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Yearbook 2023

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<strong>2023</strong><br />

School of Architecture, Planning and Landscape<br />

Newcastle University


Contents<br />

Welcome<br />

BA (Hons) Architecture<br />

Stage 1<br />

Stage 2<br />

Stage 3<br />

BA Dissertation<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 />

AUP Dissertation<br />

MA in Urban Design<br />

Master of Landscape Architecture (MLA)<br />

MA in Landscape Architecture Studies<br />

Research in Architecture and Landscape<br />

MArch Dissertation<br />

NCAN & Green Space<br />

Linked Research<br />

PhD / PhD by Creative Practice<br />

Architecture Research Collaborative<br />

The Landscape Collaboratory<br />

Hub for Biotechnology in the Built Environment<br />

The Farrell Centre<br />

NAS X NUAS Design Competition<br />

Contributors<br />

Sponsors<br />

3<br />

5<br />

67<br />

130<br />

133<br />

152<br />

154<br />

162<br />

164<br />

191<br />

192


2


Welcome<br />

Samuel Austin - Director of Architecture<br />

Our programmes seek to foster open and collaborative approaches to our cities, landscapes and spaces, ones that recognise<br />

their complexities, diversities and interdependencies, and that begin from positions of care for others and for the environment.<br />

This yearbook shows the breadth of critical and creative work at the School of Architecture, Planning and Landscape, through<br />

projects that address urgent social, cultural, technical and environmental challenges: from how to improve support structures<br />

in communities affected by deindustrialisation, to how we build in ways that minimise ecological impact. We invite students to<br />

define their own agendas and to develop specialisms that anticipate the changing roles of design professionals in contemporary<br />

practice. The outstanding work shown here attests to their distinctive, ethically driven and, above all, hopeful endeavours across<br />

undergraduate, postgraduate and research programmes. It is also cause to recognise and celebrate the tremendously hard work of<br />

all students, as well as all academic, practitioner, professional services and technical colleagues, who have contributed so much<br />

to support their achievements.<br />

Hope for the future is also embodied in the recent opening of the Farrell Centre, and its inaugural exhibition, ‘More with Less’.<br />

Featuring a living structure formed of wool, sawdust, wastepaper and mycelium developed by colleagues at our pioneering<br />

Hub for Biotechnology in the Built Environment, the exhibition offers provocations that point the way to creative remedies<br />

for architecture in the climate emergency. The Centre exemplifies our inclusive and cross-disciplinary approach to architecture<br />

and cities, and is already drawing national attention as a model for embedding knowledge production in a local urban context.<br />

Inspired and part-funded by architect-planner and Newcastle alumnus Sir Terry Farrell, it offers exhibition spaces as well as<br />

‘urban rooms’, encapsulating Sir Terry’s vision that every city needs a place to discuss and debate the role that architecture and<br />

planning play in its ongoing development. The culmination of many years of painstaking planning, the Centre is already offering<br />

a varied programme of events for people of all ages, bringing together public, professionals and policy makers, and becoming a<br />

focus for the School’s work in the city and beyond.<br />

Teaching at the School is similarly outward-looking. We have opened up new collaborations with Newcastle City Council on<br />

projects that work with struggling high streets across the city. A Stage 2 co-housing project in Byker connects with the Council’s<br />

East High Streets Programme to explore potential not-for-profit community uses of shop units, culminating in a vibrant<br />

exhibition of students’ posters at bus stops along the street. A series of projects, bringing together students from Architecture and<br />

Urban Planning, Urban Design as well as Landscape, link up with the Council’s work towards a Creative Cultural Zone around<br />

Clayton Street in the city centre. They invite community engagement through on-street interventions, develop alternative urban<br />

plans, and explore design strategies and details to improve the streetscape. With Linked Research enabling MArch students to<br />

work on live projects with diverse organisations – including the latest Testing Ground design-build pavilion for the Calvert Trust<br />

at Kielder – and MLA students collaborating on a live global design studio with Boku University, Vienna, our programmes are<br />

seizing opportunities to make a difference locally and further afield.<br />

The continued resurgence of our landscape programmes is a particular cause for celebration, with the launch this year of The<br />

Landscape Collaboratory, an interdisciplinary space to support landscape research. We recently received confirmation that our<br />

new Master of Landscape Architecture has successfully achieved full accreditation with the Landscape Institute. This is testament<br />

to the great efforts of our brilliant landscape team, to which this year we have been delighted to welcome Stef Leach as a new<br />

colleague. We continue to grow our offers for cross-disciplinary learning. The coming year will see the start of our<br />

innovative new MSc in Advanced Landscape Planning and Management, focussed on the design, care, and maintenance of<br />

urban, rural and coastal landscapes, while the first students will join new routes through our Architecture and Urban<br />

Planning programme towards professional qualification in landscape or in architecture.<br />

Our students play a key role in shaping the caring culture of the School. NCAN, our branch of the student Climate Action<br />

Network, organised an engaging series of talks, ‘Green Space’, which brought together guest speakers and contributors from<br />

across disciplines to discuss issues around the climate emergency. As part of a diverse programme of academic, social and<br />

wellbeing events, our student society, NUAS, co-organised a hugely successful competition with counterparts at Northumbria<br />

University, centred on designs for local charities and community projects. Thanks to the case put forward by this year’s dedicated<br />

student reps, we are looking forward to a major investment in our digital facilities this summer, including a full new set of<br />

plotters for ArchiPrint.<br />

Coming years look set to bring significant change in built environment education, as accrediting bodies respond to challenges<br />

of widening access to the professions and adapting curricula to account for heightened ethical and environmental concerns.<br />

It is clear that, at a societal level, our ways of building, engaging with ecologies and sharing limited resources, need to change<br />

dramatically and are not changing fast enough. In the autumn, we look forward to hosting an international conference,<br />

‘Architecture 101’, inspired by our recent centenary, to question and rethink the fundamentals of the profession. The care,<br />

humility and often humour in the projects shown here are a great cause for optimism in the capacity of design thinking to help<br />

bring about the change required and of the School and our students to play a leading role.<br />

Opposite - Small Talk x Farrell Centre, Opening Event<br />

3


4


BA (Hons) Architecture<br />

Toby Blackman - Degree Programme Director<br />

In the School of Architecture, Planning and Landscape at Newcastle University,<br />

we are interested — as perhaps has been most succinctly expressed by Christos<br />

Kakalis — in the multiple ways in which ‘architectural ways of knowing’ may be<br />

formed, shared, and developed. Together, as a community of practice comprising<br />

students and staff we seek to liberate form, content, and means of producing<br />

knowledge. On the BA Architecture programme, we seek to support students to<br />

engage in processes and practices of developing architectural ways of knowing the<br />

self, the community, and the relational ecology of the (un)built world. The work<br />

presented here examines questions of, and for, architecture across its many sites of<br />

meaning; production i.e. drawing, building, model, text, film and photography<br />

— whilst remaining focussed on developing architectural ways of knowing, upon<br />

disciplinary questions and parameters of ethics, climate, context, space, political<br />

and social relations.<br />

Teaching and learning has radically opened up over the course of the last eighteen<br />

months. In-person teaching and learning re-activated the School, the community<br />

of practice, and the cultures of making, drawing, modelling at the heart of the<br />

student experience. Our students formed community during the most challenging<br />

of circumstances; their enacted processes and practices — the quotidian work —<br />

speaks to the profoundly difficult social, cultural, and spatial circumstances of the<br />

pandemic. We supported each other — students and staff — whilst the legacy of<br />

the pandemic, and our collective memory of the experience, heightened awareness<br />

of the inextricably shared conditions of teaching and learning. Our students have<br />

developed and enacted architectural ways of knowing, and questioning. Their<br />

work critically examines the ways in which gender, orientation, race, and class<br />

play out spatially and asymmetrically. The processes and practices documented on<br />

these pages explore the ways in which relational architectural ecologies are made,<br />

remade, translated and renewed in an expanded field of critical processes and<br />

practices at the intersection of political, ecological, material, social and cultural<br />

concerns. Drawing from beyond Europe and the Global North, questioning that<br />

which is elevated to the canon, students have formed new paradigms, and critical<br />

methodologies of, and for, architecture, and responding to emerging, disruptive<br />

technologies, and biased, asymmetrical systems contextualising its practice.<br />

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

positioned, socially engaged, culturally informed, spatially rich and technically<br />

sophisticated, representing active and deep engagement with questions of ethical<br />

practice, intersectionality, material heritage, legacy, and climate.<br />

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

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

programme over the course of the current academic year.<br />

Opposite - Infrastructures and Practices of Care, Venice (<strong>2023</strong>), Toby Blackman<br />

5


Stage 1<br />

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

wide variety of contexts and conditions ranging from small hand-held objects to city mapping and wide<br />

-open Town Moor or Ouseburn vistas. Rather than simply teaching theory, the emphasis throughout is on<br />

experiencing and communicating architecture in a personal and meaningful way. As well as introducing<br />

constructional, environmental, and structural design principles, the Architectural Technology modules<br />

provide an insight into how architects engage with the making and crafting of architecture. Likewise, the<br />

Introduction to Architecture modules introduce history and theory but also invite students to tell their own<br />

story by planning a personal architectural history walk. The Architectural Representation modules teach a<br />

wide spectrum of analogue and digital skills including measured drawings, modelling and photography,<br />

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

Architectural Design module builds in complexity through the year, commencing with small, modelled<br />

explorations of architectural languages and conceptualisation of walking experiences and equally opens<br />

their eyes to the natural world and non-human environment. The Memory Spot project introduces the<br />

idea of design aims using basic architectural elements. Semester 1 finishes with an exhibition of illustrated<br />

stories of Town Moor walks and group models of case studies. In the second semester, a short project for<br />

an Observatory in Ouseburn Valley is introduced. In addition to preparing them for the remainder of the<br />

degree programme, we hope to encourage students to be outward looking and questioning – more aware of<br />

their surroundings and those of others and the natural world, but also better equipped to imaginatively and<br />

appropriately engage with their environment.<br />

Year Coordinators<br />

Kati Blom<br />

Simon Hacker<br />

Students<br />

Abdulla Alattiyah<br />

Abigail Sanders<br />

Afifa Rodoshi<br />

Aleksander Frost<br />

Alex Merry<br />

Alex Payne<br />

Amar Jutley<br />

Amelia Barnes<br />

Amina Tijjani<br />

Abdulkadir<br />

Amy Morton<br />

Anirudh Vinod<br />

Anna Bastey<br />

Annabelle Edmonds<br />

Anton Karavaynyy<br />

Arya Dilip<br />

Benjamin Ho<br />

Billy Noon<br />

Bryant Suryajensluv<br />

Cara Lacey<br />

Ceylin Tas<br />

Chanmin Ryu<br />

Charlotte Sykes<br />

Cheuk Yin Ernest Ng<br />

Chizara Ezenwa<br />

Choi Yu Ng<br />

Christa Elizabeth Jose<br />

Christina Athanasiou<br />

Claudia Owles<br />

Daria Bosak<br />

Doga Dogus<br />

Eason Tang<br />

Eleanor Rowley<br />

Elena-Tamara Taranu<br />

Elizabeth Mironova<br />

Ella Davies<br />

Ellie Jane McGuinness<br />

Emily-Kate Hobson<br />

Erin Marshall<br />

Evan Jack Nathan<br />

Florence Verdon<br />

Freya Hennessey<br />

Gabriel Adams<br />

Gao Cai<br />

Grace Coverdale<br />

Grace Jolley<br />

Gustavo Milan<br />

Hannah Rebecca<br />

Warwick<br />

Harry Redman<br />

Harry Swayne<br />

Henry Riddoch<br />

Hibah Amina<br />

Ho Yin Chan<br />

Isabella Harkins<br />

Jack Thornton<br />

James Anderson<br />

James Duncanson-<br />

Hunter<br />

Jen-Ho Tai<br />

Jennifer Feldman<br />

Jessica Waterworth<br />

Jianing Guo<br />

Joana Marcelina<br />

Fernandes Sou<br />

Joshua Griffiths<br />

Joshua William Marks<br />

Kaisheng Chong<br />

Katie Nichol<br />

Kei Ching Chan<br />

Kyla Blackburn<br />

Kyran Weedon<br />

Lewis Walker<br />

Linchuan Tian<br />

Louis Harrison<br />

Mallory Moles<br />

Maria Plougmann<br />

Megan Gill<br />

Megan Stoney<br />

Miraru Nishijima<br />

Nathanael Maynard<br />

Noah Severwright<br />

Oleg Malyk<br />

Oliver Chi-Loi Wong<br />

Olivia Hume<br />

Orla Collins<br />

Paul Matthew Saliendra<br />

Pui Sze Ho<br />

Rachel Alexis Flanagan<br />

Rahima Ubaidulloeva<br />

Rashell Sharlene<br />

Daniela<br />

Rebecca Smith<br />

Rohan Van De Merwe<br />

Sebastian Manners<br />

Shona Catherine Starks<br />

Simileoluwa Odumeru<br />

Simone Rigas<br />

Sofia Demourtsidou<br />

Sonia Kapadia<br />

Sophie Matilda<br />

Morrison<br />

Soyeon Ju<br />

Su April Kyaw<br />

Talia Nieto-Charlton<br />

Thomas Henderson<br />

Tia Daniel<br />

Tom Jenner<br />

Vanessa Chan<br />

Weichen Hong<br />

Wilbert Lim<br />

William Alexander<br />

Loughran<br />

Yaoxuan Zeng<br />

Yasmin Foster<br />

Yutong Chen<br />

Zaman Isa Mohamed<br />

Aqeel Mohamed Ali<br />

Zoi Karamani<br />

Zubaidah Ahmed<br />

Contributors<br />

Adam Fryett<br />

Aileen Hoenerloh<br />

Alex Jusupov<br />

Allen Huang<br />

Anna Cumberland<br />

Armelle Tardiveau<br />

Becky Wise<br />

Byron Duncan<br />

Carlos Calderon<br />

Charlotte Ashford<br />

Chloe Gill<br />

Chris Charlton<br />

Chris Elias<br />

Connor Kendrick<br />

Damien Wootten<br />

Daniel Mallo<br />

David McKenna<br />

Diego Mejuto<br />

Ed Wainwright<br />

Eddy Robinson<br />

Elinoah Eitani<br />

Feyzan Sarachoglu<br />

Hannah Christy<br />

Harry Thompson<br />

Henna Asikainen<br />

Iván Márquez Muñoz<br />

James Craig<br />

James Harrington<br />

Jessica Cheng<br />

Jianfei Zhu<br />

Joe Curtis<br />

John Kinsley<br />

Juliet Odgers<br />

Karl Mok<br />

Katie Lloyd Thomas<br />

Kieran Connolly<br />

Loes Veldpaus<br />

Malcolm Green<br />

Marina Kempa<br />

Martina Dorothy<br />

Hansah<br />

Michael Chapman<br />

Michelle Allen<br />

Mike Veitszh<br />

Nagham El Elani<br />

Neil Taylor<br />

Neveen Hamza<br />

Nick Clark<br />

Otis Lunney-Murdoch<br />

Paola Isabella Jahoda<br />

Peter Kellett<br />

Peter St-Julien<br />

Prue Chiles<br />

Rory Kavanagh<br />

Roxana Caplan<br />

Russell Coleman<br />

Ruth Sidey<br />

Sabine Sallis<br />

Sadaf Tabatabei<br />

Samuel Austin<br />

Sana Al-Naimi<br />

Sneha Solanki<br />

Sonali Dhanpal<br />

Sophie Cobley<br />

Sophie Collins<br />

Sophie Heuch<br />

Stephen Parnell<br />

Tasmina Naseer<br />

Kafeel Ur Rehman<br />

Farooqi<br />

Thomas Parrish<br />

Muhammad Shujaat<br />

Afzal<br />

Tracey Tofield<br />

Vincent Woehlbier<br />

William Knight<br />

6<br />

Text by Kati Blom<br />

Opposite - Group 3, Primer


7


Semester 1<br />

Architectural Design - Kati Blom<br />

In semester one, three projects gradually increase students’ understanding of various aspects of architecture: environment, basic<br />

spatial elements, and structures.<br />

Project 1.1 SITE - Michelle Allen & Ed Wainwright<br />

Delving into time and being, students spent time getting to know Newcastle’s Town Moor in autumn and winter 2022, asking<br />

questions of its landscape, ecology and habitats. By encountering time through changes of seasons and the marks of occupation<br />

(human and non-human alike), we can begin to feel our place in time, and come to know our habitats as rich environments of<br />

materials, creatures, elements, stories and more.<br />

Project 1.2 Memory Spot - Kati Blom<br />

Students are asked to rely on the experiential memory of their first spatial encounter and develop a small reminiscence space for one<br />

or two individuals, using conceptual and realistic models to decide on architectural elements used.<br />

Project 1.3 Frame[works] - Simon Hacker<br />

The project focuses on basic timber-frame principles and construction methods and comprises three interrelated tasks. Task 1 is<br />

an individual iterative game that develops the design of a 2D frame in response to dice rolls. Task 2 focuses on human scale and<br />

representation, while Task 3, a group precedent study, comprises the production of a 1:10 scale model of a small, temporary timberframe<br />

structure.<br />

8<br />

Top - Kyran Weedon [1.1] Bottom, Left to Right - Ellie McGuinness [1.2], Group 1 [1.3]


Semester 1<br />

Architectural Representation - Kati Blom<br />

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

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

Top, Left to Right - Kati Blom, Amy Morton Middle, Left to Right - Tamara Tanaru, Grace Jolley Bottom - Anton Karavaynyy<br />

9


Semester 2<br />

Architectural Design - Simon Hacker<br />

Semester 2 focuses on the development and refinement of a single design project which draws on the various skills and learning<br />

acquired throughout the year.<br />

Project 1.4 Urban Observatory - Simon Hacker<br />

Working on a small urban site in Newcastle, students design an Urban Observatory facility – a timber-constructed building<br />

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

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

as a landmark and visitor facility, the building provides a home for the Architects Climate Action Network and forms part of the<br />

Newcastle University Centre for Climate and Environmental Resilience.<br />

10 Top, Left to Right - Anton Karavaynyy, Su Kyaw Middle - Rohan Van De Merwe Bottom, Left to Right - Megan Gill, Jack Cai


Semester 2<br />

Architectural Technology - Neveen Hamza<br />

The module provides an introduction to the fundamental principles, properties and required performances of buildings. The<br />

coursework submission focusses on a 1:25 scale ‘no-glue’ model of a case study building.<br />

Top, Left to Right - Annabelle Edmonds, Megan Gill<br />

Bottom, Left to Right - Amelia Barnes, Megan Gill<br />

11


Stage 2<br />

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

our students. Building on the learning and skills acquired during the first year of studies, the structure of<br />

the year provides a firm footing for each student to experiment with a diverse range of design methods<br />

at a varied range of scales: from city scale strategic mapping right the way down to the detail design and<br />

inhabitation of the home.<br />

This year, we have worked across three projects each of which have explored different themes and ideas<br />

that have expanded our students’ knowledge of architectural design, whilst also engaging with important<br />

relational contexts such as the retrofit of existing buildings or the design of inclusive civic spaces that give<br />

back to their local communities.<br />

In each of these three projects, students have been encouraged to work in thoughtful, meaningful,<br />

and – at times – experimental ways, enriching their learning and enhancing their skillset in preparation<br />

for their final year of undergraduate study. As always, our cohorts continue to impress with their<br />

engagement, enthusiasm, and talent, offering sincere responses to the questions we pose to them and the<br />

challenges we lay down in the projects we explore across Stage 2.<br />

Year Coordinators<br />

Kieran Connolly<br />

Martin Beattie<br />

Rosie Parnell<br />

Project Tutors<br />

Alex Blanchard<br />

Alkistis Pitsikali<br />

Ceren Şentürk<br />

Dan Sprawson<br />

Ellie Gair<br />

Gillian Peskett<br />

Harry Thompson<br />

Husam Kanon<br />

Jack Scaffardi<br />

James Perry<br />

Juliet Odgers<br />

Kati Blom<br />

Luke Rigg<br />

Nagham El Elani<br />

Noor Jan-Mohamed<br />

Students<br />

Abbie Joanna Lowdon<br />

Adolf Tibeyalirwa Mwesige<br />

Aidan Paolo Elias Togonon<br />

Aisha Al Musafir<br />

Amela Agastra<br />

Amelia Liis Mikk<br />

Anvitha Vallamsetty<br />

Arnas Vrubliauskas<br />

Aung Swan Htet<br />

Ayaulym Makhmud<br />

Benjamin Peter Gath<br />

Blake Williamson<br />

Chee Kit Wong<br />

Cheuk Kwan Chiu<br />

Cheuk Wing Lam<br />

Chloe Maestre Bridger<br />

Chui Shan Yeung<br />

Chun Kit Liu<br />

Conrad Whale<br />

Daniel Barton<br />

Dantong Xu<br />

Darya Tsoy<br />

Edward Pettitt<br />

Eka Bhatt<br />

Eleanor Heisler<br />

Ellie Heath<br />

Elizabeth Robinson<br />

Ella-Jade Chudleigh-Lyle<br />

Emilia Burdett<br />

Emma 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 />

Frederic Samuel Downes<br />

Frederick Handy<br />

Freya Isabel Maxwell<br />

Gaurav Dhoot<br />

Girius Gadonas<br />

Guy Michael Waddilove<br />

Hakyung Song<br />

Hamish Iain Alfred<br />

Macmillan-Clare<br />

Hannah Rae<br />

Hannah Rolfe<br />

Hector Emery<br />

Helena Mizgajeva<br />

Henrietta Octavia Hunt<br />

Hetian Gu<br />

Hin Nok Lo Stephen<br />

Hin Pak Harry Tse<br />

Hnin Phyu Thant Tun<br />

Hoi Ching Kwok<br />

Hollie Rebecca Anne Reed<br />

Holly Milton<br />

Ioannis Pourikkos<br />

Ioli Loukia Christoforidou<br />

Isaac Samal Smith Yahya<br />

Ishkhan Arutyunyan<br />

Ismail Ali<br />

Jack Bradley<br />

Jaewon Jeong<br />

Jemima Taswell-Fryer<br />

Jesica Adelina Simanjuntak<br />

Joshua Edward Carr<br />

Jude Clark<br />

Jude Purcell<br />

Juhee Kim<br />

Juhyun Park<br />

Junaid Hussain Malagi<br />

Ka Yu Lau<br />

Katherine Stafford<br />

Katherine Nichole Hutchins<br />

Kt Putra Dalem Khrisna<br />

Y K S S<br />

Kurt Guanson Lo<br />

Kwun Hei Bryan Wong<br />

Leanda Estell-Gibson<br />

Leo Merryfield<br />

Leon Doolan<br />

Lewis Bell<br />

Logan Martin Anderson<br />

Johnson<br />

Lucas William Billington<br />

Lucy Jordan<br />

Lucy Matthews<br />

Luke Newmarch<br />

Madeline Anderson<br />

Mariia Shirokikh<br />

Matthew Marshall<br />

Michael Harvey<br />

Mitsuki Kobayashi<br />

Molly Smith<br />

Muhannad Mohamed Mahdi<br />

Al Lawati<br />

Natalie Norman<br />

Nia McSweeney<br />

Nicole Alejandra Soto Galvan<br />

Nina Ysabela Beleno<br />

Oliver Archie Nizar Higgins<br />

Oliver Kim Johnson<br />

Philippa Emily Porter<br />

Phoo Myat Nay Chi Lwin<br />

Piyabutr Niemwiwad<br />

Preethi Tera<br />

Raazin Anwar Hussain<br />

Rares-Ioan Naum<br />

Rebecca Graham<br />

Robbie Birch<br />

Roman George Jackiw<br />

Rudolf Kalman<br />

Sam McClelland<br />

Seth Jackson<br />

Shani Tea Karni<br />

Shau Mand Vivian Hang Luo<br />

Shena Atuhaire<br />

Shreya Sri Garlapati<br />

Sofia Sakkou<br />

Sophie Anderson<br />

Sophie Lee<br />

Suet Wing Cheung<br />

Suqi Guo<br />

Tanishka Umesh More<br />

Thada Su<br />

Thamanda Theresa Phuong<br />

Cam Van Malmberg<br />

Theo Greenland<br />

Thet Paing Htoo<br />

Thomas Jack Balsdon<br />

Thomas Michael Perceval<br />

Valerija Konovalova<br />

William Parsons<br />

Wing On Tse<br />

Xuejun Hao<br />

Yasho Vardhan Aggarwal<br />

Yiting Zhao<br />

Yuqiao Chen<br />

Yuxuan Chen<br />

Zack Glover<br />

Zafirah Sadiq<br />

Zijun Yang<br />

Zinan Zhang<br />

Special Thanks<br />

Sarah Carr<br />

Jan Kattein<br />

Nicola Lynch<br />

Claire Prospert<br />

Ruth Richardson<br />

Michael Simpson<br />

Sally Southern<br />

And the residents of North<br />

Shields who generously gave<br />

their time to support our<br />

projects in Semester 2.<br />

12<br />

Text by Kieran Connolly<br />

Opposite - Ethan Fox


13


Together: Co-housing, Community, and the City<br />

Kieran Connolly<br />

For our first design project of the academic year, students explored and developed design proposals for a small-scale co-housing<br />

scheme and adjoining community space; retrofitting and extending an existing building located along Shields Road, the main high<br />

street of a Newcastle neighbourhood: Byker.<br />

The project also supported the Newcastle City Council initiative Newcastle East - Inclusive, Healthy, Vibrant High Streets exploring<br />

sustainable and long-term regeneration strategies for a series of high streets in Newcastle’s ‘east end.’ Our students developed initial<br />

ideas for transforming vacant ground floor retail premises into ‘not-for-profit’ facilities accessible to the wider Byker community, with<br />

a selection of their work exhibited along Shields Road in May <strong>2023</strong> as part of a bus stop ‘trail’ curated with the help of local artists,<br />

Nicola Lynch and Sally Southern, and Newcastle City Council representatives, Noor Jan-Mohamed and Sarah Carr.<br />

, Left to Right<br />

14<br />

Top - Will Parsons<br />

Bottom, Left to Right - Helena Mizgajeva, Aidan Togonon


Top - Eka Bhatt Middle, Left to Right - Abbie Lowdon, Mitsuki Kobayashi Bottom, Left to Right - Emma Hao, Hannah Rolfe<br />

15


16 Top, Left to Right - Holly Milton, Jessica Simanjuntak Middle - Kelsea Kwok Bottom - Benjamin Peter Gath


Top - Cherry Chiu<br />

Bottom, Left to Right - Will Parsons, Nina Beleno<br />

17


Allegorical Fields<br />

Tolulope Onabolu<br />

Our second project of the academic year invited students to take a licentious approach to the analysis, illustration, and presentation<br />

of an urban site: the Fish Quay, North Shields.<br />

Working collaboratively across three-weeks at the start of Semester 2, students were asked to take cues from urban planning by<br />

way of ‘classic’ map-making notation, but also explore more alternative creative practices including notational methods from dance<br />

and choreography. In addition, students were also encouraged to rethink the site model as a performative object and less as a<br />

representational device, exhibiting the fruits of their labour in a celebratory exhibition that helped to frame and inform the third and<br />

final project of the academic year.<br />

18<br />

Above - Group D1-D3


Top - Group D4-D6 Middle, Left to Right - Group E4-E6, Group C4-C6 Bottom - Group C1-C3<br />

19


Section of Society<br />

Matthew Margetts<br />

Building on the urban scale explorations exhibited at the end of the second project; for our final project of the academic year students<br />

were asked to consider the role of ‘Civic Centres,’ exploring how architecture can accommodate a meaningful engagement between<br />

communities and the local authorities who control many aspects of their daily lives.<br />

Working on one of a series of sloping sites located at the Fish Quay, North Shields and thinking primarily through sectional drawings<br />

and models; students were challenged to consider how a civic and ‘civil’ architecture could be designed around the idea of giving back<br />

to the local community. Throughout the project, students were encouraged to adopt an inclusive approach to design, considering<br />

‘who’ they were designing for and exploring specific responses to the needs of their prospective building occupants and visitors.<br />

20<br />

Top - Wing On Tse<br />

Bottom, Left to Right - Abbie Joanna Lowdon, Muhannad Al Lawati


Top, Left to Right - Nina Beleno, Juhyun John Park<br />

Bottom, Left to Right - Chloe Maestre Bridger, Eka Bhatt<br />

21


22 Top, Left to Right - Helena Mizgajeva, Kelsea Kwok Bottom - Hannah Rolfe


Top - Chloe Maestre Bridger Middle, Left to Right - Aidan Togonon, Pippa Porter Bottom - Finn Carroll<br />

