Yearbook 2024
Discover our latest student work from the academic year 2023 - 2024
Discover our latest student work from the academic year 2023 - 2024
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<strong>2024</strong><br />
School of Architecture, Planning & 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 />
MSc Advanced Landscape Planning and Management (ALPM)<br />
Research in Architecture and Landscape<br />
MArch Dissertation<br />
Architecture Research Collaborative: Events<br />
Events<br />
Linked Research<br />
PhD / PhD by Creative Practice<br />
The Landscape Collaboratory<br />
Hub for Biotechnology in the Built Environment<br />
The Farrell Centre<br />
NAS x NUAS Design Competition<br />
NCAN & Small Talk<br />
3<br />
4<br />
66<br />
124<br />
126<br />
146<br />
148<br />
170<br />
172<br />
Sponsors<br />
204
2
Welcome<br />
Samuel Austin – Director of Architecture<br />
In this yearbook, we are proud to offer a glimpse into the diverse and imaginative work across our design<br />
programmes and research collaboratives. At our school, design is an open-ended process of exploration<br />
through which students define their own ethical and critical positions. A cultural and social endeavour<br />
centred in rigorous research and care for each other and for the environment, it enables imaginative<br />
responses to urgent challenges of climate change, biodiversity loss and social justice. Our programmes<br />
are structured to foster integrated and interdisciplinary learning through collaborative work in studios,<br />
workshops, reviews, and site visits, with briefs that evolve each year to tackle emerging issues across<br />
architecture, landscape and urban design, so that our graduates are ready to take a leading role in reshaping<br />
our professions. The fascinating projects collected here celebrate the hard work, dedication and skill of<br />
our students, as they are testament to the expert guidance and support offered by colleagues across our<br />
academic, technical, practice and professional services teams.<br />
Reimagining architectural futures was the theme of the Architecture 101 conference we hosted in the<br />
autumn. Extending our Centenary celebrations, the event gathered together colleagues and guests from<br />
across the UK and further afield to question the fundamentals of architectural pedagogy, research and<br />
practice, reflecting on change over the last 101 years, and debating what needs to change as we look towards<br />
the next 101. An accompanying exhibition celebrated the work of current students and graduates of our<br />
PhD by creative practice programme, showing how architectural ways of knowing and working intersect<br />
with other fields of knowledge to become innovative tools of research enquiry. The distinctive perspectives<br />
opened by these exploratory visual, participatory and performance techniques enrich our teaching culture,<br />
through the many past and present PhD students who make such a significant contribution to our taught<br />
programmes.<br />
With a mission to broaden understanding and debate about how cities are – and could be – designed,<br />
planned and built, The Farrell Centre has had an incredibly successful first year embedding itself into the<br />
cultural life of the city, hosting numerous professional events, school visits, workshops, city forum discussions<br />
and exhibitions – and recently launched its first book, Towards Another Architecture. The Centre’s third<br />
exhibition, ‘Building: An exhibition under Construction’, explores the process of construction so often<br />
omitted from architectural study, inspired by a major AHRC-funded research project led by Katie Lloyd<br />
Thomas of the School’s Architecture Research Collaborative. Defining the emerging field of Production<br />
Studies, the Translating Ferro / Transforming Knowledges project brings the Brazilian–French theoristarchitect,<br />
Sérgio Ferro, and his transformative understanding of architecture’s relation to labour to English<br />
readers for the first time. Meanwhile, our Hub for Biotechnology in the Built Environment, a collaborative<br />
project between Newcastle and Northumbria universities, is prototyping living building materials of the<br />
future. ‘Bio-knit’ prototype arch structures made from fungal mycelium grown within 3D knitted fabric<br />
formwork were exhibited at the Design Museum, London, and at the National Museums Scotland.<br />
Our students have been recognised for projects that take a long view of how we understand and intervene<br />
in environments. In November, we celebrated MArch graduate Chloe Dalby’s success in the RIBA<br />
President’s Medals, winning the Serjeant Award for Excellence in Drawing at Part II for her project<br />
‘Earth’s Breath: Wind and Wild’. Tutored by Prue Chiles and Polly Gould, the project narrates an<br />
exploration of the shifting dune landscape of the Northumbrian coast and ways of inhabiting that<br />
move with them. Two of our MLA graduates, Malgorzata Gudel and Estee Tsoi were finalists in the<br />
Student Portfolio category at the Landscape Institute Awards, with projects that explored resilient<br />
approaches to sensitive and former industrial sites. A Linked Research project led by Stephen Parnell<br />
exploring the implications of AI for architecture had their machine-generated vision of a ‘lost’ 1971<br />
issue published in The Architects' Journal. Completing a hugely successful year packed with<br />
talks, design competitions, skills-sharing workshops, social and sports events, our Student Society,<br />
NUAS, won Runner Up Best Academic Society at the Student Union’s Societies Awards, recognising<br />
its fantastic work to support the diverse needs and interests of our student community.<br />
At a moment when our accrediting bodies are reshaping professional education to address a world<br />
where challenges for architects, landscape architects, urban designers and planners look very different, we<br />
are busy rethinking our own programmes. We do that with the help of new colleagues welcomed to the<br />
School this year as Lecturers in Architecture, Alkistis Pitsikali, Sana Al-Naimi and Sophie Cobley, as we<br />
say goodbye to three close friends and colleagues, Martyn Dade-Robertson, Ed Wainwright and Kati<br />
Blom, who have contributed so much to shaping our school’s inclusive, experimental and caring<br />
approach. The exceptional work shown in this yearbook offers hope in the architectures, landscapes,<br />
cities and spaces to come, and we heartily thank all our students, as well as all academic, practitioner,<br />
technical and professional services colleagues who have made this a remarkably successful year.<br />
Opposite - Charrette Week Exhibition<br />
3
4
BA (Hons) Architecture<br />
Toby Blackman - Degree Programme Director<br />
In the School of Architecture, Planning and Landscape at Newcastle University, we are<br />
interested in the multiple ways in which ‘architectural ways of knowing’ may be formed,<br />
shared, and developed. As Owen Hopkins, Director of the Farrell Centre observed elsewhere<br />
in <strong>2024</strong>, ‘we are once again at another pivotal moment for architecture — and for the wider<br />
world — with climate emergency, declining biodiversity and pervasive pollution, deep-rooted<br />
social and racial injustices and rapidly advancing technological transformations [creating<br />
an intersectional context for contemporary practice].’ Hopkins argues what is needed now,<br />
a hundred years after the publication of Le Corbusier’s Vers une architecture, ‘is not a new<br />
architecture, but another: an architecture that is not bound to a single vision or future, but is<br />
diverse, pluralist and sustains multiple conversations about the active role that architects might<br />
play in the world.’ Architectural education is — in consequence — changing. As a community<br />
of practice comprising students and staff, we seek to liberate form, content, and means of<br />
producing knowledge. On the BA Architecture programme at Newcastle University, students<br />
develop architectural ways of knowing the self, the community, and the relational ecology of<br />
the (un)built world.<br />
The undergraduate Architecture programme comprises three intersecting teaching streams:<br />
Architectural Design; Architectural Technology and Professional Practice; History and Theory.<br />
After the broad, pluralistic — rigorous and experimental — wonder of our foundational<br />
Stage 1 year across multiple fields of study, the latter, degree-awarding Stages require first, the<br />
application of Architectural Technology to the processes and practices of Architectural Design,<br />
before supporting integration at Stage 3, binding concerns of material, space and environment<br />
into design practice. We have created more expansive modules for the integration of the ARB<br />
Guidance on Fire and Life Safety Design and Environmental Sustainability, and RIBA Themes<br />
and Values — and drawn forward Professional Practice and Management to Stage 2, better<br />
enabling students to engage with different forms of practice at the moment on the programme<br />
when the Architectural Design project work requires positioning, and situating.<br />
In <strong>2024</strong>, we are increasing emphasis on areas of technical knowledge and professional ethics<br />
— particularly as applied through design projects — and centring the debate and discussion<br />
of ethics, climate, context, space, political and social relations in design, procurement and<br />
production studies. History and Theory sits alongside Architectural Design and Technology,<br />
informing student’s understanding, positioning, framing and development of their design<br />
projects. At Stage 2, the stream comprises two modules: ARC2018 Cities, Cultures, Space<br />
and ARC2019 Dissertation Studies, with Cities, Cultures, Space facilitating rigorous<br />
experimentation and the development of research methodologies in advance of seminarbased<br />
development of the Dissertation Proposal in Semester 2. Conducted at Stage 3, the<br />
Dissertation may be pursued either by creative practice inquiry, or sustained, long-form<br />
writing. This work is acknowledged as an area of excellence and distinction in the External<br />
Examiners’ Reports, and RIBA Validation Panel Report on the programme. Our students have<br />
situated the critiques, provocations and proposals documented on these pages with precision,<br />
skill and care in the evolving material, historical, and professional context of contemporary<br />
architectural practice. Their work critically examines the ways in which Architecture and the<br />
(Un)Built Environment is designed, made and re-made, inhabited and maintained — through<br />
an optimistically expanded field of critical practices operating at the intersection of political,<br />
ecological, material, social and cultural concerns.<br />
We hope you enjoy this yearbook as much as we have enjoyed putting it together, and as much<br />
as we have enjoyed working with students on the BA Architecture programme over the course<br />
of the current academic year.<br />
Opposite - Architecture and the (Un)Built Environment: Material, Care and Maintenance (2023), Toby Blackman<br />
5
Stage 1<br />
Stage 1 at Newcastle has, for many years, been synonymous with my colleague and good friend Kati Blom. In<br />
the run-up to her retirement (will she, won’t she?) Kati has spent this last year pursuing other commitments,<br />
and her rather last-minute departure from Stage 1 in 2023 went unmarked, so I hope colleagues and students<br />
will indulge me for using this opportunity to belatedly, and briefly, put that right.<br />
From Kati’s rather stern insistence at the commencement of her opening lecture of each academic year<br />
that every student take out their pencils and draw her (always with her arms straight out to the sides and,<br />
inevitably, accompanied with an instruction to carefully observe the drape of her scarf), to her indomitable<br />
leading of the City Drawing induction event for Stage 1 students, she has been responsible for successfully<br />
planting-out many hundreds of architectural seedlings. Yet it is her ‘tending’ for young architect’s growth<br />
that sets her apart – her willingness to always ‘go the extra mile’ (in Kati’s case, to go the extra hour or three)<br />
is just one of the more obvious manifestations of her deep care and concern for her students and their<br />
learning. Coupled with her ever-present Finish directness (often blunt, but never rude), and her frequent<br />
good humour and ready smile, she has fostered an irreplaceable and compelling learning environment – one<br />
where students and tutors feel safe and valued and free to experiment, whilst simultaneously being trained,<br />
coaxed and encouraged to grow in ways that many never imagined might be possible.<br />
We hope that something of Kati’s vibrance and ‘legacy’ is visible in the following pages.<br />
Year Coordinators<br />
Chloe Gill<br />
Simon Hacker<br />
Sophie Cobley<br />
Students<br />
Abigail Sanders<br />
Alex Payne<br />
Alexandra McIntyre<br />
Alicia Roberton<br />
Aneirin Pickard<br />
Anna Bondarenko<br />
Anna Tudway<br />
Annabel Thomas<br />
Annya Mohanty<br />
Anwen Holmes<br />
Anya Hemingway<br />
Archie Harris<br />
Aryan Gupta<br />
Aura Sprong<br />
Avery Costello<br />
Barany Kyaw<br />
Ben Holliday<br />
Byran Dejie Fung<br />
Celeste Forde<br />
Ceylin Tas<br />
Charles Thomas<br />
Chi Ching Chung<br />
Chun Yin Pang<br />
Cian Lowrey<br />
Connie Futter<br />
Coral Pickles<br />
Crystal Tian Ru Sim<br />
Danae Rafaella Loizidou<br />
Daniya Alshadadi<br />
Deniz Oner<br />
Eliza Leutert<br />
Elizabeth Morgan<br />
Ellis Ewing<br />
Elsa Hopley-Catalan<br />
Emma Rose Campbell<br />
Eojin Yoon<br />
Ethan Robertson<br />
Fanglin Liu<br />
Fareeha Ejas Yanela<br />
Alexandra Espinoza<br />
Molina<br />
Finn Cummins<br />
Gallagher Wort<br />
Gia Linh Pham<br />
Greta Halili<br />
Guy Timmins<br />
Hannah Mirasol<br />
Hanpu Chen<br />
Haoyue Ding<br />
Harini Ganapathy<br />
Harriet Madath<br />
James Tulip<br />
Jennifer Welburn<br />
Jessica Watling<br />
Jiayi Zhu<br />
Jodie Flaherty<br />
Kaif Nadeem<br />
Kaisheng Chong<br />
Katie Avenell<br />
Kaymee Sehmi<br />
Kota Uenishi<br />
Kyran Hodges<br />
Lauren Loosemore<br />
Lucia O’Malley<br />
Maddison Pearce<br />
Mark Truscott<br />
Maryam Alawadhi<br />
Mary Kirsten Soriano<br />
Mateo Revilla Castro<br />
Medeine Petrauskaite<br />
Myo Thant Kyaw<br />
Naimisha Kolluri<br />
Nang Mya Eaindray Oo<br />
Nicole Lohani<br />
Nimat Jubril-Adeniji<br />
Oliver George Neale<br />
Oliver Robinson<br />
Oliver Weston<br />
Oreoluwa Mayowa<br />
Zevida Ogundeji<br />
Osian Ioan<br />
Pei Xuan Chang<br />
Phoebe Swan<br />
Polina Towell<br />
Priya Samyuktha<br />
Ganesh Kumar<br />
Pui Sze Ho<br />
Qiyan Cai<br />
Rachel Alexis Flanagan<br />
Raia Slavik-Ali<br />
Rania Abeid Karume<br />
Rosie Weir<br />
Ross Carleton<br />
Rothmoni Kheaphal<br />
Saffron Chapman<br />
Sameera Islam<br />
Sarah Evans<br />
Sarah Greaves<br />
Sheena Karayi<br />
Shoon Pyae Thaw<br />
Sophie Wright<br />
Stefani Maria Perou<br />
Tobias Collins<br />
Yagmur Naz Aydin<br />
YouweinTu<br />
Yun-Yun Chung<br />
Zara Pickering<br />
Zonglin Han<br />
Contributors<br />
Abolfazl Majlesi<br />
Adam Sharr<br />
Alex Blanchard<br />
Armelle Tardiveau<br />
Ben Bridgens<br />
Cara Lund<br />
Chloe Gill<br />
Damien Wooten<br />
Daniel Mallo<br />
Dina Abdelsalam<br />
Elinoah Eitani<br />
Harry Thompson<br />
Henna Asikainen<br />
Husam Kanon<br />
Ivan Marquez-Muñoz<br />
Jianfei Zhu<br />
John Kinsley<br />
Juliet Odgers<br />
Kati Blom<br />
Katie Lloyd Thomas<br />
Kieran Connolly<br />
Lorna Smith<br />
Lu Bao<br />
Marina Kempa<br />
Martin Beattie<br />
Merve Gokcu Baz<br />
Mike Veitch<br />
Nathaniel Coleman<br />
Neil Burford<br />
Neveen Hamza<br />
Nick Clark<br />
Nicky Gardiner<br />
Owen Hopkins<br />
Peter Kellett<br />
Ruth Sidey<br />
Sabina Sallis<br />
Sadafa Tabatabaei<br />
Sam Austin<br />
Sana Al-Naimi<br />
Simon Hacker<br />
Simon Young<br />
Sophie Cobley<br />
Steve Parnell<br />
Thomas Kern<br />
Tolu Onabolu<br />
Will Knight<br />
6<br />
Text by Simon Hacker<br />
Opposite - Studio Captures
7
Semester 1 Design<br />
Simon Hacker, Sophie Cobley & Chloe Gill<br />
We have introduced three new projects this year, two in semester 1 and one in semester 2:<br />
Project 1.2 A Place of Their Own focusses on interiority and the human form. It invites students to explore and understand the<br />
physical, emotional and experiential requirements of a chosen activity – striking a balance between the needs of the human taking<br />
part in the activity, the optimal dimensional requirements for the actions being performed, and the material out of which the space<br />
is formed.<br />
Project 1.3 Common Ground briefly asks the students to bring their 1.2 spaces together to form a spatial collective or conglomeration,<br />
and to situate this in a specific location – and to declare this as a sectional drawing.<br />
Project 1.6 (Intersections) acts as a follow-up to the existing Project 1.5 Urban Observatory and seeks to draw some of the threads<br />
and skills from Project 1.2 and 1.3 together. Working with a particular representational medium or focus, students present an<br />
inhabited sectional representation of the Urban Observatory ‘chamber’ space.<br />
8<br />
Top - Guy Timmins<br />
Bottom, Left to Right - Finn Cummins, Annya Mohanty
Architectural Representation 1<br />
Simon Hacker, Sophie Cobley & Chloe Gill<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 - Elsa Hopley-Catalan, Crystal Sim Middle - Greta Halili Bottom, Left to Right - Crystal Sim, Ellis Ewing<br />
9
Semester 2 Design<br />
Sophie Cobley & Simon Hacker<br />
10 Left, Top to Bottom - Bryan Fung , Medeine Petrauskaite (2) Left, Top to Bottom - Crystal Sim, Annya Mohanty, Nye Pickard, Annie Thomas
Architectural Representation 2<br />
Stephen Parnell<br />
The Semester 2 ARC1018 module introduces some of the CAD and graphics applications used in architectural practice. Students<br />
build a digital model of a 20th-century housing block before using this to layout a portfolio of drawings using a variety of software<br />
and workflows.<br />
11 Left - Jessica Watling and Aura Sprong Right, Top to Bottom - Anwen Holmes and Saffron Chapman, Yanela Espinoza Minola 11<br />
and Shoon Pyae Thaw, Archie Harris and Osian Wort
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 study, 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 />
contemporary agendas such as the retrofit of existing buildings and the design of inclusive civic spaces<br />
that give back to their local communities.<br />
In each of these three projects, students have been encouraged to work in thoughtful, meaningful, and<br />
– at times – experimental ways, enriching their learning and enhancing their skillset in preparation for<br />
their final year of undergraduate study.<br />
Year Coordinators<br />
Alkistis Pitsikali<br />
Kieran Connolly<br />
Martin Beattie<br />
Project Tutors<br />
Claire Harper<br />
Ceren Senturk<br />
Daniel Dyer<br />
Dan Kerr<br />
Dan Sprawson<br />
Despoina Papadopoulou<br />
Ellie Gair<br />
Gillian Peskett<br />
Harry Thompson<br />
Husam Abo Kanon<br />
Ivan Márquez Muñoz<br />
Kati Blom<br />
Kieran Connolly<br />
Matthew Margetts<br />
Rosa Turner-Wood<br />
Thomas Kern<br />
Students<br />
Afifa Rodoshi<br />
Alaia Kalyn Budiman<br />
Aleksander Frost<br />
Alex Merry<br />
Alizay Abbas<br />
Amar Jutley<br />
Amelia Barnes<br />
Amina Tijjani Abdulkadir<br />
Amy Morton<br />
Anastasia Rubleva<br />
Anna Bastey<br />
Annabelle Edmonds<br />
Anton Karavaynyy<br />
Arya Dilip<br />
Benjamin Ho<br />
Billy Noon<br />
Cara Lacey<br />
Chanmin Ryu<br />
Cheuk Yin Ernest Ng<br />
Chizara Ezenwa<br />
Chloe Garrett<br />
Choi Yu Ng<br />
Christa Elizabeth Jose<br />
Christina Athanasiou<br />
Claudia Owles<br />
Daria Bosak<br />
Derin Gungor<br />
Dihua Huang<br />
Dildorakhon Saidkhodjaeva<br />
Doga Dogus<br />
Eleanor Rowley<br />
Ellie Jane McGuinness<br />
Emily-Kate Hobson<br />
Erin Marshall<br />
Evan Jack Nathan<br />
Farelrius Victoriano Ante<br />
Freya Hennessey<br />
Gabriel Adams<br />
Gao Cai<br />
Grace Coverdale<br />
Grace Jolley<br />
Gustavo Milan<br />
Hamish Iain Alfred<br />
Macmillan-Clare<br />
Harry Swayne<br />
Henry Riddoch<br />
Hibah Amina<br />
Ho Yin Chan<br />
Isabella Harkins<br />
James Anderson<br />
