong<br />

Charlie Shields<br />

Chiana BhoolaJ<br />

Dasha Seedin<br />

Ella Ashley<br />

Ellie Craven<br />

Emily Zheng<br />

Freddie Naylor<br />

George Crowe<br />

Hope Xu<br />

Iona Gibb<br />

Qinyue Guo<br />

James Dawson<br />

James Worker<br />

Jamie Charlton<br />

Jessica Hacking<br />

Joshua Torczynowycz<br />

Kurt Lo<br />

Louis Winfield<br />

Luke Harrison<br />

Luke Henworth<br />

Maria Syed<br />

Martha Waples<br />

Natasha Kyalo<br />

Noah Holland<br />

Ruben Dascombe<br />

Siddhant Nandwani<br />

Theodore Weldon<br />

Thomas Hunt<br />

Tobiloba Owolabi<br />

Valerija Konovalova<br />

Contributors<br />

Anna Cumberland<br />

Damien Wootten<br />

Daniel Mallo<br />

Elinoah Eitani<br />

Harry Thompson<br />

Jane Millican<br />

Kaniz Shanzida<br />

Loes Veldpaus<br />

Luke Leung<br />

Mike Veitch<br />

Whilst the project over the years has established a valuable catalogue of precedent<br />

study, perhaps its greater value has been the introduction of students to a malleable<br />

working methodology for learning and interrogating future proposals that they can<br />

draw on as they step into a professional sphere. Being able to establish an empathetic<br />

and embodied connection between space as technically described through drawing<br />

and model conventions and its reality as an atmospheric place of sensory experience<br />

relating the to practicalities of daily occupation is central to the production of<br />

relevant, appropriate and empowering architecture.<br />


Left, Top to Bottom - Maud Webster, Martha Waples and Ruth Jeffries<br />

Right, Top to Bottom - Hoi Ning Wong, Edward Thomas<br />


AUP Stage 1 - MapMe<br />

Armelle Tardiveau<br />

Contributors: Elinoah Eitani and Dan Russell<br />

140<br />

Top - Maria Syed, Emily Zheng Middle - Dasha Seedin, Archie Hurst Bottom - Ayanda Dedicoat, Adolf Mwesige

AUP Stage 1 - Taking Measure<br />

Daniel Mallo<br />

Contributors: Daniel Mallo, Ellie Gair, Rusudan Mirzikashvili, Elinoah Eitani, Jane Millican, Mike Veitch and Damien Wootten<br />

Top - Ayanda Dedicoat , Hope Xu<br />

Bottom - Noah Holland, Kurt Lo<br />


AUP Stage 1 - Interpreting Lorenzetti<br />

Daniel Mallo & Loes Veldpaus<br />

Contributors: Isabel Fox, Jay Hallsworth and Jake Williams-Deoraj<br />

142<br />

Top - Group1: Shu Ming Shermaine Leung, Luke Henworth, Noah Holland and Iona Gibb<br />

Middle and Bottom - Group2: Siddhant Nandwani, Samuel Fry, Benjamin Harris and Jessica Hacking

AUP Stage 1 - Jetty<br />

David McKenna<br />

Contributors: David McKenna, Ellie Gair, James Longfield, Elinoah Eitani, Jane Millican and Mike Veitch<br />

Top, Left to Right - Martha Waples, Jessica Hacking and Charlie Shields<br />

Bottom - Martha Waples, Adolf Mwesige<br />


AUP Stage 1 - Urban Observatory<br />

Daniel Mallo<br />

Contributors: Daniel Mallo, Anna Cumberland and Karl Mok<br />

144<br />

Top - Charlie Shields, Adolf Mwesige Middle - Amelia Trattles Bottom - Valerija Konovalova


AUP Stage 2 - Relational Mapping, Design and Representation<br />

Armelle Tardiveau<br />

The Relational Mapping studio design project invited students to explore a site<br />

carefully and to understand how architecture and urban space are designed,<br />

experienced, and enjoyed by the public before making suggestions for its future. We<br />

introduced the practice of creative mapping to explore and understand the varied<br />

dynamics and uncertainties of urban sites, and to help students find inspiration<br />

to create architectural intervention projects within the chosen site. By mapping<br />

accurately both the physical qualities of the area as well as non-physical data,<br />

experiences and uncertainties, students understood both the Byker Estate and the<br />

Byker neighbourhood. These insights informed the next stages of the project. James<br />

Corner, the well-known landscape architect, writes that ‘maps can unfold potential<br />

and allow creative thinking, they are a cultural project, creating and building the<br />

world as much as measuring and describing it’. He believes that new and speculative<br />

forms of mapping may generate new practices of creativity and by showing the<br />

world ‘in new ways, unexpected solutions and effects may emerge’. Whilst there<br />

has been no shortage of new ideas and theories in design and planning there has been<br />

little advancement and invention of those specific tools and techniques ‒ including<br />

mapping – that are so crucial for the ‘effective construal and construction of new<br />

worlds’.<br />

Stage 2 Students<br />

Amelia Pegrum<br />

Connor Humble<br />

Douglas Butt<br />

Eddie Adams<br />

Elif Akbas<br />

Jay Chuang<br />

Jordan Shaw<br />

Kwan Kwan<br />

Lan Guo<br />

Miles Thomas<br />

Patrick Douglas<br />

Quanah Clark<br />

Samuel Gaisie<br />

Contributors<br />

Anna Cumberland<br />

Armelle Tardiveau<br />

Bryony Simcox<br />

Nick Simpson<br />

The famous Byker estate lies to the east of Newcastle city centre. Byker nestles itself<br />

like an Italian hill-top town rising above its neighbours of Ouseburn and Shield Road<br />

and looks down on the River Tyne. The Byker we see today is the replacement of<br />

the demolished Victorian working-class area of densely built terraces, designed by<br />

the Architect Ralph Erskine. The estate, characterised by its huge embracing Byker<br />

Wall, was seen as an exemplar of architectural and landscape design and public<br />

participation. However, despite a vibrant community action group, it has complex<br />

ongoing problems.<br />

At the beginning of the project we managed a field trip to Byker and Ouseburn,<br />

allowing most of us to meet in person and explore through walking, discussing<br />

and drawing. The studio was supplemented with talks and seminars from visiting<br />

professionals working on and in Byker and by talks on representation and urban<br />

design techniques and tactics. The brief for the project used the scenario that groups<br />

of students have been commisioned by the Byker Community Trust to anaylse a<br />

particular area within Byker and to propose architectural interventions to celebrate<br />

and improve the diverse areas of the Estate. The group mapping explorations in the<br />

first few weeks informed a manifesto, a narrative written as a group of what is needed<br />

and desired and what kind of intervention might enhance, improve and celebrate<br />

either the public space, landscape, buildings or a combination of these. The manifesto<br />

developed into a proposed site plan where each member of the group designed an<br />

element of this, ensuring that their individual final designs were integrated into<br />

the overall group proposal. The projects successfully illustrated a knowledge and<br />

understanding of mapping as a vehicle of revealing the complexity of socio-spatial<br />

networks that make up the urban environment of Byker. The students showed an<br />

evolving personal, ethical and sustainable attitude to the project, grounded in civic<br />

engagement, as much as was possible this year, and this formed the basis for their<br />

designs and decision-making. Students developed their own working practices,<br />

online especially, whether working independently or in groups and articulated their<br />

ideas at neighbourhood design scale (1:500) as well as at a detailed scale (1:50/1:20).<br />

Particularly impressive this year was the way students worked in groups with each<br />

other, some members of the studio in far flung countries and others able to visit<br />

Byker. This made for a rewarding team working experience.<br />


Top, Left to Right - Miles Thomas, Eddie Adams, Quanah Clark<br />

Bottom - Douglas Butt<br />


AUP Stage 2 - Living Communally<br />

Claire Harper, James Longfield supported Sarah Bird & Nick Simpson<br />

Living Communally offers the opportunity to work through the project as a group,<br />

in a shared group setting, on a site the students are already familiar with. The brief<br />

– to design a new co-housing neighbourhood on the edge of the Byker estate in<br />

Newcastle’s east end – encourages the students to consider the complexities and<br />

challenges of communality from different perspectives. As designers, what might it<br />

mean to work with a community? What tools and techniques do practitioners need<br />

to navigate the multiple needs and aspirations of different households and potential<br />

conflicts that might emerge? Furthermore, how does the communal nature of cohousing<br />

affect the way that spaces inside and outside the home are used?<br />

Stage 2 Students<br />

Amelia Pegrum<br />

Douglas Butt<br />

Eddie Adams<br />

Elif Akbas<br />

Jay Chuang<br />

Jordan Shaw<br />

Kwan Kwan<br />

Lan Guo<br />

Miles Thomas<br />

Quanah Clark<br />

As urban dwellers most of the spaces we occupy daily: the street, shop,<br />

playground, classroom, office, gym and pub, are shared spaces. This<br />

sharing usually takes place without conscious thought, directed instead<br />

by embodied, collectively understood rules about how space is used and<br />

the behaviour expected of us in a particular environment. This common<br />

understanding ‒ about private versus public space and the symbolic<br />

importance of different thresholds ‒ underpins many of the standards that<br />

govern the design of new residential environments. Co-housing provides<br />

the potential to challenge these rules.<br />

The history of co-housing as a designed collective housing typology originated with<br />

the Danish bofœllskab projects (translated as ‘living togetherness’) and Swedish<br />

kollectivhus, developed during the mid-1960s. Since then the model has been<br />

adapted by different groups with different organisational structures, but all broadly<br />

defined by the term ‘intentional’ communities. The intentionality inherent in cohousing,<br />

as social geographer and co-housing member Helen Jarvis describes it, ‘to<br />

simultaneously reject the mainstream options and create a better alternative’ offers an<br />

opportunity for students to design domestic space from a first principles approach.<br />

We ask the students to imagine themselves as a resident of this future co-housing<br />

community. A key part of the project is to reflect on the challenges of organising<br />

as a group and reaching collective decisions and compromises to inform the design<br />

brief for the project. Many are able to draw on their experience of shared student<br />

housing, bringing both tactics and methods for negotiating shared living, as well as<br />

understanding of how the spatial configuration of the home might affect relationships<br />

both within the household, and between each household and other co-housing<br />

residents. The task of designing for these relationships, presenting proposals to their<br />

peers (and would-be neighbours) and grappling with the importance of shared spaces<br />

within and around the site are essential to understanding the role and value that<br />

designers can bring to community projects, if they have the right tools.<br />


Top - Quanah Clark Bottom Left - Jordan Shaw Bottom Right, Top to Bottom - Douglas Butt, Eddie Adams<br />


AUP Stage 3 - Green Infrastructure for Well-being and Diversity<br />

Tim Townshend<br />

Tutor: Tim Townshend and Smajo Beso<br />

Stage 3 Students<br />

Adrian Yee<br />

Benjamin Duncan<br />

Cleve Yu<br />

Danna Mercado<br />

David Lok<br />

Eisha Malik<br />

Ewan Mears<br />

Gabriela Serafin<br />

Ghaidaa Al Jamali<br />

Jake Anderson<br />

James Ross<br />

Khadijat Ismail<br />

Matt Payne<br />

Maud Webster<br />

Megan Dennison<br />

Peiyi Chen<br />

Stephanie Chan<br />

Suksheetha Adulla<br />

Will Smith<br />

150<br />

Top - Ewan Mears Middle - MaudWebster Bottom - Matthew Payne

Top - Group Project<br />


AUP Stage 3 - Fenham Pocket Park<br />

Daniel Mallo & Armelle Tardiveau<br />

The Live Project which concludes the AUP design pathway is one of the features that<br />

makes this programme unique. It brings together the ethos of the degree: performative<br />

engagement in the urban realm in the form of ‘actions’ and ‘interventions’ that seek<br />

to unpack existing socio-spatial practices, foreground power asymmetries, claim<br />

forgotten spaces, revive past memories or open up new possibilities and capacities.<br />

The design studio becomes a ‘field’ of material and social exploration where students<br />

draw from their embodied experience of making, sharing, learning, and projecting<br />

future imaginaries.<br />

Fenham Pocket Park, a community-led green urban space, which opened six years<br />

ago was the setting for this year’s live project. Located in Fenham (Newcastle upon<br />

Tyne), the Park has been praised as a welcoming, calming environment open to<br />

local residents for planting, nurturing, maintaining and celebrating. It is deemed<br />

as an urban haven of biodiversity that contributes to the Newcastle City Council<br />

climate action plan which was rewarded with the Green Flag Community Award<br />

in autumn 2021. However, the area continues to be severely struck by the impact<br />

of austerity and the retreat of public services: the closure of the adjacent swimming<br />

pool in 2019 has led to a drastic loss of footfall, which has been exacerbated by the<br />

COVID-19 pandemic.<br />

AUP students took the challenge to re-kindle the momentum lost during the<br />

pandemic and the closure of Fenham Swimming Pool, and collectively re-imagine<br />

with community members social and climate future for the area. Students initially<br />

developed visions that re-centre the Park at the heart of the community taking on<br />

the wide range of social, ethnic, age groups as well as turning Fenham into a climate<br />

resilient beacon. The narrative of the project entailed three phases: visioning, enacting<br />

and prototyping / engaging that were recorded and disseminated through a blog that<br />

helped reflect on engagement, communicate with residents and stakeholders and<br />

publicise events: https://blogs.ncl.ac.uk/fenhamfutures/<br />

Initially students engaged in exploring social and climate imaginaries, drawing<br />

from existing community groups (including communities of interest, digital<br />

communities, resident-led initiatives). Students then explored social and climate<br />

imaginaries through a process of visioning aimed at regaining a collective momentum<br />

and triggering opportunities for social innovation and climate action. This led<br />

to experimenting and enacting social and climate imaginaries which entailed the<br />

translation of these visions in the form of installations and engaged community<br />

groups in open-ended conversations to stimulate imagination as well as capture<br />

stories and narratives for Fenham Futures.<br />

Stage 3 Students<br />

Adrian Yee<br />

Aurore Henrotte<br />

Benjamin Duncan<br />

Cleve Yu<br />

Danna Mercado<br />

David Lok<br />

Eisha Malik<br />

Ewan Mears<br />

Gabriela Serafin<br />

Ghaidaa Al Jamali<br />

Jake Anderson<br />

James Ross<br />

Khadijat Ismail<br />

Matt Payne<br />

Maud Webster<br />

Megan Dennison<br />

Peiyi Chen<br />

Sajid Ali<br />

Stephanie Chan<br />

Suksheetha Adulla<br />

Will Smith<br />

Contributors<br />

Friends of the Pocket Park: Helen<br />

Hardman, Imogen Cloet, Mark Pardoe,<br />

Stuart Stephenson, and supporters:<br />

Winnie Wong, Jane Lancaster and<br />

daughter;<br />

Library Services and user groups at<br />

Fenham Library: Matty Starforth<br />

(Newcastle Public Health); Sandra<br />

Adams (PROPS: Family Recovery<br />

Service; Claire McCardle (NTaR:<br />

Newcastle Treatment and Recovery);<br />

Emma Mould (FoodNewcastle /<br />

Nourish Food School); Chris Smith<br />

(Men’s Pie Club);<br />

Andrew Venus (Library Services<br />

Newcastle City Council).<br />

Academic colleagues: Tim Townshend,<br />

Emma Coffield, Mara Ferreri,<br />

Lucy Hatt, David Webb and Abby<br />

Schoneboom.<br />

The engagement concluded with the Fenham Futures Parliament #1. Students<br />

staged and orchestrated a space for debate with residents and community actors<br />

to deepen the three emerging themes from the initial engagement: Heritage and<br />

creative reuse opening up opportunities for creative reuse of Fenham Pool; Social<br />

economy initiatives stimulating local businesses and non-monetary exchanges;<br />

and Climate Futures promoting low carbon transport, greening and decarbonising<br />