23


Stage 3<br />

This year our Stage 3 students have developed an outstanding range of rich, diverse and beautifully crafted<br />

projects. They have adopted skill, care and diligence to develop unique and characterful proposals that observe<br />

and question the world around them, responding with positivity and delight. They are emerging into the world<br />

widely skilled, resourceful, flexible and resilient and we have no doubt that they will make significant and<br />

meaningful contributions in their future endeavours.<br />

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

8 studios to select from. Each studio was taught by a pair of tutors – comprising varied combinations of<br />

academics and practitioners – who set themes that broadly reflect their practice and research interests. Whilst<br />

the studios share a common timetable they are encouraged to pursue and explore different methodologies and<br />

themes – from material re-use, retrofit, arts and crafts, to housing and wider support structures for regeneration.<br />

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

students to respond to different aspects of this, including attitudes to existing structures, consideration of low<br />

carbon technologies and circular economies. We have also increased the emphasis on collaborative research and<br />

‘team working’ aspects to the course along with further opportunities for peer learning and reviews. Further to<br />

this, we hope you can see from the projects developed by students this year an ever-increasing interest in the<br />

architect’s role in wider social issues.<br />

Year Coordinators<br />

Jack Mutton<br />

Stella Mygdali<br />

Studio Leaders<br />

Ashley Mason<br />

Christos Kakalis<br />

Dan Sprawson<br />

David Boyd<br />

Jack Mutton<br />

James Longfield<br />

Jess Davidson<br />

John Kinsley<br />

Matthew Margetts<br />

Nikolia Kartalou<br />

Rob Johnson<br />

Samuel Austin<br />

Sana Al-Naimi<br />

Shaun Young<br />

Sonali Dhanpal<br />

Stella Mygdali<br />

Tolulope Onabolu<br />

Students<br />

Adam Rush<br />

Adam Schell<br />

Alexander McCall<br />

Alice Gascoigne<br />

Allan Shibu<br />

Amber Hastings<br />

Amy Bradley<br />

Anastasia Edmunds<br />

Anastassiya Galkina<br />

Andrew Watson<br />

Angus Robinson<br />

Anne-Joke Andrea Dijkstra<br />

Anushka Bellur<br />

Anya Siddiqui<br />

Anzhela Sineva<br />

Arina Khokhlova<br />

Ben Foster<br />

Ben Staveley Parker<br />

Bertha-Maria Paun<br />

Bibiana Mireya Shea<br />

Cameron Dryden Straughan<br />

Campbell Carmichael<br />

Caspar Barker<br />

Chaehyun Cho<br />

Charlotte Bezant<br />

Chen Xu<br />

Chi Tung Hui<br />

Christian Davies<br />

Chun Hei Chan<br />

Chun Him Wu<br />

Connaire Moorcroft<br />

Courtney Thompson<br />

Crystal Grimshaw<br />

Dahna Castrignano<br />

Daniel Doherty<br />

Daniel Bird<br />

Daniel-Iulian Branciog<br />

Darcey Naylor<br />

Diana Vedmedovska<br />

Eirini Tsiakka<br />

Eleanor Delaney<br />

Elizabeth Jane Esau<br />

Emily Priestley<br />

Ethan Seow Ping Chew<br />

Euan Ellis<br />

Eva-Maria Dudolenska<br />

Gabriel Moore<br />

Gabriel Hodgkins-Webb<br />

Gabriela Pisko<br />

George Matthew Bong<br />

Grace Haigh<br />

Grian Summers<br />

Hanna Oxana Choi<br />

Hannah Innes<br />

Harrison Wade<br />

Harvey Baines<br />

Helena Bolek<br />

Chloe Leung<br />

Ho Kam Wong<br />

Ho Wan Li<br />

Hon Lam Sharon Yip<br />

Hongli Zhou<br />

Ioana Manoli<br />

Irel Dzhan Kirazla<br />

Isabelle Waha<br />

Isra Mohammed Osman<br />

Hassan-Ibrahim<br />

Jasmin Yeung<br />

Joseph Rowlinson<br />

Josie Hackney-Barber<br />

Juliette Douin<br />

Ka Hei Leung<br />

Kar-Yan Phan<br />

Kei Man Lee<br />

Kim Dorrucci<br />

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 Wong<br />

Louis Gardener<br />

Lucy Hutson<br />

Luke Alexander Rae<br />

Magdalena Katarzyna<br />

Mroczkowska<br />

Maria Lisnic<br />

Maria Savva<br />

Maria-Dionysia Axioti<br />

Maryam Salah Salem Yosuf<br />

Hanashi<br />

Matas Janulionis<br />

Melissa Streuber<br />

Mian Muhammad Arham<br />

Min Kiat Shannon Tan<br />

Michelle Benina<br />

Mohamed Moustafa<br />

Mohamed Aly Hassan<br />

Molly Gregory<br />

Morgan Cockroft<br />

Muhammad Irsyad Ridho<br />

Navandeep Chahal<br />

Neelam Sangeeta Priyanka<br />

Majumder<br />

Nicole Pfeifer<br />

Nok Ting Sarina Wong<br />

Nontanit Panyarachun<br />

Oliver Clemetson<br />

Oliver Walsh<br />

Owen Browning<br />

Phoebe Barnes-Clay<br />

Poppy Beardsell<br />

Rahul Zane Patcha<br />

Rhiannon Williams<br />

Rohan Smith<br />

Ruoxuan Jiang<br />

Said Al Kalbani<br />

Sam Millard<br />

Sam Read<br />

Samuel Rainford<br />

Samuel Stokes<br />

Sandra Muzykant<br />

Sangmin Lee<br />

Seakhour Liv<br />

Shang-Wei 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 Smith<br />

Tom Boulton<br />

Toby Snoswell<br />

Trina Andra Zadorojnai<br />

Tsz Ying Hui<br />

Ursula Blyth Morter<br />

Wanru Li<br />

Yat Tung Lam<br />

Yee Ching Tang<br />

Yee Man Pang<br />

Yina Gu<br />

Youjing Liu<br />

Youngchan Choi<br />

Yuxuan Shen<br />

Zainab Fatima<br />

Zaki McGarragle<br />

24<br />

Text by Jack Mutton<br />

Opposite - Thinking Through Making Exhibition


25


Studio 1 - Live and Let Die<br />

Matthew Margetts & Jess Davidson<br />

Current architectural practice has a disappointing habit of deferring to assumptions when understanding how we design for the<br />

older generations, creating spaces out of need instead of understanding. The age of comfortable retirement is passing, and therefore<br />

the accepted characterisation of the elderly should as well. Does a generation born of the punk-rock era fade into isolation like our<br />

current models dictate? The studio asked students to examine social assumptions of domesticity and aging - and develop a hybrid<br />

housing and collective programme proposition that creates a vibrant, inclusive place to live.<br />

Alongside focussing on a present ‘moment’ as a catalyst for spatial design, we speculated on changes to our societal, environmental<br />

and economic structures in the near future, whilst also projecting a protagonist 50 years ahead. How would (and should) the city of<br />

Leeds change, who will live there and what will living look like?<br />

Time can be fickle… where is a good place to die?<br />

26 Top - Oliver Walsh Bottom - Euan Ellis


0 1 2 3 4 1:100<br />

Top - Grace Haigh Middle, Left to Right - Louis Gardener, Said Al Kalbani Bottom - Caspar Barker<br />

27


28 Top, Left to Right - Xu Chen, Isabelle Waha Middle - Sumaiya Aziz Bottom - Gu Yina


NORTH ELEVATION 1:100<br />

0 5 10<br />

Top - Tom Boulton Middle, Left to Right - Sophie Newbery, Nontanit Panyarachun Bottom - Grian Summers<br />

29


Studio 2 - Making Rural<br />

Jack Mutton & Shaun Young<br />

Studio 2 is engaged in ideas concerning context, historical narrative and materials that create enduring architecture in search of a<br />

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

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

architecture that is contemporary yet not isolated in time.<br />

This year we have been working in the spirit of the Arts and Crafts movement, creating architectural proposals that are rich in<br />

narrative, spatial complexity and identify with their surroundings. We began by investigating a range of Arts and Crafts precedents<br />

and made simple observations of rural settlements. Utilising a range of creative, analogue methods we then looked to translate this<br />

research into architecture - we were not looking to mimic or work to a prescriptive style; we endeavoured to use the Arts and Crafts<br />

movement to derive a sensibility towards making architecture.<br />

We explored the dramatic, rich, and varied landscape of the Tyne Valley, and working on a collection of rural sites developed projects<br />

for a range of educational institutions from schools to colleges and academies.<br />

30 Above - Andrew Watson


Top - Dahna Castrignano Middle - Eleanor Delaney Bottom, Left to Right - Amy Bradley, Eirini Tsiakka<br />

31


32 Top - Adam Schell Middle - Hannah Innes Bottom - Ben Staveley Parker


Top, Left to Right - Lara Sinclair-Banks, Maria Lisnic Middle, Left to Right - Anzhela Sineva, Alice Gascoigne Bottom - Hui Chi Tung<br />

33


Studio 3 - Watershed<br />

John Kinsley & Sana Al-Naimi<br />

Since Summer 2022 our relationship with water has rarely been out of the news. We stand now at a watershed moment. Things need<br />

to change, and to change quickly. In order to understand the context we have begun by studying another watershed. For centuries we<br />

have lived, worked and played alongside, in and on the Tweed and its tributaries. By studying historic economies of fishing, forestry<br />

and textile production we attempt to understand how our relationship with water has changed over the years.<br />

In parallel we reviewed international examples where indigenous approaches have enabled a sustainable and climate resilient water<br />

infrastructure. By applying systems thinking and circular economy approaches to our research we have applied what we have learned<br />

to create new, sustainable ways of living, working and playing alongside, in or on the Tweed in the twenty first century.<br />

34 Above - Chan Chun Hei


R<br />

R<br />

R<br />

R<br />

R<br />

R<br />

R<br />

R<br />

R<br />

The Observare, Alemoor Loch<br />

North Elevation<br />

N<br />

Long section excluding roof 1 to 100<br />

5<br />

0 10 15 20<br />

SCALE BAR 1:100<br />

Top - Jiang Ruoxuan Middle, Left to Right - Jasmin Yeung, Shang-Wei Lin Bottom - Navandeep Chahal<br />

35


D E C O N S T R U C T I O N ( A F T E R 2 0 8 0 )<br />

P R E S E N T - 2 0 8 0<br />

P R E S E N T<br />

36 Top - Pang Yee Man Middle - Shivani Patel Bottom - Ioana Manoli


0m<br />

2m<br />

5m<br />

10m<br />

20m<br />

Scaled at 1/200 on A2<br />

A’<br />

A<br />

Long Site Section<br />

Long site sections shows the relationship of the scheme to its surrounding context. The<br />

section bisects the private areas of the proposal in the biomaterials laboratory which aims<br />

to reinvent material considerations within the construction industry.<br />

B’<br />

B<br />

Sauna Spaces<br />

2 Seperate Identical Spaces<br />

Located On River South of Plan<br />

Meditation Spaces<br />

4 Seperate Identical Spaces<br />

Located in Wooded Area North West of Plan<br />

<br />

<br />

First Floor Plan at Level +5.0m<br />

Forest Barn Perspective<br />

Top - Angus Robinson Middle, Left to Right - Wanru Li, Kim Dorrucci Bottom - Sam Millard<br />

37


Studio 4 - Spherical Entanglements: Extended Scenographies of Care<br />

Tolulupe Onabolu & Nikolia Kartalou<br />

This studio sets out to develop a series of approaches to architectural design based on two strategies. In the first, it looks to<br />

developments in theatre as a means of rethinking space and seeks to explore the creation of atmospheres or affective spaces. In the<br />

second, it considers ‘care’ as a principle which in one guise exists as love, and in another, is understood as maintenance, such as care of<br />

the body and of the infirm, and even the training of athletes (see Foucault, M. The History of Sexuality, Vol 3: The Care of Self, 1990).<br />

We extend the logic of care to the built environment and ask how architectural design and pedagogy might consider care, whether<br />

through the provision of housing, hospitals, prisons, sports facilities and gymnasia, safe spaces for the vulnerable, or the preservation<br />

of built heritage, the management of the environment, and consideration for an ailing planet.<br />

38 Above - Christian Davies


Top - Toby Snoswell Middle, Right - Charlotte Bezant Bottom - Anastasia Edmunds<br />

39


40 Top, Left - Samuel Rainford Top, Right - Harrison Wade Bottom - Karina Hung


Top - Crystal Grimshaw Middle - Sze Lok Justina Leung Bottom - Sangmin Lee<br />

41


Studio 5 - Creative Synergies<br />

Stella Mygdali & Dan Sprawson<br />

Creative Synergies explores ways of creating more equitable and sustainable built environments through the dynamic lens of a synergy<br />

between the Academy and the City; asking how they can exist in ways that benefit and support each other, whilst working towards<br />

more sustainable and holistic practices, within architecture and beyond. The Studio examines what role the academic institution, and<br />

the spaces in which it takes place, can play in consolidating and mediating between transient and established communities. And if it<br />

can be used as an appropriate template for a more contextual, sustainable, and contemporary community architecture.<br />

Using education and research as a programmatic fulcrum, we invited students to evaluate and rigorously test the notion of an<br />

institutional building, and the possibilities a structure of this nature could afford as a moderator between the academic community<br />

and those existing, established, and emerging communities of Ouseburn and its wider context. To institute means to begin, to set in<br />

motion; students were invited to encapsulate this dynamic in a proposal that stimulates learning experiences and creative encounters,<br />

while engaging critically with the notion of a Synergy, as a condition that brings into the frontline ideas about nurturing beneficial<br />

co-existence and cultivating meaningful connections. As such, reframing the traditional appreciation of architectural volume with<br />

consideration for the inherent tectonic lifespans, plural functions, and interconnected communities.<br />

42 Above - Connaire Moorcroft


Top - Chloe Leung Middle - Rahul Zane Patcha Bottom - Ho Wan Li<br />

43


44 Top, Left to Right - Magdalena Mroczkowska, Laiba Javed Middle - Ka Hei Leung Bottom - Hongli Zhou


120<br />

APPENDIX<br />

Top - Libby Metherell Middle, Left - Melissa Streuber Middle and Bottom Right - Kei Man Lee<br />

45


Studio 6 - Transect: Footnotes on a Liminal Landscape<br />

James Longfield & Rob Johnson<br />

Our studio invited students to engage with the semi-rural condition of County Durham as a site through which to explore an<br />

interwoven set of themes illuminating our relationship to land, history, climate and each other.<br />

The Northern Saints Trails that cross the county were studied as transects to anchor investigations across time/space/material/society,<br />

whilst the act of walking sections of these routes offered a method for establishing an embodied and empathetic understanding of this<br />

layered landscape. Neither conventionally ‘wild’ nor heavily urbanised, County Durham instead offers a fascinating context of layered<br />

spaces, with recreation and productivity intersecting; architecture and bike sheds rubbing elbows with irreverent results.<br />

The resulting student projects imagine new configurations and interpretations of this eclectic, contradictory and continually shifting<br />

condition.<br />

46 Top - Poppy Beardsell Bottom - Hui Tsz Ying


Top - George Matthew Bong Middle, Left to Right - Zainab Fatima, Thomas Smith Bottom, Left to Right - Rhiannon Williams, Ben Foster<br />

47


48 Top - Amber Hastings Middle, Left to Right - Juliette Douin, Sam Read Bottom, Left to Right - Daniel-Iulian Branciog, Groupwork


1. Administration<br />

2. Car Park<br />

3. Generator Room<br />

4. Farming Equipment<br />

1<br />

2<br />

4<br />

3<br />

Top - Irel Kirazla Middle, Left to Right - Lucy Hutson, Arina Khokhlova, Adam Rush Bottom, Left to Right - Helena Bolek, Allan Shibu<br />

49


Studio 7 - Ritual, Repetition, and the Sacred<br />

Christos Kakalis, David Boyd & Neil Burford<br />

This studio proposed an investigation of monastic/retreat architecture in the urban environment of Edinburgh, divided into two<br />

main stages: In the first stage (semester one), through a series of group and individual tasks, the students were asked to map the<br />

past, present and future of the study area; defining the individual character and the community that inhabits the suggested complex.<br />

Students were required to visit, read, and work on communicating the particularities of the place using various techniques (from<br />

drawing and modelling, to video and sound recordings), as well as to imagine, formally explore and design (models & drawings) of<br />

a space that their protagonist is going to inhabit, emphasising its atmosphere (intangible qualities & character). By the end of the<br />

first stage, the students produced a palimpsest mapping of the study, putting together the background material needed for the next<br />

stage of the project.<br />

In the second stage (semester two), the students were asked to design a monastic/retreat complex based upon the line of enquiry<br />

developed in the first stage. Through a given basic schedule of accommodation and based upon the chosen protagonist, students<br />

refined their own briefs and narrative. This constituted the starting point of their architectural tectonic proposals, in which students<br />

alternated different scales of enquiry, from context level to the detailing of the protagonist’s individual room. In this final stage, the<br />

students worked with the spaces and morphological language developed in the previous stage and introduced specific programmatic<br />

requirements to define their own architectural enquiry.<br />

50 Top - Oliver Clemetson Bottom - Eva-Maria Dudolenska


Top - Long Ki Wong Middle, Left to Right - Maria Savva, Chun Him Wu Bottom - Luke Rae<br />

51


52 Top - Rohan Smith Middle, Left to Right - Ho Kam Wong, Harvey Baines Bottom - Min Kiat Shannon Tan


CANTILEVER OVERHANG<br />

TENSION CABLE TRUSS<br />

LANDING<br />

LIFT BEHIND<br />

VOID<br />

ELECTRICAL<br />

SERVICES<br />

LIVING GREEN WALL<br />

HIDDEN GUTTER<br />

VENTILATION UNIT<br />

SPRINKLER SYSTEM<br />

VENTILATION UNIT<br />

A<br />

A<br />

TENSION CABLE TRUSS<br />

STAIRCASE BEHIND PARTITION<br />

SECTION AA Scale 1:20<br />

0<br />

5 10 20m<br />

CANAL LEVEL 0'mm<br />

1.<br />

15.<br />

10.<br />

1.<br />

1st LEVEL - 5'750mm<br />

13.<br />

14.<br />

4.<br />

3.<br />

12.<br />

2.<br />

7.<br />

6.<br />

TRAIN TRACK LEVEL - 9'600mm<br />

11.<br />

8.<br />

2.<br />

2nd LEVEL - 12'650mm<br />

9.<br />

BOTTOM OF FOUNDATION - 14'500mm<br />

5.<br />

Breathable sarking membrane<br />

Concrete<br />

Rigid Insulation<br />

Vapour Control Layer<br />

Filter Fleece<br />

DPC<br />

Hardcore<br />

Living wall<br />

30 Minute Fire Rating<br />

60 Minute Fire Rating<br />

XPS Insulation<br />

Gravel<br />

Wall to Acheive STC rating 65+<br />

Wall to Acheive STC rating 75+<br />

Perlite Concrete<br />

Glass<br />

LINE KEY<br />

HATCH KEY<br />

LOCATION PLAN 1:100<br />

Top - Michelle Benina Middle, Left to Right - Zaki McGarragle, Tamar Sarkissian Bottom - Nicole Pfeifer<br />

53


Studio 8 - Support Structures<br />

Ashley Mason, Sonali Dhanpal & Samuel Austin<br />

This is Sunniside, Sunderland. It’s a sieve-like site on the margins of the city, scattered with the scars of recent demolitions + vacancy.<br />

Yet, it is also a site within which one can find many determined + proud communities, working together to repair the wounds of<br />

structural neglect. This studio has, though, carefully recognised their current gaps + spatial challenges; the following pages thus sitewrite<br />

a community-led, collaborative + adaptive future, treading softly to create support structures for Sunniside, Sunderland + the<br />

wonderful people there.<br />

54 Top - Joseph Rowlinson Bottom - Cameron Straughan


Top - Muhammad Irsyad Ridho Middle - Youjing Liu Bottom, Left to Right - Campbell Carmichael, Gabriel Moore<br />

55


56 Top - Sinead Holdsworth Middle, Left to Right - Hon Lam Sharon Yip, Yuxuan Shen Bottom - Kar-Yan Phan


Top - Molly Gregory Middle, Left to Right - Anushka Bellur, Yee Ching Tang Bottom - Leticia Rodrigues<br />

57


External Studios<br />

Curating the City<br />

The studio explores the ideas of ‘curating’ as a method to critically<br />

engage a World Heritage Site – Saltaire in West Yorkshire. The<br />

task within the studio is to develop a way of curating the site by<br />

contributing a research-led design intervention using theorized<br />

agendas that engage the past and the present, placing an emphasis<br />

on ecology, landscape and cityscape. Exploring a network of ideas<br />

and using the toolkit and conceptual armoury of ‘critical heritage<br />

studies’, curation is used as a key concept and method to address<br />

the two different concerns (history itself and our perspective<br />

and relations with it) – curating our seeing, reading, knowing,<br />

interacting, contributing and promoting values of the site.<br />

Media and Tourism in Saltaire<br />

Ghost in the Machine<br />

For several years now our studio has been interested in people<br />

and their relationship with systems and infrastructures. These<br />

can be hidden (intangible – e.g. social networks or local legends<br />

and stories) or visible (tangible – e.g. buildings and railways).<br />

We are particularly interested in how these systems respond to<br />

change and how they can be adapted or appropriated. This year<br />

we selected Redcar as our test bed for applying a System Thinking<br />

approach to design. This studio asks students to consider the<br />

agency of an architect in augmenting a landscape such as Redcar,<br />

in the shadow of its industrial past and in the context of a desire<br />

to increase staycations in the area.<br />

Stolen Futures<br />

The built environment may be a constructed representation of<br />

society, but that doesn’t mean that a different architecture will<br />

result in a different society: architecture cannot solve society’s<br />

problems, though, considering that buildings are responsible<br />

for 40% of carbon emissions, it can certainly add to them.<br />

Nevertheless, Stolen Futures asks students to imagine an<br />

alternative society and the architecture that it will need. We look<br />

at the issue of adaptively reusing post-war buildings, specifically<br />

those of the Brutalist idiom, in the belief that the greenest<br />

building is probably one that already exists. This year we looked at<br />

Sunderland Civic Centre and asked how it could be repurposed.<br />

We looked at what a civic architecture of the future might be in<br />

an age of care, cooperation, and climate responsibility.<br />

58<br />

Top - Chaehyun Cho Middle - Daniel Bird Bottom - Alexander McCall


Stage 3 - Thinking Through Making Week<br />

Thinking Through Making Week takes place in week one of semester 2 and is an opportunity for Stage 3 to produce a conceptual<br />

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

material of construction or that of the drawing board or digital interface, the way making inflects thinking underlies the production<br />

of architecture. Thinking Through Making Week challenges students to use the skills and knowledge acquired during Semester<br />

1’s Tools for Designing workshops series to produce an explorative model that embodies the material and tectonic qualities of their<br />

emerging design projects. Throughout the week, students explored the possibilities of a chosen material or selection of material(s),<br />

the potentials of technologies, and the viability of systems or structures through acts of making. Students were asked to approach<br />

the week with an open mind, allowing themselves to be experimental in their choice of material and the processes of making whilst<br />

embracing both success and failure as a productive experience.<br />

59


BA Dissertations<br />

Carlos Calderon<br />

The dissertations produced in this academic year respond to the range of agendas informing the eighteen electives offered by tutors at<br />

the School. Some of these were centred in building science, some in history and theory, others in professional and creative practice.<br />

The electives provide a starting point and intellectual framework for the students’ work, developed over the course of a year, bridging<br />

Stage 2 and 3 of the undergraduate degree. This year we are happy to say that the work has again been of a very high standard.<br />

Congratulations to our Stage 3!<br />

01. Power in Architecture<br />

Tutor: Sana Al-Naimi<br />

The Creatives’ Experience of Enslavement in the Soviet Union:<br />

An Investigation into the Gulag’s Impacts on the Creativity and<br />

Productivity of Imprisoned Architects and Creatives<br />

Daniel Doherty<br />

02. Architecture of Place<br />

Tutors: Andrew Ballantyne & Stella Mygdali<br />

Architectural Representation and Escapist Identities seen through Wes<br />

Anderson’s Aesthetics<br />

Hannah Innes<br />

03. Net-Zero Carbon Urban (Building) Futures<br />

Tutors: Carlos Calderon & Joey Auon<br />

Is Architecture Key for Creating a Sustainable Food Supply? Vertical<br />

Farm Proposal in Newcastle<br />

Sophie Newbery<br />

04. Appropriations<br />

Tutor: Zeynep Kezer<br />

Landscapes of Discrepant Memory<br />

Sumaiya Aziz<br />

60


05. Architecture Beyond Duality<br />

Tutor: Ed Wainwright<br />

Ephemerality and Performance in Art, Architecture, and Ecology<br />

Melissa Streuber<br />

06. Memoryscapes<br />

Tutor: James Craig<br />

Building a New Jerusalem: A Critical Analysis into the Spatial<br />

Imaginaries of the 2016 Brexit Referendum<br />

Angus Robinson<br />

07. Architectural Representation and Visual Effects<br />

Tutor: Tolulupe Onabolu<br />

The Representation of New Architecture, The Female Body and Urban<br />

Form in The Japanese ACGN Culture<br />

Sarina Wong<br />

08. Architecture and Unconscious<br />

Tutor: Kati Blom<br />

The Human - Animal Relationship in the Domestic Environment<br />

Grian Summers<br />

09. Instruct Construct<br />

Tutors: Katie Lloyd Thomas & Will Thomson<br />

Site Detailing: A Study into the Everpresent and Underappreciated<br />

Site Detailing Process<br />

Campbell Carmichael<br />

61


10. Colonial Exchanges<br />

Tutor: Martin Beattie<br />

Feng Shui: Disney’s Fast Pass into Hong Kong’s Architectural<br />

Landscape<br />

Rahul Zane Patcha<br />

11. Architecture and Horror<br />

Tutor: Matt Ozga-Lawn<br />

Pandemic Dollhouses and Domestic Horror: Exploring the<br />

Perseverance of Gender Inequality in Domestic Spaces Through<br />

Examining Feminist Gothic Literature<br />

Neelam Sangeeta Priyanka Majumder<br />

12. Architecture, Mysticism and Myth: Delphic Imaginaries<br />

Tutor: Nathaniel Coleman<br />

Stonehenge; in the Context of Modern British Architecture<br />

Connaire Moorcroft<br />

13. Invisible Energies<br />

Tutor: Neveen Hamza<br />

Cyclone-Proofing Homes in Fiji: Cyclone Resilience Improvements<br />

of Current Construction of Homes in Fiji Complying with ‘Building<br />

Back Safer’ Guidelines Using Techniques from Traditional Fijian<br />

‘Bure’<br />

Nicole Pfeifer<br />

14. Home: The Agency and Negotiation of Domesticity<br />

Tutor: Prue Chiles<br />

Designing For Play: To what Extent can Design Influence the way<br />

Children Play within the Home?<br />

Crystal Grimshaw<br />

62


15. Critical Reparative Practices: Architecture of Maintenance and Care<br />

Tutor: Toby Blackman<br />

The Newcastle University Live Project Office: Exploration of an<br />

Experimental Architectural Pedagogy, 1967-1993<br />

Euan Ellis<br />

16. Living Construction<br />

Tutor: Martyn Dade-Robertson<br />

Growing In-situ Insulation: How well will Mycelium Grow in a Cavity<br />

Wall?<br />

Jasmin Yeung<br />

17. Situated in ‘Nature’: Architecture, Garden, Landscape<br />

Tutor: Juliet Odgers<br />

A Breath of Fresh Air: Why the Natural Ventilation of Non-Domestic<br />

Buildings Needs to be Revived. An Exploration of History and the<br />

Challenges Faced Through the Experience of One Architect, Alan<br />

Short.<br />

Tom Boulton<br />

18. Rethinking the Spaces for Childhood<br />

Tutor: Rosie Parnell<br />

Rethinking the Gendered Childhood: An Autoethnography of<br />

Gendered Childhood Spaces<br />

Harrison Wade<br />

63


Field Trips<br />

Field trips and site visits are again becoming key parts of our programmes as the effects of the pandemic subside, providing welcome<br />

inspiration for projects as well as opportunities to share experiences and understanding of places. Studios in our BA Architecture<br />

and Master of Architecture programmes have been able to travel in groups or conduct individual site visits related to their year-long<br />

projects, while we are pleased to be offering new local and international trips as part of our landscape programmes. The varied nature<br />

of our studios results in a wide range of locations as the focus of student trips, with destinations from South Tyneside to Pakistan<br />

visited in this academic year.<br />

BA Architecture<br />

Live and Let Die<br />

Making Rural<br />

Watershed<br />

Spherical Entanglements<br />

Creative Synergies<br />

Transect<br />

Ritual, Repititon and the Sacred<br />

Support Structures<br />

Leeds, Manchester and Liverpool<br />

London<br />

Tweed Valley<br />

Queensferry<br />

London<br />

County Durham<br />

Union Canal, Edinburgh<br />

London<br />

Master of Architecture<br />

Reconstructing Architecture<br />

Narratives of Change<br />

Strange Places<br />

Material Change<br />

The Big Here and The Long Now<br />

Edge Conditions<br />

Edinburgh<br />

London<br />

Individual site visits to: Newcastle, Ireland, South<br />

Tyneside, North Yorkshire, East Yorkshire, Pakistan<br />

Glasgow<br />

Grymsdyke Farm, Oxfordshire<br />

Carlisle<br />

Master of Landscape Architecture<br />

& MA Landscape Architecture<br />

Studies<br />

Hadrian’s Wall and Tyne Valley<br />

Lindisfarne and Craster<br />

Vienna<br />

64


65


66


Master of Architecture (MArch)<br />

Iván J. Márquez Muñoz & Graham Farmer – Degree Programme Directors<br />

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

creative thinking and stretch the boundaries of their imagination. It places<br />

a strong emphasis on developing reflective and reflexive approaches to design,<br />

encouraging students to test and discover what architecture means to them and<br />

to consider how their own work might contribute to the broader context of<br />

architectural practice. The programme aims to provide students with a supportive<br />

and intellectually stimulating environment in which they are encouraged and<br />

empowered to pursue their own design 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<br />

one of our international partner institutions. Stage 5 consists of two projects<br />

that are connected to form an in-depth critical study and re-imagining of a<br />

particular urban or landscape context. The first semester explores and interrogates<br />

architectural design at the macro scale; and the second semester focusses on the<br />

building scale with an emphasis on details, tectonics, materials, construction,<br />