James Duncanson-Hunter<br />
Jennifer Feldman<br />
Jessie Kurniati Hartono<br />
Jianing Guo<br />
Jiaxun Cheng<br />
Joana Marcelina Fernandes<br />
Sou<br />
Joshua Griffiths<br />
Joshua William Marks<br />
Junaid Hussain Malagi<br />
Ka Chuen Chan<br />
Kohki Nakajima<br />
Kongo Wainaina Gethi<br />
Kyla Blackburn<br />
Lok Lam Chan<br />
Louis Harrison<br />
Maria Plougmann<br />
Mario Alfredo Senno<br />
Megan Gill<br />
Megan Stoney<br />
Michael Bailey<br />
Miruna-Luciana Cismas<br />
Nathanael Maynard<br />
Nicholas Adam Kusnadjaja<br />
Noah Severwright<br />
Oleg Malyk<br />
Olivia Rose Hume<br />
Orla Collins<br />
Paul Matthew Saliendra<br />
Rebecca Smith<br />
Sebastian Manners<br />
Seo-Yeon Shim<br />
Shona Catherine Starks<br />
Simileoluwa Odumeru<br />
Simone Rigas<br />
Sofiaa Lukachuk<br />
Sonia Kapadia<br />
Sophie Matilda Morrison<br />
Soyeon Ju<br />
Su April Kyaw<br />
Sutan Bintang Ramadhan<br />
Syed Muhammad Nazar<br />
Sze Wing Kelly Pang<br />
Talia Nieto-Charlton<br />
Tallulah Colclough<br />
Thomas Henderson<br />
Tia Alesha Bond<br />
Tom Jenner<br />
Vanessa Chan<br />
Weichen Hong<br />
Wilbert Lim<br />
William Alexander Loughran<br />
Yasmin Foster<br />
Yuqing Yang<br />
Yutong Chen<br />
Zaman Isa Mohamed Aqeel<br />
Mohamed Ali<br />
Zoe Hill<br />
Zoi Karamani<br />
Zubaidah Ahmed<br />
Special Thanks<br />
Afopefoluwa Carew<br />
Dina Abdelsalam<br />
Duncan Whatmore<br />
José Figueira<br />
Luke Richardson<br />
Michael Simpson<br />
Nagham El Elani<br />
Ruth Richardson<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 Martin Beattie<br />
Opposite - Matthew Margetts
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 just off Shields Road, the main<br />
high street of Newcastle neighbourhood Byker. The project supports the ongoing Newcastle City Council initiative: Newcastle East<br />
– Inclusive, Healthy, Vibrant High Streets exploring sustainable and long-term regeneration strategies for a series of high streets in<br />
Newcastle’s ‘east end.’<br />
Our students developed ideas for transforming a vacant former supermarket into a vibrant and multigenerational co-housing<br />
community. In addition, students also developed proposals for the ground floor to include spaces for the wider Byker community<br />
as well as a new branch of local business, Big River Bakery. The refined proposals shared across the following pages display a mix of<br />
experimental and rich ideas for shared and communal living, prioritising good-quality living space for a diverse range of prospective<br />
residents.<br />
14<br />
Top, Left to Right - Florence Verdon, Charlotte Sykes<br />
Bottom, Left to Right - Annabelle Edmonds, Dora Saidkhodjaeva
Top - Oleg Malyk Middle - Farel Ante (2) Bottom, Left to Right - Jessie Hartono, Farel Ante<br />
15
16 Top, Left to Right - Ben Ho, Zoe Hill Middle - Jessie Hartono Bottom - Chloe Garrett
Top - Anastasia Rubleva<br />
Bottom, Left to Right - Harrods Tai, Louis Harrison<br />
17
Allegorical Fields<br />
Tolulope Onabolu<br />
Our second project of the academic year invited students to take a speculative and performative approach to analysis of and<br />
intervention in North Shields. The project encouraged students to work through model making, film and drawing. The objective<br />
of the project was to acquaint students with performative (dramaturgical and scenographic) methods in architectural representation<br />
and speculation.<br />
Working collaboratively across three weeks at the start of Semester 2, students were given three tasks. The first, ‘Notation: Drawing<br />
Territory’ involved an introduction to speculative mapping techniques and precedents which included Constant Nieuwenhuys’ New<br />
Babylon proposal for the Hague (1966). This was followed by an introduction to the notion of ‘Expanded Drawing: Score’, following<br />
developments in performance studies and the appropriation of avant-garde composition methods by architects. An important<br />
precedent here was Fontana Mix (1958) by John Cage, and Bernard Tschumi’s drawings for Parc La Villette (1985) almost three<br />
decades later.<br />
Finally, students were introduced to ‘Performance: Simulation and Immersion’, considering world building and immersive<br />
environments through developments in generative AI, video games and architectural precedents such as Exodus (1972) by Rem<br />
Koolhaas, and installation by art and architecture collectives like Raumlaborberlin and their project Neocodomousse (2016). In all,<br />
students were encouraged to rethink the site model as a performative object and less as a representational device, exhibiting their<br />
18<br />
Above - Allegorical Fields Exhibition
All - Capture From Exhibition<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 and Civil Architecture,’ exploring how architecture can accommodate a meaningful<br />
engagement between resident communities, visitors and the local authorities who control many aspects of their daily lives.<br />
The project started with a quick masterplanning exercise to identify a series of sites, and the students were invited to build their own<br />
hybrid briefs from a selection of community and tourist functions. Unlike Project 1, students were asked to work from the outside-in,<br />
thinking primarily through sectional drawings and models. Students were challenged to consider how a civic and ‘civil’ architecture<br />
could be designed around the idea of giving back to the local community, and to think about the spaces around their buildings as<br />
much as those inside. Throughout the project, students were encouraged to adopt an inclusive approach to design, considering ‘who’<br />
they were designing for and exploring specific responses to the needs of their prospective building occupants and visitors.<br />
20 Top - Anastasia Rubleva Middle, Left to Right - Lok Chan, Dora Saidkhodjaeva Bottom - Aleks Frost
Top - Jesse Hartono Left, Top to Bottom - Anton Karavaynyy, Nate Maynard Bottom Right - Anastasia Rubleva<br />
21
22 Top, Left to Right - Lok Chan, Anton Karavaynyy Middle - Jack Thornton Bottom - Dora Saidkhodjaeva
Top - Anton Karavaynyy Middle - Anton Karavaynyy Bottom - Louis Harrison (2)<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 />
eight 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 Coordinator<br />
Stella Mygdali<br />
Studio Leaders<br />
Cara Lund<br />
Dan Sprawson<br />
David Boyd<br />
Fiona McNeill<br />
Gillian Peskett<br />
Jack Mutton<br />
James Longfield<br />
James Mason<br />
Jess Davidson<br />
John Kinsley<br />
Kati Blom<br />
Luke Rigg<br />
Matthew Margetts<br />
Rob Johnson<br />
Sana Al-Naimi<br />
Shaun Young<br />
Sonali Dhanpal<br />
Stella Mygdali<br />
Students<br />
Abbie Lowdon<br />
Adolf Mwesige<br />
Aidan Paolo Elias Togonon<br />
Aisha Al Musafir<br />
Amela Agastra<br />
Amelia Mikk<br />
Anvitha Vallamsetty<br />
Araminta Mills<br />
Arnas Vrubliauskas<br />
Ayaulym Makhmud<br />
Abdulaziz Alabdulwahed<br />
Benjamin Gath<br />
Blake Williamson<br />
Brian Wing On Tse<br />
Kwun Hei Bryan Wong<br />
Cheuk Wing Cherlyn Lam<br />
Cherrie Wing Tung Cheng<br />
Cherry Cheuk Kwan Chiu<br />
Chloe Maestre-Bridger<br />
Chun Kit Liu<br />
Daniel Barton<br />
Daniel Hakyung Song<br />
Darya Tsoy<br />
Edward Pettitt<br />
Eka Bhatt<br />
Eleanor Heisler<br />
Elizabeth Robinson<br />
Ella-Jade Chudleigh-Lyle<br />
Emilia Burdett<br />
Emily Cheung Suet Wing<br />
Emma Purchase<br />
Emma Xuejun Hao<br />
Esha Saraf<br />
Ethan Fox<br />
Evie Thorne<br />
Felix van Eyseren<br />
Finn Carroll<br />
Flora Ferguson<br />
Floria Phoo May Nay Chi<br />
Lwin<br />
Frederic Downes<br />
Frederick Handy<br />
Freya Maxwell<br />
Gabriel Hodgkins-Webb<br />
Gaurav Dhoot<br />
Girius Gadonas<br />
Hannah Rae<br />
Hannah Rolfe<br />
Harry Hin Pak Tse<br />
Hector emery<br />
Helena Mizgajeva<br />
Hettie Hunt<br />
Hetian Gu<br />
Hnin Phyu Thant tun<br />
Hoi Ching Kelsea Kwok<br />
Hollie Reed<br />
Holly Milton<br />
Hooman Valizadeh<br />
Hope Dantong Xu<br />
Hugo Chee Kit Wong<br />
Ioannis Pourikkos<br />
Ioli Christoforidou<br />
Ishkhan Arutyunyan<br />
Ismali Ali<br />
Issac Yahya<br />
Jack Bradley<br />
Jaewon Jeong<br />
Jemima Taswell-Fryer<br />
Jesica Simanjuntak<br />
Jessica Suqi Guo<br />
John Juhyun Park<br />
John Piyabutr Niemwiwad<br />
Josh Kalia<br />
Joshua Carr<br />
Joy Juhee Kim<br />
Jude Clark<br />
Jude Purcell<br />
Karena Zijun Yang<br />
Katherine Hutchins<br />
Katherine Nicole Stafford<br />
Kayvee Abdullah<br />
Kelly Ka Yu Lau<br />
Kelvin Aung Swan Htet<br />
Kt Putra Dalem Khrisna Y<br />
K S S<br />
Kurt Lo<br />
Leanda Estell-Gibson<br />
Leo Merryfield<br />
Leon Bennett<br />
Lewis Bell<br />
Logan Johnson<br />
Lucas 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 Al Lawati<br />
Natalie Norman<br />
Nia McSweeney<br />
Nicole Alejandra Soto Galvan<br />
Nina Beleno<br />
Oliver Higgins<br />
Oliver Johnson<br />
Philippa Porter<br />
Phoebe Chui Shan Yeung<br />
Preethi Tera<br />
Raazin Kooloth Anwar Hussain<br />
Rares-Ioan Naum<br />
Rebecca Graham<br />
Robbie Birch<br />
Roman Jackiw<br />
Rudolf Kalman<br />
Ryan Yuqiao Chen<br />
Said Al Kalbani<br />
Sam McClelland<br />
Seth Jackson<br />
Shani Karni<br />
Shena Atuhaire<br />
Shreya Garlapati<br />
Sofia Sakkou<br />
Sophie Anderson<br />
Sophie Lee<br />
Stephen Hin Nok Lo<br />
Tanishka More<br />
Thada Su<br />
Thamanda Malmberg<br />
Theo Greenland<br />
Thet Htoo<br />
Thomas Balsdon<br />
Thomas Perceval<br />
Valerija Konovalova<br />
Vivian Shau Mand Hang Luo<br />
William Parsons<br />
Yasho Aggarwal<br />
Yiting Zhao<br />
Yuxuan Chen<br />
Zack Glover<br />
Zafirah Sadiq<br />
Zinan Zhang<br />
24<br />
Text by Stella Mygdali<br />
Opposite - Age Against the Machine Framing
25
Studio 1 - Age Against the Machine<br />
Matthew Margetts & Jess Davidson<br />
Current architectural practice has a disappointing habit of deferring to assumptions when we design housing for the older generations<br />
– creating spaces out of need instead of understanding. We posited that the age of ‘comfortable’ (or less so) retirement is passing, as<br />
should the accepted characterisation of the elderly.<br />
The studio begins with the river of time, its gentle flow through adult hood into old age. A creak here, a smile line there, and we<br />
asked – where will time take us? But with the river less placid in the wake of a changing world, we sought out the clash of abrupt<br />
non-conformity. Does a generation born of the punk-rock era fade into quiet isolation like our current provision models dictate?<br />
We looked to translate this long and short of time. Moments of domesticity or interaction alongside longer processes of change, in site,<br />
health and social attitudes. We celebrated the juxtaposition, tension, overlaps and unexpected relationships in this, reflecting on how<br />
(or should?) the city change, who will live there and what will living look like in light of the climate and economic crises we face?<br />
26 Top - Flora Ferguson Bottom - Matthew Marshall (2)
Top - Oliver Higgins Middle - Molly Smith Bottom - Vivian Shau Mand Hang Luo<br />
27
28 Top - Jude Purcell (2) Middle - Ella-Jade Chudleigh-Lyle Bottom, Left to Right - Valerija Konovalova, Joshua Carr
Axonometric Study<br />
Top - Brian Wing On Tse Middle, Left to Right - Roman Jackiw, Thamanda Malmberg Bottom, Left to Right - Jude Clark, Theo Greenland<br />
29
Studio 2 - City Assemblage<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 investigating the nature of the city in relation to assemblage art. We have studied the city and works of art<br />
from artists such as Eduardo Paolozzi, Doris Salcedo and Cy Twombly. These observations have formed the basis of our proposals<br />
and in the spirit of assemblage we have looked to create figurative and characterful city buildings that engage with their surroundings.<br />
We explored the rich, varied and accumulative nature of Newcastle city centre; working on a selection of dense urban sites the studio<br />
developed projects for a range of educational institutions from schools to colleges and academies.<br />
30 Above - Sophie Lee
Top - Mariia Shirokikh Middle - Aidan Paolo Elias Togonon Bottom, Left to Right - Thada Su Ioli Christoforidou<br />
31
32 Top, Left to Right - Sofia Sakkou, Thada Su Middle - Rudolf Kalman Bottom, Left to Right - Frederick Handy, Thomas Balsdon
Top, Left to Right - Edward Pettitt, Frederic Downe<br />
Bottom, Left to Right - Lucy Matthews, Phoebe Chui Shan Yeung<br />
33
Studio 3 - Watershed<br />
John Kinsley & Fiona McNeill<br />
Our relationship with water has rarely been out of the news this past year. Either we’ve had too little of it or too much of it. The<br />
extremes of climate breakdown, from drought to flood, are evident decades in advance of when scientists had predicted them<br />
to become manifest. On top of these global changes, here in the UK many of our watercourses and beaches are polluted as a<br />
consequence of years of mismanagement and underinvestment by the water industry. How did our relationship with this most<br />
precious of resources get so wrong? We stand now at a watershed moment. Things need to change, and to change quickly.<br />
In order to understand the context, we proposed to study another watershed – the geographical area of northern England and<br />
southern Scotland which drains into the River Tweed. For centuries we have lived, worked, and played alongside, in, and on the<br />
Tweed and its tributaries. By studying local and historic economies of fishing, forestry, and textile production we attempted to<br />
understand how our relationship with water has changed over the years.<br />
In parallel with researching industries local to our chosen area we reviewed international examples where indigenous philosophy and<br />
vernacular architecture approaches have enabled a sustainable and climate resilient water infrastructure.<br />
34 Above - Leo Merryfield
Technical<br />
Section/Part-Elevation<br />
Study<br />
Top - Blake Williamson Middle, Left to Right - Hugo Chee Kit Wong, Katherine Nicole Hutchins Bottom - Hannah Rolfe, Jaewon Jeong<br />
35
DETAILED ELEVATION 1:50 @ A3<br />
0 1 2 3 4 5<br />
36 Top, Left to Right - Shani Karni, Kurt Lo Middle - Shani Karni Bottom, Left to Right - Cherry Cheuk Kwan Chiu, Lewis Bell
Top - Chloe Maestre-Bridger Middle - Ishkhan Arutyunyan (2) Bottom - Sophie Anderson (2)<br />
37
Studio 4 - The Guardians of Fire, Earth, Air and Water<br />
Kati Blom & Luke Rigg<br />
Beginning with the concept of the four Elemental Guardians, each student explored one of these elements in relation to Tynemouth.<br />
This area is a gateway to the Tyne River, guarding this part of Tyneside from the North Sea. In the theme itself there is a question<br />
around how imposing the role of an architectural guardian might be in relation to the landscape. Students’ developed an architectural<br />
response drawing from the multilayered context of the site. To assist this response, seminars were organised to help conceptual<br />
thinking while choosing both the location and brief. During the testing phase each student was asked to design a small structure<br />
(Incubator) where spatial ideas were tested. The pedagogical aim is to allow students to build a strong personal connection to the site<br />
using ‘phenomenological’ and experiential approaches to site analysis and encouraging the development of a method to be continued<br />
throughout the design process.<br />
38 Above - Felix van Eyseren, Ethan Fox
SECTION PERSPECTIVE 1:50<br />
During my final stages, i created a perspective section that gives an insight to how the youth center is<br />
inhabited, even though the design has changed slightly, the main parts remain the same. The next few<br />
pages will highlight some design features that i did not highlight before in the testing phase.<br />
STAGE 3<br />
SOUTH WING<br />
Left, Top to Bottom - Natalie Norman, Abbie Lowdon<br />
Right, Top to Bottom - Natalie Norman, Aisha Al Musafir, Esha Saraf<br />
39
40 Top, Left - Jesica Simanjuntak Top, Right - Abdulaziz Alabdulwahed Bottom - Sam McClelland
0 4m 8m 12m 16m 20m<br />
0 5 10 25 M<br />
1:100 FRONT ELEVATION @1680 x 840 MM<br />
South Elevation<br />
1:200 at A2<br />
Top - Hetian Gu Middle - Joy Juhee Kim Bottom, Left to Right - Logan Johnson, Michael Harvey<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 Research.<br />
Grounded in the rich context of the Ouseburn, the studio seeks to propose a ‘synergy’ that will benefit and support the local area,<br />
whilst working towards more innovative and holistic practices within architecture and beyond.<br />
Throughout the project we have examined the role of the institution and have imagined how it could mediate between and<br />
consolidate transient, established and emerging communities. We want to use the institute to ask questions and test spaces that<br />
challenge traditional methods of knowledge transfer and established hierarchies between the ‘expert and non-expert’. All participants<br />
use socially engaged working methods to explore personal themes, engage local people and design for all.<br />
To institute means to begin; students encapsulate this dynamic, flexible and critical approach to projects. They propose a synergy that<br />
nurtures co-existence, enriches context and celebrates interconnected communities.<br />
Long Section AA<br />
1:100<br />
42 Above - Eka Bhatt
Left, Top to Bottom - Mitsuki Kobayashi, Rares-Ioan Naum<br />
Right, Top to Bottom - Mitsuki Kobayashi, Rares-Ioan Naum<br />
43
44 Top - Leon Bennett (2) Bottom - Issac Yahya (2)
Existing Structure<br />
New Structure<br />
Wall Modules<br />
1<br />
1<br />
2<br />
3<br />
Pallet Collection<br />
Material Store<br />
2<br />
Process Team Office<br />
3<br />
4<br />
5<br />
6<br />
9<br />
4<br />
Research Workshop<br />
Reception and Cloakroom<br />
Communal Workshop<br />
5<br />
7<br />
8<br />
9<br />
6<br />
Research Workshop<br />
Specialist Workshops<br />
Recycle Exchange<br />
8<br />
7<br />
10<br />
11<br />
12<br />
Outdoor Workshop<br />
Communal Kitchenette and Seating Area<br />
Meeting Place<br />
11<br />
12<br />
13<br />
14<br />
15<br />
10<br />
Reception and Library of Structures<br />
Skills Exchange<br />
Pallet Pavilion<br />
14<br />
13<br />
A<br />
B<br />
Ground Floor Plan<br />
A<br />
B<br />
0 10m<br />
1:100<br />
Top - Seth Jackson Middle - Kwun Hei Bryan Wong Bottom, Left to Right - Nicole Alejandra Soto Galvan, Luke Newmarch<br />
45
Studio 6 - Transect<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 />
LONG ELEVATION 1:100<br />
46 Top - Lucy Jordan Bottom - Harry Tse
Full Front Elevation<br />
Scale 1:200<br />
Teaching<br />
Kitchen<br />
Market<br />
Restaurant<br />
Top - Emily Cheung Suet Wing Middle - Hettie Hunt Bottom, Left to Right - Hope Dantong Xu, Katherine Stafford<br />
47
48 Top - Kelsea Kwok Middle - Finn Carroll (2) Bottom - Daniel Barton, William Parsons
Top - Raazin Kooloth Anwar Hussain Middle, Left to Right - Holly Milton, Anvitha Vallamsetty Bottom, Left to Right - Gaurav Dhoot, Kelsea Kwok<br />
49
Studio 7 - Wall-Being<br />
Sana Al-Naimi & Gillian Peskett<br />
Can a dividing wall be a catalyst for well-being?<br />
In this studio, we focus on creating spaces of well-being in an area that was once a heavily fortified military zone and the Northern<br />
frontier of the Roman Empire. This area is Hadrian’s Wall, currently a UNESCO World Heritage Site that holds a complex past and<br />
present. Can its future be reimagined around well-being?<br />
The felling of the famous tree at Sycamore Gap, after students joined the studio and just before the first tutorial, suddenly threw us<br />
all amid the many controversies we had planned to examine. It bolstered the stance that well-being is a concept we wanted to extend<br />
to all entities, whether they are people, other creatures, objects, the environment, materials or even ideas and beliefs. We examined<br />
the complex web of connections between these entities (or actants) and we identified how the instability of some of these connections<br />
affords us a chance to change, enhance, dramatically improve, and even construct new connections.<br />
Students employed critical and reflective thinking at all stages and scales, from conceptual thought through to material and tectonic<br />
design propositions. Their design solutions, despite differing stances towards the heritage asset, all create spaces that promote and<br />
sustain inclusive and environmentally responsive spatial practices that would turn Hadrian’s Wall into a catalyst for positive change<br />