Fenham. This project has enabled community groups to re-engage with Fenham<br />

Pocket Park and unlock opportunities for collectively envisioning a socially inclusive<br />

and climate resilient Fenham.<br />


Top, Left to Right - Sarah Bird, Diana Mihailova, Group: Diana Mihailova, Rachel Turnbull, Jack McMunn, Changrui Li<br />

Bottom, Left to Right- Emma Itu, Group: Diana Mihailova, Rachel Turnbull, Jack McMunn, Changrui Li<br />


MA in Urban Design<br />

Martin Beattie<br />

Contributors: Martin Beattie, Smajo Beso, Hazel Cowie, Hugh Daglish, Julia Heslop, Natalia Villamizar Duarte, Georgia Giannopoulou,<br />

Ali Madanipour, Danny Oswell, James Perry, Emily Scullion, Tim Townshend<br />

The MA in Urban Design is a well established interdisciplinary programme at Newcastle University that draws on expertise from the disciplines<br />

represented in the School. The programme foregrounds a strong agenda of social and ecological engagement, together with a relational<br />

approach to the built environment and public life. Three distinct design projects punctuate the year and are supported by theory courses and<br />

critical debate around the practice of urban design. The projects engage with varying localities and the challenges and themes emerging from<br />

the place as well as themes of regeneration and societal challenge. The first major project sits on a complex site on the Fish Quay in North<br />

Shields and deals with issues of post-industrial renewal. The project familiarises students with the urban design scale and context including<br />

issues of site program, movement, open space and communities, as well as issues of heritage, morphology, massing, and materiality relating to<br />

the architectural scale. Students develop a design brief and detailed masterplan for the site. The second major project, ‘Housing alternatives’<br />

examines new models of neighbourhood design in the context of the housing crisis and housing needs in Gateshead. The project explores<br />

concepts of affordability, sustainable living, and community led models as well as new and contemporary models for living, addressing issues<br />

of resilience and changing patterns of working. The use of design codes is introduced in semester 2 through a project based in the Ouseburn<br />

Valley. Students are tasked with creating a master-planning vision for character areas 1, or 2, Central Ouseburn, as designated by the Ouseburn<br />

Design Code. Their projects are realised as physical models and presented in pairs. The year concludes with the final major project, an urban<br />

design thesis, a major research-led design project, on topics selected by individual students around their interests. The project provides<br />

students with opportunities for elaborating on many of the themes introduced throughout the course.<br />

154<br />

Bottom - Tom Coutanche

Top Left - Arundhati Chitnis Right Top to Bottom - Muhammad Ogunniyi, Luke Leung, Gabie Kim Bottom Left - Group Project<br />


Master of Landscape Architecture (MLA)<br />

Usue Ruiz Arana<br />

Programme Team: Charlotte Veal, Clive Davies, Geoff Whitten, Ian Thompson, James Craig<br />

Contributors: Andy Laurie, Annabel Downs, Catherine Dee, Emma Fletcher, Gary Cartwright,<br />

Liam Haggarty, Lotte Dijkstra, Louise Hudspith, Lucy Green, Mike Goodall, Robert Golden, Sally<br />

Watson, Scott Matthews and Stef Leach<br />

The Master of Landscape Architecture is a two-year, full-time postgraduate conversion course for<br />

graduates in other disciplines who wish to pursue professional studies in the UK. The course has<br />

candidate accreditation with the Landscape Institute.<br />

Landscape Architects are uniquely placed to tackle our current climate emergency, facilitate contact<br />

with nature, and promote physical activity and social interaction. These issues are central to stages 1<br />

and 2 of the MLA. Through a range of innovative design studios of increasing complexity, students<br />

develop an ethical awareness and commitment to ecological, social and climate issues, whilst being<br />

gradually introduced to the practice, theories and methods of Landscape Architecture.<br />

Students<br />

Aditi Ravindra Shinde<br />

Akhila Reddy Ankinapalli<br />

Alison Unsworth<br />

Anjani Maulik Patel<br />

Aparna Jayasree Sivakumar<br />

Aryo Mohseni<br />

Bethany Ruth Meer<br />

Cheng Hu<br />

Cheuk Him Leung<br />

Chun Wing Yeung<br />

David William Reid<br />

Jahnabi Barua<br />

Jake Mcclay<br />

Jiapeng Tao<br />

Jiusen Zhao<br />

Kai Sang Nip<br />

Kai-Hsin Lo<br />

Kaniz Shanzida<br />

Kejia Chen<br />

Lisa Shajan Kezhuvanthanam<br />

Malgorzata EwaGudel<br />

Mian Han<br />

Ni Sang<br />

Nikitha Rosa Poovathur John<br />

Oi Ying Chung<br />

Parisa Panahi<br />

Pooja Raviendran Kutty<br />

Ran Wang<br />

Sarah Georgina Louise Hawes<br />

Sicheng Chen<br />

Tsz Hang Chu<br />

Victoria Hole<br />

Xiaohan Qin<br />

Yifan Fang<br />

Yuen Tung Tsoi<br />

Yuhuan Li<br />

Yuqi Xu<br />

Zhengtao Tang<br />

Zhixin Hu<br />

Zihe Xu<br />

156<br />

Opposite - MLA Stage 2 Exhibition Flyer


MLA - Stage 1<br />

In stage 1, students started the year designing a sculpture park for multi-species inhabitation, getting to grips with the behaviour and needs of<br />

a variety of animal species including willow tits, honey bees and bats. Through this project, students developed foundational landscape design<br />

skills to apply to future projects, and de-centred human agency in design. This project was followed in semester 2 by a pocket park design<br />

set in the year 2030, to coincide with the implementation of Newcastle City Council’s Net Zero action plan. Here, students turned a now<br />

superfluous car park into a rich space for relaxation and social interaction, minimising in the process, the carbon footprint of their proposals,<br />

and including Sustainable Urban Drainage Systems to alleviate existing flooding issues. Following Julie Bargmann’s motto of ‘No Material<br />

Leaves the Site’, students worked with the existing materiality of the site, and developed an understanding of materials used in landscape<br />

architectural design, their environmental impacts, and the ways that these can be used in the process of construction.<br />

In semester 2, MLA students also worked with MALAS students to develop a large-scale masterplanning project, examining complex<br />

landscape issues and problems. Working in groups, students re-thought Newcastle City Centre as a resilient city, imagining and responding<br />

to the threats that the city might face in the next 30 years. The groups produced innovative and thoughtful masterplan reports, described by<br />

our Landscape Institute’s Professional Review Group as of professional quality and standard.<br />

Studio projects were supported by theory modules that included History of the Designed Landscape, Conceptualising Landscape and Green<br />

Infrastructure and Landscape Planning. In History of the Designed Landscape, students related developments in landscape design to the social<br />

and economic conditions with prevailed during various periods and in various locations, as well as to cultural and scientific developments.<br />

In Green Infrastructure and Landscape Planning, students undertook a critical review of an existing landscape scale plan or a strategy in<br />

the first teaching semester. Students were also introduced to important concepts and framework models including the Steinitz framework<br />

for landscape planning and the Lafortezza et al framework for green infrastructure. These plans and strategies are international and several<br />

examples were from China along with mainland Europe and the United Kingdom. We were again ‒ following COVID-19 ‒ able to restart the<br />

field visit which is a popular and important part of the course. In October we visited the National Trust owned folly at Penshaw Monument<br />

in County Durham (where it was blowing a serious gale!) followed by visits to the Durham Heritage Coast at Seaham Harbour and the World<br />

Heritage site peninsula in the City of Durham. In semester two students undertook to prepare a green infrastructure or landscape plan of<br />

their own choosing in small teams, each with a support teacher. Amongst the ideas explored were those that encompass landscape ecology,<br />

heritage landscapes, urban green infrastructure and food landscapes with a focus on local growing.<br />

All in all, an enriching and fruitful year for our stage 1 students.<br />

158<br />

Bottom - Grays Group Diverse City

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


MLA - Stage 2<br />

In stage 2, Landscape Architecture students gradually develop their independence and confidence as they prepare for their future careers in<br />

practice. The year started with a Planting Design and Management studio, where students designed the planting for a high security mental<br />

hospital and researched the role of gardening and access to nature for health and well-being. They also worked in short lived planting exercises,<br />

including a ‘Scores for Wilding’ design studio, where students pretended to be a non-human being and researched the impact of noise in<br />

non-human health and behaviour, and potential solutions to it through planting design and management.<br />

Alongside the planting studio, students undertook Landscape Professional Practice, Planning and Law and Research Methods modules.<br />

Landscape Professional Practice follows the Landscape Institute’s Pathway to Chartership syllabus and introduces the students to a wide range<br />

of subjects, including professional ethics, environmental legislation and contract administration. In this module, we welcomed several local<br />

practitioners for guest lectures, and students researched weekly questions of relevance to the topics discussed in lectures. Through this module,<br />

students learnt to relate topics across the syllabus, as they apply into practice.<br />

In semester 2, students were immersed in their Design Thesis schemes, working on topics and sites of their choice. The design thesis puts into<br />

practice all the skills and knowledge that the students have acquired over the course of two years, and it showcases the students’ innovation,<br />

creativity, ethical awareness and commitment to ecological, social and climate issues. Some of the resulting interventions were subtle, yet<br />

highly effective, responding to environmental conditions to allow existing and new habitats to develop in time. Other interventions resulted<br />

from an active engagement with local communities, a personal attachment to place in, in-depth research into lost cultural and historical layers<br />

of a site. All interventions were successful in promoting contact with nature and setting the stage for a myriad of activities to take place.<br />

We concluded the year with a Design Thesis exhibition opened to the wider school and local practitioners. The students enjoyed interacting<br />

with local practitioners, who took the time to engage with the students and their work.<br />

As we waved goodbye to our first set of graduates, we welcomed the news that the Master of Landscape Architecture has been re-accredited by<br />

the Landscape Institute, a testament to the hard work of all of our students and staff.<br />

160<br />

Bottom - Daniel Chu Bring Back the Loch

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


MA in Landscape Architecture Studies<br />

Charlotte Veal<br />

Programme Team: Usue Ruiz Arana, Geoff Whitten and Ian Thompson<br />

Contributors: Lotte Dijkstra, Clive Davies, Scott Matthews, Liam Haggarty, Gary Cartwright, Robert Golden, Mike Goodall and<br />

Sally Watson<br />

The MA Landscape Architecture Studies is a one-year taught masters-level programme which provides opportunities for students to develop<br />

systematic knowledge and understanding of Landscape Architecture and its interface with Planning and Architecture. Students develop the<br />

capacity for critical thinking about the design of place and space and gain skills to enable them to deal with complex aspects of landscape design<br />

and planning in a creative and innovative way. Through studio-based design projects, students refine their design skills and develop the ability to<br />

critically analyse and discuss landscape projects and styles.<br />

APL8004: Within Conceptualising Landscape, students are introduced to a myriad of landscape concepts and theories. From these, students are<br />

encouraged to critically reflect on the sometimes competing and opposed ways in which landscape has been conceptualised, defined and understood.<br />

Interdisciplinary in its outlook, the module explores themes including landscape art, imaginaries of landscape, phenomenology, heritage landscapes,<br />

migratory landscape, landscape and justice, and haunted landscapes, connecting these with the crises of our time: globalisation, urban sprawl, climate<br />

change, loss of biodiversity, and mass migrations (human and non-human). Students produce a reflective weekly journal, in which they assess lecture<br />

material in the context of wider literature, provide critical reflections on its implications for Landscape Architecture, and a creative response – with<br />

students opting for poems, collage, photography and sketches. In Spring <strong>2022</strong> we visited Kirkleatham Walled Garden as part of a session on heritage<br />

landscapes.<br />

APL8006: Design Studio 2 is an advanced planning and design skills module where students individually, and in small groups, examine complex<br />

landscape issues and problems, with particular reference to large scale master-planning. Students undertake site surveys, conduct extensive analysis<br />

(historical, character, structure, spatial), evaluate the issues, conflicts, opportunities and potentials of sites, and integrate sustainable solutions in the<br />

form of landscape change (masterplan) proposals. Project 1 invites students to re-think the future of Newcastle’s City Centre through a master-planning<br />

exercise and to compile a guiding strategy/principle for their Resilient City 2050. Project 2 is the site selection process for the Design Thesis module.<br />

The project sees students identify three possible sites, with the selection of a final site to take forward. Students are required to write their own brief for<br />

the site and undertake initial survey work, detailing the constraints and opportunities it poses.<br />

APL8007: The Design Thesis is an independent research project where students have time and space to individually sketch out and develop advanced<br />

research and design skills. Working in self-selected sites, students write their own well-defined design issue or question and develop a design response<br />

to the issues raised by the research. Throughout the module, students are supported in their learning through tutorials and critical reviews that<br />

comprise concept development, masterplan proposal, detailed areas, construction, planting strategy and overall strategy. The results of which are read in<br />

conjunction with a report that outlines the philosophy and main objectives of the proposed development in landscape terms. In the past students have<br />

designed sports parks, riverside sculpture parks, cultural quarters, ecological reserves, heritage parks and much more!<br />

APL8008: History of the Designed Landscape is an advanced level module that critically probes the history of the designed landscape, relating<br />

developments in landscape design to the social and economic conditions which prevailed during various periods and in various locations, as well as to<br />

cultural and scientific developments. It is designed to help landscape architecture students to appreciate the possibilities open to landscape design as<br />

well as explore linkages between landscape architecture and related disciplines (art, architecture, geography, town planning) at these various stages. In<br />

past years, students have been able to explore local historical landscape through field trips (e.g. Mowbury Park). Students complete a 2000 word essay<br />

choosing from one of five questions.<br />

162 Above: Tianqi Gao - LEAZES PARK: Analysis & Improvement

Location 4.<br />

Affected Buildings<br />

Rooftop car park<br />

Rooftops off Northumberland St.<br />

Eldon Square shopping centre<br />

Grainger St.<br />

The densely developed nature of Newcastle does bring<br />

the opportunity to utilise a number of rooftop spaces<br />

for agricultural purposes. Retaining the majority of the<br />

buildings which constitute Eldon Square shopping centre<br />

and Northumberland Street means the retention of the<br />

cities commercial centre whilst also utilising the often<br />

empty rooftop spaces which could be used for a variety of<br />

growing purposes.<br />

Grey St.<br />

ildings in the<br />

flat, spacious<br />

al locations<br />

. Whilst the<br />

s in this area<br />

rcing before<br />

r areas such<br />

structurally<br />

ale farming<br />

r park would<br />

vate car use<br />

ng decades.<br />

Top left - Jingying Cai Landscape layout plan Top right - Fangrong Mou Hunter’s Moor Sculpture Park Bottom - Group Project<br />