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

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

which ultimately sets out the student’s architectural position as a designer at the<br />

end of their formal design education.<br />

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

across both years of the MArch, each with distinct themes and agendas that<br />

pose specific architectural challenges and opportunities. Regular design tutorials<br />

are supported by seminars, lectures, and specialist technical consultancies.<br />

These are also complemented by critic-led reviews with panels of academics<br />

and practitioners invited from across the country. Our curriculum is designed<br />

to help students define the kind of architect they want to be and tailor their<br />

portfolio towards the practices in which they want to work or areas in which<br />

they would like to demonstrate their expertise. To this end, alongside the design<br />

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

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

programme, effectively tailoring their learning according to their areas of personal<br />

interest. A wide range of options allows students to either write a Research<br />

Dissertation; to work in small groups to develop a Linked Research Project, on<br />

a project associated with research proposed by a member of staff; or to develop a<br />

specialism in Urban Planning or Urban Design selecting a series of modules from<br />

our School’s respective Masters in those disciplines, which could ultimately lead to<br />

a dual qualification if that particular route is continued after graduation.<br />

Opposite - Sarah Bushnell<br />

67


Stage 5 & 6 Vertical Studios<br />

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

studios across both years of the degree. The research-led masters vertical studios included: ‘Strange<br />

Places’ a studio that offers an opportunity for students to investigate a strange, distinctive, unique place<br />

of their choosing – somewhere so particular that architecture made there could never be like architecture<br />

made somewhere else; “The Big Here and The Long Now”, a studio which focused on the creative use of<br />

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

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

responses to border conditions, conceived both literally and figuratively; “Material Change”, a studio<br />

that works with existing buildings to explore the processes of transition and reuse as an environmental<br />

adaption and transformation rather than an act of conservation and restoration; “Reconstructing<br />

Architecture”, a studio in which DIY methods, including reuse and repurposing respond directly to the<br />

climate crisis; suggesting approaches to architectural composition and building construction informed<br />

by anarchism; finally, “Narratives of Change”, a studio that worked in Blyth, North and South Shields<br />

and Hartlepool to explore what an ecologically routed mode of practice might look like and what tools<br />

and techniques it might deploy to rethink our energy future.<br />

Stage 5 Coordinator<br />

Adam Sharr<br />

Stage 6 Coordinator<br />

Christos Kakalis<br />

Project Leaders<br />

Adam Sharr<br />

Anna Czigler<br />

Carlos Calderdon<br />

Christos Kakalis<br />

Dan Burn<br />

Danka Stefan<br />

David Boyd<br />

Graham Farmer<br />

Irina Korneychuk<br />

John Kinsley<br />

Nathaniel Coleman<br />

Neil Burford<br />

Polly Gould<br />

Prue Chiles<br />

Zeynep Kezer<br />

Stage 5 Students<br />

Aditi Golecha<br />

Alexandra Bramhall<br />

Anna Kupriyanova<br />

Anna Toft<br />

Anupa Jacob<br />

Arthur Frederic Marc Belime<br />

Charlotte Ashford<br />

Christopher Anderson<br />

Eleanor Jarah<br />

Emma Beale<br />

Ethan Howard<br />

Farah Nasrallah<br />

Gabrielle Taylor<br />

Georgina Walker<br />

Hollie Sayer-Smith<br />

Hon Ying Chow<br />

Ilyeob Kim<br />

Isobel Prosser<br />

Jack O’Neill<br />

Kafeel Ur Rehman Farooqi<br />

Katie Belch<br />

Kaviya Chenthil Kumar<br />

Kaywon Mirrezaei<br />

Keegan Lopes Murray<br />

Khin Sandar Lwin<br />

Laura Vickers<br />

Maria Cara Wood<br />

Mary-Anne Murphy<br />

Mia Olivia Tobutt<br />

Mohamad Khalif Md Kher<br />

Muhammad Faiz Hakim<br />

Mohd Fisal<br />

Muhammad Shujaat Afzal<br />

Niamh Condren<br />

Niamh McNamee<br />

Rebecca Neumann<br />

Rory Kavanagh<br />

Sangeetha Nagaraj<br />

Sarah Hawkings<br />

Sean Bartlem<br />

Sek Mei Chio<br />

Shaoling Chen<br />

Sharanja De Zoysa<br />

Siu Pok Pun<br />

Sophie Kebell<br />

Vincent Woehlbier<br />

Yan Yee Hong<br />

Zeyu Chen<br />

Zhiyuan Song<br />

Stage 6 Students<br />

Afiq Rozhan<br />

Anastasia Cockerill<br />

Anushka Atamprakash Juneja<br />

Cameron McKay<br />

Charlie Barratt<br />

Chloe Dalby<br />

Chun Hoi Wong<br />

Emily Charlton<br />

Feyzan Sarachoglu<br />

Florence Nayiga<br />

Harry Boakes<br />

Hasstie Mirsamadi<br />

Hiu Kit Brian Hui<br />

Hiu Lam Jessica Cheng<br />

Hizkia Widyanto<br />

Hope Foster<br />

Hyelim Lee<br />

Ibadullah Shigiwol<br />

Iulianiya Grigoryeva<br />

Jack Menzies-Astley<br />

Jason Glionna<br />

John Roberts<br />

Kwok Tung Constance Tso<br />

Martina Dorothy Hansah<br />

Matthew Nam Xing Tan<br />

Natalie Si Wing Lau<br />

Ollie Spurr<br />

Olivia Jackson<br />

Paola Isabella Jahoda<br />

Qixing Huang<br />

Rory Durnin<br />

Roxana Caplan<br />

Sarah Bushnell<br />

Senjeeven Dhanen<br />

Mungapen<br />

Shahryar Abad<br />

Shivani Patel<br />

Simon Ng Chi Ming<br />

Siu Chung Gabriel Tong<br />

Sophie Heuch<br />

Stuart Lanigan<br />

Sze Man Wong<br />

Thomas Barnetson<br />

Tinnie Ma<br />

Yan Cheng<br />

Yuhua Lee<br />

Zongshui Jiang<br />

68<br />

Text by Graham Farmer<br />

Opposite - Roxana Caplan & Ollie Spurr


69


Material Change<br />

Dan Burn, Irina Korneychuk, Danka Stefan & Graham Farmer<br />

Studio talks/building visits Henry Pelly (Max Fordham), Andy Campbell (Dress for the Weather)<br />

Review guests (FaulknerBrowns) Paul Rigby, Kevin Fraser, Niall Durney, Peter Hunt, Nick Heyward, John Kemp, David Noble<br />

The environmental argument in favour of building reuse is clear. In the UK, the construction industry accounts for 60% of all materials<br />

used, while creating a third of all waste and generating 45% of all CO 2<br />

emissions in the process. The critical onus on architects and<br />

developers, therefore, is to retrofit, reuse and reimagine our existing building stock, making use of the ‘embodied carbon’ that has<br />

already been expended, rather than contributing to escalating emissions with further demolition and new construction.<br />

The processes of transition and reuse have been the central themes of our studio this year. We have considered reuse as an adaption<br />

and transformation rather than an act of conservation and restoration.<br />

Following a primer exercise based around explorative ‘derive’ walks in Newcastle, each student made a detailed urban analysis of their<br />

chosen area of the city. From that point the students sought out buildings that could be used to activate the potential of existing sites<br />

and the surrounding neighbourhood.<br />

The resultant projects transform a wide variety of existing buildings, from sensitive historic settings to retail sheds and industrial<br />

relics. Each project aims to creatively reconfigure the existing space with a proposal that reinvigorates the building within its locality.<br />

70<br />

Above - Natalie Si Wing Lau


The Ode<br />

An ode is traditionally a poem;<br />

John Keats describes an ode as<br />

‘something that shows respect<br />

for or celebrates the worth or<br />

influence of another: homage’.<br />

This is reflected in Newcastle<br />

Central Station and the poetic<br />

library that will inhabit it. The<br />

station strives to honour the<br />

city and the commuter through<br />

literature both atmospherically<br />

and physically. The Ode is a<br />

dispersed series of spaces along<br />

a commute that celebrates the<br />

still moments within a non-stop<br />

city. Encouraging people to stop,<br />

think, breathe and enjoy the<br />

present.<br />

Adaptive Re-Use Project: From a<br />

Car Park to Integrated Experience<br />

This project proposal aims to<br />

comprehensively transform an<br />

underutilised urban space in<br />

Newcastle, focusing on two key<br />

semester initiatives. In Semester 1,<br />

the proposal introduced the idea<br />

of covering the existing motorway<br />

with a green area and playgrounds,<br />

aiming to create a safe and lively<br />

environment for the community.<br />

Building upon this concept, the<br />

Semester 2 proposal presents a vision<br />

to repurpose an underused car park<br />

into a dynamic hub for learning,<br />

creativity, and community building.<br />

With adaptive reuse as a core<br />

principle, the project emphasises<br />

user experience and accessibility.<br />

By revitalising the neighbourhood,<br />

fostering cultural exchange, and<br />

promoting inclusivity, the proposal<br />

strives to create a future that is<br />

inspiring and beneficial for all.<br />

Top - Alexandra Bramhall<br />

Bottom - Anna Kupriyanova<br />

71


Shieldfield Learning &<br />

Recreational Centre: Narrative<br />

Path for Community<br />

Interaction<br />

An existing building was retrofixed<br />

to create a new community centre<br />

for the public in Shieldfield,<br />

Newcastle. The disconnected<br />

relationship between local<br />

residents and university students<br />

causes social conflicts and issues in<br />

Shieldfield. As a new community<br />

centre, it provides programmes<br />

and activities for different social<br />

groups by creating the narrative<br />

path which continuously links a<br />

series of spaces and programmes.<br />

This semi-public space (narrative<br />

path) improves physical access<br />

from street level to roof terrace<br />

and users can naturally encounter<br />

one another while using new<br />

programmes. The new community<br />

centre can contribute to solving<br />

physical and social barriers in<br />

resolving issues in Shieldfield.<br />

Newcastle Print Museum<br />

A pair of Georgian townhouses<br />

located on Side Street, in the<br />

historic core of Newcastle were<br />

retrofitted. The proposal extends<br />

the buildings up Side Street, in<br />

order to replace urban fabric that<br />

has been lost in recent decades,<br />

and reopen them as a public<br />

museum dedicated to the old<br />

print making industry that used to<br />

dominate the street. The building<br />

then forms part of a wider<br />

masterplan that aims to reconnect<br />

the key heritage buildings, such<br />

as the castle and the Black Gate,<br />

back into the city of Newcastle.<br />

72<br />

Top - Ilyeob Kim<br />

Bottom - Laura Vickers


‘BINGO!’<br />

The project explores and<br />

interrogates bingo culture in the<br />

UK; past, present and community<br />

future. The introduction of online<br />

bingo has caused a reduction<br />

in the number of visits to bingo<br />

halls in the past 10 years. This<br />

will act as a catalyst to many<br />

bingo halls in the UK being<br />

shut down, with commercial<br />

bingo companies favouring the<br />

increased profit margins and<br />

ability for psychological control<br />

online. The project aims to<br />

reimagine the common, purposebuilt<br />

bingo hall typology into one<br />

that functions to reduce social<br />

inequalities through providing<br />

beneficial community space and<br />

opportunities.<br />

Concern for managing the<br />

waste created by the constant<br />

replacement of once new products<br />

by ever newer ones is an ongoing<br />

problem in the built environment.<br />

Because the ‘throwaway’ spirit is<br />

still prevalent, reuse is noticeably<br />

non-conformist, exceptional,<br />

and ideological, rather than<br />

systematic and neutral. Suppliers<br />

of reusable building materials<br />

valorize not only reuse itself as a<br />

waste reducing practice, but also<br />

its objects that can’t be replicated.<br />

Additionally, the reuse of timebound<br />

pieces exposes history and<br />

character. The building will aim<br />

to promote reuse of construction<br />

materials and create a new market<br />

for salvaged building materials,<br />

aimed mainly at restoration and<br />

renovation projects. It represents a<br />

sustainable alternative to common<br />

demolition, which tends to be a<br />

destructive and damaging process,<br />

although faster and cheaper, it<br />

creates a substantial amount of<br />

waste.<br />

Top - Niamh McNamee<br />

Bottom - Rebecca Neumann<br />

73


Hanover Hub<br />

A warm space is an example<br />

of a true civic space; a place of<br />

comfort, companionship and<br />

advice that doesn’t demand a<br />

cost. The patchwork nature of the<br />

Hanover Square facades inspired<br />

the continuation of an honest<br />

treatment of the building fabric,<br />

making minimal interventions<br />

authentically. Hanover Hub<br />

fosters togetherness for the<br />

residents of central Newcastle,<br />

with material reuse viewed as the<br />

facilitator of connection.<br />

City’s Threshold<br />

The Newbridge Hotel building<br />

is currently acting as a physical<br />

and visual barrier rather than a<br />

threshold to the city despite its<br />

paramount location of being<br />

an access point between east<br />

Newcastle and Newcastle city<br />

centre. The building became<br />

more welcoming as to invite<br />

people to travel between the two<br />

regions. Therefore, the concept of<br />

the project is to re-establish the<br />

‘entrance’ of the city and recreate<br />

a more welcoming threshold by<br />

removing the visual and physical<br />

barrier, opening up the view and<br />

the city’s threshold.<br />

74<br />

Top - Sarah Hawkings<br />

Bottom - Siu Pun


Byker Connect<br />

Located in Byker, Newcastle Upon<br />

Tyne, “Byker Connect” attempts<br />

to address the social and economic<br />

challenges faced by Shields<br />

Road. Through adaptive reuse, it<br />

repurposes a former Presto Food<br />

Market into a vibrant community<br />

asset. With the aims of stitching<br />

the gap between Byker Estate and<br />

Shields Road, the project proposes<br />

flexible shared space and resources<br />

that promote diversification<br />

of use and interconnectivity<br />

between programmes. Besides its<br />

strong focus on community, the<br />

project aims to create stronger<br />

connections between Byker Estate<br />

and Shields Road, and in doing<br />

so, stimulate economic growth<br />

and generate new employment<br />

opportunities within the area that<br />

would ultimately contribute to<br />

the regeneration of Shields Road.<br />

Above - Muhammad Shujaat Afzal<br />

75


Keelmen’s Keep – Somewhere to Call Home<br />

Keelmen’s Keep is a scheme that gives homeless individuals ‘Somewhere to Call Home’. It becomes a safe, comfortable environment<br />

for those who have experienced the trauma of homelessness, offering a recovery journey that becomes a stepping stone to a more<br />

stable home for life.<br />

76<br />

Emily Charlton


Byker Grow: A New Community Kitchen and Allotments<br />

The Byker Grow is a proposal for a new community kitchen and allotments to enhance the landscape infrastructure in Byker while<br />

increasing the empowerment of the community with the return of land to public gardening. By utilising existing brick buildings<br />

and reinventing the use of existing industrial shed materials, with the new addition of colourful timber intervention that resembles<br />

the pergolas in the Byker Estate, the architecture aims to respond to the strong material-reclaim culture of allotments in its context.<br />

Natalie Si Wing Lau<br />

77


The Lost Hobby Rooms - Byker’s New Creative Hub<br />

The proposal includes workshop and maker spaces that provide the facilities for an informal vocational education programme,<br />

upskilling the community of Byker. Inspired by the network of Byker’s hobby rooms, this thesis explores a method of adaptive reuse<br />

through the design of domestic scale timber structures within an existing industrial building. The new spaces are inspired by the<br />

design and function of the hobby rooms, celebrate the existing structure, and reflect the makers who inhabit the spaces. An urban<br />

route running through the building connects the public to the makers, crafts, new and existing architecture.<br />

78<br />

Olivia Jackson


Break A Leg - A Community Hub for Byker with Performance Space<br />

Shields Road, once the bustling economic and social hub of Byker, has a rich history of performing arts, with a multitude of theatres<br />

and cinemas once littering the area. This has faded over the years, following a nationwide pattern of high streets in decline. This thesis<br />

proposes a mixed use community hub, acting as a ‘social condenser’ which includes an adaptable performance space, a market hall,<br />

versatile community facilities for meeting and recreation, as well as workshops. Central to the project is the studio theme of adaptive<br />

re-use, aiming to preserve as much of the existing historic character as possible, while sustainable new-build elements are sensitively<br />

added to restore some of the granularity and unique character which has faded in recent years.<br />

Rory Durnin<br />

79


Reconstructing Architecture: Inventing Anarchist Spatial Practises<br />

Nathaniel Coleman, David Boyd & Carlos Calderdon<br />

The Reconstructing vertical studio rejects neo-avant-garde conceits that architecture is in the drawing alone with building an<br />

irrelevance. Instead, articulating the multiple dimensions of design projects is central, including emphasising the complexity of<br />

construction. Students are challenged to close gaps between conception and production, thereby recuperating architecture as building.<br />

Reconstructing architecture entails remapping the neo-avant-garde (as the only game in town); exceeding its dalliances with bricolage<br />

by embracing DIY, aligned with anarchist practises. Anarchism responds to the daily failures of capitalist realist imaginaries by<br />

articulating a pragmatics according to which being realistic entails working toward the impossible. DIY methods, including reuse and<br />

repurposing (not endless resource exploitation), respond directly to climate crisis; suggesting approaches to architectural composition<br />

and building construction informed by Morris’, Buber’s, and Ward’s reflections on anarchism and architecture, starting with Junk<br />

Playgrounds.<br />

In the Reconstructing studio, anarchism as a theory of organisation, including of spatial practises and building process, is informed<br />

by:<br />

• Understanding & remapping architectural neo-avant-gardes.<br />

• Reflections on autonomy myths of Italian Fascist (Rationalist) architecture as foundational for architectural neo-avant-gardes.<br />

• Inventing anarchist spatial practises as an aim of the design theory research in the studio.<br />

• Beginning with Utopia, anarchist spatial practises are invented through continuous experimentation.<br />

• Reconstructing architecture through anarchist spatial practises (emphasising use), including by intensifying tensions between<br />

architect desires for artistic autonomy and the burdens of use.<br />

In the spirit of anarchist social & spatial organisation, students challenge the brief; emphasising parts of it, rejecting others. As<br />

generative, not instrumental, the brief accommodates myriad sorts of architectural invention. While some students examined most<br />

of the topics outlined in the brief, all attended to at least a few — DIY & Spolia investigations for example. Happily, students largely<br />

rose to the challenge of open-ended iterative processes of continuous experimentation.<br />

Agriculture as Autonomy<br />

A proposal explored through the<br />

context of a reimagined peripheral<br />

district in Rome, reconciling<br />

tensions between the urban and<br />

the rural, through cooperative<br />

material collection, production<br />

and design. Rationalist and<br />

fascist housing facades morph as<br />

DIY constructions creep across<br />

them, whilst the northernmost<br />

abandoned fascist farmstead is<br />

transfigured into a community<br />

design hub, material store<br />

and timber mill. The project’s<br />

remapping is not a practice in degrowth,<br />

but a considered move<br />

toward an alternate growth, intent<br />

on theemergence of a new spatial<br />

typology through the cooperative,<br />

as reaction to the failures of<br />

modernity.<br />

80<br />

Above - Katie Belch


Anarchic Spatial Experiment -<br />

Space Directed by Ruins<br />

This project aimed at intervening<br />

in a building site that was<br />

destroyed by Mussolini’s urban<br />

renewal plan. The design abstracts<br />

the form of ruins with the<br />

primary goal of establishing a<br />

critical reconstruction project that<br />

can prompt people to reflect on<br />

history. The second stage begins<br />

with an examination of the site<br />

and its materials, striving to<br />

understand the inherent narrative<br />

of these elements. The third stage<br />

is a spatial design created with the<br />

premise of spolia as a concept, and<br />

ruins as a historical perspective.<br />

This approach integrates existing<br />

elements from the historical<br />

environment into the new<br />

architecture.<br />

Palimpsest in Motion<br />

Palimpsest in Motion is a<br />

workshop, studio, exhibition<br />

space, and collaborative learning<br />

environment catered towards<br />

those who create. From artisans to<br />

aspiring architects and artists, and<br />

master technicians, this project<br />

aims to create a home for all.<br />

Embedded within the rich context<br />

and layered narratives of Rome,<br />

the project will become a visible<br />

scar across the surface of the city,<br />

reflecting the past while creating<br />

opportunities for the future. The<br />

form of the final construction was<br />

created through a spontaneously<br />

generative design process that<br />

bounced between creating<br />

physical models and hand-drawn<br />

explorations and has taken much<br />

inspiration from both classical<br />

architects and futurists alike.<br />

Top - Zhiyuan Song<br />

Bottom - Keegan Murray<br />

81


The Multitudinous Centre<br />

The Multitudinous Centre<br />

explored in semester 1 aspired<br />

to unite the historical pieces and<br />

the city as a whole so that it can<br />

become Rome’s spine. The project<br />

responds to the mass demolition<br />

that removed many of the ancient<br />

buildings and cut a large swathe<br />

through the centre of ancient<br />

Rome, separating the site. This<br />

project introduces a new way<br />

of navigating the site that ties<br />

everything together as complete,<br />

in relation with the diversity of<br />

centre.<br />

Ideological Confrontation<br />

As the Casa del Fascio and the<br />

Cathedral sit comfortably in their<br />

place, the area has become dull<br />

and not liveable with the invasion<br />

of the large road as well as railway<br />

along the way to the entrance of<br />

Como City. In this situation,<br />

the inactivated space needs to be<br />

reactivated as it once was. The<br />

focus of the project is inventing<br />

anarchist spatial practice, an<br />

active place where people gather<br />

for economic, social and political<br />

activities. The strategy to achieve<br />

the project is to spark ideological<br />

confrontation within the area,<br />

which has the power to change<br />

the overall urban fabric and<br />

also address the direction of<br />

development growth.<br />

82<br />

Top - Muhammad Mohd Fisal<br />

Bottom - Mohamad Khalif Md Kher


Matthew Nam Xing Tan<br />

83


New Urban Block on the Road of Via Dei Fori Imperiale and its Ruins<br />

Built by the orders of Mussolini as a political statement of power, it extended from his office’s balcony to Colosseum, by that<br />

destroying major historical sites and densely populated urban blocks whose residences were forced to leave their home. Today the road<br />

only visited by tourists allows nothing but visual experience of a destroyed historical site. The area stands isolated from the functional<br />

urban landscape. Via Imperiale is the standing evidence of Mussolini’s crime against Rome. The project aims to reintegrate the site<br />

within the functioning urban landscape of Rome, by creating a new urban block with functional social spaces and the integration of<br />

ruins within this urban landscape.<br />

84 Feyzan Sarachoglu


Reconstructing the Via dei Fori Imperiali<br />

The line Via dei Fori Imperiali, is a line that symbolizes the peak of the fascist state of mind; the eradication of humans. What’s left on<br />

the site is nothing more than ruins, a void in both physical and psychological experience, changing its use and identity. In challenging<br />

the line, this project seeks to experiment with how to reintroduce the missing urban condition by the method of overlapping the<br />

fabrics that exist both in the past and present, in realization for them to be overlapped again in the future. Forming a chaotic moment<br />

that would be translated into a spatial experience, reconstructing the site through a reflection of experience walking around Rome, its<br />

labyrinth-like experience. Converting the void and bringing new activities to incite hope for the city despite its history of violence.<br />

A<br />

B<br />

C<br />

D<br />

E<br />

18<br />

Hizkia Widyanto<br />

85


Inventing Anarchist Spatial Practices: Learning from the Land of Trees and Roundabouts<br />

The project is concerned with a case of lost identity in the town of Washington, Tyne and Wear. A diminishing sense of responsibility<br />

and ownership over the place is linked to the growing level of anti-social behaviour within a younger generation. Overall, with the<br />

introduction of new site-wide, external and internal workshop spaces, the project hopes to prove that by inventing anarchist spatial<br />

practices and by not adhering to the habitual norms of division in design, it can harbour a place of urban and social spontaneity,<br />

of unexpected interactions. Hopefully this can improve the connections within the community; and as a result can close that<br />

generational divide of sense of identity, ownership, responsibility and place.<br />

86 Hope Foster


Piazza Vittorio: A Multi-Cultural Laboratory<br />

This design proposal aims to address discrimination, xenophobia, and neglect in Piazza Vittorio Emanuele II, Rome. The concept<br />

advocates for co-op anarchism architecture, embracing diversity and rejecting exclusionary ideologies. The key focus is on community<br />

involvement in decision-making and the creation of public spaces tailored to the unique needs of immigrants. Through intentional<br />

architectural interventions, immigrants can shape their identity, reclaim cultural visibility, and foster a deep sense of belonging. By<br />

adopting a co-operative anarchism approach, the design aims to foster an inclusive and tolerant society, serving as an inspiring symbol<br />

for other communities. Piazza Vittorio will become a vibrant multi-cultural laboratory, celebrating diversity, and promoting unity.<br />

Ibadullah Shigiwol<br />

87


Strange Places<br />

Adam Sharr<br />

This studio offers an opportunity for students to investigate a strange, distinctive, unique place of their choosing – somewhere so<br />

particular that architecture made there could never be like architecture made somewhere else. The choice of place is global, and there<br />

are many possibilities. However, each strange place must be somewhere that is not only spatially distinctive but which also has cultural<br />

resonances – literary, historical, filmic, material, artistic, environmental, or photographic, for example – and political resonances –<br />

including palpable inequalities or strange relationships – which can serve as prompts for design. While the places explored by the<br />

studio have been diverse, methods are shared: how to depict the strange qualities of a strange place; how to measure its particularities;<br />

how to pursue that unique and particular architecture which could only happen there. We have worked collaboratively, through<br />

conversation, debate and thoughtful drawing, sharing ideas and methods. Sites of investigation range from Baba Island in Karachi,<br />

to Clough Williams Ellis’s fantasy village of Portmeirion in Wales, to Yorkshire’s rapidly eroding Holderness Coast, to Newcastle’s<br />

imaginative geographies, to inner thought-worlds of depression.<br />

This fully demountable housing<br />

scheme, located on Europe’s fastest<br />

eroding coastline, comprises three<br />

standard house types which can<br />

be adjusted and altered through<br />

self build, as well as a communal<br />

building which provides local<br />

residents with amenities and<br />

helps to bind the community<br />

together as well as enrich the local<br />

culture. The scheme proposes<br />

to provide local residents at risk<br />

of losing their houses to erosion<br />

with properties which can be<br />

disassembled and reassembled<br />

as coastal erosion encroaches,<br />

creating environmental off-grid<br />

architecture inspired by the<br />

local vernacular whilst ensuring<br />

residents can continue to live<br />

on this dynamic and dramatic<br />

landscape.<br />

88 Top - Cameron Mckay Bottom - Jack O’Neill


Ode to the Sea<br />

‘Strange place’ is the man-made<br />

rock pools that were a part of<br />

the 19th century Lady Grey<br />

Bathhouse located on the coastline<br />

of Howick, Northumberland. It<br />

proposes a bathhouse that doubles<br />

as a coral regeneration centre. The<br />

Howick coast is part of a 634 km 2<br />

marine conservation zone. The<br />

project is based off the concept of<br />

‘blue mind theory’ - ‘the<br />

mildly meditative state we fall<br />

into when near, in, on or<br />

under water.’ The bathhouse<br />

is an underwater structure that<br />

creates a more immersive<br />

bathing experience. While<br />

the roof scape acts as a series<br />

of natural pools and terraces that<br />

cold water coral can be grown on<br />

to regenerate the reef.<br />

The project is located in Baba Island,<br />

Pakistan. It delved into the existing<br />

context, culture, and traditions of the<br />

local community. The project aimed to<br />

understand their lifestyle and develop<br />

urban and architectural interventions<br />

that would support their needs.<br />

With a focus on sustainability, the<br />

project addressed challenges such as<br />

rising sea levels, waste management<br />

issues, and the social needs of the<br />

community. The project proposed<br />

solutions like a net weaving facility for<br />

women and a boat making workshop<br />

for men, creating opportunities for<br />

a micro economy on Baba Island.<br />

To combat the impact of rising sea<br />

levels, it employed timber construction<br />

techniques and designed communal<br />

water collection areas that would be safer<br />

for the community. The overarching<br />

goal was to further unite the people of<br />

Baba Island by addressing the problems<br />

and providing for their needs.<br />

Above - Sharanja De Zoysa Bottom - Kafeel Ur Rehman Farooqi<br />

89


Of Space and Narrative: Empowering Battersea’s Marginalized Communities through the Art of Filmmaking<br />