and reconciliation.<br />
South elevation<br />
North Elevation<br />
50 Top - Zack Glover Middle - Tanishka More Bottom - Josh Kalia
Top - Benjamin Gath Middle - Philippa Porter (2) Bottom - Freya Maxwell<br />
51
52 Top - Shreya Garlapati Middle, Top to Bottom - Chun Kit Liu (2), Emma Purchase Bottom - Zafirah Sadiq
Top - Ayaulym Makhmud Middle, Left to Right - Lucas Billington, Evie Thorne Bottom - Cheuk Wing Cherlyn Lam<br />
53
Studio 8 - Radical Empathy<br />
Cara Lund & James Mason<br />
Radical Empathy offers a way of thinking about space and architecture that prioritises empathy and inclusion. Starting from a point<br />
of diversity, it investigates the role of architecture in spatial justice.<br />
We began by immersing ourselves in the life of a chosen protagonist, using storytelling to explore their interactions with Sunderland’s<br />
high street. This led to the discovery, research, and mapping of social injustices. The studio developed proposals that addressed or<br />
revealed these, thereby critically exploring the link between social justice and space.<br />
The studio’s central question is not just a question but a call to action. It pertains to cultivating resilient social infrastructure as an<br />
act of empathy. How can architecture contribute to a fairer, more equitable, inclusive, and sustainable world? How can a designer<br />
advocate for communities and create space to empower them? We discovered that our agency as architects comes from how we design<br />
as well as what we design. Our studio culture was an important factor in our process; we worked collaboratively, iteratively, carefully<br />
and always with kindness.<br />
54 Top - Stephen Hin Nok Lo (2) Bottom - Muhannad Al Lawati
Top - Helena Mizgajeva Bottom, Left to Right - Hannah Rae, Nina Ysabela Beleno (2)<br />
55
The Home for Language + Care + play<br />
‘Radical Empathy’<br />
Sunderland, UK<br />
Perspective section through AA (east to west)<br />
1:50<br />
56 Top - Madeline Anderson Middle, Left to Right - Madeline Anderson, Eleanor Heisler Bottom - Eleanor Heisler
0 1 5 10 20m<br />
CINEMATOGRAPHIC (NON-)SCRIPT<br />
THE KEEL CINEMA. LONG RIVER SECTION<br />
Relationship, views, urban context,<br />
connection<br />
THE KEEL CINEMA AND FILM ARCHIVE<br />
Top - Girius Gadonas (2) Middle, Left to Right - Girius Gadonas, Preethi Tera Bottom - Preethi Tera<br />
57
Thinking Through Drawing<br />
The Thinking Through Drawing task allowed Stage 3 to consider the developing line of enquiry, brief,<br />
theoretical framework and the nature of their practice in one culminating drawing. These celebration<br />
pieces form a project thematic exploration through a single A1 drawing, utilising media appropriate<br />
to the student’s relative studio and project. These formed a range of wonderful outputs which aimed<br />
to inform the remainder of the year’s design project.<br />
The task invited different approaches reflective of the various perspectives offered by each design<br />
studio. The resulting works emphasised themes stretching from the project programme, site or<br />
materiality. The Result also highlighted the cohort’s ability to share and learn from their differences<br />
and similarities.<br />
Thinking Through Making Week<br />
Thinking Through Making Week takes place in week one of semester 2 and is an opportunity to<br />
produce a conceptual detail-made piece exploring the themes of the Stage 3 student’s design projects.<br />
Material forms the core of architecture’s practice - be it the material of construction or that of the<br />
drawing board or digital interface, the way making inflects thinking underlies the production of<br />
architecture. Thinking Through Making Week invited the students to produce an explorative model<br />
that embodies the material and tectonic qualities of your emerging design projects.<br />
Throughout the week, studios explored the possibilities of a chosen material or selection of material(s);<br />
the potentials of technologies; and the viability of particular systems or structures through acts of<br />
making. These explorationswere intended to be pertinent to current design projects, helping drive<br />
their designs forward and open up new possibilities for their realisation and ultimate refinement.<br />
The outputs highlighted the student’s ability to approach the week with an open mind, allowing<br />
themselves to be experimental in their choices of material, the processes of making, whilst embracing<br />
both success and failure as a productive experience.<br />
58
59
Dissertation in Architectural Studies<br />
Toby Blackman<br />
The Dissertation in Architectural Studies is a 30 credit, Stage 3 module, building upon preparatory modules completed at Stage<br />
2, Cities, Cultures, Space and elective Dissertation Studies. Students may conduct research by creative practice inquiry, or develop<br />
sustained, long-form writing, completing a supervised Dissertation of 8,000 words or Dissertation Project of 5,200 words. Our<br />
students engage deeply with architectural topics important to their positionality, practice, and design thinking; the work represents<br />
sustained, critical examination of individual subjects and objects of study, resourcefulness in identifying their research materials,<br />
and precision, fluency and vividness of writing in developing the argument. The Dissertations and Dissertation Projects of the <strong>2024</strong><br />
cohort represent a stunning body of work: coherent, critical and original in their manifold positions, methodologies, insights and<br />
arguments.<br />
DE 1 Playful Cities<br />
Tutor: Alkistis Pitsikali<br />
This dissertation group primarily focused on playful cities, cities and spaces designed<br />
for play or spontaneous play in the city. This group’s theme encouraged reflection on<br />
play, age and space as an assimilation exploring their interactions and their effects<br />
in the city space while placing people’s agency and everyday practices in the centre<br />
of the discussion. The methodology encouraged was qualitative and ethnographic.<br />
Freddie Downes, Exploring the Playful Rave Space: Using Newcastle as a study<br />
DE 2 Archive Fever<br />
Tutors: Adam Sharr, Juliet Odgers & Ruth Sheret<br />
Archives are places of discovery and excitement. The artefacts they contain are<br />
capable of opening-up past worlds. The dissertation group worked with the newly<br />
acquired Farrell Archive, which contains drawings, models, job correspondence and<br />
other sources relating to these and many other projects, as inspiration for students<br />
to find their own area of archival interest. This dissertation group provided the<br />
opportunity to spend time exploring and mining the archives — with students<br />
engaging in the close reading of drawings, models and documents.<br />
Benjamin Gath, Architectural Investigation Matrix (AIM): Architecture as Evidence, Interrogator,<br />
and Narrator – The May 1st French Pension Protests 2023 through the lens of Forensic Architecture<br />
DE 3 Myth and Media<br />
Tutor: Stephen Parnell<br />
Who has the right to define architecture? How do we understand what good<br />
architecture is? How do architects gain a reputation and win work? The answer to<br />
all these questions lies in myth and media. The word ‘myth’ does not mean a lie<br />
or a fallacy. A myth is a story, and stories are how we understand the world. The<br />
‘Myth & Media’ dissertation group helped students unpick architectural media and<br />
learn how to use it to narrate their own stories, focussing on how architecture is<br />
constructed through its representation.<br />
Matthew Marshall, An Award-Winning Dissertation: A Bourdieuian Analysis of Architectural<br />
Awards<br />
60
DE 4 Appropriations<br />
Tutor: Zeynep Kezer<br />
Appropriation entails taking possession of something that does not belong to you to<br />
make it yours, often without permission or consent. Consequently, the act typically<br />
involves an asymmetry of power at its inception and, importantly, its consequences<br />
may reverberate for a long time, often inflecting the character of future events and<br />
relationships. In this dissertation group, students took different types of appropriation<br />
processes into consideration so as to maintain a broad perspective and explore a diverse<br />
range of people, places, and practices.<br />
Cherry Cheuk Kwan Chiu, The evolution of ephemeral appropriations: The 2014 Umbrella Movement<br />
and the 2019 Anti-Extradition Law Amendment Bill of Hong Kong<br />
DE 5 Stories for Another Architecture<br />
Tutor: Kieran Connolly<br />
In this dissertation group, students were invited to explore how stories and storytelling<br />
offer a viable method for researching and writing about architecture: its past, present,<br />
and future. At a time of significant change affecting our climate, our ecologies, our<br />
health, and our relationships with each other; there seems a growing appetite to revisit<br />
established but often problematic narratives from our past. This group sought curious<br />
minds, inquisitive beings, and the tellers of the tales of tomorrow.<br />
Finn Carroll, Site Writing: The Search for Environmental Kinship<br />
DE 6 Semiotics and Aesthetic Fictions<br />
Tutor: Tolulope Onabolu<br />
How do twentieth century theories of sign systems and urban space hold up in our<br />
contemporary interconnected world? What happens when the objects of consumption<br />
become virtualised and then invade the physical world? Students in this dissertation<br />
group were invited to explore themes of architectural representation, the technologies<br />
which have influenced these representations, urban space and its entanglements with<br />
virtual space, fictional objects, and emerging urban spatial and aesthetic phenomena.<br />
Harry Tse, Semiotic Archetypes of Architectural Simulacra: Exploration of Disneyland and Las Vegas as<br />
Cult Precedents<br />
DE 7 Landscape Thinking: East and West<br />
Tutor: Jianfei Zhu<br />
This dissertation group examined the emergence of landscape in different cultures;<br />
the visualization of nature in painting and garden design; the issues of seeing and<br />
subjectivity in these expressions; the different views of nature; the relations between<br />
painting, architecture, and landscape garden design; and how architects today are<br />
reconceptualizing landscape for new visions to overcome the climatic change and<br />
ecological crisis we face.<br />
Zafirah Sadiq, An Interdisciplinary Exploration in the Evolution of Organic Architecture: A Critique<br />
of the Evolution of the Philosophy of Organic Architecture Emerging through the Exploration of 19th<br />
Century American Transcendentalism, Frank Lloyd Wright and 20th Century Nature Writing<br />
DE 8 Living Construction<br />
Tutor: Martyn Dade-Robertson<br />
Offering a foundation in aspects of biological thinking and practice, materials and<br />
computation, this dissertation group supported a number of experimental Dissertation<br />
Projects. The group followed the research direction of the Living Construction theme<br />
within the Hub for Biotechnology in the Built Environment (HBBE) – a Research<br />
Centre which has shared facilities across Newcastle University and Northumbria<br />
University. The group asked, ‘Can we grow a building?’ or, to put it more precisely,<br />
‘Can we utilise biological growth to fabricate new, architectural scale materials and<br />
structures?’<br />
Lucy Matthews, Architect As Innovator: The Appropriate Aesthetic For Biomaterial<br />
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DE 9 Under Construction<br />
Tutors: Katie Lloyd Thomas & Will Thomson<br />
The building site is an extraordinary performance right in the heart of our cities,<br />
yet almost invisible in architectural education. Through a mix of reading, history,<br />
theory, ethnography, visual culture, film, and site visits, this dissertation group<br />
examined buildings ‘under construction’ and the issues they raise: Ways of Building<br />
– what are the social and cultural experiences of different techniques of building<br />
from self-building to erecting a skyscraper? Who Builds your Architecture? –<br />
learning from building workers stories and lives. Separated Design – how did it<br />
happen and why does it matter? Depicting the Building Site – how has the site been<br />
written about and represented?<br />
Hollie Reed, Women and the Culture of the Building Site: How the Construction Sector Capitalises<br />
on Exclusivity to The Working Man<br />
DE 10 Colonial Encounters<br />
Tutor: Martin Beattie<br />
In a foreign context, the making of architecture can be seen as a dialogical process,<br />
entailing negotiation, domestication, appropriation, the reworking of local<br />
symbolic and material resources, and interaction with the surrounding social and<br />
physical landscape. How structures designed in a particular geopolitical situation<br />
may be perceived and used in new ways after disruptions, or crises of the local,<br />
or international order, is also an interesting aspect of their meaning and symbolic<br />
function. This dissertation group investigated how (colonial) cultures mix, or not as<br />
the case may be, and how that process manifests itself in architecture.<br />
Thamanda Malmberg, Uncovering Saigon’s Socioeconomic and Cultural Evolution Through the Lens<br />
of French Colonial Architecture, Urban Planning, and Legal Systems<br />
DE 11 Architecture and Horror<br />
Tutor: Matt Ozga-Lawn<br />
When related to architectural space, horror can be considered to communicate the<br />
uncanny – Sigmund Freud’s term for the sinister but strangely familiar: a sense of<br />
encountering something that is otherwise hidden not only from others, but from<br />
the self. Everyday spaces become imbued with latent meaning, and potentially<br />
disquiet and threat. In <strong>2024</strong>, this group utilised horror as a device to understand<br />
the relationship of architecture to our lives, and to read into its limits as a discipline<br />
and our limits as human beings.<br />
Molly Smith, Animalising the Human, Dehumanising the Animal: The Intersection of Power and<br />
Design in Restrictive Architectures<br />
DE 12 Writing is a Matter of Form<br />
Tutor: Nathaniel Coleman<br />
In this group, the problem of writing dominates. In short, whereas content usually<br />
takes precedence in the production of writing (followed by preoccupation with<br />
word count and other metrics), participants concentrated on the form and structure<br />
of their writing, not by jettisoning content but rather by de-emphasising it in favour<br />
of form and structure. Students in this dissertation group engaged in operative<br />
criticism, construed in this group as the proper form of writing for architecture<br />
design students cultivating their own architectural imaginaries.<br />
Frederick Handy, Closing the Loop of the Circular Economy: Is designing for Adaptation or<br />
Deconstruction a Commercial Reality?<br />
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DE13 Film and Photography: Imaging Architectural Temporality<br />
Tutor: Toby Blackman<br />
In 1973, Susan Sontag described photography as a ‘slice’ of space and time,<br />
transforming critical theory of the photograph. For the historian, Sontag identified<br />
the capacity of photography to register architectural temporality, or to describe and<br />
narrate, ‘social reproduction,’ ‘the way cities evolve,’ and ‘the way architecture itself<br />
changes’ (Borden: 2007). Drawing on the discourses of feminist film theory and<br />
site-writing, this elective explores the embodied, hidden and ambiguous experience<br />
of architectural temporality and how we may examine this topic through the<br />
production, spectatorship and writing of film and photography.<br />
Abbie Lowdon, Mental Exposures: A Photographic Exploration into Memory as a Conditioning<br />
Factor in our Perception of Space<br />
DE 14 Performance and Architecture<br />
Tutor: Stella Mygdali<br />
Performance and Architecture engage with similar issues that concern the production<br />
of space and the structure of actions. Social processes and patterns, psychoanalysis,<br />
embodiment, personalisation, everyday life, play practices, and others become<br />
important points of reference for these engagements. This dissertation group<br />
looked at the creative intersection of performance and architecture and explored<br />
the potential lying in between the fields of architecture and performance, revealing<br />
collaborative, socially engaged practices, intimate and attentive approaches to space,<br />
and critical, creative frameworks of spatial exploration.<br />
Rebecca Graham, Play In-Between Spaces Within the City: Promoting Social Interaction and a<br />
Sense of Belonging<br />
DE 15 Re-thinking Spaces of Childhood<br />
Tutors: Rosie Parnell & Husam Kanon<br />
Everyday spaces of childhood in the Global North have been critiqued as sites of<br />
control and discipline. Where young people challenge spatial boundaries — whether<br />
in educational or public contexts – they are often labelled in mainstream discourse<br />
as being a nuisance, or having behavioural problems. In this dissertation group,<br />
students reflected on the recent wave of climate activism by young people and the<br />
pandemic’s challenge to our assumption that children’s learning environments and<br />
adult work spaces cannot co-exist. Students explored these critiques relating them to<br />
the design of schools, nurseries, children’s museums, playgrounds and more.<br />
Muhannad Al Lawati, The Lawatyah Quarters: An Ethnographic Exploration of Childhood Place<br />
Attachment and its Implications for the Preservation of Culturally Significant Sites<br />
DE 16 Power and Architecture<br />
Tutor: Sana Al-Naimi<br />
In this dissertation group, students investigated the ways in which power influences<br />
architecture beyond the commemorative or the triumphal; for example, how it can<br />
use it to advance political agendas, how it can change it to facilitate surveillance,<br />
or how it can destroy architecture on a large scale in an attempt to achieve total<br />
dominance over the culture that produced it. In <strong>2024</strong>, students investigated how<br />
cultures arise after such dramatic events and how architecture becomes the catalyst<br />
for their revival – informed by textual readings, seminar discussions and careful<br />
analysis of buildings and structures at the centre of power struggles.<br />
Morgan Cockcroft, Kashgar City: A Museum of Marginalisation & Theatrical Heterotopia<br />
63
Field Trips<br />
Field trips and site visits are key parts of our programmes, providing welcome inspiration for projects as well as opportunities to share<br />
experiences and understanding of places. Studios in our BA Architecture and Master of Architecture programmes have been able to<br />
travel in groups or conduct individual site visits related to their year-long projects, while offer a range of local and national trips as<br />
part of our Architecture & Urban Planning and Landscape programmes. The varied nature of our studios results in a wide range of<br />
locations as the focus of student trips, with destinations from Tynemouth to Cambridge visited in this academic year.<br />
BA Architecture<br />
Age Against the Machine<br />
City Assemblage<br />
Watershed<br />
Guardians of Fire, Earth, Air & Water<br />
Creative Synergies<br />
Transect<br />
Wall-Being<br />
Radical Empathy<br />
Leeds and Manchester<br />
London and Cambridge<br />
Tweed Valley<br />
Lake District<br />
London<br />
Cambridge<br />
Hadrian’s Wall<br />
Leeds, Sheffield and Manchester<br />
Master of Architecture<br />
Beyond the Walls<br />
Regen<br />
Quarrying a New Stone Vernacular<br />
Material Change<br />
Reconstructing Architecture<br />
Between Oikos and Heritage<br />
In Mind<br />
York<br />
Tynemouth, Hexham, Kielder, Tyne Valley<br />
Berwick, Edinburgh, Angus<br />
Cambridge<br />
Edinburgh, Hadrian’s Wall<br />
Bath<br />
Leeds, Manchester<br />
BA Architecture and Urban<br />
Planning<br />
Stage 2<br />
Stage 3<br />
London, including a workshop at The Glasshouse<br />
Sheffield – Park Hill, Grey to Green and Live Works<br />
Master of Landscape Architecture<br />
Stage 1<br />
Stage 2<br />
Post-industrial Landscapes in County Durham<br />
The Sill + Sycamore Gap, Northumberland<br />
John Little, Hilldrop Garden, Essex<br />
64
65
66
Master of Architecture (MArch)<br />