Research and Engagement:<br />

Architectural Research Collaborative<br />

ARC concentrates on nurturing collaborations inside and outside of the department and the School,<br />

providing a dynamic environment in which research and teaching are rigorously linked. This year we have<br />

concentrated on making a collegiate atmosphere, putting a priority on getting people back into a room,<br />

talking about ideas after lockdown.<br />

Our regular meetings include presentations from staff on their work, and faculty and University initiatives<br />

are discussed in a convivial environment. Landscape research is flourishing with the new Landscape<br />

courses and they are becoming a larger contingent within ARC. This year we also joined forces with<br />

GURU, our colleagues in Planning, to hold a joint session on the climate emergency.<br />

Our members have been working on diverse projects that cut across traditional thematics and connect<br />

researchers with different expertise to stimulate innovation and bear collectively on the complexity<br />

demanded by architectural, cultural and societal questions.<br />

This year the research in ARC was highly successful in the Research Excellence Framework (REF) 2021,<br />

with a large number of the 3 and 4* publications. All staff on research contracts were submitted, reflecting<br />

ARC’s rigorous contribution to the research agenda of SAPL and the vibrant Architectural research culture<br />

in the School.<br />

Prof Katie Lloyd Thomas and Dr Claire Harper re-staged the Barbican’s hugely popular exhibition on<br />

Femist Architecture Co-operative Matrix at Newcastle Contemporary Art Gallery. Originally co-curated<br />

by Jon Astbury (Barbican) and Jos Boys (ex-Matrix), How We Live Now – in Newcastle has been restaged<br />

by the gallery’s curator Helen Smith in collaboration with the Farrell Centre. This also built on the<br />

re-publication of Making Space (originally Pluto Press, 1984) co-authored by the Feminist Architecture<br />

Co-operative Matrix, who were largely Newcastle graduates. The exhibition aims to engage audiences<br />

from Newcastle and the region with the exhibition’s key ideas and concepts: how the built environment is<br />

constructed – physically, socially and culturally; the impacts of gender and other forms of discrimination<br />

on the built environment; how we might effect meaningful change in creating a more inclusive, diverse<br />

and equitable built environment.<br />

In addition, the Hub for Biotechnology in the Built Environment (HBBE, 2019), the largest grant ever<br />

awarded to the discipline of Architecture in the UK, is going from strength to strength, developing and<br />

producing interesting experimental pieces of work from both research staff and PhD students. The world’s<br />

first experimental biological house, ‘The OME’ (£1.1m) adjacent to, and operating as part of, the Great<br />

North Museum is now open, providing both public interaction space with biotechnologies in the built<br />

environment and a site for industrial collaborations. Rosie Parnell’s large covid fund research ‘At Home<br />

with Children: Learning from Lockdown’ is coming to a conclusion creating a ‘Home Hack Toolkit’<br />

providing guidance to inform domestic design and space standards.<br />

Following the successful experimental conduct of Embodied Awareness of Space Symposium (April<br />

2021), an online documentation of the event was designed by our PhD Candidate David Boyd: EAS<br />

(davidboyd.net) as well as a contract for a volume entitled Embodied Awareness of Space: Body, Agency and<br />

Current Practice (edited by Christos Kakalis and David Boyd, Palgrave Macmillan, 2023) that does not<br />

only reflect the collaborative ethos of ARC, but also connections with other organisations and universities<br />

in and outside of the UK.<br />

A number of other books and publications included Katie Lloyd Thomas’ Building Materials: Material<br />

Theory and the Architectural Specification (Bloomsbury, December 2021) and Prue Chiles’ Enabling the<br />

City (Routledge, September 2021), an edited and co-written collaborative volume including work from<br />

colleagues in ARC and around Europe and funded by a European grant.<br />

A number of MArch linked research projects have been cultivated and further developed in the<br />

environment of collaboration and support by ARC during this academic year. Themes include, livebuilt<br />

projects, historical documentation, architectural biographies, creative practice recordings of urban<br />

environments, community led documentation and design propositions for different (urban or rural) areas,<br />

sustainability studies as in the case of ‘Mobile Sanctuaries: Ritual Ecologies and Transnational Religious<br />

Communities of the Highlands’ by Neil Burford and Christos Kakalis.<br />

The following pages illustrate a selection of research projects from our staff colleagues,PhD, Masters and<br />

undergraduate students, and also illustrate the exciting exhibitions in the School and the City.<br />

164 Text by Prue Chiles<br />

Opposite - How We Live Now. Matrix Archive Installation View, NCA, <strong>2022</strong>.<br />

Courtesy of the Farrell Centre. Photo: Colin Davison Photography


BA Dissertations<br />

Module leader: Juliet Odgers<br />

The dissertations produced in this academic year respond to the range of agendas informing the nineteen electives offered by tutors at the School. Some<br />

of these were centred in building science, some in history and theory, others in professional and creative practice. The electives provide a starting point<br />

and intellectual framework for the students’ work, developed over the course of a year, bridging Stage 2 and 3 of the undergraduate degree. This year we<br />

are happy to say that the work has again been of a very high standard, despite the difficulties posed by Covid restrictions.<br />

Congratulations to our Stage 3!<br />

01. Playful Cities<br />

Tutor: Alkistis Pitsikali<br />

The group focussed on playful cities, and ‘play spaces’ in the city. This term ‘play spaces’ refers not<br />

only to playrooms and playgrounds (although these are of great interest) but also to impromptu<br />

spatialities that support playfulness. Students were asked to think of play in the city in broad terms<br />

and explore not only its spatialities but also its effects on urban space and social life. We approached<br />

play as an activity running through a person’s lifespan, taking particular interest in intergenerational<br />

play (play engaging both adults and children), and how this can facilitate agency and inclusion<br />

in the urban realm allowing appropriation of public space and the creation of multiple spaces of<br />

representation.<br />

Title: Urban Design & Playfulness: How Have People’s Playful Practices Evolved as a Result of Urban<br />

Design Changes in Tbilisi?<br />

Anastasia Dombrovskaia<br />

02. Architecture of Place<br />

Tutors: Andrew Ballantyne & Josep María García Fuentes<br />

We are interested in the effects that place can have on architecture. This might be because a building<br />

responds to features in the surrounding landscape, such as a mountain ‒ either by being placed in<br />

a dramatic position, or by incorporating ideas from the mountain’s form ‒ or maybe the building<br />

is placed as an incident in an arcadian idyll. Whatever the case: buildings can enhance the places<br />

where they are built, by paying attention to the specific spot, its form or its culture, and making a<br />

creative response to it. The dissertations in this group are concerned with buildings of the recent or<br />

distant past that make inspired responses to the places where they are to be found.<br />

Title: A Study of the Evolution of Stilted Dwelling<br />

Jing Hao<br />

03. Net Zero Carbon<br />

Tutor: Carlos Calderon<br />

Students in this elective were asked to develop a project framed within the well established research<br />

area of net zero futures. As we know, energy efficiency improvements to existing buildings can<br />

reduce emissions, cut energy bills, and help tackle fuel poverty. Heating buildings makes up a high<br />

proportion of the UK’s carbon footprint, yet insulation installation rates are low, uptake of heat<br />

pumps is minimal and we are still constructing buildings with traditional carbon-intensive heating<br />

systems. The challenges are clear, and the solutions are available. Dissertations in this elective are<br />

oriented towards innovating together to plan a climate restorative future!<br />

Title: Urban Food and Energy Production: An Experimental Study Exploring the Potential for a<br />

Symbiotic Relationship between Anaerobic Digestion and Hydroponic Farming to be used within the<br />

Urban Realm in the Effort to become Net-Zero.<br />

Georgie Richardson<br />


04. Appropriations<br />

Tutors: Christos Kakalis and Zeynep Kezer<br />

Appropriation entails taking possession of something that does not belong to you to make it yours,<br />

often without permission or consent. Consequently, the act typically involves an asymmetry of<br />

power at its inception and, importantly, its consequences may reverberate for a long time, often<br />

inflecting the character of future events and relationships. The dissertation elective initiated a<br />

conversation around different types of appropriation processes. We maintained a broad perspective,<br />

exploring a diverse range of people, places, and practices. We asked how various appropriations<br />

and their consequences play out in space, time, lives, and landscapes and from this the students<br />

developed a broad range of topics.<br />

Title: The Fernsehturm Berlin: A Crystallisation of Socialist Ambiguities<br />

Sam Barker<br />

05. Architecture Beyond Duality<br />

Tutor: Ed Wainwright<br />

Understanding architecture as a product of ideas that come into contact with matter, this dissertation<br />

elective looked at how we rethink those ideas (being as we can’t quite yet force matter to be other<br />

than it is). We sought to think architectural practice through a lens of the ecological – how the<br />

beings and things of the world have a right and a place here that isn’t always in response to human<br />

needs. Engaging in a close, week-by-week reading of Tim Morton’s The Ecological Thought, students<br />

were invited to take an aspect of our emerging architectural practice for a creative reimagining<br />

through these ecological thoughts... touching on questions of the more-than- human, spirituality<br />

and the ethics of love.<br />

(Upper)<br />

Title: Tales of the Lake District: A Parable for the Present & Our Future<br />

Charlotte Brookes<br />

(Lower)<br />

Title: Architecture beyond Duality: Towards an Architecture of Coexistence<br />

Ng Ho Man<br />

06. Memoryscapes<br />

Tutor: James Craig<br />

This elective examines the role memory plays in our understanding of the built environment.<br />

Memory is a faculty relevant to everyone, providing a lens through which to understand how the<br />

social, economic and political forces of the past have come to shape our present environs. Thus,<br />

memory is ‘living history, the remembered past that exists in the present’ (Frisch 1990: xxiii).<br />

The past, then, is all around us, in our neighbourhoods and streets and manifested through our<br />

memorials and museums. With such places in mind, the elective explores the relationship between<br />

history and memory and discusses the past’s ongoing influence on the present conditions of our<br />

built world.<br />

Title: Colonial Nostalgia: Approaches to Heritage Conservation in Hong Kong<br />

Fai Mak<br />


07. War, Geopolitics and Architecture<br />

Tutor: Jianfei Zhu<br />

Architectural discourse has not been sufficiently grounded on geographic conditions and geopolitical<br />

dynamics. Architectural knowledge has been largely formalist and universalist. Yet every project and<br />

statement in architecture is entangled with local politics and geopolitical contentions at various<br />

scales. Today, with the daily escalation of street protest, (dis)information, media interference,<br />

military build-up, catastrophic death toll, mutations of deadly virus, big power conflict, and big<br />

ideological rivalry, it is dishonest not to see the process as a war of an unknown form and magnitude<br />

pressing upon us all. Today, we must study the changing forms of war (symbolic, aesthetic, cultural<br />

and social), and how war conditions have shaped culture, urban practice and architectural design<br />

– and continue to do so.<br />

Title: A Study of War Architecture (The Case of Flak Towers): Their Rise and Repercussions<br />

Alyssia Thompson<br />

08. Architecture’s Six Themes<br />

Tutor: Kati Blom<br />

Our explorations began with phenomenological texts by Juhani Pallasmaa and David Leatherbarrow,<br />

fantastic literature by Italo Calvino and Laszlo Krasznahorkai, and architectural texts by Steven<br />

Holl and Neil Young. Through these readings we began to create a futuristic vision for future<br />

architectural challenges. Our four seminars addressed conceptual thinking, fantastic thinking,<br />

realism, futurism and evolving tectonics. As each text was addressed an appropriate architectural<br />

example was chosen and reflected upon with a free drawing or photographic expression. By the<br />

end of the seminars each student has either selected their own theme from the presented ones or<br />

suggested their own. To reinforce this decision, each student made a book cover, and chose a piece<br />

of architecture to analyse according to the theme.<br />

Title: Skybridges as an Agent to Strengthen both Human and Urban Connectivity in Cities<br />

Genevieve Sligo-Yong<br />

09. instruct_construct<br />

Tutor: Katie Lloyd Thomas<br />

With new technical objects such as smartphones designed to facilitate intuitive self-learning and<br />

YouTube tutorials available to talk you through everything from cutting an avocado for sushi to<br />

setting up a hand-in on Canvas, the days of paper instructions and handbooks may be coming to<br />

an end. This elective asked what this could mean for architects – given that a great part of our work<br />

is the preparation of instructions (written and drawn) for the construction of a building? With<br />

this the focus is shifted from the object-to-be-made to the instructions that inform the processes<br />

of construction. Looking at manuals, guides, briefs, handbooks, treatises, recipes, specifications,<br />

instructional artworks, we enquired into the histories, politics, social norms etc that frame these<br />

documents.<br />

Title: Do-It-Yourself Transaction: From a Need to a Desire<br />

Dominique Romero<br />


10. Colonial Exchanges: Meetings Between ‘East’ and ‘West’<br />

Tutor: Martin Beattie<br />

This elective investigates how (colonial) cultures mix, or not as the case may be, and how that<br />

process manifests itself in architecture. In a foreign context, the making of architecture can be<br />

seen as a dialogical process, entailing negotiation, domestication, appropriation, the reworking of<br />

local symbolic and material resources, and interaction with the surrounding social and physical<br />

landscape. How structures designed in a particular geo-political situation may be perceived and<br />

used in new ways after disruptions, or crises of the local, or international order, is also an interesting<br />

aspect of their meaning and symbolic function. Not only visual and stylistic, but also functional<br />

and social hybridity may be a component of the life of these buildings, especially in contexts where<br />

the boundaries between ‘east’ and ‘west’ were not yet rigidly established.<br />

(Upper)<br />

Title: The Decolonisation of Statue Square: a Case Study on Hong Kong’s Lost Colonial Urban Fabric<br />

by the Imperial Power<br />

Gabriel Chuek Sum Au-Yeung<br />

(Lower)<br />

Title: ‘The Musée du Quai Branly: To What Extent Does the Design of the Musée du Quai Branly<br />

Demonstrate the Perpetuation of a Colonialist Midset in France?<br />

Elsa Mills<br />

11. Architecture and Narrative<br />

Tutor: Matthew Ozga-Lawn<br />

This elective explored the relationship between narrative and architecture. This has been the focus<br />

of renewed study in recent years, with a diverse range of authors considering it. We looked at<br />

how both built and drawn architecture constructs and utilises stories and storytelling under the<br />

categories of Architecture as Narrative, Architectural Representation as Narrative, and Architectural<br />

Narratives in Other Media (film, for example). Examining key texts, such as Georges Perec’s Species<br />

of Spaces, we considered how text, as a medium, can be thought of spatially and constructed to<br />

create compelling narrative experiences.<br />

Title: Deconstructing my Drawing Practice: Finding Methods to Represent Movement and Narrative in<br />

Architectural Drawing, through the Lens of Wes Anderson’s Filmmaking<br />

Emily Millward<br />


Tutor: Nathaniel Coleman<br />

What one does with the content in their writing determines whether or not a persuasive dissertation<br />

has been crafted. A developing ability to evaluate one’s own work depends on being able to reflect<br />

on the form and structure of written work, which is why in this seminar group, students research<br />

and write on methods. Students in the group selected one of the methods listed:<br />

free association as method; DIY as method; surrealism as method; transduction as<br />

method; rhythmanalysis as method; paranoid critical method; Utopia as method;<br />