Battersea’s character has, over the years, undergone major changes, which many view to be negative as they don’t cater towards the<br />

social good of the many, with marginalized communities being displaced amidst rising rent prices. However, Battersea’s rich cinematic<br />

past has documented the district and its communities through film, serving as a repository of memories and additionally, a powerful<br />

tool for self-expression. Film and architecture are interlinked through a similar design process which sees them shape narratives from<br />

the manipulation of the physical, The People’s Archive, designed through a cinematic approach, empowers marginalized communities<br />

through the art of filmmaking.<br />

90 Afiq Rozhan


Living on the Edge<br />

Holderness Coastline is highly dynamic but retreating coastline which is, and for centuries has been, under the effect of coastal<br />

erosion and flooding. This 60km coastline in East Riding of Yorkshire is the fastest eroding coastline in Europe. The coastline has lost<br />

around 5km of land including 29 towns lost to sea. There are around 20 existing towns on this coastline, a few of which lie in the<br />

areas of imminent danger. The perceived need for protection of the Holderness coastline has its origins in human desire to resist and<br />

control the natural coastal process of erosion, which poses a threat both to property and important natural habitats.<br />

COASTLINE STUDY<br />

Anushka Juneja<br />

91


Reclaiming a Lost Landscape<br />

Thousands of abandoned metal mines continue to pollute the UK’s natural ecosystems, posing as one of Britain’s most significant<br />

threats of pollution, with over 1500 km of waterways in England affected. Located on an abandoned lead mine (Groverake Mine),<br />

The North Pennines Bioremediation Center is a pioneer project which establishes a facility where sustainable contamination<br />

treatment methods can be tested, developed, and implemented as well as process contaminated matter into usable products. This will<br />

allow for the remediation of countless mine sites scattered across the region, all while protecting and enhancing the natural beauty<br />

of the North Pennines.<br />

92 Cameron Mckay


Virtual Solitude / Walking into Depression<br />

The project explores how virtually-curated landscapes can serve as a mirror of psychological experience, and how they can allow<br />

depression patients to project themselves into a detached virtual dimension with cathartic potential. It is a self-orientated but<br />

outward-facing therapeutic device.<br />

Taking the lessons of the video game Death Stranding, it is a construction tool: one that builds virtual cathartic spaces captured from<br />

reality to visualise a path which could one day provide a feasible route to walk out from depression. This is a mirror of hidden pain,<br />

reflecting on how music, architectural space and landscape provide a device for the curation of self, contributing to mental health.<br />

Kwok Tung Constance Tso<br />

93


Reviving ‘The City in the Sky’<br />

The proposal works with Bewick Court in Newcastle, attempting to solve the safety and social issues which have arisen due to its age by<br />

replacing the primary circulation with a new route. This intervention is a means of introducing communal spaces into the building, to<br />

encourage social interaction and improve the standard of living. It also provides a second means of escape, as Bewick Court currently has<br />

only one staircase. The proposal uses techniques derived from the design of Portmeirion by Clough Williams-Ellis, aiming to bring more<br />

joy and creative freedom into the built environment in a kind of ‘Portmeirion-ification’.<br />

94 Sophie Heuch


The Imaginative Geographies of Newcastle’s Forth Goods Station<br />

Imaginative geographies can be understood as the mental maps and narratives of how people make sense of the world around them. This<br />

project argues that imaginative geographies can function as a productive tool in expressing and visualising the under-addressed aspects<br />

like collective memories, social aspects and cultural practices in the current heritage regeneration model. A miniature town of the ‘Lost<br />

Fragments of the City of Newcastle’ is situated on the Forth Goods Station site. The final design is an atemporal dimension which past,<br />

present, future straddle all in the same instance. It informs multiple possible futures and pasts that might be fictional. They condense into<br />

a ‘present’ that does not propose a finite and defined form but one that would shift in time. In the production of creating this ‘chaotic’,<br />

‘contrasting’, ‘striking’ reality, it evokes a model for re-thinking buildings and cities for continual adaption, episode and incident - that<br />

forms the foundation to understand how we approach regeneration projects through retention, re-use, retrofit and refurbishment on old<br />

building stocks under the pressing issues of the climate emergency.<br />

Tinnie Ma<br />

95


Narratives Of Change<br />

Prue Chiles & Polly Gould<br />

Over the past three years this studio has looked at how we need to Un-learn the way we do things today, then, how we understand a<br />

different way of thinking about world structures in Degrowth. We now continue these themes through Narratives of Change. What<br />

might an ecologically routed mode of practice look like? What tools and techniques might it deploy to rethink our energy future?<br />

We begin with storytelling as a way to talk about these difficult and complex themes, and to visualise them. We will focus on<br />

architecture’s intrinsic co-existence with narrative and reinterpreting the role of the architect not simply to build, but to empower<br />

and entice the wider community, through clear, easy to interpret narratives, imagery and mapping. Seeing visual and spatial imagery,<br />

of projects looking into the future, can make us re-think what we take for granted - questioning the impact on your everyday life.<br />

Provoking more thought and making us question our own surroundings, reconsidering the impact of ideas and making familiar<br />

surroundings more problematic and imagining a similar function with different power structures - ‘Worlding alternative futures’.<br />

We started by looking at three towns, Blyth, North and South Shields and Hartlepool and worked together to imagine new futures<br />

for them. The final projects are a continuation of this work and are interdependent on each other, powerfully imagining a thriving<br />

future energy coast.<br />

96 Above - Iulianiya Grigoryeva


Earth’s Breath: Wind and Wild<br />

Exploring the narrative between humans and the breath of earth’s wind, the project aims to understand and express the omnipotence<br />

of wind, how it affects the way we perceive landscapes, and how it influences the way we respond to and inhabit the skin of the<br />

breathing earth. As creatures looking for shelter, how might an architecture in the future be different to accommodate both ourselves,<br />

and natural forces? The narrative arc explores an ever-advancing Anthropocene where society appreciates the fact that the human and<br />

the wild cannot be partitioned; wind and wild are forces to be embraced.<br />

Chloe Dalby<br />

97


Forest City of Tomorrow<br />

The project is an urban strategy for a new factory town located on Blyth’s former power plant in Cambois. The proposal attempts an<br />

alternative method of housing instead of the typical suburbia and aims to create a town with benefits of both the urban environment<br />

and the countryside. The core theme revolves around the woodlands creating a natural buffer between residential areas and industrial<br />

activities. Flexible walls allow the houses to be easily customised and grow with their users. A roof garden takes the place of a lawn<br />

and provides scenic views of the seafront and forest.<br />

98 Siu Chung Gabriel Tong


Repair of the North<br />

Tyne Brand Housing, skills and repair hub is situated in North Shields, alongside the River Tyne. The proposal takes over an industrial<br />

factory that prior to intervention has been left derelict for over 4 decades. As the project advocates for repair and maintenance –<br />

specifically, of the North – the care of the factory building is a number one priority. Tyne Brand Housing strives to provide multiple<br />

learning opportunities to the people of the North and build a strong sense of community all while breathing life back into an old<br />

industrial building that was once so significant to North Shields.<br />

122 123<br />

126 127<br />

Hasstie Mirsamadi<br />

99


Living with Water<br />

Water has a significant impact on our lives, ranging from birth and sustaining life to causing destructive disasters like typhoons,<br />

tsunamis, and floods. As the climate crisis intensifies, we must pay attention to how we interact with water to protect ourselves from<br />

disasters like floods and droughts and how we can use water more wisely. Furthermore, it is important to explore ways of harnessing<br />

the positive benefits of water in our daily lives and build a stronger connection with it. To this end, I have proposed various ideas for<br />

living with water.<br />

100 Hyelim Lee


Sau‘Sage’ advice for Healing Blyth<br />

The thesis looks at the influence of food as an economical factor on people and cities on a large scale, through a national dish, the<br />

Sausage Roll. The industrial era covered cities with factories, overtaking home food production, making the sausage roll be produced<br />

through metal counters. This is not only affecting our food quality and health, but also the ownership of the space within the city,<br />

causing food deserts and changing the smell scape of the city. Following the narrative, the healing of Blyth from industrial Monster<br />

starts with agripuncture, where targeted neglected spaces will be regenerated with help of local farmers and horticulture experts. With<br />

the aim of people to regain the food culture of the past, and bring new economical activity for future hope. The first pin point of<br />

agripuncture is converting the existing Keel Row shopping centre of Blyth into Cooperative Food Arcade, the place of knowledge about<br />

food culture. People can engage in learning about diet, growing fruit and vegetables, economics of food. The future hope is to transform<br />

the town into a circular urban farm, which brings economic independence for the people of Blyth.<br />

Iulianiya Grigoryeva<br />

101


Interviews by Peatland: a Sacred Landscape Proprioception<br />

The escalated effects of humanity on the planet’s wilderness have dubbed the present epoch the Anthropocene, meaning that modern<br />

humans have since become the most dominant species in shaping the earth. The exploitation of peatland has caused substantial<br />

carbon emissions and effects its significant impact on biodiversity and past environmental study. The project takes an analogical<br />

approach and tries to find a contemporary interpretation of the mythological story ‘the killing of a sacred deer’ with peatland and<br />

Hartlepool (the name originates from ‘the island of Deer.’)<br />

102 Qixing Huang


Sacrificial Ground. The Past, The Present, The Palimpsest<br />

As a result of human depredation, natures splendour is now a shrunken fragment of what it once was…such depredation forms the<br />

foundation of coastal industrial settlements, and thus, leaves its children to ‘nest within the sacrificial ground’ (Lent, 2021). Dawdon<br />

Colliery, in Seaham, epitomizes this environment & its coastal land accommodates the reminiscence of coal spoil deposits, which leak<br />

sulphuric acids and toxins into the surrounding landscape. The project aims to visualise the narratives of how the depredation of the<br />

present was shaped by the coal industry of the past. In turn, it looks to the future, imaging an ‘alternate form’ of colliery living; built<br />

around collective geothermal energy production.<br />

Sarah Bushnell<br />

103


Edge Conditions<br />

Neil Burford, Christos Kakalis & Zeynep Kezer<br />

This studio investigated architectural responses to edge conditions, conceived both literally and figuratively. While the output<br />

requirements varied depending on students being in Stage 5 or 6, we organised a range of shared activities including readings,<br />

discussions, and sketch problems so as to develop a collective frame of reference for the entire studio through an open exchange of<br />

ideas.<br />

We started semester 1 with individual and group work examining and mapping designated sections/parts of Hadrian’s Wall, allowing<br />

Stage 6 students to broaden their horizons of inquiry of edge conditions both geographically as well as thematically with different<br />

kinds of edge conditions in mind.<br />

The Culinary Education Centre<br />

The Culinary Education Centre<br />

is situated in Carlisle city centre,<br />

pinched by the unique conditions<br />

of the river Caldew and the elevated<br />

train line to the north. The project is<br />

a response to the city’s catastrophic<br />

history of detrimental flooding that<br />

affects the area and recognising the<br />

fragmented society it is situated<br />

within. Through the programme<br />

and physical intervention, the ‘Food<br />

for Thought’ master plan aims to<br />

stitch back the fragile fragments of<br />

Carlisle. My focus for the project<br />

became the people and processes<br />

showcased within the building. The<br />

scheme responds to the old/new – hi<br />

tech/low-tech growing techniques<br />

by allowing the system tectonics to<br />

drive the architecture. The key is<br />

to focus on the in-between spaces,<br />

an important theme developed<br />

throughout semester 1, where the<br />

senses can get blurred between the<br />

ever-revealing thresholds, stitched<br />

together by views of growth and<br />

fresh produce.<br />

104 Above - Charlotte Ashford


St John’s Community Church, Walker<br />

With such high attendance rates ‘the church’ and ‘the local community’ used to be synonymous, the church able to serve the<br />

community as most of the community was part of the congregation. With the decline of Christianity in the UK over the last 30 years<br />

the church has become more isolated than ever as a lack of attendance has lead to a lack of community service, creating a downward<br />

spiral of even less attendance. The church has always lacked the facilities to properly serve the local community, but now also lacks the<br />

critical mass of people it once had giving it communal influence. My scheme looks to provide the church with the facilities necessary<br />

to serve the community once more, reversing this isolation and feedback loop, helping the church and the local community in turn<br />

to thrive.<br />

Jack Menzies-Astley<br />

105


UP<br />

UP<br />

DN<br />

UP<br />

DN<br />

DN<br />

Unravelling Toronto’s Palimpsest: Seeking Urban Resilience<br />

In an attempt to maintain its global presence, the city of Toronto has surrendered to over-capitalization, whereby “public” lots are<br />

consumed by the ever-increasing creation of solid and built mega- and infra- structures, limiting any possibility of urban resilience.<br />

Delineated areas containing perceived “neighbourhoods” and mixed-use, high-density areas of extreme verticality must be juxtaposed<br />

through analysis and mapping of data [both historic and present] and collected psychological studies [interviews] to discover and<br />

define: What it takes for a part of Toronto to be a neighbourhood. The thesis responds by suggesting layering as a holistic design<br />

process. From the site reading and analysis to the building itself, the project proposes a palimpsest strategy of redefining urban space.<br />

cooking workshop<br />

restaurant kitchen<br />

grocery store<br />

(below)<br />

bakery (for cafe)<br />

restaurant<br />

UP<br />

restaurant patio<br />

DN<br />

bakery<br />

storage<br />

labs<br />

(plant growth study)<br />

grocery store<br />

(below)<br />

patio<br />

harvesting & compost<br />

study space<br />

botanical gardens<br />

labs<br />

(processing study)<br />

labs<br />

(packaging study)<br />

UP<br />

grocery store<br />

BOH (below)<br />

processing & packaging space<br />

storage & loading<br />

space<br />

processing & packaging<br />

workshop storage space<br />

UP DN<br />

DN<br />

106<br />

Jason Glionna


Building the Neo Wall: Untold Stories of Stone<br />

The Neo Wall challenges the frozen perception of Hadrian’s Wall, redefining it as a series of fluid, ephemeral acts – indicative of<br />

the geological formations which created its very fabric. It embodies three concepts – excavation, reclamation, and preservation.<br />

Excavation quarries untold stories of stone, whilst highlighting the toxic scars which quarrying leaves on our landscape. Reclamation<br />

pays homage to the historical act of pillaging, adopting modern methods to repurpose redundant stone to rebuild the palimpsest<br />

structures which were demolished to suit one man’s vision. Preservation looks to the future, questioning our existing strategies for the<br />

next 1900 years of this landscape’s existence.<br />

John Roberts<br />

107


The Nyabarongo Pavilion: Emerging Banks of Memory<br />

The Nyabarongo River became an instrument of murder in 1994 but has never been officially commemorated. In Rwanda, divisive<br />

memorialisation reveals how genocidal landscapes exist in liminality between life and death. This thesis explores these tensions<br />

through personal and collective memory related to the Kanzenze Bridge. By hybridizing the marshlands with a seasonal pavilion<br />

that changes through time, the maintenance of which forms a program for survivors to share and archive their stories as part of a<br />

participatory approach to structure and reconstruction.<br />

108 Martina Dorothy Hansah


Healing through Timber Skilling on the Caldew Riverside<br />

In 2021, the Carlisle authority passed an investment plan that aims to provide new jobs and housing by 2050 as part of efforts to<br />

regenerate derelict areas of the city. In my thesis, I propose a timber skilling scheme that will train the unemployed youth in Carlisle<br />

and equip them with better and more modern skills in timber processing through an apprenticeship program to enable them to<br />

find skilled work. I have chosen the Caldew Riverside in Carlisle which is itself run-down and largely unused as a site to restore the<br />

vibrancy it once had in the 1900s when its coal gas work production was still running.<br />

Florence Nayiga<br />

109


Symbiotic Agencies: Attuning Architecture to Nature<br />

Through our project ‘Symbiotic Agencies: attuning architecture to nature’, we are seeking to (re)define our architectural agency to<br />

address society’s disconnection from nature and the anthropogenic effects it has had on our shared world. For this, our aim is to<br />

explore an alternative design method to create a symbiotic architecture that becomes an interface between humans and their local<br />

natural ecologies, learning to design for an integration and mutual flourishing of all forms of life.<br />

110 Ollie Spurr & Roxana Caplan


Roxana Caplan & Ollie Spurr<br />

111


Women’s Rehabilitation Centre<br />

Edge conditions are lines, whether tangible or abstract, that divide entities. They can manifest as robust physical structures, like<br />

Hadrian’s Wall, or delicate emotional states, such as those experienced by individuals. Presently, our attention is drawn to the edge<br />

conditions concerning women who have endured the profound consequences of gender-based violence since time immemorial. These<br />

women stand at the precipice, where their vulnerability intersects with resilience, their pain intertwines with strength. Recognizing<br />

and addressing these edge conditions is crucial in ensuring their safety, empowerment, and the creation of a just society for all.<br />

112 Shahryar Abad


Dwelling in the Periphery Space Between the City & the Country: The Carlisle Cooperative Community Mill<br />

Priority needs to be given to farmers, the people who form the country and provide for the city. They need another option, providing<br />

a large-scale cooperative community mill on the periphery of Carlisle will not only provide a plethora of job opportunities but it will<br />

enable the process of reskilling the population of Carlisle in a once so prominent but now forgotten trade of the past. The core aim<br />

and focus is to create a scheme that strives to see a sustainable future in local production and manufacturing. With the renewable<br />

material of wool at the centre and heart of the project, and Carlisle as the vessel for change.<br />

Thomas Barnetson<br />

113


Beyond Boundaries: rethinking Stephenson Quarter as a Liminal Space for Urban Regeneration<br />

The Stephenson Quarter is a desolate urban enclave with a rich historical context. This topic was selected as the focus of my final<br />

project. In contrast to the government’s regeneration policy, which treats it as a self-contained entity, I view the Stephenson Quarter<br />

as a liminal space that can be revitalised by reintroducing people to the area via a combination of underground corridors and bridges.<br />

My objective was to investigate alternative viewpoints and novel approaches in order to offer a fresh perspective on the challenges it<br />

confronts.<br />

114 Yan Cheng


Urban Pockets: Activating the Public In-between Spaces in Byker<br />

The thesis explores the pocket spaces in Byker Estate to develop a network of connections between the area’s residents and its<br />

surroundings. The scheme follows an in-depth feasibility studies of the key horizontal and vertical in between spaces to provide an<br />

extensive interactive structure for the community. The project aims to intervene at the spatial and physical environment in the estate<br />

which can afford better opportunities for the community. The nature of the project explores the use of the transitional spaces across<br />

the urban fabric to elevate and activate the streetscape.The issues and opportunities from the range of dialogue in the surrounding<br />

area, the project respond to the social, cultural and physical needs of the community. Especially looking at displacement and social<br />

isolation among the residents of different cultures, loneliness in older people and adolescent antisocial behavior in the area.<br />

Yuhua Lee<br />

115


Restoring the Peatlands with Wool<br />

With the studio theme of ‘Edge Conditions,’ this project focuses on the theme of a culmination of edges, and the process of<br />

reconnecting landscape, industry, and culture through the local wool production networks. The thesis forms a response to the<br />

continued decline of rural villages located between Carlisle and Newcastle, with specific reference to Alston in Cumbria. To combat<br />

the decline of Alston, the proposal celebrates and uses waste local sheep’s wool to produce alternative woollen products. These woollen<br />

products can then be used as a way of restoring the local peatlands and engaging with the tourist industry.<br />

116 Stuart Lanigan


117


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,<br />

or even the town or city where the project is located. But construction in the twenty-first century is an international process, using raw<br />

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

Similarly, when we think of buildings’ lifespans, we might consider how our projects can be de-constructed at the end of their life,<br />

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

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

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

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

These strategies are multi-scale throughout the year: regional and urban strategies of sourcing-transporting-manufacturing-building;<br />

building scale of selecting, recycling, constructing, adopting, disassembling; and a product scale ranging from joints to furniture.<br />

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

environmental, economic, architectural and social framework to create systems that are not just more efficient than what we have<br />

now, but aiming to be waste free. Many such strategies exist and have started influencing urban and architectural design, construction<br />

and even behavioural principles, such as cradle-to-cradle and regenerative design principles. We explore these to understand design<br />

through a process-oriented systematic approach. These principles call for ways of integrating needs of communities and society as a<br />

whole, while putting sustainability in a wider system of ecological and technological flows.<br />

Carbon-Hub:<br />

A scheme for the regeneration of<br />

Ashington<br />

This project is situated in<br />

Ashington, Northumberland,<br />

a former mining town which<br />

suffered in the collapse of the<br />

mining industry and the closure<br />

of the town’s three collieries. Now<br />

facing several social issues, in<br />

particular a lack of employment<br />

opportunities and few business<br />

developments, a proposed<br />

expansion to the rail network<br />

in Northumberland presents<br />

the perfect opportunity for the<br />

design of a regeneration scheme<br />

to benefit the town. The scheme<br />

uses carbon capture technology to<br />

create a ‘carbon hub’, where CO 2<br />

is captured and removed from the<br />

atmosphere, converted, and used<br />

in a range of products and other<br />

materials to be sold in a ‘carbon<br />

marketplace’ that is integrated<br />

within the design of a new train<br />

station for Ashington.<br />

118 Above - Christopher Anderson


Bamboo Oasis: Nurturing<br />

Sustainable Livelihoods in<br />

Rural Communities<br />

The project is based in Bago,<br />

Myanmar, a place where<br />

bamboo is abundant but not<br />

used wisely and facing a lack of<br />

education and understanding of<br />

bamboo resources which leads<br />

to irresponsible harvesting and<br />

undercuts potential business. The<br />

aim of the project is to recognize<br />

the urgent need to address the<br />

awareness of bamboo by educating<br />

people and promoting responsible<br />

manufacturing practices, which<br />

could provide income for the<br />

local people. Responding to the<br />

brief, the master plan prioritizes<br />

sustainability at every stage of the<br />

operations such as biodiversity<br />

preservation, where by integrating<br />

green spaces to promote local<br />

ecosystems and develop the design<br />

project to increase understanding<br />

of sustainability and ecology.<br />

The Mycohub<br />

The mycelium composite<br />

urban acupuncture scheme is<br />

a community-focused project<br />

that aims to promote sustainable<br />

material use and develop a<br />

circular economy within the<br />

creative community of Ouseburn,<br />

Newcastle. At the core of the<br />

scheme is a mycelium composite<br />

production facility - the mycohub<br />

- that utilises local mycelium<br />

and timber substrate sources<br />

and provides various spaces<br />

for local artists to design, grow<br />

and showcase their crafts. The<br />

mycohub brings a new and<br />

innovative form of sustainable<br />

artistic culture to the Ouseburn<br />

valley and wider community.<br />

Top - Khin Sandar Lwin<br />

Bottom - Mary-Anne Murphy<br />

119


The Moss Library<br />

Hidden within plain sight, we find moss, a plant species which in recent years has shown significant potential to help us tackle<br />

atmospheric pollution. Hardly seen with the naked eye this type of pollution constitutes one of the most important environmental<br />

problems of human health. My project focuses on placing a closed-loop moss exchange system within the city. By introducing moss<br />

in areas of Newcastle with high pollution levels we can provide cleaner air for its citizens. The moss library will be a place that presents<br />

its visitors with the opportunity to experience a connection with moss, and learn about its different properties and capabilities.<br />

120 Paola Isabella Jahoda


Carbon Institute<br />

For this project my goal was to, firstly, research and create a future context necessary to support the required upscale in Direct Air<br />

Capture application by reforming legislation to increase the value of captured CO 2<br />

and reform the economy around carbon capture.<br />

Then within this new context I created the Carbon Institute to showcase DAC technology, exhibit the threat of global warming, create<br />

building materials from captured CO 2<br />

, and to perform as a business incubator for the future development of capture technology and<br />

innovative carbon usage.<br />

Charlie Barratt<br />

121


An Upcycle Coffee Campaign Pavilion from Coffee Industry Waste to Push Green Coffee Circular Economy<br />

The main design concept is to provide a coffee waste upcycle pavilion with workshops and stores. This could allow farmers to get<br />

additional support for their families to maintain and improve their quality of life, such as studying, living and working. The pavilion<br />

also aims to promote and educate the new sustainable way of coffee drinking by using upcycled material. The hope is that it will start<br />

to change the whole coffee industry from using non-recyclable packing to bio-degradable packing, like PLA cup lids. The structure<br />

could naturally break down as time passes, and coffee grounds could become a part of the earth again to ensure the circular life cycle.<br />

This also reflects the end of the coffee slave cycle; they might move forward to a better life by having a modular community in the<br />

future.<br />

122 Chun Hoi Wong


North Shields Nettle Works<br />

In response to the environmental crisis of non-biodegradable fishing ropes, the project explores how to transform the underutilized<br />

Nettles (Urtica dioica) within the future process of rope making as the solution to the yearly 640,000 tonnes of fishing tools lost or<br />

abandoned at sea. The scheme focuses on the topic of circular economy and proposes an industrial and educational facility in North<br />

Shields, supplying nettle ropes to the adjacent North Shields Fish Quay and recycling used rope after it loses tensile strength. The<br />

facility will be a testing ground that explores and pushes forward nettle ropes for the fishing industry and ultimately, contributes to<br />

protecting marine habitats and a sustainable seafood supply chain.<br />

Hiu Lam Jessica Cheng<br />

123


The Great Sugar Rush - Rebirth of an Industry<br />

The project aims to revive social confidence and economic strength by strategically revolutionising the sugar cane industry in<br />

Mauritius. We have become disillusioned by the industry’s fallen productivity, cultural erosion, and disparities between small and<br />

corporate planters. Its downfall has resulted in the community losing trust in the country’s pioneering sector. The research has led<br />

to the realisation that the future of the industry lies at the other lower end of the manufacturing scale and the power of sugarcane to<br />

generate several by-products (generally considered as waste) and its value-added chain. I ultimately came up with a proposal which<br />

introduced the concept of a multi-layered platform that would cut out any middleman, allowing small planters to process their<br />

agricultural products and offer a better relationship between planters and their products. Hence, the objective is to reframe and<br />

usher the industry into a new era, whereby the power lies at the lower end of the scale and the waste is considered gold mine for new<br />

opportunities.<br />

124 Senjeeven Dhanen Mungapen


The 3D Ceramics Centre<br />

From the digital revolution, creative industries have embraced modern technologies by incorporating modern techniques into the<br />

process. The use of modern manufacturing methods to work with clay and ceramics will benefit both industries of clay working,<br />

including large-scale, industrialised mass production; and small-scale, design orientated hand craftsmanship of pottery studios,<br />

through collaboration and skills-sharing. New relationships can be forged with small scale ceramicists and digital technologies to<br />

bring them into the digital era, through 3D printing. This will aid the extent to which you can work with waste ceramics and clays,<br />

whilst opening possibilities of innovative design using local earth and clay, which would expand their functionality and lifespan to<br />

achieve a circular economy.<br />

Shivani Patel<br />

125


look at that daddy, the cow<br />

is having a great time as always<br />

A regenerative farmland that utilizes practices such as cover<br />

cropping, rotational grazing, and composting to restore soil<br />

health, biodiversity, water retention, and carbon sequestration,<br />

promoting sustainable and resilient agriculture.<br />

The miner is the skilled man<br />

the nation will always need!<br />

Converted cow barns serve as facilities for bacterial fermentation<br />

and manure brick manufacturing, promoting sustainable and<br />

localized food production.<br />

At Bays Leap we offer milke<br />

and meat from cows who<br />

graze on our organic fields<br />

The integration of an easily installed vertical wind turbine within<br />

the farmland enables the generation of electricity to power<br />

the fermentation process, reducing reliance on external energy.<br />

A small-scale local cattle farm that produces dairy products with<br />

free-grazing cows, integrating with regenerative farmland to enhance<br />

soil quality and sustainability<br />

Carbon capturing facilities that capture carbon from the air, and<br />

utilize in bacterial fermentation processes, effectively reducing<br />

carbon emissions while making microbial protein<br />

A scenic camping and eco-tourism destination, serving as a hub<br />

for walkers, visitors, and cyclists, to uncover and explore the<br />

captivating Northumberland green corridor.<br />

Horticulture greenhouses made with bioplastic and utilizing the<br />

primary structure of original cattle roundhouse, enabling yearround<br />

cultivation of plants.<br />

An immersive and interactive zone enabling visitors to connect<br />

with local wildlife, offering guided safari truck tours to learn about<br />

rewilding efforts and witness wildlife up close.<br />

800,000m2 of Post-agriculture Land for Rewilding<br />

Farm Forward<br />

The project investigates architectural strategies that associate themselves with regenerative food production in the next century using<br />

bacterial fermentation. With the objective to design and uncover an optimal and replicable food production model by re-evaluating the<br />

interconnection between agriculture and the ecosystem, the goal is to represent that model through an architectural lens and demonstrate<br />

its practical application through technical details. By taking Bays Leap Farm at Heddon-On-The-Wall as testing ground, this model can<br />

be broken into three different phases: Turning waste into energy, bacterial fermentation and finally rewilding the original farmland.<br />