Claire Harper – Degree Programme Director<br />
The MArch programme in Newcastle enables students to develop their critical and<br />
creative thinking, and to stretch the boundaries of their architectural imagination.<br />
We emphasise reflective and reflexive approaches to design, encouraging students<br />
to test what architecture means to them, and to consider how their work can<br />
contribute to architectural practice. Most architects are now specialists as well<br />
as generalists, and we emphasise research to help students identify and develop<br />
their emerging specialism(s). The programme thus seeks to provide students with<br />
a supportive and intellectually stimulating environment which encourages and<br />
empowers them to pursue their own design research agendas.<br />
MArch comprises two years of study, first year (Stage 5) and second year (Stage 6).<br />
There is an option to add a third International Study Year between the two years,<br />
undertaking exchange studies at one of our international partner institutions.<br />
Stage 5 consists of two connected projects that combine into a critical design<br />
investigation of a particular urban or landscape context. The first semester explores<br />
design at the macro scale. The second semester then focusses on the building<br />
scale, emphasising details, tectonics, materials, construction, environmental and<br />
atmospheric considerations. Next, Stage 6 builds on the foundation of Stage<br />
5, supporting students to synthesise their ideas into a design thesis over two<br />
semesters. Each student’s thesis sets out their architectural position at the end of<br />
their formal design education.<br />
Design modules within the programme are delivered in what we call ‘vertical<br />
studios’. These are collaborative interest groups organised around contemporary<br />
issues and themes where Stage 5 and Stage 6 students work together. Regular<br />
design tutorials are supported by seminars, lectures, and specialist technical<br />
consultancies. The work is tested in reviews with panels of invited practitioners<br />
and academics. Our curriculum thus helps students to tailor their portfolio<br />
towards the practices where they want to work, and areas where they want to<br />
demonstrate their expertise.<br />
Alongside design studio, a series of parallel modules complete the curriculum. An<br />
opening module, Tools for Thinking About Architecture, scopes the landscape of<br />
contemporary architectural research and practice. This sets students up for a choice<br />
of elective pathways which run over the two years of the programme. Students can<br />
thus tailor their learning to their personal concerns. Elective pathways include:<br />
a Research Dissertation; work in small groups with an established researcher to<br />
develop what we call a Linked Research Project, with a range of options including<br />
a distinctive live-build programme; Learning Lab, working with local schools on<br />
early architectural knowledge; or alternatively a specialism in Urban Planning or<br />
Urban Design, selecting modules from other Masters programmes in our school<br />
and opening-up the possibility of a dual qualification. The concluding Future<br />
Practice module at the end of Stage 6 encourages students to think innovatively<br />
about the nature of contemporary architectural practice, and to locate themselves<br />
within its diverse range of approaches and ideas.<br />
Opposite - Sophie Kebell<br />
Text by Adam Sharr<br />
67
Stage 5 & 6 Vertical Studios<br />
Design in MArch was organised into six vertical studios this year. Material Change, offered in conjunction<br />
with FaulknerBrowns Architects, worked with existing buildings to explore reuse as a process of environmental<br />
adaption and transformation rather than an act of conservation and restoration. In Mind brings together<br />
innovation in design for people with dementia with environmental approaches, sensitively investigating the<br />
needs of this distinctive group in society. Regen engages with material prototyping to undertake in-depth<br />
investigations into new materials, as required by our climate crisis, testing the design potential inherent in the<br />
material. Quarrying a New Stone Vernacular also begins with fabric, particularly the innovative potential of<br />
this oldest of architectural materials. Reconstructing Architecture embraces DIY methods, including reuse and<br />
repurposing in the context of our climate crisis, engaging with anarchist approaches to architectural composition<br />
and building construction. Between Oikos and Heritage stresses the importance of physically situated livingtogether<br />
through the notion of ‘oikos’ (the Greek word for household), exploring spaces of common endeavour<br />
and reimagining their situated ‘house’ fit for the current global age. Beyond the Walls began with a speculation<br />
about the contemporary reinstatement of Newcastle’s city wall, developing into broader investigations linked<br />
to the idea of the wall as an architectural and urban device.<br />
Stage 5 Coordinator<br />
Adam Sharr<br />
Stage 6 Coordinator<br />
Christos Kakalis<br />
Project Leaders<br />
Adam Sharr<br />
Anna Czigler<br />
Ben Bridgens<br />
Carlos Calderdon<br />
Christos Kakalis<br />
Daniel Burn<br />
David Boyd<br />
Graham Farmer<br />
Juliet Odgers<br />
Nathaniel Coleman<br />
Neil Burford<br />
Neil Turner<br />
Neveen Hamza<br />
Niki-Marie Jansson<br />
Peter Sharpe<br />
Stage 5 Students<br />
Adel Wahab<br />
Aditya Jayant Ghadi<br />
Afopefoluwa Carew<br />
Alan Pok-Man Lam<br />
Alyssia Thompson<br />
Angela Savitski<br />
Ayesha Isahac<br />
Carleo Cana<br />
Danny Treherne<br />
Esmeralda Hysen<br />
Farah Nasrallah<br />
Gabriel Saliendra<br />
Gabriele Dauksaite<br />
George Bennett<br />
Harry Robson<br />
Jake Harrison<br />
Joe Stallard<br />
Kathryn Ann Patterson<br />
Lucie Maxwell<br />
Lucy Dennis<br />
Matteo Hunt-Cafarelli<br />
Ming Chi Leung<br />
Mjed Kouri<br />
Ngai Chi Fung<br />
Niamh Kelly<br />
Nicholas Stubbs<br />
Oliver Williamson<br />
Olivia Cartwright<br />
Rachel Baldwin<br />
Saerom Jung<br />
Salma Hussameldeen Sayed<br />
Abdelghany<br />
Samuel Proud<br />
Shaoling Chen<br />
Sharanja Mary Acouchla<br />
De Zoysa<br />
Taichen Jiang<br />
Wen Ying Ooi<br />
Yue Qyng Ng<br />
Zeyu Chen<br />
Zeyu Pan<br />
Zhiyuan Song<br />
Stage 6 Students<br />
Aditi Ramesh Golecha<br />
Alexandra Kathryn Heys<br />
Bramhall<br />
Anna Kupriyanova<br />
Anna Toft<br />
Anupa Elizabeth Jacob<br />
Arthur Frederic Marc Belime<br />
Charlotte Elizabeth Ashford<br />
Christopher David Anderson<br />
Eleanor Lindsay Jarah<br />
Emma Louise Beale<br />
Ethan Thomas Howard<br />
Gabrielle Taylor<br />
Georgina Carol-Anne Walker<br />
Hollie Sayer-Smith<br />
Hon Ying Chow<br />
Ilyeob Kim<br />
Isobel Ann Prosser<br />
John O’Neill<br />
Jose Diogo Lajes Machado<br />
Marques Figueira<br />
Kafeel Ur Rehman Farooqi<br />
Katherine Emma 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 Catherine Murphy<br />
Mia Olivia Tobutt<br />
Mohamad Khalif Bin Md<br />
Kher<br />
Muhammad Faiz Hakim Bin<br />
Mohd Fisal<br />
Muhammad Shujaat Afzal<br />
Niamh Frances Mcnamee<br />
Niamh Grace Condren<br />
Rebecca Neumann<br />
Rory Kavanagh<br />
Sangeetha Nagaraj<br />
Sarah Hawkings<br />
Sean Ryan Bartlem<br />
Sek Mei Chio<br />
Siu Pok Pun<br />
Sophie Kebell<br />
Vincent Tom Woehlbier<br />
Yan Yee Hong<br />
68<br />
Text by Adam Sharr<br />
Opposite - Ethan Howard
69
Material Change<br />
Daniel Burn, Graham Farmer, Peter Sharpe<br />
Studio talks/building visits Alice Hamblin – Mole Architects; Cambridge; Tristan Wallwork and Freya Williams - Smith and Wallwork;<br />
Edmund Fowles – Fielden Fowles (Homerton College, Cambridge)<br />
Review guests (FaulknerBrowns) Andrew Thompson, David Noble, Jane Redmond, Kevin Fraser, Niall Durney, Nick Heyward, Peter Hunt<br />
Our studio brief this year has been based around South Tyneside’s National Trust sites with the purpose of understanding and developing an<br />
architectural intervention that responds to the trust’s stated aim of looking after ‘nature, beauty and history for all to enjoy’.<br />
Stage 5 students worked within the town of Washington, a context in which the industrial infrastructure of 43 coal mines was overlaid onto<br />
existing landscapes and settlements and then itself replaced by the establishment of an entire New Town in 1964. Students were challenged to<br />
analyse, understand, and respond to these different layers of history and to propose new architectural interventions within the heritage setting<br />
of Washington Old Hall. The Hall is known as the ancestral home of the first President of the United States of America, George Washington<br />
and has been preserved by the National Trust as a monument to that connection. In reality, the history of the Hall is far more complex and<br />
interesting than this singular narrative.<br />
Stage 6 students were given the opportunity to select their own site and to develop their own design thesis in response to one of the seven<br />
National Trust properties within South Tyneside. Each resulting thesis has been prepared in response to a social, cultural or industrial heritage,<br />
an existing building, a landscape setting, or an ecological context. Several projects work within the boundaries of a particular property, but<br />
each project explores a wider urban or landscape connection or a broader social context.<br />
Alongside individual design projects, the group have worked collectively on a proposal for a ‘live build’ project in the form of a welcome<br />
pavilion at Washington Old Hall. A feasibility report has been prepared and designs will be developed towards a planning application and a<br />
live build.<br />
A Symphony of Heritage<br />
The proposal sees the addition<br />
of a new intergenerational brass<br />
band performance and education<br />
centre on the existing site of<br />
the National Trust property,<br />
Washington Old Hall. A focus on<br />
heritage integrates the proposal<br />
into the site, creating an exciting<br />
community hub for the local area.<br />
70<br />
Above - Lucy Dennis
Ruin and Repair<br />
The project concerns the loss<br />
of authenticity of Washington<br />
Old Hall with reference to the<br />
approach to heritage conservation<br />
in the mid-twentieth century.<br />
The proposed communal retreat<br />
aims to experiment and reimagine<br />
authenticity in architecture through<br />
a resilient, community-focused<br />
building programme and the use of<br />
natural materials on building fabric.<br />
The Art of Joinery<br />
The design for Washington<br />
Old Hall’s new extension<br />
and buildings celebrates<br />
craftsmanship by blending<br />
modern digital fabrication<br />
technology with traditional<br />
timber joinery. The<br />
approach joins old and new<br />
elements, creating a poetic<br />
narrative that unites past<br />
and present, honouring<br />
the historic character while<br />
embracing the material<br />
change.<br />
Top - Alan Lam<br />
Bottom - Edward Fung<br />
71
Washington Old Hall &<br />
Community Gardens<br />
The proposal aims to reignite the<br />
local community’s connection<br />
to the ecological landscape at<br />
Washington Old Hall, a grade I<br />
listed 17th century manor house<br />
which will accommodate the new<br />
community hall. The outdoor<br />
learning building will contain<br />
teaching, exhibition, leisure, and<br />
gardening facilities which seek<br />
to engage the local people with<br />
sustainable gardening practices.<br />
Washington New Hall<br />
The project highlights the<br />
contradiction between<br />
Washington Old Hall, a manor<br />
house owned by those with<br />
the power to sell the village,<br />
and Washington New Hall, a<br />
community hub that functions<br />
more like a village living room for<br />
local people.<br />
72<br />
Top - Ayesha Isahac<br />
Bottom - Mjed Kouri
Resurrecting Gibside<br />
This thesis explores the transformation of the National Trust’s Gibside Estate in Gateshead, focusing on using stone as an<br />
environmentally responsible material. It proposes converting the grade II* listed Gibside Hall ruin, into a training facility that<br />
addresses the needs of the National Trust and Gateshead City Council around skills development. The project aims to redefine the<br />
current visitor experience, celebrate stone’s heritage, and test innovative and traditional stone-working methods towards a sustainable<br />
retrofit.<br />
Shujaat Tony Afzal<br />
73
Elevating Edith Avenue<br />
This thesis proposes the full retrofit of the 1961 housing estate Edith Avenue, in Washington, Tyne and Wear. Demonstrating the<br />
socially sustainable ‘preservation’ of the site, and public investment in a new community centre, the thesis showcases the value of<br />
revisiting founding principles of the brutalist movement.<br />
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Elle Jarah
The Bewick Society<br />
Rooted in the ideology of Thomas Bewick, a renowned wood engraver and naturalist, and aligned with the National Trust’s<br />
commitment to the conservation of arts, landscapes, and architecture, this thesis investigates the declining populations of bees<br />
and butterflies in the UK. This project aims to explore and propose strategies to create a harmonious balance between architectural<br />
development and landscape conservation, fostering an environment that supports the revival and sustainability of these essential<br />
pollinators. Through an interdisciplinary approach, this research seeks to integrate contemporary ecological practices, ensuring the<br />
preservation of biodiversity within the built environment. By collaborating with ecologists, architects, and urban planners, the<br />
project aspires to develop innovative design solutions that promote sustainable living and contribute to the broader discourse on<br />
environmental conservation.<br />
Kafeel Teds Farooqi<br />
75
Whitburn Ecological Recovery Centre<br />
Located within Whitburn, the building will serve as a gateway to the landscape, aiming to attract more visitors to the National Trust<br />
properties. By encouraging interaction with the area’s unique heritage, the building will act as a catalyst for healing the post-industrial<br />
land and community. The building sources its materials from the existing landscape, using locally collected waste and stone from<br />
Marsden Quarry which sits to the West of the site, allowing the building to blend naturally into the landscape. The building will also<br />
experiment with seaweed walls and terrazzo made from collected litter, sea glass and shells.<br />
76<br />
Rebecca Neumann
Washington Pottery Center<br />
This proposal is a ceramics center in Washington town. It is a set of buildings on a site owned by the National Trust where Washington<br />
Old Hall is located. In designing the shape of the building, It was inspired by bottle ovens and also shapes of ceramic mugs. The<br />
function of the ceramic workshop is carried over to the facade of the building with a ceramic tiles cladding systems.<br />
Viktorie Pešková<br />
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Reconstructing Architecture: Inventing Anarchist Spatial Practises<br />
Nathaniel Coleman, David Boyd & Carlos Calderdon<br />
The Reconstructing studio explores anarchism as a theory of organisation (incorporating spatial practises & building processes)<br />
through the following:<br />
• Understanding & remapping architectural neo-avant-gardes.<br />
• Reflections on autonomy myths of Italian Fascist (Rationalist) architecture in relation to architectural neo-avant-gardes.<br />
• Design theory research concentrated on inventing anarchist spatial practises.<br />
• Pragmatic demands for the impossible as catalysing students’ continuous project-based experimentation.<br />
• Intensifying tensions between architects’ desires for artistic autonomy and the burdens of use, prefiguring architecture’s<br />
reconstruction through the invention of anarchist spatial practises.<br />
In the spirit of anarchist social & spatial practises, students challenge the brief; emphasising parts of it, rejecting others. As generative,<br />
not instrumental, the brief accommodates myriad sorts of architectural invention: some students examine most of the topics outlined<br />
in the brief, all attend to at least a few — DIY & Spolia investigations for example. Happily, students largely rise to the challenge of<br />
open-ended iterative processes of continuous experimentation.<br />
Reviving Parking via Giulia: the Possible-Impossible<br />
The site is characterised by tall walls and a typically-fascist insensitivity to the body & mind, existing site surroundings, history and<br />
the value of experience & memory. Despite the presence of significant ‘ruins on site’, the Parking via Giulia Rome is a site that ‘has<br />
been ruined’. Following a process of abstraction, iterations & declarations using Piranesi’s carceri etchings as a starting point for<br />
generating sections, the ‘possible-impossible’ interventions attempt to revive the site, placing bodily experience at the center of artistic<br />
and architectural interventions & use.<br />
78<br />
Anupa Elizabeth Jacob
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, it reconstructs the site through a reflection of labyrinth-like experience walking<br />
around Rome, converting the void and bringing new activities to incite hope for the city despite its history of violence.<br />
Complete History of Venice timeline<br />
Material flow on site 1797 - Arsenal Venice<br />
Layered map of existing buildings & 1797 buildings 1:2000<br />
Types of Gondola construction<br />
‘Forcola’ - Typical Gondola Oarlock<br />
Anna Toft<br />
79
In Mind<br />
Neveen Hamza & Neil Turner<br />
‘In Mind’ is an evidenced-based studio, gaining insights from environmental psychology research and advances in building and<br />
urban performance simulation modelling to inform a user-centric and sustainable architectural design approaches. Application of<br />
environmental psychology theories in design, i.e., Attention Restoration Theory, Affordance and Salutogenesis underpin architectural<br />
programmes promoting intergenerational and social engagement. The studio takes us on a journey to explore creative architectural<br />
designs that move away from a dark history of institutional mental health facilities to provide meaningful multi-sensory experiences,<br />
social engagement, indoor and outdoor space design that compensate for cognitive decline in fragile users living with dementia and<br />
for people living with mental health disease. The students explore innovative design approaches to reduce agitative behaviour and<br />
slow the progression of the disease.<br />
Spectrum Nest-Autistic<br />
Childrens Centre<br />
Spectrum Nest is a nurturing<br />
haven tailored for autistic children,<br />
prioritizing individualized care,<br />
sensory-friendly environment and<br />
specialized programs, which fosters<br />
socialization, communication<br />
skills, and emotional well-being.<br />
Through innovative therapies<br />
and supportive resources, the<br />
centre empowers each child to<br />
thrive and embrace their unique<br />
strengths within a compassionate<br />
community.<br />
Mental Hub<br />
Located in the centre of Newcastle, the<br />
site has two Listed Buildings of historical<br />
value. However, for decades, buildings<br />
have been isolated and abandoned due<br />
to multiple urban developments. This<br />
project aimed to restore the historical<br />
value of existing sites and find their<br />
physical and social potential by exploring<br />
the sites’ historical, social, and physical<br />
contexts. In other words, it is proposed<br />
that a mental care centre in the city<br />
be a community facility for the multigeneration<br />
(elderly + young generation)<br />
that positively affects the entire city by<br />
connecting disconnected and isolated<br />
sites to the city. Architectural space for<br />
mental health architectural design has<br />
been studied and renovated based on an<br />
understanding of existing buildings.<br />
80<br />
Above - Aditya Ghadi<br />
Bottom - Saerom Jung
Dementia Care and Community Wellbeing Hub<br />
Dementia Care and Community Wellbeing Hub is an innovative living community tailored for early-stage dementia patients. With<br />
a focus on fostering independence, dignity, and well-being, the project integrates diverse facilities and support services, blending<br />