(negative) dialectical method; hope (hermeneutics of) as method; narrativity as<br />

method; fairy tales & golden dust as method; configurative discipline as method;<br />

critical thick description as method; anticipatory illumination as method; critical<br />

phenomenology as method.<br />

Title: Utopia and Architecture: Discovering Possibilities Through Architecture<br />

Yuqing Liu<br />


13. Invisible Energies<br />

Tutor: Neveen Hamza<br />

‘We shape our buildings, then our buildings shape us’ - Winston Churchill<br />

In this dissertation group we explored how the endeavour to build and design comfortable<br />

environments has multiple influences on their occupants. Students were asked to look at<br />

environmental factors influencing architectural design in various cultural contexts, climates, and<br />

indeed for accommodating specific needs and age groups such as the ageing and frail, schoolchildren<br />

or university students. In this group our work was informed by reading into theories of ‘place<br />

attachment’ and ‘Salutogenics’ with a variety of other concerns such as post occupancy evaluation,<br />

environmental psychology, philosophies to save natural resources, technologies that reduce energy<br />

demand and encourage material innovation, building regulations and sustainability codes.<br />

Title: Rethinking the Office: An Exploration into Sustainable Construction Solutions<br />

George Avery<br />

14. Home, the Agency and Negotiation of Domesticity<br />

Tutor: Prue Chiles<br />

The notion of domesticity and the home, with its privacy and comfort, has been revered, challenged<br />

and ridiculed by modern artists, architects and designers. Domesticity, itself an invention of the<br />

modern age, became the antithesis of modernity. And yet, it can be the most complex, the most<br />

interesting and the most culturally prominent architectural form. Domesticity is, of course, a<br />

feminist issue. This elective engaged with the many ways and means by which we can find home<br />

in the world and how architectural thinking and making has informed this. We explored different<br />

ways in which we navigate around the meanings of home ‒ from political, social and cultural<br />

literature; from architectural writing, from anthropology and from fine art.<br />

(Upper)<br />

Title: Transitional Housing, a Solution to Ease Grassroots Housing Problems in Hong Kong?<br />

Constantine Kwan<br />

(Lower)<br />

Title: Why Does the Power and Image of the Dacha Endure Today<br />

Sophie Stubbs<br />

15. Hybrid Space: Zoom, TikTok and the Physical-Digital Spaces of the Pandemic<br />

Tutor: Owen Hopkins<br />

The term ‘meatspace’ coined as far back as the early 1990s, refers to the spaces where we meet in<br />

person, spaces where we are surrounded by other bodies, as opposed to the corporeal isolation of<br />

the screen – ‘cyberspace’. This dissertation elective emerged from the proposition that lockdown<br />

has irretrievably collapsed the distinction between ‘meatspace’ and ‘cyberspace’, leading to the<br />

emergence of a new hybrid space, simultaneously physical and digital. Here, our digital personas<br />

– as manifested in the way we present ourselves on screen through our visual appearances, the<br />

platforms we use and the content we share – have begun to supersede those we project IRL. At the<br />

same time, our in-person meetings are increasingly mediated by technology, whether smartphones,<br />

wearables or other ‘smart’ devices. Dynamic, non-hierarchical, intensely individualised, both public<br />

and private, what does this new hybrid space mean for architecture?<br />

Title: Investigation of Ubiquitous Computing: Perception of Augmented Space<br />

Dijesica Carennia<br />


16. The Wicked Home<br />

Tutors: Rachel Armstrong and Toby Blackman<br />

In transitioning from an industrial to an ecological era, this elective proposed that we must<br />

challenge the foundations of the archetypical housing standards (including consideration of<br />

other-than-human perspectives) re-thinking the notion of home as an expression of inhabiting<br />

our environment. To start this process, we embraced the notion of ‘wickedness’ ‒ or irreducible<br />

complexity. In design contexts, ‘wicked’ embraces incomplete, contradictory, and changing<br />

requirements that are often difficult to disentangle from each other.<br />

Drawing on new materialist texts, scientific essays, ecological theory and architectural references,<br />

matter is considered vibrant and possessing an agency of its own or expressed within its congregations<br />

with other matters (assemblages), positioning inhabited spaces not as empty vessels to be filled<br />

up with the life within it, but as living beings themselves. Within this context, architecture is<br />

more than the choreography of matter but is fundamentally ethical, invoking notions of care and<br />

community for our habitats and constructions.<br />

Title: Through Taking on the Perspective of a Plant, Can We Gain a Further Understanding of Our True<br />

Needs and Wellbeing?<br />

Ruby Lovatt<br />

17. Constructing the Architect<br />

Tutor: Ray Verrall<br />

This dissertation elective explored the idea of what ‘being an architect’ is supposed to mean. We<br />

usually think about architecture as the product of architects, but could we also consider architects<br />

themselves as being constructions of their discipline? From the unique ways in which we are<br />

educated in architecture school to the professional codes we are expected to follow in practice,<br />

we are socialised into a certain set of beliefs about what it means to be an architect. Our field has<br />

historically entertained a variety of approaches to architectural training and practice, but since the<br />

formation of organisations such as the RIBA in the nineteenth century, a rather singular, academic,<br />

professional mode has been powerfully promoted. Recent years have, however, witnessed renewed<br />

interest in ‘alternative’ approaches to architectural education and practice, along with shifting<br />

definitions of the architect’s identity. Perhaps the title of ‘architect’ doesn’t quite fit any more.<br />

Perhaps it is actually a hindrance to developing more relevant, emerging modes of practice.<br />

Title: The Legacy of Walter Gropius and his Bauhaus Years<br />

Ian Mellish<br />

18. Re-thinking the Spaces of Childhood<br />

Tutor: Rosie Parnell<br />

Everyday spaces of childhood in the global north have been critiqued as sites of control and<br />

discipline – places where adults can curate children’s lives while isolating them from the adult world<br />

and public realm. Where young people challenge these spatial boundaries they are often labelled in<br />

mainstream discourse as being a nuisance, or having behavioural problems. The elective explored<br />

these critiques relating them to the design of schools, nurseries, children’s museums, playgrounds<br />

etc. We reflected on the recent wave of climate activism by young people awakened by Greta<br />

Thunberg and the pandemic’s challenge to our assumption that children’s learning environments<br />

and adult work spaces cannot co-exist. We examined children’s access to and roles in the processes<br />

of architectural design and production. Finally, we explored some of the implications of new<br />

materialism for this area of study and practice.<br />

Title: The Guide to the Principles of Good Playgrounds<br />

Anastassiya Galkina<br />


19. Power and Architecture<br />

Tutor: Sana Al-Naimi<br />

When thinking of power and its relation to architecture, your mind would perhaps conjure images of<br />

monumental structures like the Egyptian pyramids or the Parthenon atop the Acropolis in Athens.<br />

You might think of triumphal arches or great palaces constructed to honour long-gone emperors. In<br />

this research group, we investigated other ways in which power influences architecture; for example,<br />

how architecture can use it to advance political agendas, how it can facilitate surveillance, or how<br />

political powers can destroy architecture on a large scale in an attempt to achieve total dominance<br />

over the culture that produced it. We also investigated how cultures arise after such dramatic events<br />

and how architecture becomes the catalyst for their revival.<br />

Title: Buzludzha’s Contested Memory: Towards a Preservation or Away from One?<br />

Jemima Tiger Droney<br />


Architecture and Urban Planning Dissertations<br />

Module leader: Daniel Mallo<br />

Supervisors: Ali Mandanipour, Abby Schoneboom, Andy Law, Loes Veldpaus, Sally Watson<br />

Reading the City: a Study of Text in Newcastle’s Ouseburn and Byker<br />

Maud Webster<br />

This research project reveals the intricacies of text used within Newcastle’s Ouseburn and Byker,<br />

detailing how textual signage is used for heritage, cultural, regulatory, navigational, commercial, and<br />

political purposes. It explores the role text plays in our experiences of urban spaces, the role it plays in<br />

shaping these spaces into places, and ultimately how text can reveal the visual character of an area and<br />

the changes it is undergoing.<br />

Why is Participatory Design Needed for the Future Renovation of Soviet-Era Prefabricated<br />

Apartment Blocks and for the Regeneration of ‘Space’ in the Context of Post-Soviet Ukraine?<br />

Ancha Myburgh<br />

This research focuses on the potential to renovate Soviet-era prefabricated apartment blocks across<br />

Ukraine, through a participatory design approach. The informal architecture, namely the collage of<br />

illegally constructed balconies on the facade of these Soviet-era prefabricated apartment blocks across<br />

Ukraine, such as the ‘Khrushchyovka’ apartment units, represents the importance of including those<br />

impacted by decisions regarding their urban environment in the decision-making process. This silent,<br />

collective protest against the authoritarian nature of Soviet architecture and planning is explored<br />

through the phenomenon of Ukrainian make-shift balconies and through the on-going conflict<br />

between public and private space. Communities within these apartment blocks often bonded over<br />

the deficiencies and shortcomings of the Soviet-era mass-housing schemes and in turn, displayed a<br />

natural sense of agency. The residents residing within the Soviet-era prefabricated apartment blocks<br />

overcame many of these deficiencies in a collaborative, communal process. This research focuses on<br />

and argues for a participatory approach towards future renovation of the apartment blocks across<br />

Ukraine, through Roman Blazhan’s ‘Enter Through the Balcony’.<br />

The Impact of Social Housing on Tenants Mental and Physical Well-Being; with Case Study<br />

Analysis of Orchard Park Estate, Kingston Upon Hull<br />

Megan Dennison<br />

This study explores the connections between social housing and the impacts on mental and physical<br />

well-being of its tenants, analysing the Orchard Park Estate, Hull. Using an ethnographic approach<br />

alongside a personal relationship with the estate and both its current and former residents allowed<br />

for a unique perspective on these matters, and a more conversational interviewing process that eased<br />

the study participants. The research findings suggest tenants of social housing are disproportionately<br />

disadvantaged comparatively to tenants of privately rented or owned housing, and as a result are<br />

likely to face issues with their mental or physical health at some point in their lifetime. These issues<br />

are evidenced to cause a strain in further areas of life, often causing issues in relationships with family<br />

and friends as problems with mental and physical health become more prominent. By identifying<br />

these issues and the connecting impacts, we are able to assess the causation of the issues at their root,<br />

drawing up plans for further research and strategy implementation to improve the disproportionate<br />

standards of social housing.<br />


MArch Dissertations<br />

Module leader: Nathaniel Coleman<br />

The 10,000 word MArch dissertation provides students with opportunities to undertake sustained enquiries into topics from within the<br />

discipline of architecture of particular interest to them, while allowing them to develop effective modes of writing and presentation. Although<br />

not required, students are encouraged to explore topics aligned with their final design thesis project.<br />

Spatial Conditions within the Walled City of Nicosia:<br />

An Urban Void and its Challenges<br />

Marina Patsia<br />

Conflicts in cities originate from unique historical<br />

backgrounds in each circumstance. These conflicts emerge<br />

from national, ethnic, or religious disputes and often<br />

result in urban divisions. In consequence, they affect the<br />

socio-spatial negotiation and the appearance of cities,<br />

places, and their physical structural environment. During<br />

tensions and disagreements, temporal political decisions<br />

and settlements can lead to collaborative developments<br />

between communities. However, in complicated disputes<br />

where it remains infeasible to find resolution, ephemeral<br />

applications become permanent, affecting the landscape<br />

and its boundaries.<br />

Throughout history, divisions have shaped the past,<br />

present and future of cities. The island of Cyprus has been<br />

geographically and politically divided since 1974. Capital<br />

Lefkosìa, or Nicosia, remains the last divided capital in<br />

the world. Due to inter-communal conflicts and violence<br />

between Greeks and Turks (later Greek and Turkish<br />

Cypriots), long before the island’s occupation in 1974,<br />

an emergency buffer zone had formalised a partition<br />

prospecting to cooperative development. Following<br />

the Turkish invasion, the island had officially been<br />

segregated into two distinct parts, where a ‘line’ drawn<br />

by foreign negotiators on a map defines the borders and<br />

the geographic boundaries. The ‘green line’, as commonly<br />

acknowledged, forms an urban void separating the North<br />

and South parts among two diverse ethnicities, The<br />

United Nations (UN) guard and control the space where<br />

the urban unity is interrupted, and most of this area,<br />

still nowadays remains an uninhabited and inaccessible<br />

land. Memories have blurred in the absence of the past<br />

everyday life, nationalism and religions have changed the<br />

borders and faded away connections among communities.<br />

Walled city and the Division<br />

Barriers affect mobility and create spatial conditions on<br />

the urban fabric. The dissertation focused on possible<br />

explorations within the urban void in consideration to<br />

existing situations. Though, it was not an attempt to offer,<br />

propose a solution or a physical plan to political struggles,<br />

the study promoted the vision of filling voids with the<br />

ecological thought in mind. The thought of creating<br />

spaces for humans and non-humans; an encouragement of<br />

forming a common peaceful place. A place where cultures<br />

and ethnicities blend in a social park and environment.<br />

Photographs of the Buffer Zone in Nicosia<br />


MArch Dissertations<br />

Gap site on 5 Cross Street, Newcastle upon Tyne<br />

Urban Fragments: Spaces of Urban Resistance<br />

Robert Lloyd<br />

In developed cities, ‘Urban Fragments’ exist in many forms. Ranging from cut throughs and gap<br />

sites to entire urban areas. They are often defined via a measure of perception; these places are seen as<br />

leftover space, unplanned and wasted spaces often associated with refuse and crime. This dissertation<br />

highlights the conflict between the capitalist spaces of our city centres and these overlooked Urban<br />

Fragments that are their bi-product.<br />

Researchers have highlighted the importance of public space. However, empirical research on these<br />

leftover spaces is noticeably absent among urban studies. This results in insufficient information on<br />

how to utilise these Urban Fragments, reflecting their perceived lack of importance. This dissertation<br />

argues that these cracks in our city centres are spaces of great potential.<br />

This dissertation starts from an academic inquiry into the historical development of city centres,<br />

focusing on the forces of privatisation, consumption, and surveillance to present public space as<br />

lost, leading to a case study of several Urban Fragments in Newcastle city centre. Enabled by on site<br />

analysis, this study provides a model for investigation into the creation of spaces of use rather than<br />

spaces of consumption.<br />

Storage lot off Stepney Road<br />

A site-by-site analysis, both qualitative and quantitative, brings to light how these Urban Fragments<br />

are defined and how they differ from their environment. This dissertation develops possible<br />

interventions into these sites as counterpoints to spaces of consumption, referring to the work of<br />

Aldo van Eyck and Constant Nieuwenhuys as well as a number of historical sources. Proposing that<br />

through a negative dialect with modern city centre space, Urban Fragments could be facilitated into<br />

being spaces of Urban Resistance.<br />

The drawings presented are experimental representations of interventions into selected Urban<br />

Fragments found in Newcastle city centre, made following the academic and on-site investigations.<br />