The Story of the New Bays Leap by. Simon Ng<br />

1. N.A - 1956 : Bays Leap Farm<br />

has been documented to be a productive<br />

working farm for centuries.<br />

10. 2072 : Lab grown meat and plant-based meat have become human new<br />

source of protein. However, L.G.M is not widely accessible due to the high cost<br />

and slow supply while the P.B.M production is still occupying many lands and<br />

its final prodcut conatin many addictives yet low protein content. The voice for<br />

better protein source is raised and microbe protein soon take over the market<br />

11. 2074 : With the decrease in revenue<br />

since the meat ban, Mellstorm family sell<br />

the farm to Solar Food, the expanding<br />

company is turning farms across the<br />

world into their protein factory for mass<br />

production. ‘‘New Bay Leaps’’ is now<br />

under construction while some cattles<br />

remains in the farm for diary production.<br />

2. 1957-1965 : The coal board<br />

bought the farm and other areas<br />

of Heddon on the Wall and turned<br />

it into and open cast mine, extract<br />

energy from the farmland<br />

5. 2000-<strong>2023</strong> : It was develop<br />

into an organic diary farm with 800<br />

cows selling raw milk, dairy and<br />

meat product to the community<br />

12. 2075 : With the green corridor in<br />

Northumberland now open, part of the<br />

original farmland is returned to become<br />

natural habitat for wildlife and all original<br />

livestocks is now back in the wild.<br />

13. 2077 : With the electricty demand<br />

increase with the rise in production,<br />

permission for Wylam Windfarm was<br />

given by the council to turn Bays Leap<br />

into self-sustaining ‘farm’<br />

3. 1965-1998 : Bays Leap was<br />

conerted back into a farm<br />

4. 1999 : The farm was bought<br />

Mellstrom Family<br />

7. 2030 : Bays Leap wins the<br />

sustainable farm of the year from<br />

The British Farming Awards, recognising<br />

its contribution in developing<br />

energy-generative farming model<br />

while producing diary to the local.<br />

6. 2025 : The first anaerobic<br />

digestor at Heddon-on-the-wall is<br />

installed, extracting energy from<br />

animal waste.<br />

8. 2032 : Microbe Protein, solein,<br />

developed by Solar Food get regulatory<br />

approval in the UK 10 years<br />

after their first approval recieved in<br />

Singapore in 2022<br />

9. 2070 : With the objective of<br />

achieving carbon netural, most<br />

European countries are starting<br />

to ban animal meat consumnption<br />

and restrict livestocks grazing,<br />

including UK<br />

11. 2080 : Visitor Center are now open<br />

documenting the history of slaughtering<br />

livestock as human food source, educating<br />

public about microbe protein and<br />

kick-starting the eco-tourism.<br />

14. 2081 : With rising social acceptance,<br />

solein food is now served<br />

and can be found at The Swan, a<br />

local all time favourite country pub.<br />

Access to Northumberland Green Corridor<br />

2080 Bays Leap Fermentation Farm and Rewilding Park<br />

How Food Production Looks in the Future<br />

15. 2100 : Bays Leap Farm and<br />

other adjacent farms now complete<br />

a supply network to produce food<br />

for most of the North East without<br />

relying on importation.<br />

585,000m2 of Post-agriculture Land for Rewilding<br />

Heddon-On-The-Wall Village<br />

126 Simon Ng Chi Ming


OUTDOOR<br />

TAPRO OM<br />

OUTDOOR<br />

TAPRO OM<br />

The Wheat House Project<br />

The Wheat House project presents an innovative and circular approach to address the challenge of scarce resources by showcasing the<br />

transformation of wheat by-products into sustainable building materials. Through experiments with wheat straws and spent grains,<br />

I have successfully repurposed them into functional and eco-friendly components such as strawboard, and straw and spent grain<br />

rammed earth. These materials have been incorporated into the project exemplifying resource efficiency and waste reduction. By<br />

creatively utilising these by-products, the Wheat House project highlights the immense potential of wheat by-products as valuable<br />

building resources, paving the way for a more sustainable and resilient future.<br />

Sze Man Wong<br />

127


The Living Tyne<br />

My thesis explores applying the Rights of Nature legal philosophy to the UK constitution, focusing on the River Tyne as a case study.<br />

The Rights of Nature movement posits that nature has inherent rights, beyond being human property. By recognizing these rights,<br />

we can transform our behaviour and legislation to protect the environment from irreversible damage caused by global warming and<br />

exploitation. The thesis analyses the issues facing the River Tyne, including biodiversity loss, pollution, and our disconnection from the<br />

river. Implementing a set of rights would enable the river to protect itself and be regenerated. Architectural intervention, in the form of a<br />

sculptural creature called ‘CreaturaFluminis,’ accompanies this process, facilitating the river’s protection. The creature’s design promotes<br />

sediment deposition, responds to the river’s attributes, and encourages habitat creation and pollution remediation. This collaboration<br />

between the architect, creature, and river ensures the river’s rights are upheld and its health is restored.<br />

128<br />

Anastasia Cockerill


129


MSc Advanced Architectural Design<br />

James Craig & Matt Ozga-Lawn<br />

Contributors: Alex Blanchard, Ceren Senturk, David Boyd, Jianfei Zhu, Martyn Dade-Robertson, Samuel Austin, Stella Mygdali, Toby<br />

Blackman, Tolulope Onabolu<br />

The MSc in Advanced Architectural Design programme at Newcastle asks students to critically<br />

engage with particular urban centres and their surrounding regions. Students work either on a 1-year<br />

route, working over three semesters from September-August, or a 2-year route partly integrated with<br />

the MArch. In both cases students engage with design through an initial testbed project, followed by<br />

a more in-depth thesis project.<br />

This year students have been looking at the North East of England exploring the legacy of<br />

industrialisation, and considering possible futures. Students began with a project set in the burnt-out<br />

gap in the Dunston Staiths structure on the River Tyne in Gateshead, developing critical and poetic<br />

responses to this monument to the region’s industrial past. These speculative projects reconfigured<br />

and reinterpreted the surrounding urban fabric through the gap, attempting to reflect on Newcastle<br />

and the wider region’s complex relationship with this industrial legacy and its relationship to climate<br />

collapse.<br />

Students on the 1-year programme are halfway-through individual thesis projects preparing deeper<br />

explorations of themes and ideas that emerged from their research in semester one. Projects include<br />

a critical reconstruction of Middlesborough’s old town centre, destroyed in WWII, a transcendent<br />

reconsideration of Durham’s nightlife, a seasonally shifting infrastructure in Saltburn-by-the-Sea, and<br />

an Institute of Spatial Amnesia in Newcastle.<br />

Students<br />

Atiyeh Fattahi Zafarghandi<br />

Bonart Osmani<br />

Cenjie Cao<br />

Cleve Yu<br />

Gao Zirui<br />

Hang Hu<br />

Hanwen Wu<br />

Huang Zihui<br />

Hui Wang<br />

Jingxue Tang<br />

Manasvvini Muthu Kumar<br />

Noushin Sabbaghi Renani<br />

Omar Tahhan<br />

Pingqing Li<br />

Pranav Chandran<br />

Rajasekaran<br />

Priya Bharathi Balaji<br />

Qichen Liu<br />

Sarath Mohan<br />

Siting Tang<br />

Terin Charles Rethika<br />

Tingting Guo<br />

Xixian Wu<br />

130<br />

Above - Atiyeh Fattahi Zafarghandi


Top - Bonart Osmani Middle - Omar Tahhan Bottom, Left to Right - Bonart Osmani, Atiyeh Fattahi Zafarghandi<br />

131


132


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

Armelle Tardiveau - Degree Programme Director<br />

Buzzing studios on the 5th floor of the Daysh building started with a crossdisciplinary<br />

charrette week titled ‘Street Life’ which set off the design programme’s<br />

learning journey focusing on Clayton Street Past, Present and Future. Located<br />

centrally, this historic street edges Grainger Town and stretches from Central<br />

Station to Monument, yet despite its history, it has been suffering from economic<br />

decline over the past decade and is now part of a High Street regeneration<br />

programme by Newcastle City Council for a new Cultural and Creative Zone.<br />

Fifteen groups of students in Architecture and Urban Planning (AUP2 and<br />

AUP3) and masters students in Urban Design and Landscape Architecture (Stage<br />

2) worked together, observing and measuring this urban spine, sharing drawing<br />

skills and techniques or learning from each other’s disciplines. Some taught, some<br />

learnt, others enquired about the different professions, and everyone celebrated<br />

the fifteen boards exhibited at the end of the week.<br />

We welcomed nearly 40 students in Stage 1 whose first week’s MapMe project<br />

invites them to draw an object meaningful to them, to share their journey,<br />

culturally, emotionally or geographically to Newcastle University and compose<br />

posters which offer a snapshot into the students’ life, culture and experiences<br />

(see pages 136). In Stage 2, no fewer than 30 out of 40 students chose the<br />

optional modules offered for the accredited pathways into architecture or urban<br />

design. In addition, the programme is now strengthened with two new design<br />

and construction modules in landscape architecture which consolidates its<br />

interdisciplinary endeavour and reinforces its climate change agenda.<br />

And it is Climate Literacy that the next few AUP pages will illustrate and how<br />

through design projects and policy analysis we bring to the fore a matter that we<br />

all need to tackle together. Whether small or large, through action, design, or<br />

policy making, weaving in different approaches allows for an interdisciplinary<br />

response to a pressing concern that we all need to address and act on together.<br />

Jetty (see pages 134), a semester 2 design project requiring AUP1 students to<br />

embrace the landscape conditions of an estuary site and its elements (wind,<br />

sun, rain) developed a proposal for a jetty and a bothy to enable the return of<br />

a ferry crossing service. The jetty creates a site for the bothy that needs to take<br />

into account the climate induced tidal change and potential flooding of the area.<br />

The Participation module (AUP2) invited a city actor who asked the students<br />

to envisage giving voice to non-humans, namely microbes living in the Tyne<br />

mudflats that are known for the ecological and health significance as part of the<br />

Riverpark development, only a few steps away from major cultural landmarks, as<br />

well as Newcastle and Gateshead city centres. Students in 3rd year were offered a<br />

new module on Climate Literacy (see pages 144) and delved into understanding<br />

actions and decision-making processes for mitigating and adapting to climate<br />

change, whilst preserving and enhancing environmental values and resources<br />

drawing from a wide range of policy strategies and guidelines. This year, Stage 3<br />

design projects focused on Clayton Street through the lens of Green Infrastructure<br />

for Wellbeing and Biodiversity (see pages 142) in semester 1 while in semester 2,<br />

the Live Project explored how to Re-Value Clayton Street (see pages 146) through<br />

temporary interventions (as shown in the adjacent image) testing how the street is<br />

perceived and what small changes can make this area a destination. The inception<br />

of the project was supported by the invaluable input from Glasshouse who<br />

engaged students to co-lead a public workshop and help them gain confidence<br />

and understanding of what co-production with real people entails when it comes<br />

to shaping their city together.<br />

133


AUP Stage 1 - Jetty<br />

David McKenna<br />

It is estimated that around 3% of new buildings in England are built on flood plains and are at risk<br />

of inundation. The Jetty project introduces techniques for designers to address the effect of climate<br />

change on buildings and asked students to question the meaning of shelter and how architecture<br />

engages with its surrounding landscape and the elements by considering varying degrees of shelter,<br />

for example:<br />

• a place to listen to the rain falling on the roof<br />

• a place to look out across the estuary to the salt marsh<br />

• a place to lie down and look at the sky<br />

• a place to cook and listen to the water<br />

• a surface that collects and directs water to the sea<br />

Responding to the path of the sun, rising and falling water levels, as well as the possibility of more<br />

severe flooding, students celebrated the building’s proximity to water and allowed the flood water to<br />

interact with the structure. The site is usually located on the periphery of urban locations, on the edge<br />

of a wider, wilder landscape.<br />

This year the project was located in Alnmouth, a town on the Northumberland coast whose natural<br />

harbour led to it becoming a bustling medieval port: exporting grain from Northumberland and<br />

latterly importing bat guano from South America for use as fertiliser. The landscape was dramatically<br />

reshaped when a storm broke through the dunes and rerouted the course of the River Aln separating<br />

the town’s church from the rest of the settlement. This created large areas of saltwater marsh and<br />

reduced the capacity of the natural harbour making it less viable as a commercial port. Since the<br />

arrival of the railway, the town has been primarily a tourist destination. The river cuts off the town<br />

from the beaches to the South and, in order to avoid the long walk to the nearest bridge and around<br />

the perimeter of the salt marsh, a Ferryman used to row passengers back and forth across the River<br />

Aln.<br />

In anticipation of a revived ferry service, the students were asked to reinterpret the old Ferryman’s<br />

hut. It would comprise a temporary bothy for a Ferry Pilot, a Jetty and Kiosk to sell tickets and coffee,<br />

and a shelter for waiting passengers. At the highest tide, the water level in the bay is half a meter above<br />

the ground level so mitigation against this had to be incorporated into the design. The shelter and<br />

jetty (but not the bothy) were allowed to flood at the highest tide. We began by visiting the site. We<br />

experienced the landscape, observed and recorded the qualities of light, water, wind, rain, sun, tide,<br />

materiality and topography.<br />

‘Layering and changeability: this is the key, the combination that is worked into most of my buildings.<br />

Occupying one of these buildings is like sailing a yacht; you modify and manipulate its form and skin<br />

according to seasonal conditions and natural elements.’ Glenn Murcutt<br />

Stage 1 Students<br />

Arina Ardeeva<br />

Aurelia Paa-Kerner<br />

Benjamin Orchard<br />

Carina Kriesi<br />

Clara Townsend<br />

Ella Parsonage<br />

Ethan Sims<br />

Evie Perkins<br />

Fred Mitchell<br />

Grace Dore<br />

Harry Johnson-Hill<br />

Jake Gane<br />

Kate Graham<br />

Kennedy Iceton<br />

Laura Coulson<br />

Logi Gudmundsson<br />

Luke Richards<br />

Madina Abdullayeva<br />

Marlon MacDermott<br />

Matthew Ho<br />

Megan Barratt<br />

Michael Bailey<br />

Miruna-Luciana Cismas<br />

Rosa Goodman Fleischmann<br />

Sai Baluswami Sangeetha<br />

Sofiia Lukachuk<br />

Stella Toombs<br />

Tallulah Colclough<br />

Temi Ogunbanjo<br />

Tom Letts<br />

Vanessa Wong<br />

Yitong Li<br />

Zak Travers<br />

Zimeng Zhou<br />

Zion Hunt-Murphy<br />

Zoe Hill<br />

Zuzanna Tomasik<br />

Contributors<br />

Alkistis Pitsikali<br />

Damien Wootten<br />

Elinoah Eitani<br />

Kati Blom<br />

Sneha Solanki<br />

Their designs emphasised these qualities, responding to weather conditions and the changing tide.<br />

The hut is a place for passengers and passers-by to shelter and to experience the landscape as it is<br />

reframed by the building.<br />

‘We find beauty not in the thing itself but in the patterns of shadows, the light and the darkness, the<br />

one thing against another creates.’<br />

This quotation from Jun’ichirō Tanizaki’s ‘In Praise of Shadows’ (1933) describes the ephemeral<br />

qualities of light on a surface. The experience of light can be sublime, but the path of sunlight over<br />

a day is predictable.<br />

The students analysed the location of the sun in relation to their building. They considered, for<br />

example, whether parts of the structure would be in direct sunlight in the evening, or whether<br />

an interior space would be illuminated by even north light. Visitors to the Ferryman’s hut would<br />

experience the estuary, its landscape, tides and weather, as they are reframed by the students designs.<br />

134


Left, Top to Bottom - Rosa Fleischmann, Benjamin Orchard, Tallulah Colclough<br />

Right, Top to Bottom - Miruna-Luciana Cismas, Sofiia Lukachuk<br />

135


AUP Stage 1 - MapMe<br />

Loes Veldpaus<br />

Contributors: Elinoah Eitani, Gönül Bozoğlu, Jane Millican, Lisa Rippingale<br />

136<br />

Top - Miruna-Luciana Cismas, Aurelia Paa-Kerner Middle - Arina Ardeeva, Rosa Goodman Fleischmann Bottom - Zoe Hill, Tom Letts


AUP Stage 1 - Interpreting Lorenzetti<br />

Loes Veldpaus<br />

Contributors: Alkistis Pitsikali, Natalie Si Wing Lau, Olivia Jackson, Thomas Barnetson<br />

Top - Zoe Hill Middle - Group: Sofiia Lukachuk, Marlon Bottom Left - Group: Tom Letts, Miruna-Luciana Cismas, Grace Dore<br />

MacDermott, Rosa Goodman Fleischmann Bottom Right - Sofiia Lukachuk<br />

137


AUP Stage 1 - Architecture Occupied<br />

James Longfield<br />

Contributors: Alkistis Pitsikali, Anna Cumberland, Damien Wootten, Daniel Mallo, Elinoah Eitani, Mike Veitch, Natalie Si Wing<br />

Lau, Olivia Jackson, Sneha Solanki, Thomas Barnetson<br />

138 Top, Left to Right - Stella Toombs, Zimeng Zhou Bottom, Left to Right - Madina Abdullayeva, Rosa Goodman Fleischmann


AUP Stage 1 - Urban Observatory<br />

Kieran Connolly<br />

Contributors: Alkistis Pitsikali, Anna Cumberland<br />

Top, Left to Right - Evie Perkins, Fred Mitchell<br />

Bottom - Vanessa Wong<br />

139


AUP Stage 2 - Relational Mapping, Design and Representation<br />

Armelle Tardiveau<br />

Contributors: Anna Cumberland, Bryony Simcox, Ceren Senturk, Daniel Mallo, Stef Leach, Usue Ruiz Arana<br />

Students: Aayushi Derasadi, Alice Moore, Amber Deng, Amelia Trattles, Angus Donald, Archie Hurst, Ayanda Dedicoat, Benjamin Cox,<br />

Charlie Shields, Chiana Bhoola, Dasha Seedin, David Nikiforov, Emily Zheng, Flora Guo, Freddie Naylor, George Crowe, lla Ashley, Iona<br />

Gibb, James Dawson, James Worker, Jamie Charlton, Jessica Hacking, Joshua Torczynowycz, Louis Winfield, Luke Harrison, Luke Henworth,<br />

Mariia Kikot, Martha Waples, Nanako Ochi, Ruben Dascombe, Samuel Gaisie, Theodore Weldon, Tobi Owolabi, Ximo Li<br />

140<br />

Top - Alice Moore, Martha Waples Middle - Archie Hurst, Freddie Naylor Bottom - Jessica Hacking, Charlie Shields


AUP Stage 2 - Living Communally<br />

Kieran Connolly<br />

Contributors: Rosa Turner Wood<br />

Students: Alice Moore, Amber Deng, Amelia Trattles, Angus Donald, Archie Hurst, Ayanda Dedicoat, Benjamin Cox, Charlie Shields,<br />

Chiana Bhoola, Dasha Seedin, David Nikiforov, Ella Ashley, Emily Zheng, Flora Guo, Freddie Naylor, George Crowe, Iona Gibb, James<br />

Dawson, James Worker, Jamie Charlton, Jessica Hacking, Joshua Torczynowycz, Louis Winfield, Luke Harrison, Mariia Kikot, Martha<br />

Waples, Nanako Ochi, Ruben Dascombe, Samuel Gaisie, Theodore Weldon, Tobi Owolabi, Ximo Li<br />

Top - Ayanda Dedicoat, Nanako Ochi Middle - Samuel Gaisie, Collaborative Brief Making Bottom - Amelia Trattles, Emily Zheng<br />

141


AUP Stage 3 - Green Infrastructure for Well-being and Biodiversity<br />

Tim Townshend<br />

While the key focus of this studio-based design project is the relationship between green infrastructure<br />

(GI) and human/non-human health and well-being, there is a clear engagement with the theme of<br />

climate literacy, not least because climate change is the principal threat to the global health and wellbeing<br />

of human and non-human species. Even in a temperate climate like the UK, global warming<br />

and extreme weather events pose increased health risks for the individual - such as heat stroke in<br />

summer - and communities as a whole - for example the long-lasting trauma associated with flooding<br />

incidents.<br />

Urban GI (including blue infrastructure) can impact human health and well-being through different<br />

pathways. The presence of GI is known to improve mental health and mood, provides spaces that<br />

can encourage socialisation and physical activity and GI is a valuable asset in mitigating against issues<br />

such as air pollution, heat island effects and flooding. GI within city centres that is easily accessible<br />

to city-wide populations, will potentially have a greater overall impact than similar GI in peri-urban<br />

areas that is only generally accessible to local communities. Furthermore, it provides opportunities<br />

to support a wide range of flora and fauna – and to mitigate habitat destruction caused by urban<br />

expansion and industrialised techniques of farming. Many non-human species have found a ‘home’<br />

in urban areas in recent decades.<br />

Stage 3 Students<br />

Amelia Pegrum<br />

Douglas Butt<br />

Eddie Adams<br />

Elif Akbas<br />

Jordan Shaw<br />

Lan Guo<br />

Quanah Clark<br />

Contributors<br />

Smajo Beso<br />

The challenge of the project is to create an innovative vision for Clayton Street, Newcastle. Clayton<br />

Street is part of the 1840s remodelling of Newcastle City centre by developer Richard Grainger.<br />

However, this particular street was never completed and unlike some of the Granger Town streets,<br />

there are buildings of various periods. In this sense, it is one of the less sensitive streets of the Grainger<br />

Town and offers plenty of opportunity for improvement. Currently Clayton Street is anything<br />

but green– although there are some street trees on Clayton Street West. However, with bold and<br />

imaginative intervention the street could become a green corridor which would act as a key route<br />

through the city to promote well-being and biodiversity and as a lynchpin in a network of green<br />

spaces that would spread out across the city – eventually linking the Quayside to the south of the city<br />

centre with the Town Moor in the north.<br />

The project in part takes as its inspiration from London’s Wild West End project (see the interactive<br />

website http://www.wildwestend.london/) – this seeks to create a network of greenspaces through<br />

a combination of green roofs, green walls, planters and pocket habitats on new developments and<br />

existing buildings. The aim is to create valuable habitats for wildlife while concurrently improving<br />

the experience for people living, working, and visiting central London. Research has shown that such<br />

interventions create more footfall in those streets that have been greened, encourage pedestrians to<br />

linger longer and that greening improves participants self-reported health and well-being.<br />

The students engaged with the project with great enthusiasm. Their projects illustrated that full or<br />

partial pedestrianisation of Clayton Street is possible, thus creating a range of exciting opportunities<br />

to intervene at street level - however, green walls and roofs were also achievable with care (many<br />

of the buildings are listed, therefore changes to the structures are more problematic - though not<br />

impossible). The projects took a variety of approaches which included the introduction of temporary<br />

and permanent planting - this in turn focused on issues ranging from shading and shelter, and<br />

offering sensory experiences, to habitat creation for specific non-human species. Addressing water -<br />

for example through rainwater capture - using interventions to slow and manage storm-water events<br />

and sustainable urban drainage systems were also common elements. All projects were commended<br />

by the review panel as not only visionary and imaginative, but also largely deliverable.<br />

142


Top - Quanah Clark Middle - Douglas Butt Bottom - Amelia Pegrum<br />

143


AUP Stage 3 - Climate Literacy from Philosophies to Practice<br />

Clive Davies<br />

Climate change is literally the ‘hot topic’ of the modern age. This is very true for people who can<br />

help shape environments that are safer and more resilient to extremes but also make meaningful<br />

contributions to lower carbon footprint. At the same time, there is a global crisis surrounding the<br />

collapse of biodiversity. Climate and biodiversity loss are frequently two sides of the same coin. In<br />

this new module students were given the opportunity to engage with a combination of learning<br />

approaches involving lectures, workshops and study visits to promote shared learning and perspective<br />

exchanging - including use of the skill set known as ‘reflectivity’.<br />

The course began with a study on the philosophies of climate dating back to the stone age ‘Panel of<br />

the Unicorn’ at Lascaux dated to 17,000 BCE. Theory was dealt with through the work of Bernard<br />

Feltz who identifies four main approaches those of Descartes, Ecological Science, Deep Ecology and<br />

Nature & Human coexistence. Modern climate science was introduced including the record keeping<br />

on global CO2 levels dating back to 1960. Hot topics included looking at indigenous rights, the<br />

challenge to the global south, drought, fire, climate change denial, green growth, emigration and<br />

immigration, socio-ecological exclusion, population growth, divestments, and finally nature-based<br />

solutions as a potential way forward.<br />

We also took a global perspective looking at urban complexity using the UN Habitat III Congress in<br />

Quito, Ecuador in October 2016 as a starting point. We noted that the energy that cities consume and<br />

the associated emissions they produce can be attributed primarily to building construction, cooling,<br />

heating and electrification, vehicle use, industry, and manufacturing. Such multiple urban planning<br />

considerations help to determine the level and intensity of these emissions, including how we arrange<br />

our cities (urban form), population levels (urban density), and how we move in and through cities<br />

(urban mobility). We considered the concept of BioCities and the circular bioeconomy as one way<br />

to manage future cities both sustainably and with attention to nature recovery. Students also had the<br />

opportunity to look at the difference between climate mitigation and climate adaptation and the<br />

concept of resilience as addressing climate risk and unexpected events. No regret adaptation options<br />

were considered as particularly beneficial as these are activities which would provide immediate<br />

economic and environmental benefits and continue to be worthwhile regardless of future climate.<br />

Stage 3 Students<br />

Amelia Pegrum<br />

Anna Maw<br />

Cerris Walker<br />

Dominic Bowell<br />

Douglas Butt<br />

Eddie Adams<br />

Eleanor Howard<br />

Elif Gulistan Akbas<br />

Ellen Casson<br />

Euan Charlton<br />

Kwan Kwan<br />

Natalie Lakehal<br />

Rebecca Mackie<br />

Tatiana Addyman<br />

Contributors<br />

Lotte Dijkstra<br />

Qianqian Qin<br />

Ruth Morrow<br />

This module also considered how the use of new urbanism which focuses on human scaled urban<br />

design in the context of local climate management can make a difference. In terms of the future, the<br />

wellness of citizens is of increasing importance, and this is frequently a topic at the intersection of<br />

climate change and urban planning. Indeed, the role of next generation planners and urban designers<br />

was discussed which should strive to create greener and healthier built environments, including<br />

the retrofitting of existing infrastructure to be adaptable to the changing climate. It was noted that<br />

currently only 18% of European cities with a population of 1 million plus have climate adaptation<br />

plans.<br />

To drive urban change the concept of social-ecological-technological systems (SETS) was explored.<br />

Students were asked to consider (i) how can all urban residents be not mere spectators or victims of<br />

climate change, but engaged players that can lead to SETS for climate change adaptation? (ii) how<br />

can societal-level institutional bodies support just policy and governance actions to minimize tradeoffs<br />

and upscale impacts? and (iii) to what extent can we retrofit existing urban transformation and<br />

transition initiatives with climate change adaptation elements?<br />

Finally, students were asked to write an essay on ‘How to meet the environmental, social and<br />

economic challenges of climate change through urban design including architecture, public space<br />

and green infrastructure’ and produce a ‘well-illustrated case study of how urban design has been used<br />

in a named city or city region to tackle climate change’.<br />

Sources opposite<br />

Top left - https://www.landscapeinstitute.org/<br />

Top right - Map Works (2021)<br />

Bottom left - ‘Cycle through Water’ in Limburg, Belgium https://urbannext.net/xiamen-bicycle-skyway/<br />