compassionate care with environmental sustainability and community engagement. Notable features include therapeutic landscape<br />
design, passive strategies like natural ventilation and solar energy utilization, and a Community Wellness Hub providing workshops<br />
and counseling. With a focus on ecological responsibility, the design endeavors to reduce its footprint while also warmly inviting<br />
public access, fostering connections among residents and the broader community, and improving residents’ quality of life. Inclusive<br />
amenities like the community well-being hub and public-access gardens promote social interaction, neighborhood vitality, and a<br />
deeper connection with nature.<br />
Emily Chow Hon Ying<br />
81
Controled Public Space<br />
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3.<br />
Early and Mid Stage Room<br />
Early and Mid Stage Room<br />
Early and Mid Stage Room<br />
Early and Mid Stage Room<br />
Early and Mid Stage Room<br />
Early and Mid Stage Patient Block<br />
Staff Room<br />
Staff Room<br />
Staff Room<br />
Staff Room<br />
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Staff Restroom<br />
Semi Public Space<br />
Music Hall<br />
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Staff Room<br />
Common Kitchen<br />
Staff Room<br />
Storage<br />
Common Kitchen<br />
Staff Room<br />
Late Stage Room<br />
Common Kitchen<br />
Late Stage Patient Block<br />
Late Stage Room<br />
Late Stage Room<br />
Section A-A’<br />
1:500<br />
Brent Reservoir<br />
0 500 1000 1500<br />
Axonometric<br />
Brent Reservoir<br />
Patient Vertical Circulation<br />
Fire Staircase<br />
Control Public Space<br />
Semi Public space<br />
Late Stage Patient Rooms<br />
Early and Mid Stage<br />
Patient Rooms<br />
The indoor sensory garden is designed for<br />
late-stage patients who may require assistance<br />
to leave the building but still desire a space<br />
to experience relaxation and greenery. This<br />
enclosed garden area is carefully curated to<br />
engage the senses, incorporating elements<br />
such as fragrant flowers, soothing sounds of<br />
water features, textured plantings, and soft<br />
seating areas.<br />
The treatment room is dedicated to medical<br />
assistants providing essential medical treatments<br />
for patients. This space is equipped with necessary<br />
medical supplies, equipment, and facilities to<br />
administer treatments effectively and efficiently.<br />
It is designed to ensure the comfort and safety<br />
of patients while receiving medical care, while<br />
also providing a conducive environment for<br />
medical professionals to perform their duties with<br />
precision and care.<br />
The common kitchen and living area is designed to<br />
foster social interaction among patients, providing<br />
a space where they can cook together and share<br />
meals. This communal space encourages a sense of<br />
camaraderie and support among patients, promoting<br />
socialization and engagement in daily activities.<br />
Patients can gather here to prepare meals, dine<br />
together, and enjoy each other’s company, enhancing<br />
their overall well-being and sense of community<br />
within the facility.<br />
The balconies in the building are designed as green<br />
spaces, allowing patients to enjoy views of nature<br />
while basking in the sunlight. These lush areas<br />
provide a tranquil retreat where patients can relax,<br />
unwind, and soak up the therapeutic benefits of both<br />
sunlight and greenery. Whether it’s enjoying the<br />
scenery or simply taking in the fresh air, these balcony<br />
spaces offer a rejuvenating experience for patients<br />
within the facility.<br />
Indoor Sensory Garden<br />
Treatment Room<br />
Common Kitchen and Living area<br />
The Vision Line<br />
Indoor Sensory Garden<br />
The room is designed so that caregivers can easily see<br />
every area at a glance, allowing them to quickly spot<br />
any dangers as soon as they open the door. Additionally,<br />
the layout helps patients find their way around<br />
the room easily, which is crucial since disorientation is<br />
a common symptom of dementia.<br />
The Vision Line<br />
6.<br />
The room is designed so that caregivers can easily see<br />
every area at a glance, allowing them to quickly spot<br />
any dangers as soon as they open the door. Additionally,<br />
the layout helps patients find their way around<br />
the room easily, which is crucial since disorientation is<br />
a common symptom of dementia.<br />
6.<br />
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7.<br />
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1.<br />
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Consultation Room<br />
The serves multiple purposes, acting as a space<br />
for patient families, medical professionals, and<br />
patients to discuss the patient’s medical health<br />
and recent situation. Additionally, it functions<br />
as a mental therapy section where patients and<br />
their families can receive support and guidance.<br />
This room provides a private and comfortable<br />
environment conducive to open communication,<br />
collaboration, and therapeutic sessions<br />
Caregivers Room<br />
The caregivers room is designated for staff to<br />
relax and prepare daily documentation work. This<br />
space features a small greenery area, providing<br />
a calming and comfortable environment for<br />
caregivers to rest and recharge during breaks.<br />
The integration of greenery enhances the<br />
ambiance of the space, promoting relaxation and<br />
well-being for the staff members who dedicate<br />
themselves to patient care and administrative<br />
tasks.<br />
Assisted Exercising Room<br />
The assisted exercising room is specifically<br />
tailored for patients who require support during<br />
their exercise routines, with assistance provided<br />
by medical staff. In this space, patients receive<br />
supervised exercise sessions and physiotherapy<br />
tailored to their individual needs and capabilities.<br />
The presence of trained medical staff ensures<br />
safety and proper guidance throughout the<br />
exercises, facilitating the patient’s rehabilitation<br />
and overall physical well-being.<br />
The reading room is space for patients to enjoy<br />
reading in a serene atmosphere. The balcony<br />
features openable screens that can be adjusted<br />
according to weather conditions. Patients have<br />
the flexibility to enjoy the outdoor ambiance and<br />
views when weather permits, while still having<br />
the option to close the screens for warmth and<br />
comfort during colder periods.<br />
3.<br />
3.<br />
The Feeling of Home<br />
Reading Room<br />
5.<br />
2. Storage and Laundry<br />
3. Living Room<br />
4 .Bedroom<br />
5 Toilet<br />
6. Modifable space<br />
7. Balcony<br />
8. Guest Toilet<br />
9. Guest Bedroom<br />
5.<br />
2.<br />
1. Kitchen<br />
2. Storage and Laundry<br />
3. Living Room<br />
4 .Bedroom<br />
5 Toilet<br />
6. Modifable space<br />
7. Balcony<br />
8.<br />
Late Stage Room Plan<br />
1:100<br />
Brent Reservoir<br />
0 100 200 300<br />
2.<br />
Vision Line<br />
Early and Mid Stage Room<br />
Plan<br />
1:100<br />
Brent Reservoir<br />
0 100 200 300<br />
Vision Line<br />
Many healthcare facilities resemble hospitals, where<br />
patients are unable to decorate or modify their space.<br />
However, here, patients have the opportunity to<br />
personalize their rooms and engage in their passions,<br />
creating a home-like atmosphere.<br />
The Feeling of Home<br />
Patients in the early and mid-stages of their condition<br />
have the opportunity to engage in cooking activities,<br />
as well as access dedicated spaces for enjoying art,<br />
music, or other activities they enjoyed before their<br />
diagnosis. Furthermore, our ground floor provides a<br />
view of the local community and communal spaces<br />
for their enjoyment<br />
82 Peony Hong Yan Yee
The Hand Is the Window to the Mind<br />
The current ageing population and its accompanying illnesses represents one of the biggest challenges confronting firstworld<br />
countries such as the United Kingdom. The Hand Is the Window to the Mind trials a new approach to ageing that encourages the<br />
older generations to remain productive and engaged within the labour force for longer. This will work to combat the economic strains<br />
associated with the current ageing population as well as to both delay and alleviate the symptoms of the primarily age-related disease<br />
that is dementia.<br />
GP surgery<br />
book swap shop<br />
green grocers<br />
melon cauli<br />
green grocers<br />
Sophie Kebell<br />
83
Beyond Isolation — Playful Symbiosis<br />
Playful Symbiosis proposes intergenerational care facilities as a symbiotic alternative to a conventional dementia care model, which<br />
solves the problems of social isolation for older adults with dementia while developing children’s social interaction and cognitive<br />
performance. This will be the foundational idea for the creation of a new type of heterogeneous intergenerational care facility that<br />
promotes synergistic, inclusive, and diverse environments for all generations. Furthermore, it seeks to create an integrated community<br />
by planning a drop-in centre for education about dementia, which can contribute to community engagement, caregiver training and<br />
destigmatising dementia.<br />
84 Il-yeob Kim
Interconnected Space: Integrating Dementia Care across Old and New Architectural Landscape<br />
This project aims to develop a dementia care facility that prioritizes family involvement to alleviate the guilt often associated with<br />
placing loved ones in such environments. By fostering an atmosphere of well-being, independence, and dignity for residents, the facility<br />
also extends crucial support and assistance to families and the broader community. Additionally, this thesis investigates the innovative<br />
integration of dementia care centres within historic listed buildings. The goal is to balance the preservation of architectural heritage with<br />
the creation of functional and therapeutic environments for individuals with dementia. Through this dual focus, the project aspires to<br />
enhance the quality of life for dementia patients while simultaneously respecting and revitalizing historic structures.<br />
Khin Sandar Lwin Jenny<br />
85
Shieldfield Creative Community Village for Adults with Autism<br />
This project focuses on creating a sensory-friendly community village for adults with autism in Shieldfield, Newcastle. Responding<br />
to a pressing need, with only 11% of adults with autism in England and Wales currently living independently, the scheme addresses<br />
this gap by enhancing independence and social integration for neurodiverse individuals through thoughtful, user-centric architecture.<br />
Grounded in key principles of autism-friendly design, in relation to daylight, materials, acoustic management, colours and spatial<br />
configuration, the project’s diverse range of spaces accommodate unique needs, facilitating the users’ autonomy and social engagement.<br />
86 Mary-Anne Murphy
Elderly and Dementia Living<br />
An assisted-living residence with mixed use programme to create a protective, cohesive and natural living environment to cater the need<br />
for the needs of the frail and provide more autonomy and choice compared with a conventional nursing institution.<br />
Siu Pok Pun<br />
87
Between Oikos & Heritage<br />
Embodied Reading and Progressive Ecologies for World Heritage Sites<br />
Neil Burford & Juliet Odgers<br />
The studio addresses our need for physically situated living-together, framing our enquiry through the idea of Oikos — a Greek word<br />
that can mean the family or household; the family’s property or simply, the house. It can also denote larger social entities such as the<br />
community, the region, the nation, and so on. It is the root of both the ‘economy’ and ‘ecology’. Addressing Oikos in both its societal<br />
and spatial senses we go beyond narrowly human concerns to embrace and accommodate other-than-human beings — the wider<br />
ecology. Each of the projects outlined here delineates a ‘community’ of common endeavour and reimagines a situated ‘house’ for them<br />
- a house fit for the current global age. To complicate the endeavour, we have cited our investigations in World Heritage sites around<br />
the UK. Most are located in Bath – a Heritage tourism hot spot that groans under a weight of visitors almost equal to that of Venice.<br />
But we also have sites in Durham, Edinburgh, Saltaire, and Belfast. The last of these is chosen for its intangible musical heritage rather<br />
than the qualities of its historic built fabric. Each site offers particular challenges related to the city’s economy and its often ambivalent<br />
and variously vexed relationships with tourists – so much courted, so easily resented and occasionally quite obviously damaging.<br />
How then can we build oikos in the embodied space of these sensitive Heritage-rich cities that furthers equitable and ecological<br />
living together?<br />
Breeing at the Periphery of the<br />
City<br />
Located on the fringes of Bath,<br />
the masterplan creates a new<br />
agricultural and residential<br />
community. The brewery is<br />
nestled within hops and barley<br />
fields. The beer brewing process<br />
is celebrated through the visitors’<br />
journey around the site, ending at<br />
the tap room.<br />
The Herb Pharm<br />
The overall masterplan incorporates<br />
medicinal herbs into the ecological<br />
fabric of Bath as an alternative<br />
method of restoring Bath to its<br />
‘hospital of the nation’ status.<br />
The herb farm is an educational hub<br />
of buildings serving with a glasshouse,<br />
oast house and distillation space,<br />
teahouse, workshop, museum and<br />
exhibition space and apothecary shop.<br />
88<br />
Above - Alyssia Thompson<br />
Bottom - Olivia Cartwright
Re-imagining the Façade of Bath’s City Centre<br />
The project seeks to answer the following question: can we create a sense of belonging in the forgotten interior of a city block<br />
development based on its frontage, and the inside as an extension on that frontage? Located in the historic centre of Bath, this literary<br />
and poetry centre proposes a dwelling in the forgotten interior of the block using the natural slope as the articulating axis of the<br />
programme and the inversion of the front of a preexisting building towards the interior of the block, through the material expression<br />
of the limestone as an element that generates identity.<br />
Jorge Benítez<br />
89
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Saltaire, Future Heritage: An Interpretation of What Has Gone Before, Allowing for Innovation for the Future.<br />
Situated in the UNESCO World Heritage Site of Saltaire, and it’s Buffer Zone, this thesis project proposes an Interpretation and<br />
Innovation Centre sited at Milner Field estate, the site of one of Salt’s model farms, aiming to provide visitors with a greater<br />
understanding of Saltaire and its Buffer Zone, most notably its role in driving forward industrial thinking, and to provide a site for<br />
research and development into new and emerging biotextiles with a view to lowering the environmental impact of the textile industry.<br />
1<br />
2<br />
3<br />
Interpretation centre<br />
Legend<br />
1 Entrance<br />
2 Viewing area<br />
4<br />
3 Raised walkway<br />
4 Reinstated terrace steps<br />
B<br />
A<br />
2<br />
1<br />
3 3<br />
C<br />
3<br />
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3<br />
10<br />
9<br />
4<br />
13<br />
11<br />
12<br />
Innovation Centre<br />
Legend<br />
1 Entrance foyer 8 Exhibition space<br />
3<br />
6<br />
5<br />
4<br />
14<br />
2 Lecture hall<br />
9 Workshop<br />
3 Toilets<br />
10 Design studio<br />
4 Display space 11 Drying courtyard<br />
5 Wet lab<br />
12 Design studios<br />
6<br />
Research suite<br />
13 Living units<br />
7<br />
Demo crop courtyard<br />
14 Café<br />
1<br />
2<br />
4<br />
3<br />
5<br />
6<br />
B<br />
A<br />
1<br />
2<br />
4<br />
3<br />
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5<br />
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2<br />
4<br />
3<br />
6<br />
5<br />
Ground floor First floor Second floor<br />
Living units<br />
Legend<br />
1 Entrance<br />
4 Kitchen/dining<br />
2 External garden 5 Living<br />
3 Toilets<br />
6 Bedroom<br />
Milner Field Interpretation and Innovation Centre<br />
Ground floor plan<br />
Milner Field Interpretation and Innovation Centre<br />
Section C-C<br />
Technical section<br />
90<br />
Christopher Anderson
West Country Beetopia<br />
The current sixth mass extinction of species demands new ways of building in support for biodiversity. Species are being extinguished<br />
to a large degree because of habitat loss. If, according to the often cited statistic that by 2050, 68% of the human population will be<br />
living in cities, then we can project further depletion of habitats for non-humans. This thesis explores the reimagination of Sydney<br />
Gardens in Bath to be centred around local artisanal production of both cider and honey alongside pollinator friendly habitats<br />
connecting city and countryside through a network of ‘green corridors’.<br />
THE APPLE ORCHARD<br />
Horizontal beehives, dating to the classical period, were found in many places in Ancient Greece.<br />
The hives were often extended by the attachment of clay rings, increasing the capacity of the hive<br />
so that a greater number of honeycombs are produced by the bees. The beekeeper would remove<br />
the honeycombs from the extension ring with the use of special tongs, so that they could be reused,<br />
while the swarm would continue to operate normally in the main hive. After removing the honey-filled<br />
extension rings, the beekeeper would replace the rings along the beehive with empty ones.<br />
Ancient Egyptian beekeepers kept their bees in clay or mud pipes typically constructed from a bundle<br />
of thin sticks, grass and reeds held together by mud which was baked in the hot sun. Once<br />
dried and hardened the centre of the bundle would be excavated leaving behind a strong hollow<br />
artificial log. The ends of the clay logs would be sealed with a ring of timber and held in place<br />
with a mud cement. One of the ends would include a small opening for the bees to come and go.<br />
Horizontal beehives, dating to the classical<br />
The hives were often extended by the attac<br />
so that a greater number of honeycombs<br />
move the honeycombs from the extension rin<br />
used, while the swarm would continue to op<br />
ey-filled extension rings, the beekeeper wou<br />
Ancient Egyptian beekeepers kept their bees<br />
dle of thin sticks, grass and reeds held to<br />
dried and hardened the centre of the bun<br />
low artificial log. The ends of the clay logs<br />
with a mud cement. One of the ends would<br />
The beekeepers would keep many of these h<br />
stacked together and earthed up with soil to<br />
ey the keeper would remove the wooden rin<br />
The beekeepers would keep many of these horizontal hives together in a single apiary. They would be<br />
stacked together and earthed up with soil to form a large wall. When it was time to harvest the honey<br />
the keeper would remove the wooden ring at one end of the hive and pull out the honey comb.<br />
CITY AS A CORRIDOR<br />
Sean Bartlem<br />
91
Sitopian Bath: A Local Incentive to Strengthen Our Value for Food Through Community Education<br />
Sitopia is defined as a ‘food place’ (from the Greek sitos, food + topos, place), and is a term coined by Carolyn Steel while researching<br />
utopia for the final chapter of Hungry City, a book in which she explores what it takes to feed a city. Sitopia is a practical, food-based<br />
alternative to utopia as food shapes our lives far more powerfully than we might realise. As we know, the world currently follows an<br />
unsustainable linear food system. There is no such thing as cheap food as this has extensive consequences on the environment. The<br />
proposal therefore tries to set Bath as an example of how contemporary cities can reintroduce food culture within their environment<br />
in order to establish a sustainable future.<br />
92 Arthur Belime
Between Grief and Nature: A Pavilion Named Penthos<br />
Penthos is a pavilion designed to be hand crafted as a series of workshops within the To Absent Friends Festival in Scotland.<br />