Purposefully represented as abstract, the experiments do not aim to replicate the methods of<br />

production that produce the spaces of modern public city centres. Instead, the drawings present<br />

abstract forms and interventions to create a space to be defined by the user.<br />

Emply overgrown space off City Road<br />


MArch Dissertations<br />

Chinese Thames Town: Value of Replication<br />

Olyvia Tam<br />

Designing buildings and towns based on pre-existing designs often splits opinions.<br />

Whilst debates around architectural replication are common, it is frequently<br />

adopted by Chinese developers and planners. This dissertation seeks to explore the<br />

value of architectural replication and how it contributes to the Chinese community,<br />

ultimately studying how it can be perceived as a tool to establish a new-found<br />

Chinese identity. Thames Town, a replica of an English village in Shanghai, is<br />

studied to shed light on the significance of replication to the Chinese context.<br />

This analysis identifies three categories: replication as a means to rewrite history,<br />

to denote culture, and to compete on the global stage. It reveals that replication<br />

prompted a new connection between inhabitants and their built environment,<br />

enabled the construction of an ideal town reflective of cultural values and middleclass<br />

desires, and streamlined construction processes that gave rise to unprecedented<br />

urban development. The Chinese ‘copycat culture’ is examined against European<br />

theories of simulacrum and hyperreality to frame a collective cultural attitude and<br />

perception towards the practice of replication. By investigating the symbolism<br />

behind Thames Town through a historical, cultural, and socioeconomic lens, the<br />

analysis highlights the value of architectural replication as a process of innovation<br />

to redefine one’s national identity.<br />

Map of ‘One City, Nine Towns’ Plan<br />

Comparing Chinese and European theories on<br />

replication<br />

Map of Thames Town<br />


MArch Dissertations<br />

Junked, Abandoned, Destroyed, and Selectively Reconstructed”: Dynamics of Social Control in Mixed-Income Housing<br />

Tunu Brown<br />

Low-income, working class communities are repeatedly targeted and stigmatised as cities increasingly seek to design out crime and securitise<br />

public space. Ideological attacks on council housing residents have coincided with the demolition of their homes and communities, as well as<br />

with the rise of mixed-income housing developments. As decentralised, social-mix oriented housing strategies are increasingly implemented in<br />

Inner London, this study questions whether this approach acts to further control, rather than liberate, the city’s working class. Despite the<br />

semblance of inclusivity implied by social-mix policy, stigmatising rhetoric about the poor is reaffirmed by policymakers through concepts<br />

such as the ‘broken society’ narrative, and these are materialised in the design of mixed-income housing. Design features such as segregated<br />

children’s play areas and separate entrances for market-rate and affordable housing residents only further the notion of ‘them’ and ‘us.’ The<br />

treatment of affordable housing residents in mixed-income housing is indicative of the belief that social class is a marker of a deeper identity,<br />

a notion which has enabled policymakers to control where the poor can reside and regulate the spaces they occupy, both inside the home, and<br />

in the public realm. For these reasons, critical urban scholars have denounced mixed-income housing as ‘gentrification by stealth.’ Drawing<br />

on writings on social control, this study provides an in-depth analysis of the methods of control demonstrated in social mix policy. Utilising<br />

The Relay Building as a case study, this study exposes how the control methods implemented in social mix policy are reflected in the designs<br />

of these developments. The paper then explores the wider implications of this, examining how damaging rhetoric reinforces discriminatory<br />

trends in London. As this paper concludes, rhetorically and discursively cloaked as a utopian community building practice, social mix policy<br />

generates avenues to further control the working class’ rights and access to space, and decreases their visibility and movement in the city.<br />


Linked Research<br />

Iván J. Márquez Muñoz<br />

Among the most exciting and ambitious modules we offer as a School, the Linked Research module<br />

is unique to the Newcastle curriculum and spans the two Stages in the MArch, enabling year-long<br />

collaborative research projects between staff and students. Linked Research encourages approaches<br />

that extend beyond the conventional studio design project or ‘lone researcher’ dissertation model<br />

allowing space for multiple and speculative forms of research. Projects are often open-ended and<br />

collaborative, and, because they are long term and involve groups working together, they can enable<br />

participatory projects and large-scale production with a wide range of partners inside and outside<br />

the University.<br />

Testing Ground<br />

Graham Farmer & Peter Sharpe<br />

Alexander Mcculloch<br />

Benjamin Taylor<br />

Emily Spencer<br />

Henry Cahill<br />

Katherine Rhoades<br />

Robert Thackeray<br />

Sarah Bedwell<br />

Sergey Dergachev<br />

Vincent Macdonald<br />

Living and Lively Materials<br />

Ruth Morrow & Karolina Bloch<br />

Heather O’Mara<br />

Jay Hallsworth<br />

Zak Yiassoumis<br />

Re-scanning New Bridge<br />

Ed Wainwright<br />

Brandon Few<br />

Isabel Fox<br />

Jake Williams-Deoraj<br />

Sophie Collins<br />

Self Build in a Climatic Crisis<br />

Ben Bridgens<br />

Frazer Watson<br />

Irene Dumitrascu-Podogrocki<br />

Josh Knight<br />

Xingtong Li<br />

Concrete Monstrosity<br />

Owen Hopkins<br />

Dora Farrelly<br />

Erya Zhu<br />

Ryan Fung<br />

4th Order: Functionality Graded Mycostructures<br />

Martyn Dade-Robertson<br />

Dana Raslan<br />

Chi Ming Ng<br />

178 Opposite - Welcome Pavilion at Northumberlandia, Testing Grounds Group Project, Image by Brandon Few


Testing Ground<br />

Graham Farmer & Peter Sharpe<br />

Testing Ground is a unique and ongoing programme of architectural design-build research that is grounded in place-based inquiry and<br />

stakeholder engagement. Since 2013 we have collaborated with multiple external partners and actively explored the synergies between design<br />

and build practice, architectural pedagogy, public engagement and academic research. Over the past year we have worked on two projects.<br />

During the summer of 2021 we installed the Welcome Pavilion at Northumberlandia, a digitally prefabricated structure that provides an<br />

arrival and information point as well as sheltered seating for outdoor education, performances and community events. We are delighted that<br />

since completion the pavilion has been recognised by several awards and was also shortlisted in the AJ Small Projects award for 2021.<br />

We have also commenced work on the design of Sensory Hub for the Calvert Trust site at Kielder. The Trust is a charity that aims to enable<br />

people with disabilities to benefit from outdoor activities in the countryside with the aim of helping them to overcome challenges that might<br />

typically be considered too difficult. The Calvert Trust does not accept preconceptions about the ‘abilities’ of people with ‘disabilities’, rather<br />

it aims to support visitors in achieving the ‘impossible’ and as a result they challenge established assumptions around ‘designing for disability’<br />

and the regulatory framework of ‘access for all.’ The pavilion provides an outdoor gathering and meeting space for the Trust’s guests and will<br />

be constructed on site in mid-late <strong>2022</strong>.<br />

180<br />

Students: Benjamin Taylor, Katherine Rhoades, Henry Cahill, Vincent Macdonald, Sergey Dergachev, Robert Thackeray, Alexander Mcculloch, Sarah Bedwell,<br />

Emily Spencer

Living and Lively Materials<br />

Ruth Morrow (Professor of Biological Architecture) & Karolina Bloch (Research Assistant, HBBE)<br />

In Living and Lively we worked with novel and evolving bio-based materials. Many of these materials exist chiefly in controlled lab conditions,<br />

and are examined, understood and engineered through technical performance and criteria. In Living and Lively we took them out into the<br />

world to engage and perform with people and complex ecologies. By doing so the students were forced to make sense of biological processes<br />

that naturally lead to new and sometimes challenging aesthetics.<br />

Bacterial Cellulose and Concrete:<br />

Exploring the application of bacterial cellulose in concrete and concrete<br />

in bacterial cellulose.<br />

This work by Jay Hallsworth focused on the relationship between<br />

bacterial cellulose and concrete. Through research and informed material<br />

experiments, he uncovered a means to enhance concrete through the<br />

addition of bacterial cellulose, and in parallel, ways to improve the<br />

qualities of bacterial cellulose through the addition of aggregates.<br />

Strength, Length, Pattern:<br />

In Bacterial Cellulose Biotextiles<br />

Heather O’Mara’s work examined the application of<br />

biotextiles to an architectural context. To do so she<br />

studied a range of precedents in biology, architecture,<br />

textiles and design. She then investigated the strength,<br />

length and pattern properties of bacterial cellulose,<br />

experimenting with the conditions and components<br />

of growth and harvesting, and designing a biotextiles<br />

installation for the OME.<br />

Bacterial Cellulose Formwork:<br />

Reinventing rammed earth casting<br />

In this project Zak Yiassoumis tested the viability of DIY grown bacterial<br />

cellulose as a formwork material for rammed earth walls construction,<br />

through a series of prototypes. By introducing three-dimensional forms<br />

into the bacterial cellulose formwork he was able to explore the potential<br />

of BC formwork to reveal a new casting aesthetic.<br />

Students: Jay Hallsworth, Heather O’Mara, Zak Yiassoumis<br />


Re-Scanning NewBridge<br />

Ed Wainwright<br />

Continuing a five-year process of documenting the wandering of the Newcastle and Gateshead based NewBridge Project, from building to<br />

building, and site to site, Re-Scanning NewBridge has used LiDAR scanning technology to map and model the changing spaces of this artist<br />

studio and artist development organisation. Exploring themes of spatial appropriation, re-use, hauntings and the slips of technology and<br />

representation, students and staff have carefully attended to the most recent iteration of the NewBridge Project’s studio spaces on Gateshead<br />

High Street and Carliol Square, Newcastle. Working towards an exhibition thwarted by Omicron, we have continued the development of an<br />

alternative digital archive of the organisation’s buildings over time.<br />

Linked Research B 128 ARC8068<br />

Linked Research B<br />

129<br />

ARC8068<br />


3.0 Scanning & Data Processes<br />

The Digital Production of an Archive:<br />

Site No.1: Carliol House<br />

February 2021 - Site Visit/Appraisal<br />

March 20211<br />

Scanning<br />

April 20211<br />

Site No.2 NewBridge Gateshead<br />

October 2021 - Site Visit/Appraisal<br />

October 10th-18th - Scanning<br />

Importing scan data from Field 360 to Register 360<br />

Failures and Limitations of Scan Software Technology<br />

Importing scan data from Field 360 to Register 360:<br />

ReCap Pro - from iPad to PC<br />

Figure.1.45 Leica BLK360 FOV diagram<br />

Figure.1.46 Leica BLK360 In-situ<br />

54 ARC8068<br />

Linked Research B<br />

55 ARC8068<br />

182<br />

Students: Sophie Collins, Brandon Few, Isabel Fox, Jake Williams-Deoraj

Self Build in a Climate Crisis<br />

Ben Bridgens<br />

In the late 1970s and early 1980s Walter Segal developed a simple construction system which enabled people to build their own houses,<br />

with minimal training, on sites which were deemed uneconomic for conventional construction. As contemporary construction practice<br />

moves steadily towards global supply chains, off-site manufacture of complex building components and digital technology, Segal’s vision of<br />

communities working together to build simple, low-cost, flexible houses feels increasingly hard to achieve.<br />

We began by critically examining the state-of-the-art in ‘sustainable’ building design, traditional materials and construction practices, and<br />

new innovations in building materials and systems. Each student chose a particular construction material or process and explored new<br />

ways for individuals to construct ultra-low impact buildings by engaging with locally available resources. The project had a strong focus on<br />

materials and construction systems and combined literature studies and detailed building case studies with material experimentation and 1:1<br />

prototyping of building components.<br />

Students: Irene Dumitrascu-Podogrocki, Josh Knight, Xingtong Li, Frazer Watson<br />


1987<br />


(Documentary)<br />

(Microcultures, Club X)<br />


( BC Omnibus Presentation)<br />


(Channel 4 Documentary)<br />

( BC Documentary)<br />


(BBC Series)<br />

1994<br />


(Photographic series<br />

by Robert Clayton)<br />

ʻESTATEʼ<br />

(Prime Minister)<br />


(President of RIBA)<br />


‡ 35<br />

(Film)<br />


‡ 35<br />

(Blur)<br />

‡ 35<br />



(Alice Coleman)<br />

‡ 41<br />

(Maxwe l Hutchinson)<br />

(HRH The Prince of Wales)<br />


(Prime Minister)<br />




1999<br />

(Prime Minister)<br />

‡ 37<br />

JG BA LARD<br />

(Newcastle City<br />

Council Member)<br />

‡ 39<br />

(Jailed for co ruption)<br />

(Prime Minister)<br />


(Prime Minister)<br />

(A rested)<br />

‡ 36<br />

‡ 40<br />

TEAM 10<br />

‡ 38<br />






RED ROAD<br />

(10, 1, 12)<br />




(Extension)<br />


(Film)<br />

‡ 34<br />


(Prime Minister)<br />

(Jane Jacobs)<br />

T. DAN SMITH<br />

(Leader of Newcastle<br />

City Council)<br />


(Conservative Party Conference)<br />


(Housing Minister)<br />

(Art Exhibition)<br />


(Opened by Princess Margaret)<br />



(Prime Minister)<br />


(Prime Minister)<br />

TARGET OF 5 0, 0 HOMES<br />

(Labour Election Manifesto)<br />

(The Kinks)<br />

1956<br />


(Documentary)<br />

1962<br />

Concrete Monstrosity<br />

Owen Hopkins<br />

This project aims to develop new ways<br />

of conceiving the nearly 100-year history<br />

of modern architecture in Britain – both<br />

architecture that is ‘modernist’ in an<br />

architectural historical sense, and that<br />

which is popularly described as modern.<br />

1995<br />

1996<br />

1997<br />

1998<br />

1950<br />

1951<br />

1952<br />

1953<br />

1954<br />

1955<br />


The project emerges from the<br />

polarisation that characterises the debate<br />

about modernism and its legacies. On<br />

the one side, there are the modernist<br />

‘histories’, which were written even<br />

as modernism was in its comparative<br />

infancy, charting its rise and eventual –<br />

and, for many of those writers, inevitable<br />

– triumph. And, then on the other side<br />

are the critiques of modernism that<br />

began to go mainstream in the 1970s,<br />

which lambasted its failures – real and<br />

perceived – and even sought to locate<br />

in modernist design principles causes of<br />

crime and anti-social behaviour.<br />

Since then, this battle has continued to<br />

rage as revisionists histories, which have<br />

emerged through changing political<br />

and aesthetic tides, are countered<br />

through continued attacks on modern<br />

architecture, usually but not always,<br />

from the political right.<br />

1988<br />

1989<br />

1986<br />

1990<br />

1985<br />

1991<br />

1984<br />

1992<br />


1983<br />

1993<br />



(Documentary by Adam Curtis)<br />

(Photographic Exhibition by<br />

Bi l Stephenson)<br />

1982<br />


1981<br />


(Music Video)<br />

1980<br />



(First Postwar Housing)<br />


1979<br />


(TV Game Show)<br />

SHO PING<br />


(150th A niversary)<br />

ʻBEST DAYSʼ<br />

(Extension) DICE<br />

1978<br />




( BC Serial Drama)<br />



(Extension Proposal)<br />





(Prime Minister)<br />


(Tony Blair)<br />






(Gunter Rambow)<br />





(Private Developer)<br />



T. DAN SMITH<br />

T. DAN SMITH<br />


(JG Ballard)<br />

ʻDAN THE PLANʼ<br />

(Lindisfarne)<br />








TARGET OF 300, 0 HOMES<br />


(Proposal)<br />


·PEOPLE·<br />












(Oscar Newman)<br />

(M eting at CIAM)<br />

(Chief of L C)<br />






(Pearl Jephco t)<br />

·EVENTS·<br />












(Prime Minister)<br />

(Prime Minister)<br />











1972<br />



(Named by Architectsʼ Journal)<br />


( BC Documentary)<br />

THAMESMEAD 1970<br />

(Promotional Film)<br />

1971<br />


1970<br />

1969<br />

1957<br />

1968<br />

1958<br />

1967<br />

1959<br />

1966<br />

1960<br />

1965<br />

1961<br />

1964<br />

1963<br />

This project is interested in exploring<br />

the middle ground between these<br />

two positions, as well as between<br />

production and reception, maker and<br />

user, architecture as built object and<br />

architecture as it exists in discourse<br />

and media. We look to expand the<br />

conventional source material of<br />

architectural history into the material<br />

cultures and media in which architecture<br />

exists alongside its built manifestations<br />

Critical also to this approach is exploring<br />

different ways this material might be<br />

assimilated and presented. This means<br />

going beyond the linear narrative<br />

of a book, for instance, and instead<br />

formulating diagrammatic or curatorial<br />

approaches that re-cast the competing<br />

modernist narratives into the form of<br />

waves, cycles and fields.<br />

DICE<br />


(Alice Coleman)<br />



(Prime Minister)<br />


1977<br />


1976<br />

1975<br />


1974<br />


(Oscar Newman)<br />

1973<br />


(Pearl Jephcott)<br />


(Jane Jacobs)<br />


184<br />

Students: Dora Farrelly, Ryan Fung, Erya Zhu

4th Order: Functionality Graded Mycostructures<br />

Martyn Dade-Robertson<br />

There has been a growing interest in the design community in a new generation of Engineered Living Bulk Materials (ELBM). We have<br />

become well accustomed to using natural, biologically synthesised materials to construct buildings (obvious examples include Wood and<br />