Bottom right - https://www.visitlimburg.be/en/cycling-through-water<br />

144


Top, Left to Right - Amelia Pegrum, Tatiana Addyman<br />

Bottom - Dominic Bowell<br />

145


AUP Stage 3 - Co-producing Space ‘Re-value Clayton Street’<br />

Clive Davies<br />

This year’s Live Project focused on Clayton Street, a poor parent of the glorious Newcastle’s Grey<br />

Street, and part of the wider Grainger Town conservation area. The street has been deeply affected<br />

by gradual economic decline with shop closures which the pandemic worsened. Now designated<br />

Cultural and Creative Zone (CCZ), the street is part of a revitalisation programme placing at its heart<br />

local cultural and creative organisations.<br />

The aim of ‘Re-value Clayton Street’ has been to identify the local community who experience the<br />

street on a regular basis, stimulate dialogue and open up aspirations to jointly envisage Clayton Street<br />

as a destination. More than ever people need spaces for socialising, meeting, learning, and engaging<br />

with their community both indoor and outdoor, as such Re-value has offered a moment to pause, and<br />

to consider the assets of the street both socially and spatially.<br />

The current economic climate suggests that businesses are moving away from the city centre,<br />

including Clayton street, and are unlikely to come back. This is an opportunity to envisage the city<br />

beyond commerce and imagine alternative uses for the empty shops. To inspire and situate their<br />

engagement, students first drew from academic literature on community enterprise (Bailey, N. 2012),<br />

urban rooms (Tewdwr-Jones, M., Sookhoo, D., & Freestone, R. 2020) and from a research project<br />

titled Market 4 People to deepen their understanding of Grainger Market as a community hub<br />

enjoyed by a range of people with diverse socio-economic and cultural backgrounds.<br />

Stage 3 Students<br />

Amelia Pegrum<br />

Betül Demirden<br />

Douglas Butt<br />

Eddie Adams<br />

Jordan Shaw<br />

Mahamat Younis<br />

Quanah Clark<br />

Contributors<br />

Bryony Simcox<br />

Consuelo Sanchez<br />

Glass House team<br />

Samuel Austin<br />

Most students taking this Live Project build upon the foundations of the module Participation:<br />

Theories and Practice offered in second year; however, bridging the daunting gap between theory<br />

and practice is always a challenging leap. Glass-House, the national Community-led Design charity,<br />

whose remit is to ‘explore the role of communities in design and placemaking’ invited us to join their<br />

WeDesign educational programme, thus granting students a first-hand experience in co-leading a<br />

public workshop in February. This event focused on the concept of Re-Value which was scrutinised<br />

through the lens of Community, Practice, Education and Ecology. No less than 40 people joined this<br />

session, a mix of residents, professionals and academics. Students designed an introductory activity<br />

that helped guests delve into Clayton Street and share their gaze and experience of the street. A<br />

large tablecloth, showing the hand-drawn street, invited people to share their experiences, anecdotes<br />

and perspective on the area. The tablecloth acted as the first designed artefact they created, a visual<br />

element that initiated their journey of engaging through design prompts and spatial interventions.<br />

Through designing prompts and deploying temporary actions in Clayton Street, students engaged<br />

with the local community and the people in imagining the future of the street. The hand drawn<br />

tablecloth reappeared, colourful seating suggested opportunities for stopping and resting whilst<br />

prompting thoughts of a greener and quieter environment, themed stencils provided a sense of fun<br />

and gave people a variety of ways to express themselves. Such temporary actions in the public realm<br />

play a key role in place-making as means to provoke imagination beyond perceived limitations.<br />

Transforming urban spaces temporarily can stimulate dialogue, open-up aspirations as well as harness<br />

social capital. Re-Value framed central questions: whose values and what is valued in the street. As<br />

educators in design and planning disciplines highlight, live projects afford an embodied experience of<br />

space that triggers inspirational responses. Live projects also enable and empower future professionals<br />

in shaping the city with its citizens and offer an opportunity for the local council to hear the voice<br />

of many.<br />

We are truly grateful to the Glass-House team for helping students bridge theory to practice and<br />

bounce from anxiety to desire of designing and engaging. The students in turn feel indebted towards<br />

the shopkeepers and their readiness to collaborate and celebrate Clayton Street through CLAY-DAY<br />

demonstrating pride, attachment and interest to work together towards a flourishing, greener and<br />

healthier environment.<br />

146


Left, Top to Bottom - Armelle Tardiveau<br />

Right, Top to Bottom - Armelle Tardiveau, Amelia Pegrum (2), Betül Demirden<br />

147


Architecture and Urban Planning Dissertations<br />

Abigail Schoneboom<br />

Supervisors: Abigail Schoneboom, John Pendlebury, Loes Veldpaus, Will Thomson<br />

This year’s cohort produced dissertation projects that delve into fascinating, topical aspects of architecture and urban design. Students<br />

carried out bold, innovative methodological work, such as riding buses and bikes to harness lived experience, using postcards to<br />

capture voices of pocket park users, or doing participant observation on a construction site. They pushed themselves to do realworld<br />

research, building rapport and immersing themselves in social worlds. Concentrating on issues they were passionate about,<br />

students developed focused questions while commenting on big challenges around sustainability and social justice, from the safety of<br />

precarious workers to the livability of affordable sustainable homes.<br />

Disorder or Freedom: Perceptions of Graffiti and Street Art in the Ouseburn<br />

Eddie Adams<br />

Through the use of semi-structured interviews in Newcastle upon Tyne’s ‘creative hub’ this<br />

research delves into the subculture of urban art to investigate the perceptions held by people<br />

that experience it first-hand. The research finds that for individuals who have a strong<br />

attachment to the aesthetics in an area are more likely to see urban art as a form of disorder.<br />

This research has helped to reflect the relationship between urban art and public space.<br />

Image: Land-use of Ouseburn in process of regeneration (<strong>2023</strong>).<br />

Heritage in Edinburgh’s Old Town: An Examination of Key Interventions<br />

Over the Last 150 Years Through the Lens of the Modern Professional.<br />

Tatiana E R Addyman<br />

Heritage is a fundamental building block of our identities must be protected for future<br />

generations. In terms of physical forms of heritage, it is the charge of the conservation<br />

architect/professional to ensure the survival of culturally significant structures and evidence<br />

as well as the character of the wider environment. This study, set in the city of Edinburgh as<br />

it is one of over 300 cities recognised as being of world heritage class standard, has helped<br />

to reflect the relationship between urban art and public space.<br />

Image: After the slum clearances and the insertion of Cockburn Street (1880).<br />

Exploring evolving Representation of Women in Domestic Architecture<br />

through the Architectural Review<br />

Elif Gulistan Akbas<br />

This dissertation investigates the role played by The Architectural Review, representing<br />

women throughout domestic architecture from 1908-1997, bringing awareness to issues<br />

regarding gender and discrimination in the built environment, in particular sexuality.<br />

It explores how women are perceived through external platforms, in which women are<br />

variables that play a role in the public realm.<br />

Image: A bath to please women (The Architectural Review, 1959).<br />

148


A Rich Portrait of the Quality of Construction and Lived Experience of<br />

Britain’s Post-War Prefabs and How They are till Relevant Today<br />

Dominic Bowell<br />

This research explores Britain’s post-war prefabricated houses, showing that prefabrication<br />

is the future of housing and should not be left in the past. Literature is reviewed to get a<br />

broad idea of prefabrication in both the past and present. An interview is carried out with<br />

a participant currently living in a Swedish timber-framed prefabricated post-war house,<br />

exploring the lived experience of a prefabricated home from post-war Britain. Building<br />

on the interview, the research looks into timber prefabrication today and its benefits and<br />

relevance today.<br />

Image: A cartoon depicting a stork delivering a prefabricated home to a homeless family<br />

(Vale,1995).<br />

Unpacking Social Interrelations in the Organisation of Work on the Building<br />

Site: The Limitations of Technical Relationships in Small-to-Medium-Sized<br />

Enterprises (SMEs)<br />

Douglas Butt<br />

This ethnographic study explores social relations in construction SMEs. Focused on<br />

realising architects’ ideas, it examines limits to worker communication/collaboration,<br />

and how these lead to social tensions and reduced work cohesion. It argues that here is<br />

a greater need for flexible, adaptable work processes and points to the need for a shared<br />

social identity and a supportive organisational culture, considering the implications of<br />

these findings for the broader construction industry.<br />

Image: The exasperating predicament we faced with the tin roof. Brian contemplates his next<br />

move as if against an opponent who was deliberately making the task more challenging.<br />

Analysis of Gentrification and Urban Identities through the Socio-Cultural<br />

Explorations: A Case Study of Gentrification in Ouseburn Newcastle<br />

Wei Chuang<br />

This research examines the overarching theme of gentrification to question the<br />

achievability of public policy goals in response to addressing the socio-cultural impacts<br />

on community. It shows that dissonance in the artistic intent and pecuniary interest has<br />

created conflicting perceived needs for neighbourhood revitalization to attract high income<br />

groups, underpinning gentrification, and its effect on the preservation of heritage character<br />

and urban fabric of Ouseburn. Personal narratives recounted through semi-structured<br />

interviews advance the voices and concerns of the lower to middle class residents who are<br />

often overlooked within literatures.<br />

Image: Ouseburn Christmas Market (Author, 2022).<br />

Journeying through Benwell: A Rich Portrait of Lived Experiences of Bus<br />

Travel from the Voices and Interactions of the People Within Newcastle’s<br />

West-End<br />

Quanah Clark<br />

This dissertation offers a rich portrait of the lived experiences surrounding bus travel<br />

in Benwell. It explores the impact of the lack of westward Metro expansion on public<br />

mobility, considering whether existing bus transport is adequate. Ethnography is used to<br />

covertly observe the public in and around bus shelters and on the bus. The literature review<br />

reveals negative connotations of bus travel in academic/popular discourses. This study<br />

uncovered under-researched micro-social situations, such as how daily inadequacies and<br />

problems promoted social interaction among users.<br />

Image: A metaphor for the lived experience of bus travel in the West End.<br />

149


The Hitchhikers Guide to Sustainable Development (keep calm and carry<br />

on, but sustainably this time)<br />

Patrick Douglas<br />

I examine the underpinning philosophical, political, economic, and social literature<br />

related to sustainable development but also focus on government decision-making in the<br />

past and how they’ve had a role in causing the issues of the present. I suggest the most<br />

suitable approach that societies, countries and cities should take to achieve sustainable<br />

development. The findings are presented through an axiological hierarchy of values, which<br />

concludes the first and foremost approach one should take to achieve sustainability is to<br />

reduce socio-economic inequities.<br />

Image: A ‘vandal’ tearing up bollards to make it difficult to reconstruct the bollards.<br />

The Role of Public Art in Urban Space: Gateshead Riverbank as a Case Study<br />

Lan Guo<br />

This study examines the role, potential and limitations of public art in urban regeneration,<br />

using Riverside Park as a case study. Through literature research and fieldwork, it analyses<br />

the relationship between public art and urban regeneration, and the challenges and<br />

opportunities faced. It finds that public art can shape public space and enhance a sense<br />

of place and collective identity through public engagement and collaboration with nonprofit<br />

organisations, proposing strategies to integrate public art and urban regeneration.<br />

The findings of the study can provide ideas and suggestions for future urban regeneration.<br />

Image: Sculptures damaged by graffiti.<br />

The Impacts of the Housing Crisis on the Young Generation in Newcastle<br />

Kwan Kwan<br />

This dissertation explores the youth housing crisis in Newcastle Upon Tyne and how it<br />

impacts the younger generation. This study adopted qualitative research methods using<br />

sampling and semi-structured interviews to explore the theme of this study. This study<br />

suggests the youth housing crisis is not only affected by the economic crisis but personal<br />

experience defined in the government action and target housing. The study discusses the<br />

impacts of the housing crisis and the role of government.<br />

Image: A housing development in Newcastle upon Tyne (Source: Google).<br />

The Relationship Between Street Space Allocation and Urban Mobility<br />

Culture: An Analysis of Resident’s Perception and Preference in the<br />

Kaiserviertel of Dortmund.<br />

James McCutcheon<br />

This report explores the concept of street space allocation and its relationship with urban<br />

mobility cultures within the Kaiserviertel neighbourhood of Dortmund. The relationship<br />

between urban mobility cultures and street space allocation is investigated using satellite<br />

data manipulation, site visits, and a neighbourhood-wide online survey. Existing literature<br />

and survey data are used to explore and reinforce theories of equitability in street space<br />

allocation. A semi-structured interview explores how the Dortmund case compares to inner<br />

cities on an international scale.<br />

Image: Car parking pressures in the Kaiserviertel (2022).<br />

150


Capturing a rich Understanding of how Pocket Parks can Influence Sense of<br />

Place Through Creative Practice: a Study of Fenham Pocket Park<br />

Amelia Pegrum<br />

Noting a lack of qualitative research on sense of place, this dissertation explores how a<br />

creative practice approach can aid understanding of the complexity of sense of place.<br />

Postcards probed participants’ thinking about sense of place within Fenham Pocket Park.<br />

The study discovers three ways that creative practice aids understanding of the complexities<br />

of sense of place, while also portraying how Fenham Pocket Park has influenced sense of<br />

place.<br />

Image: A line drawing of the people engaging with the postcards, alongside quotes from the<br />

postcards, inspired by images from the researcher diary (Author’s own, <strong>2023</strong>).<br />

What is the Lived Experience of People Living in Sustainable, Affordable<br />

Housing?<br />

Jordan Shaw<br />

Across the country, various development schemes that are positioned as both affordable and<br />

sustainable are underway. Looking at one such development, this study aims to evaluate<br />

the effectiveness of sustainable housing when combined with affordability. It examines<br />

people’s lived experiences of residing in what is considered the future of living. It helps<br />

determine the success of initiatives like this in addressing the pressing need for sustainable<br />

and affordable housing.<br />

Image: Postcards created in order to engage residents with the research project. (Author’s own,<br />

<strong>2023</strong>).<br />

Why do Deliveroo Riders Take Risks at Newcastle John Dobson Street?<br />

Mahamat Younis<br />

This study investigates Deliveroo riders’ reasons for taking risks at John Dobson Street,<br />

Newcastle. Deliveroo cyclists’ experiences highlight how living in an urban environment<br />

and earning a living intersect. This study fills a gap in the literature, examining why riders<br />

take risks, despite having a high-class cycle lane. More insight into the issues precarious<br />

workers in urban settings experience can be gained by understanding the elements that<br />

contribute to the risks faced by Deliveroo cyclists. Through comprehensive understanding,<br />

the number of Deliveroo riders who take risks can be reduced.<br />

Image: Deliveroo rider on John Dobson Street (Author’s own, <strong>2023</strong>).<br />

151


MA in Urban Design<br />

Martin Beattie<br />

Contributors: Ali Madanipour, Alkistis Pitsikali, Emily Scullion, Laura Pinzon Cardona, Martin Beattie, Martin Bonner, Natalia Villamizar<br />

Duarte, Smajo Beso, Tim Crawshaw, Tim Townshend<br />

The MA in Urban Design is a well-established interdisciplinary programme at Newcastle University<br />

that draws on expertise from the disciplines represented in the School. The programme foregrounds<br />

a strong agenda of social and ecological engagement, together with a relational approach to the built<br />

environment and public life. Three distinct design projects punctuate the year and are supported<br />

by theory courses and critical debate around the practice of urban design. The projects engage<br />

with varying localities and the challenges and themes emerging from the place as well as themes of<br />

regeneration and societal challenge.<br />

The first major project sits on a complex site around Clayton Street in the Newcastle Cultural and<br />

Creative Zone connecting and supporting grass-roots artists, creative practitioners, and various artist<br />

led initiatives. 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,<br />

morphology, massing, and materiality relating to the architectural scale. Students develop a design<br />

brief and detailed masterplan for the site.<br />

The second major project, ‘Housing alternatives’ examines new models of neighbourhood design in<br />

the context of the housing crisis and housing needs in Gateshead. The project explores concepts of<br />

affordability, sustainable living, and community led models as well as new and contemporary models<br />

for living addressing issues of resilience and changing patterns of working.<br />

The use of design codes is introduced in semester 2 through a project based in the Ouseburn Valley.<br />

Students are tasked with creating a master-planning vision for character areas 1, or 2, Central<br />

Ouseburn, as designated by the Ouseburn Design Code. Their projects are realised as physical models<br />

and presented in pairs.<br />

Students<br />

Abin John<br />

Alexander Plamadeala<br />

Aman Arora<br />

Chethana Venkatesh<br />

Sankhighatta<br />

Dhruvin Dipeshkumar Modi<br />

Diantong Jiang<br />

Divyam Batra<br />

Jagriti Thiske<br />

Jianan Huang<br />

Martin Bastien Joly<br />

Mo Jia<br />

Nishmitha Anand Koteshwar<br />

Runzi Lu<br />

Shulei Yu<br />

Shurun Li<br />

Tejashree Navgire<br />

Varshitha Napa<br />

Muralikrishnan<br />

Xia Wu<br />

Xiaoxue Wang<br />

Xinyi Li<br />

Yihan He<br />

Yilin Zhang<br />

Zhan Zhang<br />

The year concludes with the final major project, an urban design thesis, a major research-led design<br />

project, on topics selected by individual students around their interests. The project provides students<br />

with opportunities for elaborating on many of the themes introduced throughout the course.<br />

152<br />

Above - Jianan Huang


Mater Plan<br />

part tw<br />

Link point<br />

Important buildings<br />

Green space, public and art system planning<br />

Important building planning<br />

Green space<br />

Gallery and workshop<br />

Site zoning<br />

Shadow Analysis<br />

Functional Zoning<br />

Main lane<br />

Linear Park<br />

Linear Park<br />

Linear Park<br />

Link road<br />

General structure<br />

Stage planning<br />

Transportation System Planning<br />

Important public space and movement Green space structure Wind environment and Was<br />

Detail plan<br />

Art workshop typolog<br />

China Town Workshop<br />

Dance City Workshop<br />

York High Line<br />

1-1 Sectional view<br />

Building height<br />

The first stage, the important central<br />

building. The second stage is to strengthen<br />

their links with each other, and the third<br />

stage is to promote to the entire site.<br />

Indicator Statistics<br />

Architectural transformation<br />

://www.gooood.cn/section-2-of-the-high-line-by-jamesr-field-operations.htm<br />

High Line in New York is a classic<br />

ple of stitched city streets, I think the<br />

and west sides of the site are divided by<br />

ry wide road, which is one of the most<br />

ed places in Newcastle. You can learn<br />

this case to connect the two parts in<br />

form of a bridge. At the same time, let<br />

bridge become a public space.greenery<br />

performance venues.<br />

label of masterplan<br />

2-2 Sectional view<br />

Master plan<br />

Urban Block 1 Urban Block 2 Riverfront Flat<br />

F<br />

Top - Zhan Zhang<br />

Bottom, Left to Right - Zhan Zhang, Jianan Huang<br />

153


Master of Landscape Architecture (MLA)<br />

Usue Ruiz Arana<br />

Contributors: Adriana Oliveros Blanco, Annabel Downs, Catherine Dee, David Barter, Emma Fletcher, Gary Cartwright, Geoff Whitten, Ian<br />

Thompson, Kevin Johnson, Liam Haggerty, Lotte Dijkstra, Lucy Green, Robert Golden, Scott Matthews, Sue Hocknell<br />

The Master of Landscape Architecture is a two-year, full-time postgraduate conversion<br />

course for graduates in other disciplines who wish to pursue professional studies in the<br />

UK. The course has recently received full accreditation with the Landscape Institute.<br />

Landscape Architects are uniquely placed to tackle our current climate emergency,<br />

facilitate contact with nature, and promote physical activity and social interaction.<br />

These issues are central to stages 1 and 2 of the MLA. Through a range of innovative<br />

design studios of increasing complexity, students develop an ethical awareness and<br />

commitment to ecological, social and climate issues, whilst being gradually introduced<br />

to the practice, theories and methods of Landscape Architecture.<br />

Natural burials, wilding, designing with plants, ecotones, art in the landscape, lifecentred<br />

design, soundscape design, conservation, repurpose and reuse, urban farming,<br />

symbiosis and eco-neighbourhoods. Intertidal landscapes, peri-urban landscapes,<br />

contaminated sites, forgotten places, castle grounds and school grounds. Dingy<br />

skipper butterflies, kittiwakes, red squirrels, plant populations, families and children,<br />

coastal communities, aging communities, and those living with terminal illnesses.<br />

These are some of the pressing issues, landscapes, and actors that our students have<br />

researched, designed and lived with over the past year. Some of the projects are highly<br />

experimental interventions that respond to environmental conditions and allow<br />

existing and new habitats to develop in time. Others are subtle yet highly effective<br />

interventions that have resulted from an active engagement with specific community<br />

needs, from a personal attachment to place or from in-depth research into lost cultural<br />

and historical layers of a place.<br />

As we wave goodbye to our second cohort of Master of Landscape Architecture<br />

students, we also reflect on the ethos and identity that we have carved for our<br />

programme since we launched in September 2020. Landscape Architecture<br />

has evolved and is constantly evolving to respond to the climate and biodiversity<br />

emergency, to acknowledge diverse modes of knowing and doing landscape, and to<br />

make access to landscape inclusive for all. In our studio learning we focus on a series<br />

of principles that envisage landscape planning, design and management as a conduit<br />

for planetary health and well-being. These principles build on one another and<br />

are threaded by art and ecology which are intertwined in the practice of Landscape<br />

Architecture.<br />

In our first landscape studio research and skills module, we focus on design as lifecentred,<br />

more than human and multisensorial to develop strategies, forms, and<br />

narratives for contemporary landscape. In our second studio, we focus on landscape<br />

design as a cyclical and dynamic process, and as a catalyst for cascading connections<br />

and interactions. We encourage students to consider the city as landscape and<br />

develop action plans that set the scene for human-nonhuman cohabitation, from local<br />

to planetary scale. In our third studio, we focus on landscape design as a process of<br />

finding, revealing, rearranging. We ask students to revalue the materiality of the city as<br />

vibrant matter and propose that they follow the motto of ‘no material leaves the site’,<br />

that is everything has the capacity to be retained and reused. In our fourth studio,<br />

we focus on landscape design as a slow and modest activity. We encourage students<br />

to work with the processes of the site and to do little to achieve more, a motto now<br />

practiced by many landscape architects across the world.<br />

Stage 1 Students<br />

Adrian Cheuk Hin Yee<br />

Ahmad Salim Vaniyarambath<br />

Abdul Kareem<br />

Altaf Ahmad Sheikh<br />

Amrita Sabu<br />

Ancha Myburgh<br />

Anjana Alex<br />

Ann Sara Abraham<br />

Ateeqa Chaudhari<br />

Athira Sebastian<br />

Benjamin Crowe<br />

Bixin Gao<br />

Brijesh Pal Yadav<br />

Charnnapat Waroonsiri<br />

Chaloemphao<br />

Chirag Jayesh Chheda<br />

Feiyang Liu<br />

Gwen Shail<br />

Hai Anh Nguyen<br />

Heng Su<br />

Jialu Miao<br />

Jingyang Li<br />

Jiyoung Hwang<br />

Kartik Shekhar<br />

Kazusa Hayashi<br />

Ki Fung Wong<br />

Krit Chantapireepun<br />

Krithika Palanivel<br />

Maedeh Shanehsaz<br />

Mahiro Sato<br />

Man Wai Stephanie Chan<br />

Maria Susan Dalai<br />

Mayuri Kakasaheb Korde<br />

Owen James Harlow<br />

Precious Ovat<br />

Qian Mao<br />

Saba Ghorbanimanesh<br />

Sai Zhou<br />

Shabana Mundodan<br />

Shihan Wang<br />

Siyuan Wen<br />

Tingying Hu<br />

Udith Vasanth Shetty<br />

Xiangning Long<br />

Xinchen Wang<br />

Yi Tan Xu<br />

Yiming Wang<br />

Yuyao Shen<br />

Ziyi Zhang<br />

Stage 2 Students<br />

Aditi Ravindra Shinde<br />

Alison Unsworth<br />

Anjani Maulik Patel<br />

Aparna Jayasree Sivakumar<br />

Aryo Mohseni<br />

Cheng Hu<br />

Cheuk Him Leung<br />

David Reid<br />

Jahnabi Barua<br />

Jiapeng Tao<br />

Jiusen Zhao<br />

Kai Sang Nip<br />

Kai-Hsin Lo<br />

Kejia Chen<br />

Lisa Kezhuvanthanam<br />

Małgorzata Ewa Gudel<br />

Ni Sang<br />

Nikitha John<br />

Pooja Kutty<br />

Ran Wang<br />

Sicheng Chen<br />

Victoria Hole<br />

Xiaohan Qin<br />

Yifan Fang<br />

Yonglun Luo<br />

Yuhuan Li<br />

Zhengtao Tang<br />

Zhixin Hu<br />

154


Top Left to Right - Jahnabi Barua, Yuhuan Li<br />

Bottom, Left to Right - Sicheng Chen, Pooja Kutty<br />

155


156 Top Left to Right - Xiaohan Qin, Yonglun Luo Bottom, Left to Right - Kai-Hsin Lo, Aryo Mohseni


Top Left to Right - Vicky Hole, Kejia Chen<br />

Bottom, Left to Right - Ni Sang, Yifan Fang<br />

157


158 Top Left to Right - Cheng Hu, Kai Sang Nip Bottom, Left to Right - Zhixin Hu, David Reid


Top Left to Right - Aditi Shinde, Anjani Patel<br />

Bottom, Left to Right - Lisa Kezhuvanthanam, Alison Unsworth<br />

159


160 Top Left to Right - Jiusen Zhao, Małgorzata Ewa Gudel Bottom, Left to Right - Zhengtao Tang, Nikitha John


Top Left to Right - Aparna Sivakumar, Ran Wang<br />

Bottom, Left to Right - Cheuk Him Leung, Jiapeng Tao<br />

161


MA in Landscape Architecture Studies<br />

Charlotte Veal<br />

Contributors: Catherine Dee, Charlotte Veal, Clive Davies, Ian Thompson, Lotte Dijkstra, Maggie Roe, Robert Golden, Stef Leach,<br />

Sue Hocknell, Usue Ruiz Arana<br />

The Master of Landscape Architecture Studies (MALAS) is a one-year, full-time postgraduate course<br />

designed to enable graduates to pursue a professional career as a landscape architect in the UK and<br />

around the world.<br />

MALAS has a strong trans-disciplinary ethos spanning the arts and humanities, social sciences,<br />

and environmental sciences; an approach reflected in our research and teaching. Our approach<br />

synthesises experimental design with critical and creative thinking in tackling the ‘big’ societal and<br />

environmental challenges of our time; climate change, biodiversity crisis, socio-ecological justice,<br />

and health and wellbeing. Pedagogically, students are supported in their learning through innovative<br />

studios that seek to advance design skills, underpinned by robust ethical and practical principles.<br />

Lectures, seminars, and tutorials in turn encourage students to develop analytical, critical, and<br />

written and verbal reasoning skills in relation to theories, concepts, and methods applicable to those<br />

responsible for the long-term design and management of landscapes.<br />

Students<br />

Angran Zhu<br />

Bihan Cai<br />

Haoran Chen<br />

Siqi Li<br />

Xinrun Jiang<br />

Xiting Zeng<br />

Yilin Zhao<br />

162


Images - Charlotte Veal<br />

163


Research and Engagement:<br />

Architecture Research Collaborative<br />

The Architecture Research Collaborative supports all staff in their research activities and encourages all forms<br />

of different creative research in the school, embracing individual researchers, large research grant holders,<br />

contributing to specialist, and interdisciplinary and collaborative research. ARC this year has seen many short<br />

talks about research from staff and PhD students. Our research feeds directly into our teaching and often<br />

involves students in the research.<br />

This year has gone by very fast with staff venturing out here and abroad for the first time to conferences in<br />

person again and enjoying more group meetings. We ventured out on a pre Christmas social architectural trip<br />

to Trinity house, the maritime organisation that inhabits a set of buildings on Broad Chare on the Quayside in<br />