Celebrating the love that is intrinsic to loss and the wider cadence that our grief sits within. We look towards nature for inspiration.<br />
This Structure aims to simultaneously facilitate the healing process of the individual and our natural environment.<br />
Alexandra Bramhall<br />
93
LISTER HOUSING ASSOCIATION.<br />
Lister Housing Association, situated on Keir Street,<br />
embodies a commitment to providing<br />
quality housing solutions to its community. With a rich<br />
history of service, it stands as a cornerstone in the local<br />
landscape, offering affordable, safe, and inclusive<br />
fostering a sense of belonging and security for its<br />
residents, promoting social cohesion and well-being.<br />
ships, Lister Housing Association continually adapts to<br />
meet the evolving needs of its diverse population.<br />
6VT.<br />
6VT Youth Cafe in Edinburgh offers<br />
a dynamic space for young people to<br />
socialize, learn, and engage in<br />
creative activities. With its<br />
welcoming atmosphere and diverse<br />
programs, it provides a supportive<br />
environment for personal growth<br />
and community connection. From<br />
workshops to events, 6VT Youth<br />
Cafe empowers youth to thrive and<br />
express themselves.<br />
KICKASS HOSTEL.<br />
Kickass Hostel Grassmarket offers<br />
budget-friendly accommodation<br />
with a vibrant atmosphere. Located<br />
in the historic Grassmarket area, it<br />
provides easy access to Edinburgh's<br />
attractions.<br />
Cowgate in Edinburgh serves as an intersection where tourism<br />
nightlife, historic sites, and eclectic venues, they also encounter<br />
the harsh reality of homelessness. Alongside trendy bars and<br />
shops, shelters and support services stand as reminders of the<br />
engage with issues of inequality and compassion. Cowgate thus<br />
becomes a microcosm of Edinburgh's diverse fabric, where the<br />
experiences of tourists and those facing homelessness intersect,<br />
fostering awareness and dialogue about community and social<br />
responsibility.<br />
COWGATE.<br />
THE ROYAL MILE.<br />
evolved into the city's bustling<br />
'Tourist Axis', captivating visitors<br />
with its meticulously preserved<br />
historic charm and vibrant<br />
atmosphere. Tourists are greeted<br />
with a 'picture-perfect' portrayal of<br />
Edinburgh, akin to a meticulously<br />
streets, lined with majestic buildings<br />
and adorned with quaint shops,<br />
create a romanticized vision of the<br />
city's past and present.<br />
However, just a stone's throw away<br />
lies Cowgate, running parallel to the<br />
Royal Mile. Despite its close<br />
proximity, Cowgate offers a stark<br />
contrast to the polished facade of<br />
tourist-centric Edinburgh. Here,<br />
amidst the hustle and bustle, lies the<br />
heart of the real Edinburgh - a place<br />
where homelessness institutions,<br />
charities, and support services are<br />
deeply embedded.<br />
If everyone had a home, who would still be homeless?<br />
Tourism and Homelessness in the World Heritage Site of Edinburgh’s Old Town<br />
This thesis project is looking at how homelessness and tourism impact each other within the UNESCO World Heritage Site of<br />
Edinburgh’s Old Town. This thesis has uncovered a positive causal relationship between Edinburgh’s tourism industry and instances<br />
of visible homelessness in the World Heritage Site of Edinburgh’s Old Town. The thesis goes on to propose leveraging the incoming<br />
Visitor Levy (Scotland) Bill as a means of additional funding, in order to facilitate a joint public-private venture constructing social<br />
housing with a percentage of tourist accommodation included. This is proposed to provide economic relief for Edinburgh Council,<br />
positive social interactions for homeless individuals, and an authentic experience of Edinburgh for visiting tourists.<br />
THE SITE.<br />
94 Rory Kavanagh
Rhythms of Reconciliation<br />
This thesis addresses the role of the architectural language of conflict in Belfast in reinforcing divisions by hindering social and<br />
economic progress. Belfast became a UNESCO City of Music in 2021; music offers an additional expression of identity in a society<br />
where identity is often challenged. By exploring the intangible heritage of sound the thesis suggests concepts for a new architectural<br />
language in the city.<br />
Niamh McNamee<br />
95
Bath Stone Revival: Education and Innovation for Sustainable Architecture<br />
This thesis explores a new economy and ecology for Bath stone, that puts stonemasonry back at the heart of development, through<br />
a stone college and innovation centre. Collectively, the building accommodates an Oikos of stone masonry students, stone masons,<br />
master masons and other collaborators from the built environment, who all learn, work and live together. In the current context of<br />
declining craft skills and a climate emergency, this centre aims to increase the number of qualified stone masons in anticipation of a<br />
structural stone revival and enables research to be carried out into advanced new tools and processes for working with stone.<br />
96 Laura Vickers
A Place-Based Active Learning Landscape<br />
This thesis explores Durham World Heritage Site as a place-based active learning landscape, where human and other than human coinhabitation,<br />
co-design, and environmental stewardship among young learners is celebrated through an embodied experience of local<br />
place. Initial studies based on the local crafts and resource utilisation within Durham Market highlights how engaging young learners<br />
in crafting not only imparts practical skills but also develops a connection with their local heritage and identity. Design principles<br />
focus on experiential learning, agency, creativity, and memory, tested through interventions in Durham Cathedral’s Cloisters. This<br />
project proposes a landscape where built heritage and nature intertwine, challenging human and other-than-human boundaries and<br />
celebrating local ecologies through crafting and co-design.<br />
Georgina Walker<br />
97
0m 10m 20m 30m 40m 50m 60m 70m 80m 90m 100m<br />
Quarrying a New Stone Vernacular:<br />
A Material-centred Approach to Place-making<br />
Christos Kakalis & Niki-Marie Jansson<br />
The studio aims to explore architecture as a landscaping process through the lens of materiality. We believe in low impact, sensitive<br />
approaches to building, within and beyond the limits of the ways sustainability has been addressed up to now. Our focus is on an<br />
architecture of locality in which geology, climate, local community and craft play a critical role in the making of place. Starting from<br />
extraction, the architectural design process examined here is holistic in nature, with the maker, the engineer, the user and the architect<br />
in constant interrelation, working together as stewards of our natural resources. In effect, the architect is asked to work in service of<br />
the material, and no longer as his/her own protagonist. We believe that this can lead to a more sustainable practice. While the focus<br />
of our explorations are on stone, we have highly encouraged hybrid material studies, specifically of those extracted from the earth.<br />
Our design studio holds the belief that in pursuing circular, net-zero, cradle-to-cradle economic models, we must radically re-think<br />
the way in which we source and specify construction materials, and that by revisiting past methods and understanding past logic, we<br />
will be best equipped to imagine new and better ways forward.<br />
Crafting Renaissance<br />
This project aims to revive<br />
the nearly forgotten art of<br />
ornamentation and traditional<br />
craftsmanship through the<br />
establishment of a state-of-the-art<br />
Heritage Craft School. Utilising<br />
an existing power generating<br />
station in the heart of Edinburgh,<br />
the school aims to revive an<br />
underused business district as a<br />
new craft district.<br />
Craigleith<br />
Quarry<br />
Ravelston<br />
Quarry<br />
13.<br />
11.<br />
1.<br />
12.<br />
14.<br />
8.<br />
2.<br />
3.<br />
9.<br />
Quarrying a New Industrial<br />
Vernacular<br />
7.<br />
10.<br />
This project proposes opening a<br />
sandstone quarry on the outskirts of<br />
Edinburgh to help the city maintain<br />
its historic architecture and to provide<br />
a low-carbon building material for new<br />
developments. It explores industrial<br />
typologies and building strategies,<br />
including automated quarry carts and<br />
movable structures.<br />
15.<br />
8.<br />
4.<br />
6.<br />
1:1000 Lauriston Quarry Aerial View<br />
1. Processing Unit<br />
2. Transport Rails<br />
3. Gantry Crane<br />
4. Packaging Unit<br />
5. Shipping Containers<br />
6. Water Filter<br />
7. Site Office<br />
8. Break Room<br />
9. BGS Laboratory<br />
10. Workshops<br />
11. Craigleith Storage Yard<br />
12. Ravelston Storage Yard<br />
13. Visitor Parking/Reception<br />
14. Quarry Fingers<br />
15. Wind Turbine<br />
98 Top- Oliver Williamson Bottom- Nicholas Stubbs
The Edinburgh School &<br />
Archive for Stonemasonry<br />
The project sets out to address<br />
the knowledge gap between the<br />
current and previous stonemasons<br />
by creating a place that uses an<br />
existing WWII bunker to keep the<br />
knowledge of whatever is left from<br />
the past (that can be easily accessed<br />
yet secured in a safe place). Here<br />
the current master stonemasons<br />
can pass it on through teaching<br />
the next generation, for the future<br />
stonemasons to use to not only<br />
repair Edinburgh but to develop<br />
the existing skills in the hope that<br />
they can create a new vernacular<br />
all throughout Scotland.<br />
Berwick Stone Masonry School<br />
and Artist Hub<br />
This project revitalizes stone<br />
crafting and teaching in Berwickupon-Tweed<br />
by transforming its<br />
historic limestone quarries into<br />
dynamic spaces for learning and<br />
community engagement. Drawing<br />
inspiration from global stone<br />
vernacular traditions, the design<br />
integrates administrative areas,<br />
public auditoriums, teaching<br />
spaces, artist studios, galleries, a<br />
masonry workshop, arcades, and<br />
a food hall. The structure creates<br />
a scenic, experiential route to the<br />
coast, fostering contemplation<br />
and serenity through natural<br />
elements and grand spaces.<br />
By harmonizing heritage and<br />
innovation, the project aims to<br />
inspire a renewed appreciation<br />
for stone craftsmanship and<br />
contribute to the cultural and<br />
environmental stewardship of the<br />
region.<br />
Construction Sequence Exploded Axo.<br />
Construction, Assembly, Structure.<br />
Stone Structure<br />
Timber Framing<br />
Large dome and shallow butressing<br />
for auditorium.<br />
Fan Vaulting to carry larger domes.<br />
Domes (used for both cold<br />
structures and controlled spaces.)<br />
Upper level stone<br />
arcade on 6x6 m grid<br />
Timber Framing for<br />
Vault assembly<br />
Timber Framing for<br />
Arch assembly<br />
Lower level stone<br />
structure, predominantly<br />
grion vaults and cross vaults.<br />
Timber Framing for<br />
Vault assembly<br />
Timber Framing for<br />
Arch assembly<br />
Column Stone Structure<br />
on 3x3 m grid.<br />
Site excavation and<br />
limestone extraction.<br />
Top - Dominic Saliendra<br />
Bottom - Salma Abdelghany<br />
99
Bench 2: Stone Carving<br />
Once the stone has been cut from<br />
boulders to a workable size, it is cut<br />
again into smaller blocks before finally<br />
being sculpted into products and sold in<br />
the marketplace above.<br />
Bench 3: Stone Processing<br />
Transforming stone into a workable product from raw<br />
material is a long and time consuming process.<br />
Extracted stones are first cut using diamond wire cutters<br />
and gang saws, which can be up to 6.5M in length and<br />
cut 1 inch per hour.<br />
Bench 4: Vehicle Storage<br />
The heavy machinery required to run and operate the<br />
quarry is stored on this level. This includes various<br />
JCB excavators, forklifts, trucks and diggers.<br />
Stone Mason Training:<br />
The benches of Craigleith afford<br />
apprentice stone masons the oppotunity<br />
to both work with the material and<br />
practice traditional crafting methods.<br />
Reclaiming Craigleith Quarry<br />
‘Edinburgh New Town was made<br />
from Craigleith’. However, in its<br />
present form there is practically<br />
no reference to the historic and<br />
cultural significance of the site.<br />
This project aims to reclaim this in<br />
two separate ways, physically and<br />
abstractly, tangibly and intangibly.<br />
The current retail centre has been<br />
replaced by a marketplace built<br />
from reclaimed Craigleith stones,<br />
and the re-opened quarry has been<br />
lined with new facades which<br />
take different aspects of existing<br />
historic buildings made from<br />
Craigleith stone but composed<br />
into a new vernacular.<br />
The Stone Centre of Ioannina<br />
This project reconnected me<br />
with the roots of my passion<br />
for building and architecture,<br />
inspired by my grandfather<br />
and my village. I explored the<br />
historic Mastorochoria villages<br />
in Epirus, Greece, known for<br />
their traditional stone craftsmen.<br />
These craftsmen, organised<br />
into clusters called ‘bouloukia,’<br />
created significant architectural<br />
works from the 18th to mid-20th<br />
centuries. Modern construction<br />
methods have endangered this<br />
traditional knowledge. To preserve<br />
and revive these techniques, I<br />
propose establishing a School<br />
of the Art of Stone in Ioannina.<br />
This institution will provide<br />
continuous education, revitalising<br />
traditional methods and fostering<br />
a symbiotic relationship between<br />
builders and creators, reflecting<br />
organic circular economies.<br />
100<br />
Top- Joe Stallard<br />
Bottom- Esmeralda Hysen
Down to Earth: Crafting the Perfect Imperfect<br />
This thesis reconsiders the temporality of the design process using earthen material as the protagonist. A series of interventions<br />
along Northumberland’s coastline challenges weathering and embraces entropy as part of design’s narrative. Crafting buildings that<br />
harmonise with nature’s cycles redefines comfort and promotes the organic conversation between spatial and technical design.<br />
Charlotte Ashford<br />
101
Unearthed: The Evolution of Rothbury Fell Quarry<br />
This thesis investigates the idea of implementing a series of architectural insertions within an active quarry site. The site will undergo<br />
four progressive phases, over a hundred-year timeline, until it is transformed and rehabilitated. The project encompasses designed<br />
subtraction of the quarry through a rectangular grid using the maximum dimensions of a typical sandstone block. This allows a<br />
project mediation between material removal from the site and the construction of new programs, as extraction on site grows. Each<br />
void space within the quarry will inhabit new programs that honour the past, whilst embracing the future of stonemasonry and<br />
quarrying skills. From educational institutes, production facilities and sustainable habitats, all possibilities will pay homage to the<br />
natural landscape. Envisioning a vibrant tapestry of activity, where local trades, professionals, and the public, can come together to<br />
learn, work and create. A hundred-year quarry timeline designed to start with extraction, and end with a new purpose.<br />
102 Niamh Condren
Stitching Common Ground<br />
The thesis explores architectural ways of weaving together the fabric of people’s lives in coalfield communities suffering fragmentation;<br />
now that the common historic and cultural background is fading. This project stitches the fragments of Rosewell through co-living<br />
initiatives, held together by a village kitchen-based cultivation program. With a broader aim to care for the most vulnerable, the<br />
intervention will be a new common ground where residents cultivate food, exchange knowledge, and most importantly, nurture<br />
meaningful connections.<br />
Sarah Hawkings<br />
103
Design for Longevity<br />
Using dry stone jointing methods the thesis explores how a School for Stone Construction linking designers, masons and quarriers<br />
can revitalise the stone construction industry improving the efficiency of stone processing; reducing stone wastage and embodied<br />
carbon, and positively changing the direction of modern stone vernacular. The facility explores the liminality between various user<br />
groups coming together, while a synergetic approach employing hybrid materials and techniques creates adaptable, low-maintenance<br />
inhabitable stone structures, enhancing their longevity and sustainability.<br />
104 Jack O’Neill
Land as Time Compressed<br />
Abandoned in 1969, Dinowic Slate Quarry was one of the world’s largest suppliers of slate. Once a great significance, the vast<br />
landscape soon became a historic wasteland. This landscape proposal aims to archive slate by expressing the material through varying<br />
methods of craft and application. Working with the language of the poetic site, the architectural scheme focuses on blending the gap<br />
between the explorers of the quarry and the understanding of the unique properties of slate.<br />
Kaywon Mirrezaei<br />
105
Northumbrian Vernacular – Building a New Construction Economy<br />
The project explores what the capital of an independent Northumbria would look like, as a provocation considering the construction<br />
economy in response to broader local social, economic, identity and architectural issues, where buildings today are ‘in-keeping’ at<br />
only the most surface level, while effectively built for short lifespans and quick to deteriorate. I attempt to suggest a new vernacular<br />
unifying the disparate aspects of that Kingdom with its modern identity, while countering the short-term fiscal and import-based<br />
material approach that has prevailed over the past 75 years of the (United) Kingdom’s economy. Looking at the area surrounding<br />
Newcastle’s Castle Garth and key buildings, which act as an historical and constructive microcosm of the region, the judicial,<br />
executive and legislative systems intersect partly through a masterplanning of this incognito neighbourhood. Focusing further on a<br />
design project centred on Moot Hall, an underused Georgian courthouse overlooking the Tyne, I bring back the ‘moot’s’ role as a<br />
place of assembly in pre-Norman Northumbria, and so a new parliamentary complex is created where the traditional Witenagamot<br />
can be reborn. In the making of a new nation, I take a retrofit and rebuild-first approach for the administrative/institutional needs of<br />
Northumbria, going beyond general arrangements and technological detailing to underline the role architects have as programmemakers<br />
and urban/infrastructural planners.<br />
106 José Figueira
Prescribed Space: Holistic Alternatives in Palliative Care<br />
This thesis investigates alternative spatial practices in end of life care, considering design from the human scale through rhythm<br />
analysis at various scales. The scheme provides ongoing family support and communal spaces for grief, including paired residences,<br />
offering patients the opportunity to socialise in their final days.<br />
Katie Belch<br />
107
REGEN<br />
Ben Bridgens & Anna Czigler<br />
“When the forest and the city are functionally indistinguishable, then we know we have reached sustainability.” ~ Janine Benyus<br />
A global strategy of achieving sustainability requires a holistic approach from architects, including a slowly emerging environmental,<br />
economic, architectural and social framework to create systems that are not just more efficient than what we have now, but aim to<br />
have positive social and environmental impacts. Could we live in what McDonough and Braungart describe as a world of ‘abundance<br />
and delight’ rather than a world of limits? REGEN worked across different scales of systems thinking; it simultaneously considered<br />
the large-scale and the tectonic. Within the catchment of the Tyne River – from Kielder Forest to Tynemouth – we explored regional<br />
material flows through systems mapping while understanding that we as designers can influence these systems through material<br />