Limestone). However, advances in our understating of biology coupled with the need to find alternatives to highly wasteful industrial processes<br />

have led designers to look beyond their usual material repertoire. Designers have started to consider processes which would allow us to grow<br />

our materials - exercising control in the way they develop at the level of individual cells or even manipulating their DNA.<br />

Our linked research project this year focused on Mycelium based-materials Mycelium is a fungus which grows in soils through a complex<br />

network of thin branching threads which absorb nutrients. Mycelium grows rapidly and, when grown through a material like saw dust or<br />

coffee grounds, it will bind the substrate together like a cement binding aggregate. The work shown here is from the project of Dana Raslan<br />

which investigated ways of growing functionally graded mycelium. As part of the project she developed a fabrication strategy which allows<br />

her to grow mycelium with different substrates to produce materials with different mechanical properties. Her project is also the first to use<br />

our new materials testing facilities (part of the Hub for Biotechnology in the Built Environment) including our Instron mechanical testing<br />

machine.<br />

Students: Dana Raslan, Chi Ming Ng<br />


PhD and PhD by Creative Practice Students<br />

Continuing PhD Students:<br />

Transformational Spaces for Women<br />

Sarah Ackland<br />

Exploring the Design Delivery Process in<br />

Architectural Firms in Nigeria<br />

Oluwakemi Adeboje<br />

Developing a Framework for Risk Assessment<br />

of Construction Projects in Egypt using Failure<br />

Mode and Effect Analysis (FMEA)<br />

Wahbi Ifreig Mohamed Albasyouni<br />

The Conservation of Historical Buildings in<br />

Mecca, Saudi Arabia, 1955-2018<br />

Mohanad Alfelali<br />

A Green and Unpleasant Land: On British<br />

Model Villages and Architectural Models<br />

Michael Aling<br />

Bacterial Choreography: Designing<br />

Interactions through Biological Induced<br />

Mineralisation<br />

Thora Arnardottir<br />

Ecologies of the Domestic Threshold.<br />

Investigating the Boundary between Domestic<br />

and Public in UK Multi-Unit Housing<br />

Elena Balzarini<br />

Spatial Contest across Scales: A Study of<br />

Transportation Nodes at Dalian and Taipei and<br />

Multi-Scalar Spatial Politics in Japan’s Colonial<br />

Project in East Asia (1895-1945)<br />

Lu Bao<br />

The More-than-Human Relations of<br />

Transplanetary Imaginaries and Habitats<br />

Anne-Sofie Belling<br />

The Effects of Participatory Design Tools<br />

on Community Engagement in Developing<br />

Neighbourhoods<br />

Ikbal Berk<br />

Stolac: A Testing Ground of Practised<br />

Ambiguity<br />

Smajo Beso<br />

B. Subtils Spore Hygromorphs as a Novel<br />

Smart Biomaterial<br />

Emily Birch<br />

Embodiment and Computing at the Architect’s<br />

Interface for Design<br />

Alexander Blanchard<br />

The Art of Conception: Methods to Kill the<br />

Architect<br />

David Boyd<br />

Alien Technology for Alien Worlds:<br />

Design for Biological Construction for Living<br />

Habitation System<br />

Monika Brandic Lipinska<br />

National Reconstruction Projects Concerned<br />

with Security Vulnerabilities Under the Park<br />

Chung-hee Regime in the 1960s and 1970s<br />

Uri Chae<br />

Ceilings by Default<br />

Kieran Connolly<br />

Housing Design and Marketing Images<br />

Hazel Cowie<br />

The Autobiographical Hinge: Revealing<br />

the Intermediate Area of Experience in<br />

Architectural Representation<br />

James Craig<br />

Living in Princely Cities: Residential<br />

Extensions, Bungalow Culture and the<br />

Production of Everyday Spaces in Bangalore<br />

and Mysore, South India ca.1881 to 1920<br />

Sonali Dhanpal<br />

Intersectional Belonging: Exploring Equitabel<br />

Access to Urban Forest Qualities Across<br />

Communities<br />

Lotte Dijkstra<br />

SPACE, a Bridge Connecting Online and<br />

Offline Learning<br />

Nagham El Elani<br />

Architecture, Education and the Empathic<br />

Imagination<br />

Elantha Evans<br />

Reimagining Children’s Spaces with Seven<br />

Stories: The National Centre for Children’s<br />

Books<br />

Daniel Goodricke<br />

Fundamental Principles of Biological<br />

Fabrication in Nature for Upscaling in the<br />

Built Environment<br />

Aileen Hoenerloh<br />

The (Un)Making of Modern Iranian Women:<br />

A Feminist Reading of Everyday Spatial<br />

Experience in Interwar Period Tehran (1918-<br />

39)<br />

Sadaf Hosseini Tabatabaei<br />

Textile Hosting<br />

Romy Kaiser<br />

Participation of Community in Heritage-Led<br />

Regeneration<br />

Brian Hwang<br />

A Construct of the Everyday and Living Space<br />

in War Preparation Projects in China during<br />

Cold War Period (1960-1980)<br />

Lingfei Kong<br />

Syn.Emergent Material<br />

Sunbin Lee<br />

An Investigation into the Use of Building<br />

Energy Performance Simulation as Active<br />

Design Method at Conceptual Design Stage in<br />

the UK practice<br />

Ramy Mahmoud<br />

Experiencing Architecture in the House-<br />

Museum: An Auto-Ethnographical Study of<br />

the Phenomenology of the Domestic Realm in<br />

Walmer Yard<br />

Laura Mark<br />

Vatican II, Modernism and Concrete.<br />

Meaning and Interpretation of the Material in<br />

Post-war Britain<br />

Ivan Marquez Munoz<br />

Robust Architectural Detailing<br />

Joseph George Marshall<br />

Urban Riverfront Revitalisation in 21st<br />

Century Indonesia<br />

Indah Mutia<br />

How Architects Can Increase the Use of Full-<br />

Culm Bamboo to Provide Adequate Urban<br />

Housing in Tropical Developing Economies<br />

John Osmond Naylor<br />

The Materiality of Well-Being: Living Textiles<br />

as Interfaces to Enhance Well-Being in the<br />

Built Environment<br />

Paula Nerlich<br />

The Influence of Occupant Behaviour on<br />

Energy Consumption: A Case of Residential<br />

Buildings in Makkah, Saudi Arabia<br />

Hatem Nojoum<br />

Assessment of Thermal and Daylight Strategies<br />

in Relation to the Agitation Levels of People<br />

with Dementia in Warm Humid Climates<br />

Emmanuel Odugboye<br />

Investigating the Properties of Mycelium to<br />

Develop Free Form Building Materials<br />

Dilan Ozkan<br />

Space and Death – Understanding and<br />

Designing Space for Assisted Dying for the<br />

Terminally Ill<br />

Virginia Rammou<br />

Museums & Landscapes to Shape Modernity<br />

Aldric Rodriguez Iborra<br />

Building Home<br />

Martina Schmuecker<br />

Designing Water. A Living Wall between Land<br />

and Sea<br />

Pierangelo Marco Scravaglieri<br />

Place, Politics and Memory – Contested<br />

Heritage<br />

Ceren Senturk<br />


Building Architecture Autonomy: A Study of<br />

Design Knowledge as a Discursive Practice in<br />

China (1995-2015)<br />

Difei Shan<br />

Becoming Planners and Architects: the<br />

Formation of Perspectives on Residential<br />

Design Quality<br />

Dhruv Adam Sookhoo<br />

Beyond Biomimicry: How Can We Create<br />

Designs that Possess the Functions of Living<br />

Things?<br />

Assia Stefanova<br />

The Withdrawn Design: Object-Oriented<br />

Ontology and Architectural Practice<br />

Harry Thompson<br />

Fabrication Through Competition: Developing<br />

a Biological Fabrication Strategy Using the<br />

Mycelium Competition<br />

Ahmet Topcu<br />

Alive: Rhythmic Buildings<br />

Layla Van Ellen<br />

Repositioning the Profession: The 1958<br />

RIBA Oxford Conference and its Impact on<br />

Architectural Education<br />

Raymond Verrall<br />

ALIEN TECHNOLOGY FOR ALIEN WORLDS* Design for Biological Co<br />

Monika Brandić Lipińska | Martyn Dade-Robertson, Meng Zh

PhD Research<br />

Processual Approach to Forming with Unruly Matter<br />

Thora H Arnardottir<br />

This research, combining microbiology and design, focuses on exploring the design<br />

potential of bacterial-induced biomineralisation. It sits within the speculations regarding<br />

our changing relationship with nature through engineered biological systems and new<br />

material processes. The thesis looks at how we, as designers, can begin to adjust our<br />

fabrication techniques. It explores material tinkering and the structuring of custommade<br />

bioreactors and casting vessels that enable the biofabrication process to materialise.<br />

The research aims to capture and expose the process from which the form emerges,<br />

understand what occurs within the casting vessels, and deliver design guides to engage<br />

with the biomineralisation process.<br />

Supervisors: Martyn Dade-Robertson, Helen Mitrani<br />

Funding: ESPRC Thinking Soils project & HBBE’s Research England Expanding Excellence in<br />

England (E3) Fund<br />

Spaces Accommodating Mixed Digital Physical Embodied Learning<br />

Nagham El Elani<br />

This research explores learning environment design for children at primary level,<br />

specifically spaces that can accommodate mixed digital physical embodied learning.<br />

The research applies a participatory action methodology where students and teachers<br />

are considered co-researchers. The research is divided into 3 phases, ‘observations’,<br />

‘workshops and games’, and ‘intervention’. I am currently in the second phase<br />

collaborating with the participants in identifying the spatial qualities of the learning<br />

environments through adopting interactive mixed digital physical embodied methods.<br />

The poster shows the students assembling their own spatial worms made of their selected<br />

preferred images of educational spaces, and the digitized version of their worm where<br />

they explain the reason for selecting the images and their worm’s name.<br />

Supervisors: Rosie Parnell, Pamela Woolner<br />

Collaborators: Two Primary Schools in Newcastle<br />

Spatial Strategies in Dalian and the Northeast under Japan’s Colonial Rule 1897-<br />

1945: Railway Stations and Sea Ports as Key Notes at Multiple Scales<br />

Lu Bao<br />

Dalian, a Chinese city located at the end of the railway lines and the starting point of<br />

sea freight, was a Japanese colony in modern times. Due to its geographical importance<br />

in transportation, this study wants to show the interaction between the urban space and<br />

these transportation nodes. Through the study, on the one hand, not only Japan’s overall<br />

geostrategic expansion across East Asia can be revealed, but regional conflicts between<br />

the colonial authority and the local gentry as well; on the other hand, in the city, colonial<br />

modernity and uneven community development under racism can also be shown.<br />

Funding: Newcastle University & CSC Scholarship<br />


Alien Technology for Alien Worlds: Design for Biological Construction of Living<br />

Habitation on Mars<br />

Monika Brandić Lipińska<br />

The project explores the potential and challenges of using bio-composites for space<br />

applications and how these might be addressed. The aim of the research is to develop<br />

a biofabrication strategy for stabilizing regolith (loose layer of Martian soil) using<br />

mycelium, to construct inhabitable structures, in resource-limited Martian conditions.<br />

Based on the idea of engineered living materials, the long-term concept employs the living<br />

biological growth in a controlled environment for the process of material fabrication,<br />

assembly and maintenance. It questions how we construct with the complexity of<br />

biological systems and how we may live in habitats which are themselves, living.<br />

Supervisors: Martyn Dade-Robertson, Meng Zhang, Magdalini Theodoridou<br />

Collaborators: Lynn Rothschild’s Astrobiology Lab, NASA Ames Research Center<br />

Funding: Northern Bridge Consortium & Research England<br />

Intersectional Belonging:<br />

Exploring Equitable Access to Urban Forest Qualities Across Communities<br />

Lotte Dijkstra<br />

Places can mean different things to different people. This research aims to explore how<br />

this notion impacts accessibility to urban forests. How does a sense of intersectional<br />

belonging contribute to increasing equitable access to urban forest qualities? Place-based<br />

narratives are unearthed in collaboration with experts from local communities through<br />

storytelling. Each iterative exploration is a nested loop, layering a narrative around the<br />

core research question and aiming to examine a specific angle. The creative product<br />

will be generated as an ongoing piece of work, culminating in a series of co-produced<br />

illustrated urban forest stories.<br />

Supervisors: Usue Ruiz Arana, Clive Davies & Maggie Roe<br />

Funding: Forshaw Award in Architecture<br />

The [Un]making of Modern Iranian Women: A Feminist Reading of Everyday<br />

Spatial Experience in Interwar Period Tehran (1918-39)<br />

Sadaf Tabatabaei<br />

During the 19th century, and as a result of modernist reforms, Tehran was subjected to<br />

massive physical transformations and became an exemplar of urban renewal projects for<br />

the whole country - a place of simultaneously experimenting and experiencing modernity.<br />