Newcastle that date back 600 years. We had our meeting in their eccentric board room and visited the chapel<br />

and exhibition.<br />

Our growing number of Landscape colleagues have now launched The Landscape Collaborative (TLC) which<br />

will bring a diverse and complimentary set of meetings and events. This exciting new research group have<br />

established five strands of research; Trees and Woodlands, Climate and Nature based thinking, Multi-species<br />

and Bio-designs, Creativity and Collaboration, and Cultures and Places.<br />

ARC also administers the yearly Forshaw Award for women PhD students. These have become highly<br />

competitive. We have just awarded our fifth award as our first recipient of the Forshaw Award, Sonali Dhanpal<br />

has just completed her PhD. Sonali is an architect, built heritage conservationist and an architectural historian<br />

and theorist whose research sits at the intersection of architectural, urban, and historical studies. Her PhD<br />

research examines how contextual assemblages of race, caste, and class are produced by and materialise in the<br />

architecture and urbanism of late colonial South Asia. Her research brings together decolonial thought, Critical<br />

Race and Caste Studies to examine the political economy of housing, land, and property within broader<br />

struggles for space under racial capitalism. Sonali is now off to Princeton University having been awarded<br />

the <strong>2023</strong>-2024 Princeton Mellon Fellow in Architecture Urbanism and the Humanities. Sonali has been an<br />

invaluable member of the PhD cohort and contributed to the culture of the department in ARC and the school<br />

with her research and teaching.<br />

Another PhD student who has just completed his thesis is Alex Blanchard who has contributed hugely to the<br />

school as an editor and administrator for ARQ Architecture Research Quarterly Journal. His work has been<br />

hugely appreciated and his Creative Practice PhD was exhibited when he talked in a university (NICAP) talk<br />

series.<br />

Also at our final meeting this year Heidi Svenningsen Kajita, an architectural researcher from Copenhagen<br />

and visiting fellow with ARC, talked about her work into Ralph Erskine Arkitekter AB’s archival documents.<br />

Heidi works for social change in everyday spaces. Focusing on the history and transformation of welfare state<br />

housing areas, her research deals with users’ everyday practices, normative frameworks for the built environment,<br />

and architectural paperwork. Revealing techniques for combining social and technical expertise, activating<br />

archives, documents, oral histories or other memory material that record often uncomfortable architectural<br />

histories of landscapes, buildings and structures associated with marginalisation.<br />

There have been numerous publications this academic year by individual staff members but noteably<br />

Ashley Mason and Adam Sharr published Creative Practice Inquiry in Architecture, Routledge 2022. This has<br />

contributions from many members of staff and PhD students and charts the research and PhD research in<br />

Creative Practice explored in APL.<br />

Another forthcoming book, Embodied Awareness and Space: Body, Agency and Current Practice (edited<br />

by Christos Kakalis and David Boyd, to be published by Palgrave Macmillan) is the result of an ongoing<br />

interdisciplinary network of collaborations that was established in March 2020, again with a number of<br />

members of ARC contributing with chapters and projects. The book aims at a dialectical exploration of theory<br />

and (creative) practice. Either predominantly theoretical, or mainly practical, more related to humanities or<br />

more connected to social sciences, embodiment has rarely been examined through hybrid ways that involve<br />

balanced experimentation with methods of application in arts, architecture and cultural landscape practices.<br />

164<br />

Text by Prue Chiles<br />

Opposite - Exhibition of the Architect’s cognitive prothesis: A dialectical<br />

Critique of Computational Practice. Alex Blanchard


165


MArch Dissertations<br />

Nathaniel Coleman<br />

The 10,000 word MArch dissertation provides students with opportunities to undertake sustained enquiries into topics from<br />

within the discipline of architecture of particular interest to them, while allowing them to develop effective modes of writing and<br />

presentation. Although not required, students are encouraged to explore topics aligned with their final design thesis project.<br />

Self-Organisation as a Resistance Force Towards Corporate-Partnered Regeneration in Tai Kok Tsui, Hong Kong – In Search<br />

of Loopholes: From the Perspective of Local Businesses and Community Empowerment Through Land Ownership<br />

Tinnie Ma<br />

Tai Kok Tsui is a residential-industrial mixed district in Hong Kong that is undergoing corporate-partnered regeneration actively<br />

over the past two decades. The Urban Renewal Authority (URA) which is subsidised by the government, acquires old buildings from<br />

various landlords and resells the acquired land lots to developers via bidding of land. These regeneration projects resulted in the loss<br />

of local community traits, segregating neighbourhood bonds that were established over half a century and erasing history of the<br />

district through demolition of urban fabrics. This paper looks into how local small businesses cultivate community bonding in Tai<br />

Kok Tsui District and serve as a social catalyst in fostering sense of community in the district. Through an analysis and comparison<br />

of different typologies of shophouses in Tai Kok Tsui and by looking into correlations of the businesses, community and architecture,<br />

this paper shed light on how local businesses form the backbone of the community within Tai Kok Tsui district. This paper hopes to<br />

shed light on self-organisation. In particular, it focuses on cultivating local businesses through adaptive re-use and empowerment of<br />

local residents through land ownerships in Tai Kok Tsui, Hong Kong in order to resist corporate-partnered regeneration. As a result,<br />

to regenerate the area sustainably with consideration of the micro economy and local community interest.<br />

166


Subterranean Architecture: Sustainable Development and Utilisation of Underground Potential<br />

Yan Cheng<br />

Underground spaces have long been an integral part of urban development, with a rich history of usage for a variety of purposes such<br />

as housing, storage, and protection. However, as society has evolved and urban populations have grown, so too has the utilization of<br />

underground spaces for new purposes such as transportation and commerce. These underground spaces allow for faster movement of<br />

people and goods, and enable new forms of social interaction that were previously not possible. Despite the benefits of underground<br />

development, it is important to remember that these spaces are non-renewable resources and their use must be carefully considered.<br />

Urban planning for underground spaces must take into account both climate impacts and physical constraints, and should be<br />

coordinated with above-ground planning to ensure a holistic approach. Additionally, the use of underground spaces presents several<br />

challenges, including feelings of claustrophobia, lack of greenery, and isolation. Nevertheless, as urban populations continue to grow<br />

and climate change poses increasing challenges, the sustainable development and utilization of underground potential will be crucial<br />

in addressing these issues and creating liveable and sustainable cities.<br />

167


Dwelling In Utopia<br />

Thomas Barnetson<br />

Housing in the UK has over time evolved to serve mainly the middle-upper classes, with the lower and working classes, being left to<br />

pick up the pieces of what remains. The mid-20th century was a real time of change, with the devastation caused by World War II,<br />

hope and social dreaming was needed to not only unite the country, but also to try and urgently resolve the housing crisis which was<br />

bestowed upon the country. The Barbican estate, a prominent development in London, ultimately, was never intended to be a form<br />

of social housing, neglecting the needs of society at the time. Whilst the limitations regarding its social ambitions must be questioned,<br />

it’s aesthetic beauty and planning must not be underestimated, hence making it a potentially partial realised utopia and therefore<br />

a strong case study, in the form of a picturesque utopia. A form of utopian thought was required on a social level however. One<br />

example, of new government policy, came about in the form of the New Towns Act (1946), which brought about the development of<br />

thirty-two New Towns. Including Peterlee Town and the Sunny Blunts estate, which is a particularly interesting case study, this being<br />

a result of its principles, values and utopian thinking in the form of what could be seen as a social utopia.<br />

However, with the rise of Thatcherism and neoliberalism, many post-war estates that were once socially rented, could be purchased at<br />

cut prices, which inevitably, led to people wanting to distance themselves from the ‘lower class’ image that came with socially renting.<br />

Over time, neoliberalism has evolved, and we live in an age where people are increasingly influenced by popularist media and the rise<br />

of consumerism, resulting in the potential risk of the faux utopia.<br />

The various case studies explored could, hopefully, teach important lessons about how we plan our estates, and how having a utopian<br />

vision in mind can help achieve a form of social equality, where inclusivity and fairness is put at the forefront of society, and not just<br />

the picturesque. Most importantly, however, we must realise the threat that the faux utopia poses to achieving this social utopia in<br />

the present day.<br />

168


NCAN & Green Space<br />

Organising Team: Eka Bhatt, Gaurav Dhoot, Raazin Anwar, Roxana Caplan<br />

Green Space is a discussion series organised by NCAN (APL’s Newcastle<br />

Climate Action Network). It aims to showcase the variety of agencies<br />

people can take to raise awareness and take climate action, becoming a<br />

platform for promoting our students’ initiatives and forward-thinking<br />

as well as uncovering practices from the design and built environment<br />

professional landscapes. In this space, we collectively discuss ways to reduce<br />

our negative impacts on the environment, improve our approaches and<br />

work towards a greener, more sustainable future. Discussions have been<br />

led by students, PhD researchers and invited guests.<br />

Speakers<br />

Aidan Hoggard (University of Sheffield)<br />

Ceren Senturk<br />

Helena Mizgajeva<br />

Holly Minton<br />

Lotte Dijkstra<br />

Scott McAulay (Anthropocene Architecture School)<br />

Simeon Shtebunaev (Urban Imaginarium)<br />

Images - Raazin Anwar<br />

169


Linked Research<br />

Iván J. Márquez Muñoz<br />

Among the most exciting and ambitious modules we offer as a School, the Linked Research module is<br />

unique to the Newcastle curriculum and spans the two Stages in the MArch, enabling year-long collaborative<br />

research projects between staff and students. Linked Research encourages approaches that extend beyond the<br />

conventional studio design project or ‘lone researcher’ dissertation model allowing space for multiple and<br />

speculative forms of research. Projects are often open-ended and collaborative, and, because they are long<br />

term and involve groups working together, they can enable participatory projects and large-scale production<br />

with a wide range of partners inside and outside the University.<br />

Testing Ground<br />

Graham Farmer & Peter Sharpe<br />

Cameron McKay<br />

Chloe Dalby<br />

Hiu Lam Jessica Cheng<br />

Natalie Si Wing Lau<br />

Olivia Jackson<br />

Paola Isabella Jahoda<br />

Senjeeven Mungapen<br />

Stuart Lanigan<br />

Mobile Sanctuaries<br />

Christos Kakalis & Neil Burford<br />

Ollie Spurr<br />

Roxana Caplan<br />

Qixing Huang<br />

Design [over] Site<br />

Katie Lloyd Thomas & Will Thomson<br />

Anushka Juneja<br />

John Roberts<br />

Zongshui Jiang<br />

Advanced Research in Representation:<br />

Raising the Hand to Digital Delineation<br />

Nathaniel Coleman & David Boyd<br />

Jack Menzies-Astley<br />

Martina Dorothy Hansah<br />

Sophie Heuch<br />

Pavilion of the Commons<br />

Armelle Tardiveau & Daniel Mallo<br />

Chun Hoi Wong<br />

Shahryah Abad<br />

Matthew Nam Xing Tan<br />

Shivani Patel<br />

The Child and the Archive<br />

Daniel Goodricke & Prue Chiles<br />

Hasstie Mirsamadi<br />

Iulianiya Grigoryeva<br />

Siu Chung Gabriel Tong<br />

Yuhua Lee<br />

170<br />

Opposite - Sensory Pavilion at the Calvert Trust, Kielder


171


Testing Ground<br />

Graham Farmer & Peter Sharpe<br />

Testing Ground is a unique and ongoing programme of constructive design-build research that is grounded in place-based inquiry<br />

and stakeholder engagement. Testing Ground aims to interrogate what it means for architectural knowledge and practice when<br />

we remove the boundaries between research, design and construction and where unique and invaluable collaborative learning is<br />

understood to emerge from the building site rather than the design studio or lecture theatre.<br />

Since 2013 we have collaborated with multiple external partners and over the past year we returned to undertake our second building<br />

project for the Calvert Trust at Kielder. The Trust is a charity that aims to enable people with disabilities to benefit from outdoor<br />

activities in the countryside with the aim of helping them to overcome challenges that might typically be considered too difficult. The<br />

Trust does not accept preconceptions about the ‘abilities’ of people with ‘disabilities’, rather it aims to support its ‘guests’ in achieving<br />

the ‘impossible’ and as a result they challenge our established assumptions around ‘designing for disability’ and the regulatory<br />

framework of ‘access for all.’<br />

The completed sensory pavilion which responds to and enhances the experience of the environmental conditions of the location<br />

(wind, light, sun, landscape, water, sound) will provide an outdoor gathering and meeting space for the Trust’s staff, guests and<br />

visitors.<br />

172 Students - Cameron McKay, Chloe Dalby, Hiu Lam Jessica Cheng, Natalie Lau, Olivia Jackson, Paola Isabella Jahoda, Senjeeven Mungapen, Stuart Lanigan


Mobile Sanctuaries<br />

Christos Kakalis & Neil Burford<br />

In moving towards net zero carbon there is a pressing need to develop new ontological frameworks that fundamentally reposition our<br />

relationship with nature, from one that is exploitative to one that is symbiotic, nurturing and supportive. This will entail developing<br />

new dynamic and complex networks of interactions in and between human and natural systems that operate within the natural<br />

capital of the environment that supports them. Monastic settlements, partly due to their historical isolation and disconnection from<br />

mainstream human infrastructures, by necessity are self-sufficient in their total resource needs. Enduring over thousands of years<br />

monasteries have been model sustainable settlements and contain valuable lessons in both mitigating and adapting to climate change.<br />

Not far from Inverness, within the curtilage of the Ardross Estate, and in collaboration with local communities and the Archdioecese<br />

of Thyateira and Great Britain of the Ecumenical Patriarchate of Constantinople I, the Linked Research Project investigates these<br />

processes through the design and transformation of a 20-acre greenfield site into a self-sustaining Orthodox male monastic settlement.<br />

The project follows a bottom-up understanding of design in which the Highlands Orthodox Community, the Ardross Community,<br />

local crafting and materialities are synthesized to test ideas of sustainable, symbiotic, ecosystems in which human and non-human<br />

elements are organically interrelated.<br />

The work involves researching and understanding the efficacy of alternative methods of construction with low-environmental impact<br />

– using as far as possible local sustainable materials, zero-emission energy generation for self-sufficiency (heating, water and cooking),<br />

local water harvesting/treatment, waste recycling and the capacity of the site and technologies needed in the production of food for<br />

the community. Close site readings and mappings are being used to test alternative strategies and assess their potential impact, risk<br />

and resilience. The project relies also on fundamental insights and contributions from lay-people and experts within the communities<br />

to assist in the development of the framework and strategies.<br />

Students - Ollie Spurr, Roxana Caplan, Qixing Huang<br />

173


Design [over] Site<br />

Katie Lloyd Thomas & Will Thomson<br />

Design [over] Site was a linked research collaboration that explored the construction site as a location for rethinking architecture’s<br />

relationship to processes of building.<br />

We asked what is produced alongside the production of architecture? What social relations, personal and professional identities, and<br />

cultural concepts result from how we make buildings? Students began by looking at construction hoardings – the familiar screens<br />

put up around urban building sites as boundary spaces between these sites and the city and as points of encounter between the<br />

production and consumption of the build environment. By looking at the hoarding rather than the building, they examined the space<br />

of production through familiar conceptual tools that architecture usually employs for thinking about buildings and form through<br />

typologies, mapping and collage, and through model making and prototyping. Using their training in architectural representation,<br />

they made visible parts of the building process that usually go un-observed or un-theorized in architectural accounts.<br />

They carried these techniques and sensibilities into new studies of four very different scales of construction site in Newcastle including<br />

the Farrell Centre during refurbishment, as well as sites in South Shields and Dunbar, which we visited together. The four sites each<br />

reflect distinct spatial and social relations – a reminder that construction is not a singular, homogenous practice and not simply a<br />

passing phase of architectural becoming.<br />

The research theme drew from related work in the TF/TK initiative, ‘Translating Ferro / Transforming Knowledge’ - an international<br />

collaboration studying the work of Brazilian-French architect and theorist Sergio Ferro, a three year-AHRC funded research project<br />

based at Newcastle University and the University of São Paulo. Elements of their research work was presented as part of a Central St.<br />

Martins lecture series, as well as in the Architecture Lobby’s Architecture Beyond Capitalism School 2022 program. Currently, an<br />

exhibit of their final research work is part of the inaugural programming for the Farrell Centre.<br />

174<br />

Students - Anushka Juneja, John Roberts, Zongshui Jiang


Advanced Research in Representation: Raising the Hand to Digital Delineation<br />

Nathaniel Coleman & David Boyd<br />

Throughout history, the architect’s engagement with hand drawn projection has been obligatory, embedding it within the very<br />

foundations of the architectural discipline. Be this through the study of proportional rules that Vitruvius explored within De<br />

Architecture, or the representational studies that focused on ocular mechanics found during the time of the Renaissance, such hand<br />

drawn projection methods have formed the critical space through which the architect can begin to pre-figure spatial conditions.<br />

As such, the overriding representational mode of thinking and producing architecture was the act of physical drawing, etching, or<br />

making.<br />

It was not until the last 40 - 50 years, once a digital interface was introduced, that architectural practice became increasingly<br />

subservient to the quantifiably digital. As such, the digital is now not a tool, but an instructor, be it in CAD drawings, vectors, digital<br />

modelling, 3D printing, laser cutting, virtual reality. All these modes of representation sit within the foundations of binary language.<br />

As such, the urban condition that surrounds us cannot escape but being a direct expression of quantifiable languages of the digital.<br />

In opposition to this, the Advanced Research in Representation linked research group have explored the ocular processes of hand<br />

drawing as a generative method to inform an architecture resistant to the dominant modes of production, forming both a critical<br />

commentary on the current reliance upon the digital, and informing methodologies for future practices. Through the practical study<br />

and application of hand drawing, we have explored, discovered, and reflected upon, differing representational methods, within<br />

the context of contemporary practice, examining possible pathways towards a contemporary architectural practice that resists the<br />

pervasive modes of capitalist digital production.<br />

Students - Jack Menzies-Astley, Martina Dorothy Hansah, Sophie Heuch<br />

175


Pavilion of the Commons<br />

Armelle Tardiveau & Daniel Mallo<br />

This research project explores temporary architecture and involves the design and fabrication of a temporary pavilion that is intended<br />

to be readily deployable for community engagement events. The pavilion is conceived as an easily assembled kit of parts that enables<br />

a fast installation to capture users’ perspectives on the built environment. As such, it is designed with reuse in mind, prioritising<br />

longevity and forthcoming lives/uses. Students developed a manual toolkit, so that the transportable components of the pavilion<br />

could be easily assembled by lay-people with little or no previous building skills. The underlying principle is that of allowing the<br />

pavilion to be used by different community groups and pass-it-on when no longer needed. The research draws from light-weight<br />

prefabricated timber construction methods ranging from basic self-build principles as developed by Segal to contemporary digital<br />

fabrication of open-source systems such as Wikihouse.<br />

176<br />

Students - Chun Hoi Wong, Shahryar Abad, Matthew Nam Xing Tan, Shivani Patel


The Child and the Archive<br />

Daniel Goodricke & Prue Chiles<br />

Daniel Goodricke and Prue Chiles worked with linked research students Iulia Grigoryeva, Hasstie Mirasamedi, Gabriel Tong and<br />

Yuhua Lee to explore the relationship between the child and the archive working with Seven Stories, the national centre for children’s<br />

books.<br />

In semester one we focused on a child’s perspective of the city in a larger context, getting to know Seven Stories work and learning<br />

about the designing exhibitions for children. We visited the Seven Stories amazing archives and explored the spatial organisation of<br />

the Seven Stories visitors’ centre. All four students researched different aspects of child and the archive. Yuhua explored the design<br />

philosophies of children’s furniture and how it can stimulate creativity and imagination, Hasstie looked at typography in children’s<br />

books and how words can help children navigate throughout a space. Gabriel investigated how the spatial design of cities could affect<br />

children and Iulianiya looked at the child’s experience within the space of the archive - all four topics played a vital role in elevating<br />

a child’s experience in the spaces designed and were extremely informative towards the exhibition.<br />

The team were then invited to design and build Seven Stories first exhibition in the City Library. The exhibition - Listen to this<br />

Story – explored children’s books and Black Britain asking child readers, their carers and families to reflect on what it means to see<br />

themselves represented (or not) in books for children.<br />

The design and build reflect the aesthetic and spatial intensity of mid-20th century small press publishing houses, such as the<br />

pioneering and revolutionary Bogle-L’Ouverture, characterised by floor-to-ceiling occupancy and a variety of cultural and educational<br />

activities. The exhibition curated content discussing race, representation and children’s literature from the unique historic collections<br />

at Seven Stories, Newcastle City Library and Newcastle University, and informed by the research of Karen Sands-O’Connor, British<br />

Academy Global Professor of Children’s Literature.<br />

The project is funded by Newcastle University’s Black History Month Fund, Catherine Cookson Fund and the Vital North<br />

Partnership, and is due to tour around several cultural venues in the UK.<br />

Students - Hasstie Mirsamadi, Iulianiya Grigoryeva, Siu Chung Gabriel Tong, Yuhua Lee<br />

177


PhD and PhD by Creative Practice Students<br />

Continuing PhD Students:<br />

Adaptive Reuse of 19th Century Residential<br />

Buildings Frameworks: Policies, Economics<br />

and Environmental Requirements<br />

Dina Abdelsalam<br />

Feminist Running: Taking Space<br />

Sarah Ackland<br />

Exploring the Influence of Practice Cultures<br />

on Actualised Designs in Architectural Firms<br />

in Lagos, 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 />

Towards transforming Bahrain to a “Walkable”<br />

country: Creating walkable open public spaces<br />

Fatema Alhammadi<br />

A Green and Unpleasant Land: On British<br />

Model Villages and Architectural Models<br />

Michael Aling<br />

Imagining “Cities” and “Non-Cities” in a<br />

Tropical Megaregion<br />

Farhan Anshary<br />

The Relationship between Metro Stations and<br />

the Surrounding Built Environment via the<br />

Walkability of Transit Oriented Development<br />

(TOD): A Case Study of Riyadh, Saudi Arabia<br />

Hezam Mutraf H Alsubaie<br />

Bacterial Choreography: Designing<br />

interactions through biological induced<br />

mineralisation<br />

Thora Arnardottir<br />

The Impact of Changing Mortgage Credit<br />

Conditions on Housing Supply and<br />

Affordability in Rapid Growing Cities – A<br />

Case Study of Cambridge<br />

Isaac Ayamba<br />

Prefigurative Placemaking: Using Design<br />

Provocations to Support Community-led<br />

Reimaginations of Urban Voids<br />

Bobbie Bailey<br />

Ecologies of the domestic threshold.<br />

Investigating the boundary between domestic<br />

and public in UK multi-unit housing.<br />

Elena Balzarini<br />

Direct Me - A Method for Accessing<br />

Embodied Knowledge of Place: Combining<br />

Walking Prompts with Hermeneutic<br />

Phenomenology<br />

Natalie Bamford<br />

Constructing Dalian: The Production of the<br />

Japanese Colonial Transportation Machine<br />

(1895-1945)<br />

Lu Bao<br />

The More-than-Human Relations of<br />

Transplanetary Imaginaries and Habitats<br />

Anne-Sofie Belling<br />

Participatory Design and Communities of<br />

Practice in a Contested Neighbourhood:<br />

Shieldfield, Newcastle upon Tyne, UK<br />

Ikbal Berk<br />

B. subtills 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: Design for<br />

Biological Construction of Living Habitation<br />

on Mars<br />

Monika Brandic Lipinska<br />

Vertical Interventions: Regenerating through<br />

Heritage<br />

Gulnur Cengiz<br />

What Makes a Community Resilient to a<br />

Flood Disaster?<br />

Jeongeun Chae<br />

Nation-Building of Post-Colonial and Post-<br />

War South Korea under the Park Chung-hee<br />

Regime (tentative)<br />

Uri Chae<br />

Architecture by Default<br />

Kieran Connolly<br />

Constructions of Home - Depicting Identity<br />

and Status in New Housing Development<br />

Hazel Cowie<br />

The Autobiographical Hinge: Revealing<br />

the Intermediate Area of Experience in<br />

Architectural Representation<br />

James Craig<br />

Beyond Biomimicry: How can we create<br />

designs that possess the functions of living<br />

things?<br />

Assia Crawford<br />

Designing for an Affective Politics of<br />

Possibility: Making Futures that Transcend<br />

Capitalist Realism in the ‘Post’-austerity<br />

Children’s Social Care System<br />

Kieran Luke Cutting<br />

Transitions to Autonomous Mobility: The<br />

Settling, Stabilizing and Solidifying of<br />

Intelligent Mobility Experiments<br />

Jennie Day<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 Senses<br />

of Belonging for Equitable Access to Urban<br />

Forest Places Across Communities<br />

Lotte Dijkstra<br />

Sustainability” and “Reversibility”: A<br />

Genealogical Investigation into the United<br />

Nations Sustainable Development Goals (UN<br />

SDGs)<br />

Ellis James Douglas<br />

Future Classrooms, Spaces Enabling Mixed<br />

Digital Physical Embodied Learning<br />

Nagham El Elani<br />

Architecture Education and the Empathetic<br />

Imagination<br />

Elantha Evans<br />

The Smart City Concept as a Tool for the<br />

Sustainability of Historic Urban Landscapes<br />

Merve Gokcu<br />

Reimagining children’s spaces with Seven<br />

Stories: The National Centre for Children’s<br />

Books<br />

Daniel Goodricke<br />

Infrastructuring Neighbourhood Publics<br />

Erkki Emanuel Hedenborg<br />

Living Morphogenesis – Co-designing with<br />

Bacteria<br />

Aileen Hoenerloh<br />

Negotiating Modernity through Spatial<br />

Imaginaries: A Feminist Analysis of Tehran’s<br />

Spatial Transformation in the Nation Building<br />

Era (1920-40)<br />

Sadaf Hosseini Tabatabaei<br />

Participation of Community in Heritage-led<br />

Regeneration<br />

Brian Hwang<br />

Knit - Mycelium Based Biofabrication:<br />

Towards Living Material Hybrids (Working<br />

Title)<br />

Romy Kaiser<br />

178


Architectural Autonomy: The Discursive<br />

Space in The Architectural Journal in China<br />

(1973-1984)<br />

Lingfei Kong<br />

Biocybernetic Design Fabrication: Developing<br />

an Interactive Bioprocess for Mediating Cyber-<br />

Biological Interventions<br />

Sunbin Lee<br />

Mainstreaming Strategic Thinking in Policy<br />

Making for new Oil and Gas Frontiers in<br />

Developing Country Contexts, through<br />

Strategic Environmental Assessment<br />

Mustapha Manga<br />

Experiencing architecture: An<br />

Autoethnographical Study of the Senses in<br />

Walmer Yard<br />

Laura Mark<br />

Re-enacting Fisac: A Critical Reconstruction<br />

of his Material Practice with Flexibly Formed<br />

Concrete (1970 – 2000)<br />

Ivan Marquez Munoz<br />

PhD Research Proposal: Robust Architectural<br />

Detailing<br />

Joseph George Marshall<br />

The Effects of Mass Tourism and Heritage<br />

Commodification on the Sense of Ownership<br />

and the Sense of Place<br />

Tinatin Meparishvili<br />

Urban Riverfront Revitalisation in 21st<br />

Century Indonesia<br />

Indah Mutia<br />

The Materiality of Well-Being: Designing<br />

Living Textile-bacterial Hybrids<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 />

Designing a Living Material through Biodigital<br />

Fabrication<br />

Dilan Ozkan<br />

Young Citymakers: Prefigurative Placemaking<br />

with Young People in the Becoming-digital<br />

City<br />

Sean Peacock<br />

Ageing Occupant Energy Behaviours in Rural<br />

Residential Buildings in China<br />

Di Yang<br />

Transformation of Residential Buildings in<br />

Shenzhen: A Reflection of the Relationship<br />

Between Migrants and the Identity of<br />

Shenzhen<br />

Tiangchen Ren<br />

Towards Equitable and Sustainable Urban<br />

Water Services in Cali and Addis Ababa.<br />

Through Understanding Divergent Value<br />

Perceptions of Water and Interrogating the<br />

Political Economy of its Flow Through Society<br />

Elliot Rooney<br />

Building Home<br />

Martina Schmuecker<br />

Collaging Nicosia: The Fragmentation,<br />

Remaking and (Re)perception of Contested<br />

Space<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 />

Understanding Urban Heritage Sites’ Values:<br />

Evidence from Jongno District of Seoul<br />

Metropolitan City, South Korea: For Whom<br />

and How is Heritage Mobilised and Valued<br />

Through the Lens of Power?<br />

Minki Sung<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 />

Housing Landscapes and the Politics of Play:<br />

From Parker Morris to Byker c.1955-1995<br />

Sally Watson<br />

Gathering Voices: Developing, Implementing<br />

and Managing Integrated Place-based<br />

Strategies to Improve the Sustainability and<br />

Resilience of Rural Communities in Scotland<br />

Frances Wright<br />

The Proliferation of Shopping Malls and their<br />

Impacts on Traditional Retail Environments in<br />

Accra, Ghana<br />

Iddrisu Yakubu<br />

179


PhD Research<br />

Resilient Living Buildings: Exploring 19th Century Residential Buildings Adaptive Reuse Frameworks<br />