selection and application. Cities and large-scale rural regions, with their confluence of economy, ecology, built environment and<br />
society are testing grounds for our premise of creating a new system-based approach to material use.<br />
34<br />
35<br />
Circular Living<br />
This project explores social<br />
housing and integrated aquaponic<br />
systems to enhance community<br />
resilience and sustainability.<br />
Focusing on Hexham, it proposes<br />
intergenerational housing<br />
to improve well-being and<br />
connectivity, incorporating urban<br />
farming for food security and<br />
environmental stewardship, thus<br />
reimagining urban development<br />
through inclusive, sustainable<br />
50<br />
practices.<br />
51<br />
108 Above - Wesley Leung
The Northumberland Timber<br />
Technology Centre<br />
The Northumberland Timber<br />
Technology Centre is designed<br />
to interrogate and innovate across<br />
the Northumberland timber<br />
supply chain whilst exploring<br />
how alternative timber harvesting<br />
strategies and new sustainable<br />
timber technologies can drive<br />
design experimentation and<br />
inspire new attitudes towards<br />
building with timber.<br />
Observing the Invisible<br />
The project explores two invisibilities —<br />
the skies and the grid of the forest.<br />
Due to increasing light pollution<br />
each year, the sky beauty is becoming<br />
invisible at night. The location of the<br />
project, Kielder forest, led to observe of<br />
the artificial forest pattern, which was<br />
used as a structural grid.<br />
Top - George Bennett<br />
Bottom - Gabriele Dauksaite<br />
109
Biocrosis<br />
Biocrosis attempts to bridge the often-ignored world of fungi with the challenging concepts of death and loss. Through this project,<br />
I aimed to understand how fungi works, the decomposition process, and how it affects people experiencing the loss of a loved one.<br />
Through a series of drawings, traditional research, model making, and rigorous experimentation with fungi/mycelium as a material,<br />
I created an intimate ritual that could be repeated in almost any forest to facilitate further understanding and future growth. The<br />
on-site decomposition of the structures allows mycelium spawn to spread throughout the foundation of the forest, providing a stable<br />
base for future rewilding efforts.<br />
110 Keegan Murray
RASTER Modular Building System<br />
The studio work focuses on deconstructive modular construction methods to eliminate construction waste and create flexibility for<br />
residents. Unlike existing methods, this system can be partially dismantled or expanded. All components can be entirely reused and<br />
incorporated into new buildings. Renovations are straightforward and can be performed by the residents themselves.<br />
Vincent Woehlbier<br />
111
Clay: The Regen of Life<br />
The REGEN studio looks at materials from all angles, aiming to go beyond ‘net zero’ to create buildings that benefit both people and<br />
the environment. We chose to study clay, recognizing it as a sustainable material due to it being locally sourced, durable, and flexible.<br />
By looking at the broader context, clay led us to identify construction waste as a major issue. Our project involves establishing a clay<br />
centre called the Conscious Clay Community Centre in Corbridge. This centre promotes sustainable creation with clay by offering<br />
both knowledge and hands-on experience. The design thesis proposal seeks to address neglected heritage and rejuvenate Corbridge<br />
through the clay industry. We plan to introduce recycled clay products, including recycled bricks, ceramics, and tiles. This initiative<br />
not only highlights the sustainability of clay but also contributes to the revitalization of the local community and its cultural heritage.<br />
112 Faiz Fisal & Khalif Kher
Faiz Fisal & Khalif Kher<br />
113
ReWeave: from Fibres to city<br />
Our research leverages the UK’s rich textile heritage to address the environmental and social challenges of textile waste, exacerbated<br />
by fast fashion. By examining textile waste’s impact, we propose sustainable, circular design solutions. We aim to repurpose discarded<br />
textiles into architectural elements, fostering a tangible connection between the textile and architectural industries. This project<br />
encourages a re-evaluation of design and production paradigms, emphasizing eco-conscious principles. Our goal is to mitigate<br />
environmental impact and promote a circular economy, integrating sustainability and creativity to foster a sustainable future through<br />
innovative design and material use.<br />
the current need of transfer from sourced to available materials<br />
construc tio n w aste<br />
clay b ricks<br />
C L T<br />
foo d w aste<br />
textile w aste<br />
w o ol<br />
locally sourced<br />
material<br />
gravel<br />
card b o ard<br />
locally available<br />
material<br />
plastic w aste<br />
sa w d ust<br />
stra w<br />
sto n e<br />
coffee gro u n ds<br />
sa n d<br />
ti m b er<br />
glass b ottle s<br />
matal scra p s<br />
PROBLEM IDENTIFICATION<br />
114 Aditi Golecha, Kaviya Chentilkumar & Sangeetha Nagaraj
Aditi Golecha, Kaviya Chentilkumar & Sangeetha Nagaraj<br />
115
Beyond the Walls<br />
Adam Sharr<br />
As architects, we spend most of our time organising walls to enclose space, and composing openings in walls. The modern<br />
architect Louis I. Kahn argued that we should understand buildings as ‘societies of rooms’. He coined that phrase to highlight how<br />
architecture uses walls to bring people together – and also to keep them apart – structuring human interactions, and mirroring wider<br />
structures in society. Kahn understood how the walls of buildings change social relations, and how they configure the social contract<br />
between people. Walls manipulate human relations through enclosure, openness, transparency, privacy, view, sound, silence, light,<br />
and materiality.<br />
This studio began not with walls at building scale however, but instead with urban and landscape walls that operate at a much larger<br />
scale than the individual building. And specifically with Newcastle’s city walls. What if we were to reinstate Newcastle’s city walls, we<br />
asked? How could it make opportunities for social connections, for example, or economic regeneration, or for a wider reimagining<br />
of the city?<br />
After this initial exercise, we moved beyond Newcastle’s city walls to investigate how to intervene in different wall conditions. Projects<br />
examine, for example: a new political assembly for the UK’s fabled ‘red wall’; a house for people recently released from prison; the<br />
class barriers of architectural education; the imaginary walls separating the period actors of Beamish folk museum; generational<br />
barriers in imagining the future city; and the disassembled walls of Newcastle’s former Royal Arcade.<br />
The Red Wall Regional Assembly<br />
This project aims to explore how architecture can bridge the gap between political decision makers and the ‘left behind’ constituents<br />
of the Red Wall. The design aims to encourage accidental meetings between these two groups and symbolically reflects North East<br />
heritage and a new political system.<br />
116<br />
Emma Beale
Along the city wall<br />
The presence of a parking lot right next to an 800-year-old Newcastle city wall demonstrates how people are not encouraged to<br />
properly reflect on their heritage. That is why this proposal seeks to introduce the topic of heritage to the public, in an engaging way.<br />
A gallery of the city’s development runs along the wall, in dialogue with its textures and surfaces, and uses a multi-storey layout to<br />
encourage thought about the past, present and future of the city.<br />
SECTION 1:200 12<br />
GALLERY OF THE CITY DEVELOPMENT<br />
GALLERY OF THE CITY DEVELOPMENT<br />
THE TELEGRAPH<br />
exhibition part<br />
TOWER<br />
THE WALL<br />
social part<br />
building on the site<br />
SHOPS AND LIVING<br />
buildings proposed in masterplan only<br />
PARK<br />
PASSAGE<br />
The masterplan of this site deals not just with the gallery of city development, but also with the closest neighbourhood<br />
of the wall. It shows a linear complex of buildings and greenery placed along the wall, with passages and openings to<br />
keep the wall visible from the street.<br />
MASTERPLAN 1:200<br />
7<br />
Berankova Stepanka<br />
117
flexible<br />
seating<br />
REPAIR AND RETROFIT<br />
FLEXIBLE INTERNAL AREA<br />
publi c loca tion, visib le acti vit y, ac ce ss ib le t hre shold<br />
flexible<br />
seating<br />
flexiblle space for<br />
community use<br />
demonstration<br />
and training<br />
space<br />
building to be a<br />
collage of materials<br />
and construction<br />
methods<br />
COMPUTER LAB<br />
secure<br />
storage<br />
for both student and<br />
public use<br />
BOOKABLE MEETING<br />
OFFICE AND SECURE STORAGE<br />
ACCESS<br />
teaching<br />
space<br />
material<br />
storage<br />
EX TRACTI<br />
ON<br />
PRIVILEGE<br />
1:1 PROTOTYPING<br />
WOODWORKING SPACE<br />
tool<br />
storage<br />
NECESSITY<br />
set to sports<br />
pitch dimensions 17 x 35m<br />
SECURE BOUNDARY<br />
DELIVERY ACCESS<br />
TIMBER FRAMED CANOPY<br />
covered<br />
workspace and<br />
storage area<br />
Architecture Class<br />
‘Architecture class’ looks at the underrepresentation and exclusion of working-class people from architecture and the built environment.<br />
Placing an emphasis on architectural education, it redesigns a Part 1 curriculum modelled on site in Hebburn (South Tyneside). In doing<br />
so, it provides an alternative and socially-equitable approach to traditional architectural education.<br />
CATERING KITCHEN<br />
public location, visible activity, accessible threshold<br />
EXHIBITION<br />
LIBRARY<br />
ROOM<br />
SERVING COUNTER<br />
students’ work on display<br />
STUDY SPACE<br />
INDIVIDUAL BEDROOM<br />
ADVICE<br />
KITCHEN/DINING<br />
TOOL BORROWING<br />
bookable, individual workshop spaces<br />
SHARED LIVING AREA<br />
118<br />
Maria Wood
The Intergenerational Town<br />
The project focuses on Ashington and examines how the town’s physical identity and ideologies have evolved through the generations<br />
that have lived there, using my family as the basis. By examining master planning from a generational perspective, the project<br />
proposes a new way of planning that learns from the past and leaves space for the future.<br />
Ethan Howard<br />
119
Squeamish: The Gift Shop<br />
Beamish is an Industrial Heritage Museum which demonstrates a sanitised, rose-tinted heritage omitting uncomfortable histories.<br />
This project, presented as a gift shop, is a social organisation of time and space for visitor experience, where Beamish visitors must<br />
enact a day in the life of a historic character.<br />
120 Isobel Prosser
The Temporal Arcade<br />
This project explores experimental preservation at Swan House Roundabout, Newcastle, by examining the site’s narratives through<br />
subtraction, fragmentation, and collage. By playing with scale and context, it aims to reveal and interact with historical layers, allowing<br />
contemporary society to engage with and interpret these fragmented stories.<br />
Gabrielle Taylor<br />
121
OpenHouse<br />
The UK prison system struggles with overcrowding, inhumane conditions, and inadequate support for rehabilitation. Post-release from<br />
custody, 16.7% are left homeless and only 16.4% are employed at the six week mark. OpenHouse offers residential, educational, and<br />
garden spaces to reduce homelessness and unemployment among ex-prisoners.<br />
122 Mia Tobutt
Stage 5 Exchange Students<br />
Stress-Laminated Arch Bridge<br />
The project focuses on designing<br />
a timber bridge in Kista,<br />
Jyllandsgatan, Stockholm.<br />
The Stress-Laminated Timber<br />
(SLT) pedestrian bridge was a<br />
collaborative project between<br />
architecture and engineering<br />
students during my Erasmus at<br />
KTH University. We worked<br />
together on the construction of<br />
1:20 physical model and 1:1 key<br />
detail of the timber structure<br />
focusing on critical components,<br />
connections and details within a<br />
timber structure.<br />
The Eye: A Public Affair<br />
Over a course of 8 weeks on the<br />
exchange program, we designed<br />
and built an unfamiliar structure<br />
for hanging out. It was inspired by<br />
our varied experiences of loitering<br />
which often involves finding a<br />
quiet spot within the mess and<br />
chaos of the city to find respite.<br />
Top - Angela Savitski<br />
Bottom - Afopefoluwa Carew<br />
123
MSc Advanced Architectural Design<br />
James Craig, Matt Ozga-Lawn & Tolulope Onabolu<br />
Contributors: Abolfazl Majlesi, Alex Blanchard, David Boyd, Louise Rainer<br />
The MSc in Advanced Architectural Design programme asks students to critically engage with issues<br />
of post-industrialisation and its speculative futures. Students work either on a one year pathway,<br />
working over three semesters from September-August, or on a two year pathway integrated with the<br />
MArch programme. In both cases students engage with design through an initial tethered project,<br />
followed by an in-depth thesis project.<br />
This year students have been looking at the North-East of England, exploring the legacies of<br />
industrialisation and considering possible futures. Students began with a project set in the burned-out<br />
gap in the Dunston Staiths structure on the River Tyne in Gateshead, developing critical and poetic<br />
responses to this memorial to the region’s industrial past. These speculative projects reconfigured and<br />
reinterpreted the surrounding urban fabric through the gap, attempting to reflect on Newcastle and<br />
the wider region’s complex relationship with its industrial legacy and its relationship to the climate<br />
emergency.<br />
Students on the one year programme are halfway-through individual thesis projects and engaged<br />
with one of two optional design studios. Studio 1 considers the ecological futures of the North-East<br />
based on legacies of industrial memory, and Studio 1 focusses on concepts of hybridity in relation to<br />
toxicities of space and place.<br />
Students<br />
Ben Li<br />
Chenxin Wang<br />
Chi Shen<br />
Deepak Dominic Raj<br />
Holmen Li<br />
Jingxuan Wang<br />
Junxiang Zhao<br />
Kaynat Shaikh<br />
Lalita<br />
Lingyu Xie<br />
Sandra Muzykant<br />
Sofia Hussain<br />
Soichi Imai<br />
Yeqin Chen<br />
Yisheng Wang<br />
Yufan Jin<br />
Yuhsuan Yeh<br />
Yundi Gao<br />
Yunlong Li<br />
Zaheer Sharif<br />
124<br />
Above - Chi Shen
Top - Haomin Li Middle - Sandra Muzykant Bottom, Left to Right - Zaheer Sharif, Yuhsuan Yeh<br />
125
126
BA (Hons) Architecture and Urban Planning (AUP)<br />
Armelle Tardiveau - Degree Programme Director<br />
The BA (Hons) Architecture and Urban Planning saw its first cohort completing their first year exactly<br />
a decade ago (2014). Since then, the programme has evolved year on year introducing innovative<br />
approaches and new modules or pathways to strengthen its interdisciplinary ethos. This is thanks<br />
to students who have provided meaningful and constructive feedback and shared their vision for<br />
their future and suggested how their education could embrace it. Of course, such visions cannot<br />
become tangible without the outstanding educators from the three disciplines of the school namely<br />
architecture, planning and landscape.<br />
As a result, this 3rd year (2023-<strong>2024</strong> cohort) has enjoyed a blossoming interdisciplinary programme,<br />
sharing modules and developing their own specialisms. The degree continues to evolve and reflects both<br />
innovative pedagogical endeavours alongside research informed pedagogy. We have now established 3<br />
routes towards accreditation:<br />
1. Some of our students will be continuing and completing a fourth year in Architecture to achieve<br />
ARB Part 1 accreditation. This will be the first M-AUP (architecture) cohort who will demonstrate the<br />
strength and extent of their knowledge and skills gained through the degree which we believe prepares<br />
them with confidence for future-proof professional life both as socially engaged and climate responsive<br />
practitioners.<br />
2. Amongst this cohort, a dozen will also take a Planning placement to come back in 25-26 and<br />
complete their education in Urban Design with an RTPI accreditation. Their training will allow them<br />
to work as planning informed designers or planners with an insight and understanding of design<br />
process as much as outcome. Seeing these students revise collaboratively for what is deemed the most<br />
daunting module of their pathway, namely Development Management, was pure joy: many studied<br />
in groups for the take-away exam, firing questions across the studio seeking help or reassurance from<br />
their peers. The studio has returned to a vibrant learning environment that students use extensively,<br />
even to prepare for an exam!<br />
3. Finally, a few other students are about to take a year-out in Landscape practice work to return in<br />
2025-2026 in the 2nd year of the Master in Landscape Architecture or join the Advanced Landscape<br />
Planning and Management MSc programme next year. I am particularly grateful to these students,<br />
who approached me after I explained the pathways to accreditation in architecture and planning<br />
and candidly asked ‘how about landscape?’. Our design projects being already deeply embedded in<br />
responding to site conditions and climate in a wider context it made the request a natural addition to<br />
the programme.<br />
These routes would not be possible without the keen support and interest of staff from all three<br />
disciplines: architecture, planning and landscape. The programme now attracts students who seek<br />
to acquire interdisciplinary and transferable skills who are curious to understand the scope of each<br />
discipline before embarking in studying one specifically. Beyond these pathways, many of our students<br />
continue into a wide variety of professions and further studies having benefitted from the wealth of<br />
options the programme offers.<br />
We are immensely grateful to the Glasshouse [www.theglasshouse.org.uk] who invited Stage 2 AUP and<br />
Planning students to take part in their WEdesign programme. The workshop and event informed both<br />
the Living Communally design module as well as the Participation: Theories and Practices module.<br />
The public event which took place on 19 March offers Stage 2 students an opportunity to engage with<br />
the public outside of the traditional learning environment. WEdesign gives an insight and first-hand<br />
experience into facilitation that students cannot gain within an academic context. The extraordinary<br />
benefits of such experience prepare them to engage with a diverse range of people and develop a strong<br />
ability to listen to others with different views, backgrounds, and ages in their future careers.<br />
Finally, working with local architects HarperPerry and Newcastle City Council enabled AUP3 students<br />
to deploy this year’s Live Project as part of the Newcastle East High Streets Strategic Plan. Their design<br />
provided a sense of how Hadrian Square, usually a soulless square, could be inhabited and brought to<br />
life. The Festival of the Youth intervention took place on a sunny May day; it heralded the forthcoming<br />
rich programme of activities and events planned by the Council Development team for local people<br />
over the summer and beyond.<br />
Opposite - Armelle Tardiveau<br />
127
AUP Stage 1 - Urban Observatory<br />
Daniel Mallo<br />
Urban Observatory, the final project of the year for AUP stage 1 is located in the Ouseburn Valley, an<br />
area of Newcastle known for its thriving industrial past. Students start the project by mapping their<br />
observations of a high area of the valley where long-distance views of Shieldfield and Ralph Erskine’s<br />
Byker Estate constrast with an immediate environment of both natural and man-made landscape.<br />
The elevated site at the top of the valley gives students the opportunitiy to explore a multiplicity of<br />
layers and nuances of urban life. Urban Observatory is conceived as a structure for climate observation<br />
and data recording to monitor changes in the city resulting from man-induced climate change. It<br />
also includes a space for debates, exhibition and citizen’s engagement with climate action. The fourweek<br />