This research aims to provide an alternative feminist architectural history narrative of<br />

the situated Iranian modernity and the variegated experiences of modernisation. This<br />

will be done by analysing the position of women in the inter-war period (1918-39)<br />

and exploring their experience and perception of modernisation being unfolded in their<br />

surrounding built environment.<br />

Architecture, Education, and the Empathic Imagination.<br />

Elantha Evans<br />

Located in the physical, mental, and conceptual space of the ‘architecture design studio’, this project explores wider ideas and potential<br />

applications of empathy, communicative empathy, and of the empathic imagination. These are put forward as skills and places that can be<br />

accessed, enabled, nurtured, and embedded as part of learning, teaching, and design practices. Amplifying the learner voice and expanding<br />

inclusion of diverse cultural values ultimately impacts our future built environment and its making. Using participatory, action-oriented<br />

research methods rooted in strong theoretical understandings and grounded in lived experiences, the project makes connections between<br />

design, pedagogical practices, and learning environments.<br />

Supervisors: Ruth Morrow, Rosie Parnell<br />


ARC Research<br />

BioKnit<br />

Jane Scott, Ben Bridgens, Elise Elsacker, Armand Agraviador, Aileen Hoenerloh,<br />

Romy Kaiser, Ahmet Topcu, Dilan Ozkan<br />

BioKnit brings together textiles, biotechnology, and computation in the<br />

production of a free-standing biohybrid structure composed of knitted<br />

fabric, fungal mycelium and bacterial cellulose. Biohybrid systems present an<br />

opportunity to rethink not only the way our buildings are made, transitioning<br />

from construction to growth, but also the form and materiality of our<br />

architectural spaces and surfaces. There is an opportunity to move towards<br />

structurally optimised geometries, and this research seeks to redefine a catenary<br />

logic for materials that transition in state from soft and flexible to rigid and stiff,<br />

through the process of growth. The research has addressed key questions about<br />

the biocompatibility of knit as a scaffolding system for mycelium and bacterial<br />

cellulose, the mechanical performance of the composite system and the challenges<br />

of growing biohybrids both at scale, and outside a lab environment.<br />

Funder: Research England’s Expanding Excellence in England (E3) Fund<br />


Unravelling the Live Project: the Entanglement of Architectural Pedagogies in Civil<br />

Society<br />

Daniel Mallo, Armelle Tardiveau, Abigail Schoneboom<br />

This research explores the live project as a rich space for entanglement between students<br />

and civil society. The authors critically argue for a need to acknowledge and chart the<br />

process of learning and sharing across all actors brought together through architectural<br />

pedagogies of engagement (students, community, educators/ facilitators). The argument<br />

is underpinned by principles of critical pedagogy and a claim for equality as part of<br />

a dialogic process of learning. Ultimately, the live project is understood as the setting<br />

for a social process of mutual learning where participants contribute through their<br />

competence and knowledge of what they do and know.<br />

changing<br />

humidity<br />

changing<br />

humidity<br />

changing<br />

humidity<br />

changing<br />

humidity<br />

RESPIRE: Passive, Responsive, Variable Porosity Building Skins<br />

Ben Bridgens, Jane Scott, Natalia Pynirtzi, Kumar Debnath<br />

RESPIRE aims to develop a new generation of low-cost, low-environmental impact,<br />

responsive building skins that moderate internal temperature and humidity by varying<br />

their porosity. The transformative approach of the RESPIRE project would improve<br />

internal air quality and eliminate the need for energy-intensive, high-maintenance<br />

mechanical ventilation systems, enabling fully passive, zero-energy buildings. We<br />

will take advantage of the natural moisture-responsiveness of some abundant organic<br />

materials. Wood, hydrogel (made from seaweed), wool and flax fibres all swell and shrink<br />

in response to varying levels of moisture and can potentially be used to produce novel<br />

breathing building skins.<br />

Funder: Leverhulme Trust Research Project<br />

Routes of Infection, Routes to Safety: Understanding Risk and Viral Imagination<br />

on Public Transport<br />

Charlotte Veal<br />

Emma Roe, Sandra Wilks and Paul Hurley (University of Southampton)<br />

There is an absence of qualitative, interdisciplinary research on the personal application of<br />

infection prevention (IP) measures (hand-washing, mask-wearing), and its effectiveness<br />

beyond the healthcare setting. During the COVID-19 pandemic, IP measures are critical<br />

to building confidence to resume leisure and economic activity. The project integrates<br />

behavioural, microbiological and aesthetic approaches to creatively demonstrate the<br />

interactions of human-microbial transmission. Taking the case study of the bus, the<br />

research: investigates the structural challenges in consistent application of IP in public<br />

spaces; provides microbiological and sociological evidence to inform effective cleaning<br />

practices for bus operators and safe travel practices for bus users; and generates wider<br />

public knowledge of infection risk/prevention and their geographies in shared indoor<br />

spaces.<br />

Funder: AHRC<br />

Collaborators: Regional Bus Operators, Bus Users, Bristol Somali Community<br />


Routledge Handbook of Chinese Architecture:<br />

Social Production of Buildings and Spaces in History<br />

Jianfei Zhu, Chen Wei, Li Hua<br />

This handbook, representing the collaboration of 41 scholars, provides a multi-faceted<br />

exploration of roughly 6,000 years of Chinese architecture, from ancient times to<br />

the present. This volume formulates a thematic framework for investigating Chinese<br />

architecture, integrating previously fragmented topics and combining the scholarship<br />

of all major periods of Chinese history. It has five parts: traditions of ancient dynasties;<br />

modernization of republican China; enterprises of a socialist republic; a changing China<br />

on the world stage; and socio-cultural theorization. The book provides a pioneering<br />

combination of ancient and modern Chinese architecture into one coherent study.<br />

Routledge Handbook of<br />

Chinese Architecture<br />

Social Production of Buildings and<br />

Spaces in History<br />

Collaborator: Southeast University (China)<br />

Edited by Jianfei Zhu, Chen Wei and Li Hua<br />

Dwellbeing Shieldfield<br />

Julia Heslop<br />

During the last ten years, Shieldfield has seen a 467% increase in student housing. This<br />

has affected the character and social mix of the neighbourhood. In response, Dwellbeing<br />

Shieldfield as a co-operative and Community Benefit Society led by residents, was<br />

founded to generate citizen knowledge on issues affecting people’s lives in Shieldfield.<br />

Through programmes focused on food growing, public space improvements, local<br />

skills building, combatting social isolation, and young people, this has led to positive,<br />

community-led social and environmental change. Through this work the organisation<br />

aims to build local knowledge and skills so residents can address future urban change.<br />

Funders: Faculty Impact Fund, Engagement and Place Fund, Social Justice Fund<br />

BioDwelling<br />

Louise Mackenzie<br />

BioDwelling explores the cultural context of biotechnology in the built environment<br />

through inviting members of the public to interact with, and share their views on living<br />

with, biological materials through artist-led activities. The project uses methodologies<br />

based in sound and imaginative practice to amplify the voice of the non-human in<br />

biotechnology research. Through establishing a network of interest within the local<br />

community, the research invites dialogue around how we can listen to the voice of the<br />

non-human in the context of biotechnology and how we might imagine our relationship<br />

with living biological materials in the home.<br />

Funder: Research England / HBBE<br />


Living Manufacture: Principles for a microbial 3D printer<br />

Thora Arnardottir, Sunbin Lee & Martyn Dade-Robertson<br />

Joshua Loh, Katie Gilmour & Meng Zhang (Nothumbria University)<br />

Living Manufacture project is a collaboration between architects and bio-scientists to<br />

build a new type of Engineered Living Material (ELM) based fabrication system. The<br />

project aims to develop a novel digital manufacturing approach by integrating biological<br />

growth and digital fabrication to make 3D functionally graded materials and objects. We<br />

see this work as the basis of a new fabrication technique with potential applications in<br />

a wide range of areas, including biomedical applications, complex composites for highperformance<br />

manufacturing and novel consumer products and the potential to scale-up<br />

to create novel materials and structures for architecture.<br />

Funders: EPSRC Manufacturing the Future and HBBE’s Research England Expanding<br />

Excellence in England (E3) Fund<br />

Translational Teaching<br />

Jianfei Zhu<br />

In his regular guest teaching on critical studies of architecture at China Academy of Art<br />

and Southeast University, Professor Jianfei Zhu has added an Open Lecture Programme<br />

where Newcastle academics in the School of APL were invited to deliver lectures online<br />

to local students and an international audience. In September and October 2021, Adam<br />

Sharr, Katie Lloyd Thomas, and Steve Graham delivered lectures on Heidegger, feminist<br />

thinking, and military urbanism. In June <strong>2022</strong>, Stephen Parnell and Jeremy Crampton<br />

delivered lectures on media and magazines, and data politics, at China Academy of Art.<br />

Collaborators: China Academy of Art (Hangzhou) and Southeast University (Nanjing)<br />

Guest Speakers: Adam Sharr, Steve Graham, Katie Lloyd Thomas, Stephen Parnell,<br />

Jeremy Crampton<br />

At Home with Children: Learning from Lockdown<br />

Rosie Parnell<br />

We explore how lessons learned from lockdown can help to re-imagine, refurbish and<br />

design ‘liveable’ homes for the contemporary needs of families with children. Informed<br />

by a nationwide survey and interviews with families, this research explores interrelationships<br />

between social experience, psychological well-being and everyday domestic<br />

space. Adaptations that families made to their homes during lockdown feed into a<br />

codesign process to create a ‘Home Hack Toolkit’. Findings and recommendations also<br />

target housing policy and professionals in family support roles, identifying the settings<br />

and scenarios that present the greatest challenges to families, and providing guidance<br />

informing domestic design and space standards.<br />

Funder: UKRI/AHRC Covid-19 Rapid Research Fund<br />

Collaborators: Husam Abo Kanon, Emily Pattinson and Alkistis Pitsikali from the RA<br />


Hub for Biotechnology in the Built Environment (HBBE) Research<br />

Karolina Bloch, Armand Agraviador, Kaaj Modi, Louise Mackenzie, Pippa McLeod-Brown, Ruth Morrow and Ben Bridgens<br />

All work is funded by Research England unless otherwise stated.<br />

Project 1: Bacterial Cellulose Prototype<br />

Synthesising cellulose for use as a façade material for the built environment<br />

Bacterial Cellulose is a bacteria synthesised cellulose, secreted by a genus of bacteria,<br />

known as Komagataeibacter. Research on and use of bacterial cellulose has grown<br />

exponentially over recent decades, chiefly in the fields of biomedical, food, packaging,<br />

product and fashion design. However, in respect to its potential applications in the<br />

Built Environment, significantly less research has occurred. This prototype-led project<br />

therefore uniquely explores bacterial cellulose as a potential façade material for the built<br />

environment, from scaled up production through to its installation, maintenance and<br />

the impact of weathering and environmental conditions.<br />

Collaborators: Mahab Aljannat, Jay Hallsworth, Oliver Perry and Yunhong Jiang and<br />

Meng Zhang from Northumbria University<br />

Project 2: Bio-Circular Concrete Prototype<br />

Microbial induced carbonation on bioreceptive concrete<br />

This project develops and tests bio-receptive concrete panels for the façade. It builds on<br />

previous research with Queen’s University Belfast, which developed a concrete panel<br />

made from 90% waste, where the concrete properties were optimised and the panel<br />

designed to attenuate water infiltration, thus supporting plant life. This prototype aims<br />

to refine the design of the concrete panels to support plant and microbial lifeforms,<br />

thereby increasing the absorption of atmospheric CO2. The project particularly focusses<br />

on 1. investigating whether or not microbial induced carbonation occurs on the concrete<br />

panels and 2. trailing the propagation of indigenous plant species in the designed panel<br />

recesses.<br />

Collaborators: Janet Simkin, Oliver Perry, Angela Sherry, (Northumbria University) Rory<br />

Doherty (QUB), Sree Nanukuttan (QUB) and Elizabeth Gilligan (Material Evolution)<br />


at OME project will demonstrate a closed-loop<br />

pproach to domestic buildings. Using food<br />

tor, argriculturally influenced cycles working in<br />

with existing technologies installed in the OME<br />

sustainable human habitation. The project<br />

BBE research with existing technologies and<br />

ethodologies.<br />

Project 3: Culina@OME<br />

This is a small-scale pilot project within the Hub for Biotechnology in the Built<br />

Environment, which seeks to develop a closed-loop systematic approach to energy,<br />

water and nutrients in domestic buildings, which will be prototyped at large scale within<br />

and around the OME (http://bbe.ac.uk/ome/). Identifying food as the intersection<br />

of multiple flows and cycles within the home, and a fundamental point of human<br />

interaction with those cycles, the project integrates HBBE research with existing<br />

technologies and traditional methodologies, which range from microbial fuel cells to low<br />

energy food preparation techniques such as fermentation.<br />

Culina at OME’s contribution to a self-sustaining OME.<br />

3<br />


Project 4: Mud Futures<br />

Neveen Hamza<br />

Mud Futures 2021-<strong>2022</strong> is a global long multi-host multi-location conclave on the<br />

futures of mud in architecture, conceptualised and conducted by the School of Art and<br />

Architecture, Sushant University, India in partnership with Responsible Interactions<br />

Research theme, HBBE. The conclave is an opportunity for a global platform for<br />

ideas, thoughts, research and architectural projects centred around mud. Here, mud is<br />

considered as a material, as an approach, as a vehicle for sustainability, and as the source<br />

of an ideological imperative for the future of the built environment. In March <strong>2022</strong>,<br />

HBBE hosted a symposium as part of Mud Futures on the topic of Hybrid Futures.<br />

The event featured speakers from HBBE and industry, speaking about novel industry/<br />

academic collaborations for uses of mud in the built environment.<br />

See https://ipac.page/mudfutures/<br />

Project 5: Mud Matters<br />

HBBE’s Responsible Interactions Team, in collaboration with the Gateshead Riverside<br />

Project and the Mud Futures network, invited artist and filmmaker Michele Allen to<br />

explore the mud-flats at the confluence of the Rivers Tyne, Team and the tidal basin<br />

of Dunston Staiths, as part of a project that researches, maps and creatively explores<br />

the economic, cultural and ecological significance of this landscape. The residency is<br />

presently running for a period of three months (March-May) and Michele has been<br />

thinking about this mud habitat across a range of scales from the microscopic, through<br />

to the creatures living in the mud, birds which feed there and people who live close to it.<br />

She is producing a video work featuring footage of the mud, interviews with locals and<br />

environmental experts, ‘mud mapping’, wildlife, changing ambient noise, and intends to<br />

exhibit this alongside prints and interview transcripts.<br />

Project 6: Crafting Cultures<br />

Through this project we are engaging with four student crafters from architecture and<br />

fine art to work with the biomaterial Bacterial Cellulose (BC), or SCOBY. BC is a highly<br />

novel living material for the built environment, in that it is mostly understood within the<br />

context of the lab or small-scale manufacturing, and does not map to standard methods<br />

of fabrication or assembly. HBBE believes that we can learn much about BCs properties<br />

through the tacit knowledge that crafters possess. By working with BC, a living material<br />

that is itself produced through co-creation between bacteria and yeasts, we might also<br />

engage people into new conversations about ecology, sustainability, and the resourcing of<br />

materials. We are just at the start of this project, funded by NU Engagement and Place<br />

funding, and have been awarded follow-on funding so watch this space!<br />

Project 7: Listen with Mother?<br />

This summer, 6 May to 23 July <strong>2022</strong>, the Hub for Biotechnology in the Built<br />