Dina Abdelsalam<br />

The research is particularly concerned with the adaptive reuse of 19th century residential heritage buildings in Egypt. Constructed<br />

during the Ottoman empire and the British occupation and recently recognized as heritage by the Egyptian government, La Belle<br />

Époque’s heritage value is explored. The research is investigating the question of adaptive reuse, change and interventions, focusing<br />

on the environmental interventions necessary to upgrade the building performance, in relation to the heritage value.<br />

Feminist Running: Taking Space<br />

Sarah Ackland<br />

Women’s liberation movements tore through the twentieth century, from Suffragettes to Sisters Uncut and Reclaim the Night the<br />

women’s uprising gathered force, women were taking to the streets. Meanwhile, others were taking to the streets in an altogether<br />

different underground movement, defining the future for women through defiant acts of running, Feminist Running. Borrowing<br />

from Lefebvre’s idea that all space is political, women’s bodies are catalysts for the fear of progress. Women walking, the female flaneur<br />

and mothers with prams have been widely discussed, but perhaps the most ‘able’ of female bodies; the runner is yet to be discussed.<br />

Explored through embodied, feminist and auto-ethnographic practices, this study asks: can women transform their experience of<br />

space through running?<br />

180


A glitch in the architect’s blue veil: writing a non-computational model of site<br />

Alex Blanchard<br />

The thesis shows how the glitch offers a means to imagine alternative programmes for the media used in the production of the<br />

built environment, demonstrating how computation can be turned towards new expressions of site and building in a textual form.<br />

Maintaining the contingency of technical apparatus by performing an alternative grammatisation, the potential for an interface<br />

to simultaneously obfuscate or illuminate the conditions of building it mediates is turned toward constituting an ethical practice.<br />

The research by creative practice concerns the construction of alternative, non-computational modelling apparatus to mediate<br />

building and explores how one’s perception and experience of the city is configured according to the model written and the medium<br />

constructed.<br />

Supervisors: Ed Wainwright and Stephen Parnell<br />

Intersectional Belonging: Exploring Senses of Belonging for Equitable Access to Urban Forest Places Across Communities<br />

Lotte Dijkstra<br />

For many people, urban forests are nature close to home. For non-humans, urban forests are home. At the same time, engagement<br />

with and access to urban forests and their countless benefits for human and nature well-being is unequal. How senses of belonging<br />

contribute to equitable access to urban forest places across communities? This PhD by creative practice consists of a series of<br />

collaborative place-based storytelling sessions in which intersecting identities of human dwellers, other-than-human occupants and<br />

the selected place are explored. The creative product will culminate into an anthology of co-produced illustrated urban forest stories.<br />

Supervisors: Usue Ruiz Arana, Clive Davies & Maggie Roe<br />

Funding: Forshaw Award in Architecture, Institute of Social Sciences HaSS Pioneer Award<br />

181


Collaing Nicosia; The Fragmentation, Remaking, and (Re)perception of Contested Space<br />

Ceren Senturk<br />

My work explores how collage, as a creative practice, can provide productive opportunities to intervene in contentious debates in<br />

contested spaces. The work focuses on Nicosia, the divided capital of Cyprus, as a testing ground for a series of collage-making<br />

experiments. Through this versatile artistic process, which combines images, texts, drawings, and found objects without following any<br />

predetermined rules or methods, I seek to gain a deeper understanding of the complex history and identity of Nicosia and explore its<br />

current situation and future possibilities.<br />

Negotiating Modernity through Spatial Imaginaries: A Feminist Analysis of Tehran’s Spatial Transformation in the Nation<br />

Building Era (1920-40)<br />

Sadaf Tabatabaei<br />

This research explores the spatial transformation of Tehran, which commenced in the late 19th century and reached its pinnacle<br />

between 1920 and 1940. During this period Tehran underwent substantial physical changes driven by modernist reforms. Despite<br />

being well researched, existing narratives on Tehran’s architectural history often overlook the experiences of women and the existence<br />

of marginal spaces, failing to capture the complexity of Iranian modernity. This study aims to provide an alternative feminist<br />

architectural history by examining the position of women during the inter-war period (1918-1939) and their everyday experiences<br />

within the built environment of Tehran. This study adopts a feminist lens and employs a multidisciplinary approach that integrates<br />

architectural and urban analysis, historical research, and exploration of primary sources, including archival documents, personal<br />

accounts, and visual materials. Its primary objective is to reconstruct the lived experiences of women during this critical period,<br />

aiming to fill a gap in the literature and emphasise the significant role women played in shaping Tehran’s architectural landscape.<br />

Through a nuanced analysis of gender, space, and modernisation, this research contributes to advancing our understanding of Iranian<br />

modernity and makes contributions to the fields of feminist studies, architectural history, and urban studies<br />

182


Understanding urban heritage sites values: Evidence from ‘Jongno’ District of Seoul Metropolitan City, South Korea<br />

Minki Sung<br />

The primary objective of this research is to undertake a comprehensive exploration of the concept of heritage in relation to the<br />

intricate dynamics of power. Specifically, the study will concentrate on the perspectives of various influential actors, including<br />

international entities, the central government, local authorities, local communities, local business groups, and residents. The aim<br />

is to gain a profound understanding of how the viewpoints of these diverse stakeholders shape the very essence of heritage and<br />

its perception, with a specific focus on the context of Jongno district in Seoul Metropolitan City, South Korea. Notably, Jongno<br />

district boasts a multitude of heritage sites encompassing Japanese colonial heritage, local heritage, and two World Heritage Sites. By<br />

employing a rigorous mixed-method approach, this research seeks to thoroughly investigate the positioning of different stakeholder<br />

groups and their narratives within their respective perceptions and the conservation planning systems. A particular emphasis will be<br />

placed on scrutinizing the selectivity employed in the mobilization, utilization, or exclusion of narratives from the past.<br />

The Withdrawn Design: Object-Oriented Ontology and Architectural Practice<br />

Harry Thompson<br />

In the metaphysical cosmos of Object-Oriented Ontology (OOO), everything is an object: humans, nonhumans, non-living beings,<br />

and non-physical and fictional entities. And any object has a reality apart from any (not just human) access, beyond its myriad<br />

relations. This PhD aims to synthesise and critique methods of architectural practice with the philosophical framework of OOO.<br />

It employs practice-based project work with Design Office as applied philosophy, critically experimenting with such ontological<br />

concepts in a grounded site of investigation. It uses creative practice methods to address questions of agency between beings, methods<br />

of indirect access to the withdrawn reality of objects, and seeks to generate a potentially object-oriented architecture.<br />

Supervisors: Adam Sharr and Ed Wainwright<br />

183


ARC Research and Events<br />

There are major events in the pipeline for conferences in the School starting with the Architecture 101 Conference in November this<br />

year and then the Production Studies International Conference to be held at Newcastle in late March 2024, which is part of the<br />

Translating Ferro/Transforming Knowledges Research project.<br />

They report: We’ve had an exciting programme of events at the midpoint of our 3.5 year collaboration with researchers from the<br />

UK, Ireland, US and Brazil in the TF/TK project, which builds on the work of Brazilian-French architect and theorist Sergio Ferro<br />

to advance a new field of Production Studies. In the past year, TF/TK project members led a session called ‘Production Studies<br />

Perspectives on Remaking Studio’ for the Architecture Lobby’s Architecture Beyond Capitalism (ABC) Summer Workshop. We<br />

presented Production Studies: Work in Progress, a series of five public panel talks at Central St. Martins, London with Spatial<br />

Practices, which ran from October through November on a range of topics from gender and labour to education and unionisation.<br />

Our MArch Linked Research group Design (over) Site produced an exhibit showcasing their work for the opening programming<br />

of the Farrell Centre, and we launched a new dissertation module Under Construction focused on building processes. In April,<br />

the Brazil-based TF/TK team hosted a program of workshops and public symposium presentations at the University of São Paulo<br />

bringing together over two dozen project researchers to meet for the first time in person, to present their ongoing research and<br />

participate in organised research trips and site visits. The TF/TK project continues with a full program next year set that will include<br />

the Production Studies International Conference, along with a series of outreach events and a public exhibition at the Farrell Centre,<br />

and the launch of the first published outputs of the project, starting with a Sergio Ferro anthology, Architecture from Below, set to<br />

be the full book-length publication of Ferro’s work in English.<br />

184<br />

Sergio Ferro with TF/TK researchers at the FAU archives of Arquitectura Nova work at the University of São Paulo


The Landscape Collaboratory<br />

Charlotte Veal & Maggie Roe<br />

The Landscape Collaboratory (TLC) is a research group<br />

formally confirmed in Spring <strong>2023</strong> in the School of<br />

Architecture, Planning and Landscape. Based on a long<br />

history of expertise in landscape research at Newcastle, in<br />

recent years we have further developed our international<br />

profile through work in transdisciplinary landscape<br />

planning, landscape ethics and design theory, Green<br />

Infrastructure (GI) planning, community forestry, coastal<br />

and water-based research, and through editorships with<br />

Landscape Research.<br />

Our continuing focus on the development of innovative<br />

methodological and theoretical approaches and policyrelevant<br />

applied research has resulted in considerable<br />

work with UK government, environmental agencies,<br />

organisations and institutions in the UK and<br />

internationally including UKRI, AHRC, ESRC, NERC,<br />

British Council, Natural England, Defra, Catherine<br />

Cookson Foundation, HLF, EU, FORMAS (Sweden)<br />

Our teaching continues to be inspired by and referenced<br />

to our research and our PhD students are now leaders in<br />

many different countries in both academia and practice.<br />

In TLC we use a range of research and engagement methods including creative practice, collaborative transdisciplinary and naturebased<br />

approaches. We aim to extend our local, national and international audiences through our research publications and outputs,<br />

keynote and conference presentations, work with communities, professionals and policy makers, and through building funding<br />

collaborations and project partnerships.<br />

We remain fully engaged and grounded within the landscape issues of the North East of England, which continues to provide a rich<br />

inspiration and much data for innovative interdisciplinary research and projects as well as student work. We are working closely with<br />

the newly-formed University Centre for Landscape which includes all researchers across Newcastle University interested in landscape<br />

research.<br />

Over the past year we have developed the TLC through a programme of away days, a monthly Reading Group and through<br />

sessions including a focus on publication quality and research impact. In our first Away Day in January 2022 we spent the<br />

morning around two research-oriented objectives to identify individual and collective research interests among colleagues who<br />

identify as landscape/landscape architecture scholars and second was to reveal different possibilities of our research identity as<br />

a group and as individuals. Our discussions identified crosscutting research themes, shared principles of research and a vision<br />

for our research trajectory. During the Second Away Day in July 2022 we also discussed policy and practice connections and<br />

identified concerns and research strategies for the forthcoming year. This included the key challenges for researchers, research<br />

funding opportunities and collaborations including ECR and PhD funding and external speakers to invite.<br />

We have developed five thematic groups which provide the basis for our current research and the development of T LC, these<br />

themes are understood to be overlapping and mutually supporting and likely to change over time as our research and researcher base<br />

expands. These themes are: Trees and Woodlands, Climate and Nature-Based Thinking, Multi-species and Bio-designs, Creativity<br />

and Collaboration, and Cultures and Places. Co-theme leaders are drawn from various levels of experience to support Early Career<br />

development and leadership.<br />

Going forward we aim to have an annual away day and various activities (including a forthcoming research-informed field site<br />

visit to Cragside) collaborating with other groups in the School and Faculty and in conjunction with the University’s Landscape<br />

Centre which connects us to many different interests and disciplines both internal and external to the University.<br />

185


Hub for Biotechnology in the Built Environment (HBBE) Research<br />

Living Manufacture<br />

The Living Manufacture project is a collaboration between architects and bio-scientists to build a new Engineered Living Fabrication<br />

(ELF) system. The project aims to develop a novel digital manufacturing approach by integrating biological growth and digital<br />

fabrication to make 3D functionally graded materials and objects. We see this work as the basis of a new fabrication technique<br />

combining wetware, hardware and software with potential applications in various areas, including biomedical applications, complex<br />

composites for high-performance manufacturing and novel consumer products.<br />

The wetware aspect involves exploring biological modifiers such as engineered optogenetic E. coli that produce pigment from<br />

exposure to light. The ELF platform utilises hardware to optimise bacterial cellulose (BC) pellicle growth through a custom-made<br />

fermenter design and automated nutrient feeding that can yield over 8 cm of homogenous pellicle material. It uses an open-source<br />

liquid handling robot with simulation software to model inputs, biofilm formation, and growth dynamics that aims to enable<br />

precise chemical stimuli delivery and real-time pellicle height monitoring as the material grows.<br />

By combining these three elements - wetware, hardware, and software, the project creates an innovative approach to modify the BC<br />

growth and material properties without the need for post-processing.<br />

Research Team:<br />

Institutions:<br />

Funding:<br />

Thora Arnardottir, Sunbin Lee & Martyn Dade-Robertson.<br />

Joshua Loh, Katie Gilmour & Meng Zhang from Northumbria University<br />

Newcastle University & Northumbria University<br />

EPSRC Manufacturing the Future (Grant Number: EP/V050710/1) and Research England’s Expanding<br />

Excellence in England (E3) Funding for the Hub for Biotechnology in the Built Environment<br />

186 Image - Ben Bridgens


The Living Room<br />

The Living Room is part of More with Less: Reimagining Architecture for a Changing World, the inaugural exhibition at the Farrell<br />

Centre, Newcastle-upon-Tyne, which offers new visions for architecture in the face of the climate emergency.<br />

The Living Room is a bio-fabricated architecture that is grown using locally available waste materials. It is composed of Herdwick<br />

wool, a breed of sheep native to the Lake District in north-west England, a mix of sawdust and wastepaper from local mills,<br />

and mycelium spores. The use of waste materials benefits regional industries and demonstrates a means to dramatically reduce<br />

the environmental impact of construction, whilst allowing us to reimagine the spaces that we inhabit. Our work is a reaction to<br />

rigid, hard, permanent buildings, instead we have created a soft, cosy, snug internal space with thick sculpted walls, which can be<br />

composted when no longer required.<br />

The Living Room demonstrates that responding to the climate emergency does not mean ‘business as usual’ - it means doing things<br />

in fundamentally different ways. In this case we demonstrate how truly sustainable architecture may be almost unrecognisable and this<br />

transition provides an opportunity to rethink how we build (grow), maintain (nurture) and inhabit the built environment.<br />

The Living Room was created by the Living Textiles Research Group from the Hub for Biotechnology in the Built Environment,<br />

following months of research, development and large scale biofabrication by Jane Scott, Ben Bridgens, Dilan Ozkan, Romy Kaiser,<br />

Oliver Perry & Armand Agraviador, with help from Layla van Ellen and Aileen Hoenerloh. The project was funded by Research<br />

England’s Expanding Excellence in England (E3) Funding for the Hub for Biotechnology in the Built Environment.<br />

http://bbe.ac.uk/the-living-room/<br />

Image - Ben Bridgens<br />

187


The Farrell Centre<br />

A new public centre that’s aiming to widen the debate about the crucial roles that architecture and planning play in<br />

the contemporary world is now open. It’s staggering to think in the 21st century most people’s only contact with the<br />

planning system is still via planning notices. Those laminated A4 sheets of paper that appear tied to lampposts near<br />

the site of a proposed development. We think this needs to change. New developments in the city affect everyone<br />

and it should be much easier to find out what is happening and make your voice heard. We have created the Farrell<br />

Centre to help make this happen and ensure that urban transformation works for the benefit of all.<br />

The project has been instigated by Sir Terry Farrell, one of the UK’s most eminent architects and urban<br />

planners. During his over fifty years in practice, Farrell completed award-winning buildings and masterplans around<br />

the world. He became known as one of the leading advocates for the potential of architecture and planning to create<br />

cities that are more open, sustainable and inclusive. In 2013, Farrell was commissioned by the UK government to<br />

conduct a review into the country’s built environment. Identifying a lack of public engagement with architecture<br />

and the planning process, in the report published the following year. Farrell recommended that every city should<br />

have an ‘urban room’ where local people can go to learn about the past, present and future of where they live - an<br />

aspiration that provides a key starting point for the Farrell Centre. Farrell himself has longstanding connections to<br />

our city; he grew up in the city and studied at Newcastle University (1956–61), and in the early 1990s, he produced<br />

the masterplan for regenerating the quayside. He undertook major projects in the city, too: the Centre for Life<br />

(2000), the Newcastle University campus masterplan (2004), and the extension to the Great North Museum (2009).<br />

In 2018, Farrell generously donated his practice archive to Newcastle University as a resource for research and<br />

education. At the same time, he pledged £1 million towards the creation of what would become the Farrell Centre.<br />

Cities do not and have never existed in isolation. They are inextricably tied to their regions and to the wider world<br />

and the challenges and opportunities they face are often replicated elsewhere. So, while the Farrell Centre is located<br />

in Newcastle and embedded in the local, its remit and frame of reference extends further, exploring issues, ideas<br />

and situations of local, national and global meaning and relevance. Of these there is nothing more urgent or<br />

important than the climate emergency, which requires far-reaching changes to how we live and, perhaps even more<br />

fundamentally, to how we relate to the planet we call home. While architecture and planning are undoubtedly part<br />

of the problem – the built environment is one of the largest emitters of CO 2<br />

– we also believe they can be part of<br />

the solution.<br />

This contention provides the starting point to the centre’s inaugural exhibition – More with Less: Reimagining<br />

Architecture for a Changing World. We have commissioned four architects to create installations that explore how<br />

we can dramatically reduce the built environment’s carbon footprint, but without compromising – and maybe even<br />

enhancing – architecture’s potential to bring about social, cultural, and technological transformation. In this mission,<br />

we have the unique advantage of being located within Newcastle University’s School of Architecture, Planning and<br />

Landscape and the resulting proximity and access to world-leading research into the built environment.<br />

And for More with Less, one of our collaborations is with researchers in the Hub for Biotechnology in the Built<br />

Environment, who are experimenting with living materials, not simply as alternatives to the carbon-intensive<br />

materials that currently dominate construction, but in order to facilitate a fundamental shift in the relationship<br />

between the built and natural environments. Alongside the temporary exhibition programme are three multi-use<br />

spaces, which we are calling the ‘Urban Rooms’. Here, our focus is directed towards the local. Arranged around three<br />

themes or actions – Plan, Build and Participate – in the Urban Rooms, visitors will find a range of displays, objects<br />

and activities exploring how architecture and planning have shaped the Newcastle and Tyneside of today and the<br />

roles they can play in reimagining it for tomorrow. The Urban Rooms are also where we hold our live programmes of<br />

talks, workshops and community forums, which offer a platform for new and diverse ideas and perspectives around<br />

the future of Newcastle and Tyneside and of city-making more generally. What our visitors find in the Urban Rooms<br />

on one day may not be what they find when they next visit.<br />

Like the city itself, the Urban Rooms are an ongoing project, which we hope our visitors will play an active role<br />

in shaping. In a world defined by profound environmental, social and technological rupture and transformation,<br />

the potential of architecture and planning to create a more inclusive, democratic and sustainable world has never<br />

been more important. Rooted in Newcastle, but with a frame of reference that’s global in scope, we hope the Farrell<br />

Centre will offer a vital new platform for debating the future of architecture and planning, ensuring that everyone<br />

has a voice in this critical conversation.<br />

188<br />

Text by Owen Hopkins


Top Images - Colin Davison<br />

Bottom - Thomas Jackson<br />

189


NAS X NUAS Design Competition<br />

The second annual NAS X NUAS Design Competition was a fantastic day of architecture and celebration! This year we were pleased to have<br />

Ollie Sturdy from MawsonKerr, Ollie Currie from 33A, Simon Baker from Group Ginger, and Andrew Thompson from FaulknerBrowns as<br />

our judges. We also had several representatives from the Northern Architectural Association involved and attending the event.<br />

The brief this year centred around ideas of community and charity. Teams were asked to pick one of the following local charities to be the focus<br />

of their designs: Newcastle Carers, Angelou Center, Dwellbeing, and The New Bridge Project. The Teams final outputs were asked to show a<br />

strong understanding of their chosen charity’s concepts, values, and work. Exhibition Park was the chosen site due to its popularity for many<br />

different activities and events, and teams were given a large area of the park to place their designs. Teams had just one day to come up with a<br />

design proposal and put together an A1 presentation board to pin-up at Kings Hall on Newcastle University’s campus for the judges to review.<br />

The exhibition in the evening was a great event to celebrate all the work completed through the day and announce who the judges had picked<br />

as the winners! The judges made clear that none of the decisions were easy given the quality of work put forth by all of the teams, but in the<br />

end the winners were as follows:<br />

Best model went to Katheryn Taylor, Lauren Deck and Laura Cartledge (Stage 3, Northumbria).<br />

Best collage went to Euan Ellis, Laura Sinclair-Banks and Campbell Carmichael (Stage 3, Newcastle).<br />

The society winner, picked by Adam Schell and Louis Gardener, went to Finn Carroll, Eka Bhatt and Chloe Bridger (Stage 2, Newcastle).<br />

Third place went to Andrew Watson, Ellie Delaney and Ollie Walsh (Stage 3, Newcastle).<br />

Second place went to Raazin Anwar Hussain, Oliver Higgins and Gaurav Dhoot (Stage 2, Newcastle).<br />

And first place went to Timea Lewkot and Martyna Puchlowska (Stage 2, Northumbria)!<br />

Thank you to all who participated and for making the second annual NAS X NUAS Design Competition such a big success!<br />

190<br />

Left - Andrew Watson<br />

Right - Saifan Rashid


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 />

Aileen Hoenerloh<br />

Alex Jusupov<br />

Allen Huang<br />

Anna Cumberland<br />

Armelle Tardiveau<br />

Becky Wise<br />

Byron Duncan<br />

Carlos Calderon<br />

Charlotte Ashford<br />

Chloe Gill<br />

Chris Charlton<br />

Chris Elias<br />

Connor Kendrick<br />

Damien Wootten<br />

Daniel Mallo<br />

David McKenna<br />

Diego Mejuto<br />

Ed Wainwright<br />

Eddy Robinson<br />

Elinoah Eitani<br />

Feyzan Sarachoglu<br />

Hannah Christy<br />

Harry Thompson<br />

Henna Asikainen<br />

Hiu Lam Jessica Cheng<br />

Iván Márquez Muñoz<br />

James Craig<br />

James Harrington<br />

Jianfei Zhu<br />

Joe Curtis<br />

John Kinsley<br />

Juliet Odgers<br />

Kafeel Ur Rehman Farooqi<br />

Karl Mok<br />

Katie Lloyd Thomas<br />

Kieran Connolly<br />

Loes Veldpaus<br />

Malcolm Green<br />

Marina Kempa<br />

Martina Dorothy Hansah<br />

Michael Chapman<br />

Michelle Allen<br />

Mike Veitszh<br />

Muhammad Shujaat Afzal<br />

Nagham El Elani<br />

Neil Taylor<br />

Neveen Hamza<br />

Nick Clark<br />

Otis Lunney-Murdoch<br />

Paola Isabella Jahoda<br />

Peter Kellett<br />

Peter St-Julien<br />

Prue Chiles<br />

Rory Kavanagh<br />

Roxana Caplan<br />

Russell Coleman<br />

Ruth Sidey<br />

Sabine Sallis<br />

Sadaf Tabatabei<br />

Sam Austin<br />

Sana Al-Naimi<br />

Sneha Solanki<br />

Sonali Dhanpal<br />

Sophie Cobley<br />

Sophie Collins<br />

Sophie Heuch<br />

Stephen Parnell<br />

Tasmina Naseer<br />

Thomas Parrish<br />

Tracey Tofield<br />

Vincent Woehlbier<br />

William Knight<br />

Stage 2<br />

Alex Blanchard<br />

Alkistis Pitsikali<br />

Ceren Şentürk<br />

Claire Prospert<br />

Dan Sprawson<br />

Ellie Gair<br />

Gillian Peskett<br />

Harry Thompson<br />

Husam Kanon<br />

Jack Scaffardi<br />

James Perry<br />

Jan Kattein<br />

Juliet Odgers<br />

Kati Blom<br />

Luke Rigg<br />

Michael Simpson<br />

Nagham El Elani<br />

Nicola Lynch<br />

Noor Jan-Mohamed<br />

Ruth Richardson<br />

Sally Southern<br />

Sarah Carr<br />

Stage 3<br />

Ashley Mason<br />

Christos Kakalis<br />

Dan Sprawson<br />

David Boyd<br />

Jack Mutton<br />

James Longfield<br />

Jennie Webb<br />

Jess Davidson<br />

John Kinsley<br />

Matthew Margetts<br />

Nikolia Kartalou<br />

Rob Johnson<br />

Sam Austin<br />

Sana A-Naimi<br />

Shaun Young<br />

Sonali Dhanpal<br />

Stella Mygdali<br />

Tolulope Onabolu<br />

AUP<br />

Abigail Schoneboom<br />

Alkistis Pitsikali<br />

Anna Cumberland<br />

Armelle Tardiveau<br />

Bryony Simcox<br />

Ceren Senturk<br />

Clive Davies<br />

Consuelo Sanchez<br />

Damien Wootten<br />

Daniel Mallo<br />

David McKenna<br />

Elinoah Eitani<br />

Glass House team<br />

Gönül Bozoğlu<br />

James Longfield<br />

Jane Millican<br />

John Pendlebury<br />

Kati Blom<br />

Kieran Connolly<br />

Lisa Rippingale<br />

Loes Veldpaus<br />

Lotte Dijkstra<br />

Mike Veitch<br />

Natalie Si Wing Lau<br />

Olivia Jackson<br />

Qianqian Qin<br />

Rosa Turner Wood<br />

Ruth Morrow<br />

Sam Austin<br />

Smajo Beso<br />

Sneha Solanki<br />

Stef Leach<br />

Thomas Barnetson<br />

Tim Townshend<br />

Usue Ruiz Arana<br />

Will Thomson<br />

MArch<br />

Adam Sharr<br />

Andrew Carr<br />

Andy Campbell<br />

Anna Czigler<br />

Ben Bridgens<br />

Carlos Calderdon<br />

Carys Rowlands<br />

Chris Day<br />

Christos Kakalis<br />

Dan Burn<br />

Danka Stefan<br />

David Boyd<br />

David Noble<br />

Ellie Gair<br />

Henry Pelly<br />

Irina Korneychuk<br />

Iván Márquez Muñoz<br />

John Kemp<br />

John Kinsley<br />

Kati Blom<br />

Kevin Fraser<br />

Kieran Connolly<br />

Martyn Dade-Robertson<br />

Matthew Margetts<br />

Nathaniel Coleman<br />

Neil Burford<br />

Neveen Hamza<br />

Niall Durney<br />

Nick Heyward<br />

Niki-Marie Jansson<br />

Patrick Devlin<br />

Paul Rigby<br />

Peter Hunt<br />

Polly Gould<br />

Prue Chiles<br />

Ray Verrall<br />

Rosie Parnell<br />

Sam Austin<br />

Shaun Young<br />

Stephen Parnell<br />

Tim Pitman<br />

Zeynep Kezer<br />

<strong>Yearbook</strong> Editors<br />

Aditi Golecha<br />

Andrew Watson<br />

Sarah Appleyard<br />

191


Sponsors<br />

This year our thanks go to FaulknerBrowns who have been kind enough to sponsor our end-of-year degree show in Newcastle<br />

alongside this publication. The Newcastle-based practice FaulknerBrowns is our principle sponsor and plays a big role in the life of<br />

the School. Thanks also to Grimshaw Architects for sponsoring our London degree show.<br />

Ravelin Sports Centre<br />

192


Guinness Quarter<br />

193


Proud to support the<br />

Newcastle University<br />

APL Degree Show<br />

Terra - The Sustainability<br />

Pavilion Expo 2020 Dubai<br />

grimshawarch<br />

grimshaw.global<br />

grimshaw<br />

grimshawarch<br />

©Jason O’Rear<br />

194<br />

194


Newcastle University School of<br />

Architecture, Planning and Landscape<br />

<strong>Yearbook</strong> ‘23<br />

Editorial Team<br />

Aditi Golecha<br />

Andrew Watson<br />

Sarah Appleyard<br />

Special Thanks<br />

Adam Schell<br />

Kieran Connolly<br />

Samuel Austin<br />

Sponsors<br />

FaulknerBrowns<br />

Grimshaw<br />

Printing & Binding<br />

Statex Colour Print<br />

www.statex.co.uk<br />

Typography<br />

Adobe Garamond Pro<br />

Paper<br />

Wigston<br />

Senses, Capsicum Red, 350gsm<br />

First published in June <strong>2023</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 />

195


196<br />

Newcastle University School of Architecture, Planning & Landscape <strong>2023</strong>

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