Environment (HBBE) is taking part in the Farrell Centre exhibition, ‘How We Live<br />

Now’ at Newcastle Contemporary Art (NCA). Listen with Mother? is a collaborative<br />

artwork as part of BioDwelling, an artist-led participatory research project by Louise<br />

Mackenzie. It is an evolving installation centred around a SCOBY* mother that will<br />

grow on a kitchen table situated in the gallery over the duration of the exhibition. The<br />

work broadcasts situated voices from architecture, artistic and domestic practices that<br />

explore relationships between human and more-than-human kin through the expanded<br />

concept of the ‘mother’. Researchers from HBBE, artists, architects and other makers<br />

are invited to share how they are working with non-human organisms, exploring diverse<br />

perspectives on more-than-human care, kinship, control, nurture and culture from the<br />

lab, the gallery and the home.<br />


ARC Exhibitions<br />

Drawing with Scissors: Architectural Imagination in the<br />

Contested Spaces, Nicosia<br />

Ceren Senturk<br />

Collage generates its own visual reality through the layered coexistence<br />

of image fragments from various contexts, evoking multiple layers<br />

of different meanings and realism. This repurposing of fragments<br />

and statements, as well as the resulting flexibility of interpretation, is<br />

frequently combined with a critical intention that addresses societal,<br />

design, and perception issues. Beyond its easy-to-create visuals, the<br />

collage contains intense artistic and research potential in the design<br />

process. My PhD by Creative Practice is an attempt to explore how<br />

collage, an artistic practice, can provide productive opportunities to<br />

intervene in contentious debates in contested spaces. It locates itself<br />

as a generative space within which to practically test and explore the<br />

potentials of collage and collaging for conceptualising and researching<br />

conflicted spaces. The divided city of Nicosia, serving as a joint capital<br />

for two societies: the Republic of Cyprus in the south and the Turkish<br />

Republic of Northern Cyprus in the north since 1964, is used as a<br />

subject of collage experimentation.<br />


Transformative Space for Women:<br />

Wunning in Progress<br />

Sarah Ackland<br />

I run to unpick engrained values, my education, my practice.<br />

My place in society, the city, the past. My creative practice<br />

is my running, by running I take up vast amounts of space<br />

in the city.<br />

How do we know what spaces women take up?<br />

How much space we are allowed to take up?<br />

In a city designed by men what says a woman, was here?<br />

This exhibition collected months of isolated work together<br />

and this exhibition was the inception of the ‘Transformative<br />

Spaces’ series which developed into three key pieces; these<br />

were later exhibited at How We Live Now at the Newcastle<br />

Contemporary Art Gallery.<br />

These pieces are an account of femininity in city and domestic<br />

spaces which is grappling with the object status of the female<br />

body but also a search for roots, healing and transformation.<br />

Through memorialising objects and experiences, the pieces<br />

become public interfaces for discussions about how much<br />

space women are really allowed to take up.<br />

Transformative spaces;<br />

Unravel a torment<br />

Witness transformation<br />

Repair an unequal planet<br />

The stuff of academic life: material and visual cultures<br />

Peter Kellett<br />

Architect and anthropologist Dr Peter Kellett celebrated his retirement last year with an exhibition ‘Packing Up: reflections on a lifetime at<br />

the University’. A seminar accompanied the exhibition which discussed the materials and artefacts on display and explored the thinking and<br />

ideas behind the selection and design of the installation.<br />


ARC Exhibitions<br />

Children, the Archive and the City: A Set of Ideas for Accessing Seven Stories’ Collection<br />

Daniel Goodricke<br />

Collaborators:<br />

Newcastle University’s School of Architecture, Planning and Landscape; School of English Literature, Language and Linguistics; and<br />

Seven Stories: The National Centre for Children’s Books as part of Vital North Partnership.<br />

Supervised by Prof. Prue Chiles, Prof. Adam Sharr and Prof. Matthew Grenby.<br />

Funders:<br />

Northumbria University (formerly UK Research and Innovation: Arts and Humanities Research Council)<br />

A creative practice-based PhD project, in collaboration with Seven Stories: The National Centre for Children’s Books – investigating how<br />

children interact with museum, archive and reading spaces, as well as the broader context of the city, and exploring how spaces could be<br />

reimagined with and for children and young people. Much of the collaborative practice comprises novel techniques utilising illustrations and/<br />

or artwork from amongst Seven Stories’ collection. The findings of the project will culminate in the production of a design brief, developed<br />

through the close dialogue with representatives of Seven Stories, end users, neighbouring communities, and other stakeholders.<br />


Farrell Centre<br />

Owen Hopkins<br />

The Farrell Centre is a new public centre for architecture and cities at Newcastle<br />

University, inspired by the recommendation of renowned architect-planner and<br />

Newcastle University alumnus, Sir Terry Farrell, that every town and the city should<br />

have an ‘urban room’ where people can go to get involved in shaping the future of<br />

where they live.<br />

In late 2021, work commenced on-site on the building project to transform a former<br />

late-19th-century department store on the edge of campus into the Farrell Centre’s<br />

new home: The Sir Terry Farrell Building. The £4.6 million building project is<br />

designed by local architects SPACE and Elliott Architects who have worked in close<br />

collaboration with Farrell Centre Director, Owen Hopkins. The project is due to<br />

complete in late <strong>2022</strong>, ready for the Centre’s opening in early 2023.<br />

In the meantime, the Farrell Centre rolled out its first programme: an online lecture<br />

series, organised in collaboration with APL, which invited practitioners and thinkers<br />

working in a range of fields and geographies to explore their ideas and vision(s) for<br />

‘another architecture’. Lecturers included Studio Ossidiana (Netherlands/Italy), Alice<br />

Brownfield (UK), Gonzalo Herrero Delicado (UK/Spain), Ruth Morrow (UK),<br />

Paradigma Ariadné (Hungary), Cave_bureau (Kenya), Marinela D’Aprile (USA),<br />

Superflux (UK), Afaina de Jong (Netherlands) and Adam Nathaniel Furman and<br />

Joshua Mardell (UK).<br />


How We Live Now:<br />

Making Spaces in the North East with Matrix Feminist Design Co-operative<br />

Owen Hopkins<br />

In May <strong>2022</strong>, the Farrell Centre, in association with the School of Architecture, Planning and Landscape and Newcastle Contemporary Art,<br />

presented an exhibition exploring the work of 1980s feminist architecture co-operative Matrix, alongside contemporary projects looking at<br />

gender, accessibility, equality and discrimination in the built environment.<br />

Originally curated by Jon Astbury and Jos Boys for the Barbican Centre in London, the exhibition was built around an installation of work<br />

by the radical 1980s feminist architecture co-operative Matrix, whose four founding members met while students at Newcastle University.<br />

Featuring rare films, drawings, photos, architectural models, as well as posters, practice documents and press clippings, the installation<br />

explored Matrix’s approaches to design that aimed to empower groups often excluded in the design of buildings, including Black and Asian<br />

women’s organisations, community and childcare groups and lesbian and gay housing co-operatives, to explore more inclusive ways of<br />

designing, building and occupying spaces.<br />

In the exhibition’s restaging at Newcastle Contemporary Art, the Matrix installation became a jumping off point for a display of contemporary<br />

projects from the North East of England, which engage with the spatial implications of questions around gender, accessibility, equality and<br />

discrimination.<br />

Urban Obsticle Courses’, photograph of Anne Thorne and child taken from<br />

‘Making Space: Women and the Man-Made Environment’<br />

Brick Picnic’, photograph of Matrix workshop day with women from<br />

the Jagonari Centre, researching brick options for the building.<br />

Front Façade of Jagonari Centre<br />

200<br />

Images: Courtesy of Anne Thorne and Matrix Open feminist architecture archive

A-Z Women in Architecture<br />

Members of Matrix in the 1990s. Back, from left:<br />

Mo Hildenbrand, Sheelagh McManus, Raechal Ferguson.<br />

Front, from left: Janie Grote, Annie-Louise Phiri and Julia<br />

Dwyer.<br />

Brick Picnic’, photograph of Matrix workshop day with women from the Jagonari<br />

Centre, researching brick options for the building.<br />

Women, Children and Play on the Street<br />

Images from: Courtesy of Sue Ridge, Kidz Klub Leeds<br />


Contributors<br />

Each year, the School draws on a vast and extraordinary array of talented architects, artists, critics and other practitioners who substantially<br />

contribute to our students’ learning, and to the culture and status of the School more generally. On this page we’ve gathered all (we hope!) of<br />

these vital individuals who come week-after-week to teach in our School. Our thanks go to each and every one of them, and we hope they will<br />

keep returning, as without their critical input the School would be a very different place.<br />

Stage 1<br />

Adam Fryett<br />

Adam Sharr<br />

Aileen Hoenerloh<br />

Alex Blanchard<br />

Andrew Ballantyne<br />

Anna Cumberland<br />

Armelle Tardiveau<br />

Assia Stefanova<br />

Becky Wise<br />

Byron Duncan<br />

Carlos Calderon<br />

Chloe Gill<br />

Chris Charlton<br />

Chris Elias<br />

Damien Wootten<br />

Daniel Mallo<br />

David McKenna<br />

Dilan Ozkan<br />

Ed Wainwright<br />

Eddy Robinson<br />

Elinoah Eitani<br />

Emma Kirk<br />

Ewan Thompson<br />

Harry Thompson<br />

Henna Asikainen<br />

Ivan Marquez Munoz<br />

James Harrington<br />

James Morton<br />

Jianfei Zhu<br />

Joey Curtis<br />

John Kinsley<br />

Joseph Wilson<br />

Juliet Odgers<br />

Karl Mok<br />

Katie Lloyd Thomas<br />

Malcolm Green<br />

Marina Kempa<br />

Michael Chapman<br />

Michelle Allen<br />

Mike Veitch<br />

Nagham El Elani<br />

Neil Burford<br />

Neveen Hamza<br />

Nick Clark<br />

Noor Jan-Mohamed<br />

Otis Murdoch<br />

Peter St Julien<br />

Prue Chiles<br />

Ruth Hayward<br />

Ruth Sidey<br />

Sam Austin<br />

Sana Al-Naimi<br />

Scott McAuley<br />

Sneha Solanki<br />

Sonali Dhanpal<br />

Sophie Cobley<br />

Sophie Collins<br />

Sophie Ellis<br />

Stephen Parnell<br />

Taz Nasser<br />

Tracey Tofield<br />

William Knight<br />

Stage 2<br />

Alex Blanchard<br />

Christos Kakalis<br />

Dan Sprawson<br />

Gillian Peskett<br />

Harry Thompson<br />

Hazel Cowie<br />

Jack Scaffardi<br />

James Longfield<br />

Juliet Odgers<br />

Kati Blom<br />

Kieran Connolly<br />

Luke Rigg<br />

Marianna Janowicz<br />

Nagham El Elani<br />

Ollie Chapman<br />

Rob Johnson<br />

Rosie Parnell<br />

Rumen Dimov<br />

Shoko Kijima<br />

Tolu Onabolu<br />

Stage 3<br />

Andrew Ballantyne<br />

Anna Czigler<br />

Cara Lund<br />

Harriet Sutcliffe<br />

Hazel Cowie<br />

Jack Mutton<br />

James Perry<br />

Jess Davidson<br />

Jianfei Zhu<br />

John Kinsley<br />

Luke Rigg<br />

Matthew Margetts<br />

Neil Burford<br />

Neveen Hamza<br />

Sophie Baldwin<br />

Stephen Parnell<br />

Steve Ibbotson<br />

Stuart Franklin<br />

Tom Randle<br />

AUP<br />

Anna Cumberland<br />

Armelle Tardiveau<br />

Bryony Simcox<br />

Damien Wootten<br />

Daniel Mallo<br />

David McKenna<br />

Elinoah Eitani<br />

Harry Thompson<br />

James Longfield<br />

Jane Millican<br />

Kaniz Shanzida<br />

Loes Veldpaus<br />

Luke Leung<br />

Mike Veitch<br />

Nick Simpson<br />

MArch<br />

Andrew Ballantyne<br />

Anna Gidman<br />

Carlos Calderon (Guest Reviewer)<br />

Carwyn Thomas (Colour UDL)<br />

Claire Richardson<br />

(Gateshead City Council)<br />

David Lomax (Waugh Thistleton)<br />

Dotte Dijkstra<br />

Ed Wainwright<br />

Giles Wheeldon<br />

(Ian Chalk Architects)<br />

Graham Stephenson<br />

(Gateshead City Council)<br />

Henry Pelly (Max Fordham)<br />

Irina Korneychuk<br />

James Craig (Guest Reviewer)<br />

James Morgan<br />

(Heynes Tillett Steel)<br />

Jane Redmond<br />

Jian Kang<br />

Kevin Fraser<br />

Matteo Ghidoni (Salottobuono)<br />

Muhammad Ogunniyi (Tech<br />

Workshop, Guest Reviewer)<br />

Niall Durney<br />

Patrick McMahon<br />

Paul Rigby<br />

Peter Hunt<br />

Peter Sharpe (Kielder Water &<br />

Forest Park Development Trust)<br />

Phil Graham, Peter Inglis and<br />

Carol Costello (Cullinan Studio)<br />

Polly Gould<br />

Ray Verrall<br />

Review guests (FaulknerBrowns)<br />

Richard Clay<br />

(Newcastle University)<br />

Rory Chisholm<br />

Steve Webb (Webb Yates)<br />

Ufuk Ersoy<br />

<strong>Yearbook</strong> Contributors<br />

Constance Tso<br />

Mike West<br />

Roxana Caplan<br />

Qixing Allen Huang<br />


Sponsors<br />

This year our thanks go to Faulkner Browns who have been kind enough to sponsor our end-of-year degree shows and publication. The<br />

Newcastle-based practice Faulkner Browns is our principle sponsor and plays a big role in the life of the School.<br />

Culture House<br />

Sunderland City Hall<br />

Newcastle Civic Centre<br />


Sunderland City Hall<br />

204 faulknerbrowns.com<br />


Newcastle University School of<br />

Architecture, Planning and Landscape<br />

<strong>Yearbook</strong> ‘22<br />

Editorial Team<br />

Constance Tso<br />

Roxana Caplan<br />

Qixing Allen Huang<br />

Special Thanks<br />

Kieran Connolly<br />

Matt Ozga-Lawn<br />

Mike West<br />

Title Partners<br />

FaulknerBrowns<br />

Printing & Binding<br />

Statex Colour Print<br />

www.statex.co.uk<br />

Typography<br />

Adobe Garamond Pro<br />

Paper<br />

GF Smith<br />

Colourplan, Forest, 350gsm<br />

First published in June <strong>2022</strong> by:<br />

The School of Architecture<br />

Planning and Landscape,<br />

Newcastle University<br />

Newcastle Upon Tyne<br />

NE1 7RU<br />

United Kingdom<br />

w: www.ncl.ac.uk/apl/<br />

t: +44 (0) 191 222 5831<br />

e: apl@newcastle.ac.uk<br />



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