design process builds on skills gained in the previous ‘Jetty’ project, including a sensitivity and<br />
appreciation to observe and record context as well as an iterative exploration of site responses starting<br />
with massing models that test relations between the structure and the immediate and wider context.<br />
The project also expands on technology knowledge gained in the opening exercise of the semester<br />
‘Inhabited Section’ where students learn to interpret and draw at 1:2 a section of a small timber<br />
structure. Also technology knowledge introduced in their two technology modules ARC1013 and<br />
ARC1014 is applied to this design. Through tectonics models at 1:20 students test a timber-based<br />
structural system while exploring timber materiality and and its translation to construction detail.<br />
The students analysed the location of the sun in relation to their building. They considered, for example,<br />
whether parts of the structure would be in direct sunlight in the evening, or whether an interior space<br />
would be illuminated by even north light. Visitors to the Ferryman’s hut would experience the estuary,<br />
its landscape, tides and weather, as they are reframed by the students designs.<br />
Year Coordinators<br />
Anna Cumberland<br />
Daniel Mallo<br />
Ellie Gair<br />
Studio Leaders<br />
Alkistis Pitsikali<br />
Anna Cumberland<br />
Arthur Belime<br />
Charlotte Ashford<br />
Chloe Gill<br />
Chris Charlton<br />
Damien Wootten<br />
Daniel Mallo<br />
David McKenna<br />
Elinoah Eitani<br />
Ellie Gair<br />
Henna Asikainen<br />
James Longfield<br />
Jane Millican<br />
Kati Blom<br />
Lisa Rippingale<br />
Loes Veldpaus<br />
Mike Veitch<br />
Rory Kavanagh<br />
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 />
128
Top, Left to Right - Pierluigi Bertazzoni, Emiliya Shikhgayibova<br />
Bottom, Left to Right - Aliya Lewis, Gabriel Procter<br />
129
130 Top, Left to Right - Emiliya Shikhgayibova, Emma Feat Bottom, Left to Right - Emiliya Shikhgayibova, Aliya Lewis
AUP Stage 1 - Jetty<br />
David McKenna<br />
Left, Top to Bottom - Aliya Lewis, Gabriel Procter, Pierluigi Bertazzoni<br />
Right, Top to Bottom - Gabriel Procter, Emma Feat<br />
131
AUP Stage 2 - Field Trip to London & Glass House Workshop<br />
Armelle Tardiveau<br />
Contributors: Glasshouse, Louise Denison, Sophia de Sousa<br />
Students: Arina Ardeeva, Benjamin Orchard, Charlie Abbott, Eleanor Loughlin, Ethan Sims, Evie Perkins, Fred Mitchell, Grace Dore, Hiu<br />
Yee (Queenie) Cheng, Kate Graham, Leonie Beyer, Lia Paa-Kerner, Madina Abdullayeva, Marlon MacDermott, Noah Holland, Rosa Goodman<br />
Fleischmann, Shing Hei (Zak) Lau, Temi Ogunbanjo, Thomas Hateley, Vanessa Wong, Zak Travers, Zuzanna Tomasik<br />
132<br />
Above - Armelle Tardiveau
38<br />
AUP Stage 2 - Living Communally<br />
Byker Burn Cafe<br />
Claire Harper & Prue Chiles<br />
Byker Burn W<br />
Contributors: Armelle Tardiveau, Dan Kerr<br />
Students: Arina Ardeeva, Aurelia Paa-Kerner, Benjamin Orchard, Carina Kriesi, Ethan Sims, Evie Perkins, Fred Mitchell, Laura Coulson,<br />
03| DESIGN DEVELOPMENT<br />
Madina Abdullayeva, Marlon MacDermott, Noah Holland, Rosa Goodman Fleischmann, Temi Ogunbanjo, Vanessa Wong, Yitong Li, Zak<br />
Travers, Zimeng Zhou, Zuzanna Tomasik<br />
WATERCOLOUR PERSPECTIVE DRAWING OF SITE<br />
Inhabited viewpoint from catalyst showing how the<br />
public would use the pathways and green space.<br />
APL2006 | STAGE 2 AUP | 220218364<br />
45<br />
Byker burn Cafe is situated round the back of the South facing Terrace, in the perfect posistion for sunlight maximisation- offering indoor and<br />
People walk arround each other and<br />
can interact accross the stairwell<br />
outdoor seating. The cafe acts as a great way of situating my co-housing scheme into the wider community- being open to the public socially and<br />
for jobs, as well as selling local Newcastle and Byker Burn produce.<br />
28<br />
Ground level Exit<br />
ledge 2 Exit to Outside<br />
Level 3 Sitting Area<br />
Level 2 Sitting Area<br />
Central Social Hub<br />
O<br />
This is an Orthographic diagram<br />
of the Ledges shared<br />
n topic of economic sustainabilty within spaces and my Central co Social housing Hub. scheme, I wa<br />
This new design follows the<br />
same principles of the circulation<br />
of people will around this a scheme central continue in th<br />
How would I involve the public? How<br />
hub that extrudes on 3 separate<br />
levels.<br />
doing some research I came across Coconat Workation Retreat in German<br />
Importantly, this design forces<br />
residents to use the social<br />
to situate a rentable ‘work retreat’ cabin areas on like the roads North if they wish East to side of my site a<br />
move up or down the ledges.<br />
would be able to rent it out providing monies This system to alternatively the co uses operative to impro<br />
ledge 1 shared rooms<br />
ledge 2 shared Rooms<br />
The main intersection of traffic from<br />
the upper/lower levels & the rooms<br />
branching off from this point.<br />
Flow<br />
the concept of splitting the<br />
levels, instead of my previous<br />
concept which was to force<br />
people to rotate around the<br />
Hub. Instead, residents pass<br />
through the hub, making it an<br />
intersection of serendipity.<br />
As seen to the left.<br />
03<br />
INHABITING BYKER BURN<br />
APL2015 | STAGE 2 AUP | 220407315<br />
048<br />
43<br />
MATERIALITY MANIFESTO<br />
Stone Wall<br />
Timber Panel Cladding<br />
Shrubs and Bushes<br />
(Green Infrastructure)<br />
Grass (Green Infrastructure)<br />
Pond (Blue Infrastructure)<br />
Hand Sketch of Byker Burn Without the Galed Roof<br />
34 35<br />
Top - Evie Perkins, Aurelia Paa-Kerner Middle - Marlon MacDermott (2) Bottom - Temi Ogunbanjo, Vanessa Wong<br />
133
City as Landscape<br />
Stef Leach<br />
The project asks students to develop an understanding of the city as a landscape and to engage<br />
in a process of ‘master/action-planning’. One key question they are asked to reconsider concerns<br />
the role of masterplan(ning). We deem ‘Masterplanning’ as a problematic term in that it implies<br />
the existence of a Master, which is deeply misleading in the transdisciplinary world of landscape<br />
architecture.<br />
AUP Students<br />
Alice Moore<br />
Dasha Seedin<br />
Martha Barbara Waples<br />
Through the critical exploration of the work of Canadian artist Larissa Fassler, students are<br />
invited to work as a group together with students in Stage 1 Master in Landscape Architecture.<br />
They use mapping as a way of ‘noticing’ and ‘knowing’ about a place. Students deemed the<br />
groupwork as fun and ‘insightful as it created the opportunity to share everyone’s perspectives<br />
and approaches to the challenges set out by the project’. Inspired by Fassler’s work, mapping helps<br />
cultivate an awareness of space as well as the diversity actors that shape the landscape considered.<br />
Through this process students address scales ranging from the local to the planetary context of<br />
the city while developing a holistic understanding of the social, cultural, and political ecologies<br />
of the site in Shieldfield area of Newcastle.<br />
Students reported that they particularly ‘enjoyed having to engage in thinking into the future to<br />
2054 to achieve long term sustainability both socially and ecologically’. As such they demonstrate<br />
their understanding of temporal considerations which are fundamental for landscape design<br />
alongside the idea of obsolescence in urban environments. Students develop a ‘Landscape<br />
Imaginary’ in groups and a collective vision for managing and creating capacity for change in<br />
the landscape which is translated into an individual Manifesto that guides their design proposal.<br />
One of the students challenged themselves taking on two design projects in Semester 2, City<br />
as Resource and Co-producing space but concluded that both projects helped them push their<br />
thinking in term of design for other people and engagement with communities.<br />
The landscape construction module allows students to revisit their landscape design proposal<br />
from AUP2 and choose to develop a construction detail of this past project. The material choice<br />
is informed using a carbon calculator: construction details are required to create a carbon negative<br />
design taking into account embodied and operational carbon throughout the lifetime of the<br />
project. Minimising the materials imported to site proved to be challenging, yet it allowed<br />
students to see the potential and benefits of using the existing site materials.<br />
134
Top - Martha Barbara Waples Bottom - Alice Moore (2)<br />
135
Architectural Construction<br />
Ben Bridgens, Iván Márquez Muñoz & Daniel Mallo<br />
AUP3 students on the architecture accredited pathway (M-AUP) take two complementary<br />
modules in construction (shared with BA Architecture) through which they gain integrated<br />
architectural technology knowledge and skills.<br />
Construction in Detail focuses on materiality, structural logic and construction method, thermal<br />
performance, weatherproofing and materiality in detail. Working in groups, students develop<br />
and produce a large-scale part-sectional model of a casestudy building at 1:10 or 1:20. Using<br />
the model they engage in an in-depth investigation that demonstrates their confidence and<br />
expertise in detailing building envelopes and intersections as well as highlights how ‘design’ and<br />
‘technology’ are intrinsically interdependent.<br />
Stage 3 Students<br />
Angus Donald<br />
Charlie Shields<br />
Iona Gibb<br />
Jamie Charlton<br />
Ruben Dascombe<br />
Theo Weldon<br />
Contributors<br />
Toby Blackman<br />
Construction, Energy, Professional Practice introduces students to the different range of<br />
issues involved in being an architect within the context of the construction industry. Students<br />
develop an understanding of the embodied and operational energy associated with design and<br />
construction of the built environment.<br />
Through two illustrated reports, students have the opportunity to interrogate, develop and<br />
apply knowledge to the AUP2 Co-housing design from their Living Communally project.<br />
The Professional Practice and Management report allows students to contextualise their design<br />
through the lens of professional practice and management, whilst the Creative Material Practice<br />
requires the design and fabrication of a 1:1 junction, detail, element, or material surface. The<br />
process of material selection, detail specification, and various iterations and tests of material<br />
finishes and junctions equips students with invaluable hands-on experience.<br />
One student highlighted ‘both modules provided the opportunity to experience working in the<br />
workshop and gain practical construction skills. The learning at detailed scale aided the Coproducing<br />
Space project which also required using the workshop to build a 1:1 installation’.<br />
136<br />
Above - Stage 2 Groupwork
Top, Left to Right - Ruben Dascombe, Iona Gibb Middle - Angus Donald Bottom - Theo Weldon (3)<br />
137
The Festival of the Youth:<br />
Reclaiming Spaces for the Youth in Shields Road<br />
Daniel Mallo & Armelle Tardiveau<br />
For this year’s Live Project students worked with local participants and community groups<br />
in Byker, in the East End of Newcastle. The project contributes to Newcastle City Council’s<br />
regeneration initiative: Newcastle East – Inclusive, Healthy, Vibrant High Streets. More<br />
specifically, the project focuses on the lack of spaces for young people. The brief was set out<br />
in collaboration with local architects Harper Perry, who are currently working on a Strategic<br />
Plan for the Shields Road area, exploring opportunities for young people, a group not often<br />
considered in the design of urban landscape. The area of intervention is Hadrian Square, an open<br />
public space south of Shields Road located near the busy junction of Heaton Road with Shields<br />
Road. Currently the space does not appear conducive to positive lingering, with only a couple of<br />
benches and trees scattered around. It is portrayed by the local community as ‘under-used with<br />
no sense of ownership’ as well as associated with marginalised population and perceived as unsafe<br />
especially at night times. As part of the Live Project students designed temporary interventions<br />
for Hadrian Square to understand how the space could be inhabited and inform activities and<br />
future uses.<br />
The design process started with the creation of a repertoire of temporary urbanism precedents<br />
which were modelled at 1:20 and analysed using criteria including adaptability, fabrication or<br />
transportability. To gain familiarity and understanding of the social context, students prepared<br />
engagement prompts using these precedents and designed games and activities together with<br />
provocative placards for an initial session with the community.<br />
Drawing inspiration from this first engagement, students worked in groups and designed<br />
temporary interventions to be deployed in Hadrian square over the course of one day. Each<br />
group worked collaboratively, sharing strengths and expertise for the design and fabrication of<br />
temporary structures. Roles and responsibilities were discussed and assigned including project<br />
management, design, fabrication details, costs and sourcing, as well as the design and production<br />
of engagement resources for the day. Three large scale temporary structures were deployed and<br />
choreographed so that the interventions supported each other and brought a cohesive fun and<br />
playful narrative on the day.<br />
Students felt privileged to have such an opportunity that provided them with the experience and<br />
skills of working with architects, local council, community members and the public.<br />
Stage 3 Students<br />
Students Group 1: Framing Futures<br />
Amber Deng<br />
Angus Donald<br />
Chiana Bhoola<br />
Ella Ashley Ayanda Dedicoat<br />
Iona Gibb<br />
Nanako Ochi<br />
Tobi Owolabi<br />
Students Group 2: PlayPal<br />
Amelia Trattles<br />
Archie Hurst<br />
Emily Zheng<br />
Freddie Naylor<br />
Jamie Charlton<br />
Luke Harrison<br />
Mariia Kikot<br />
Samuel Gaisie<br />
Theo Weldon<br />
Students Group 3: Vibe Square<br />
Alice Moore<br />
Benjanim Cox<br />
Charlie Shields<br />
James Worker<br />
Jessica Hacking<br />
Joshua Torczynowycz<br />
Lucy Topp<br />
Ruben Dascombe<br />
Contributors<br />
Sam Austin<br />
Richard Chippington<br />
Ellie Gair<br />
Claire Harper<br />
Nathan Hudson<br />
Sean Mallen<br />
Rosa Turner Wood<br />
138<br />
Above - Stage 3 Group 1 (3)
Top - Stage 3 Group 2 (4) Bottom - Stage 3 Group 3 (5)<br />
139
Architecture and Urban Planning Dissertations<br />
Abigail Schoneboom<br />
The dissertations from this year’s cohort illuminate novel and important aspects of architecture<br />
and urban design. Projects covered a range of topics, including green and diverse cities; urban<br />
transportation systems; and housing, community and place. Students immersed themselves in<br />
social worlds, for example, volunteering at urban farms or community cafés. Here, they carried<br />
out creative, innovative methodological work to capture lived experience: one student by using<br />
lino printmaking to harness the feelings of social housing residents; another used object-based<br />
methods focused on smart meters to spark conversation about sustainable housing. They spent<br />
time immersed in real world research, building trust with community actors and trying to see<br />
through the eyes of those they were studying. Concentrating on issues they were passionate<br />
about, students developed focused questions while commenting on big challenges around<br />
sustainability and social justice, from the experiences of Black women in Newcastle to the<br />
emotional connections between humans and obsolete motorcars.<br />
Contributors<br />
Alkistis Pitsikali<br />
Andrew Law<br />
Armelle Tardiveau<br />
Daniel Mallo<br />
John Pendlebury<br />
Loes Veldpaus<br />
Sally Watson<br />
This year, each student developed and illustrated their dissertation process by creating a ‘bookin-a-box’<br />
which helped them sort out and refine ideas, and clarify their line of argument in a<br />
playful, hands-on way.<br />
140
Left,Top to Bottom - Amelia Trattles, Dasha Seedin<br />
Right, Top to Bottom - Chiana Bhoola, Martha Waples<br />
141
Exploring the role of community cafes in fostering social capital and community<br />
development: How do community cafes support the building of community?<br />
Chiana Bhoola<br />
Highlighting the connections and support provided within community cafes, this project<br />
presents findings from ethnographic immersion and semi-structured interviews at the ETNA<br />
and Magic Hat cafés. Having identified a gap in the literature which shows that community<br />
cafes are under-researched, these spaces were explored through participant-observation as<br />
a volunteer. This generated a rich data set that included written observations and sketches,<br />
exploring aspects such as social stigma, social capital and community development to<br />
understand the importance of these cafés in tackling food insecurity.<br />
Image: ‘Pay as you feel’ box outside Magic Hat Café (Source: author’s own).<br />
Crafting community: understanding the impacts of mixed tenureship on<br />
community dynamics and resident pride through creative practice.<br />
George Crowe<br />
Utilising co-design workshops at the Fenham Association of Residents (FAR) community<br />
centre, this dissertation investigates the impact of mixed tenure on community dynamics and<br />
resident pride. The methodology integrates lino printing alongside cultural probes and various<br />
forms of making. The approach fostered a strong researcher-participant connection and sought<br />
to show the benefits of empowering participants through creative self-expression. This process<br />
provides valuable insights into the implications of mixed tenure on urban landscapes, resident<br />
pride, and overall community experience.<br />
Image: A resident combined embroidering fabric with lino printing to highlight the features of their property that<br />
they take pride in (Source: author’s own).<br />
Exploring the intersection of gender, race, and space: a case study of Black<br />
women’s experiences in Newcastle upon Tyne.<br />
Ayanda Dedicoat<br />
Exploring the intersectional experience of race, gender and space in Newcastle upon Tyne,<br />
this study explores how Black women navigate access to the city’s spaces. Drawing upon<br />
intersectional theory, spatial analysis, and racial literacy, the dissertation aims to uncover the<br />
nuance of challenges faced by Black Women in navigating urban environments. It reveals<br />
participants’ heightened awareness of racial disparities and the fear of racist interactions,<br />
highlighting the spatial oppression faced by Black women. By providing insights into<br />
intersectional dimensions of urban life the study advocates for more inclusive and equitable<br />
urban environments.<br />
Image: Sunset down residential street (Source: author’s own)<br />
The ‘ambient social resonance’ at Newcastle Helix, Science Square: to what<br />
extent does the relation between built forms and unbuilt spaces in urban areas<br />
influence social serendipity amongst diverse user groups?<br />
Samuel Gaisie<br />
Considering the juxtaposition of built forms and unbuilt spaces in Science Square, Newcastle<br />
Helix, this dissertation explores how the interrelationship between these influences social<br />
serendipity amongst diverse user groups. It highlights two main classifications of influence:<br />
intangible and tangible, discussing themes of perception, function, and weather as all playing<br />
a crucial role in determining the dynamic ambient social resonance of the site. The research<br />
thus examines the interdisciplinary phenomenological relationship between architecture and<br />
serendipity through inductive qualitative research methods, highlighting the importance of<br />
capturing personal experience of these spaces.<br />
Image: Science Square at the Newcastle Helix site (Source: author’s own).<br />
142
What is the role of community perception in creating heritage value<br />
following the adaptive reuse of an ‘iconic building’ in Newcastle?<br />
Iona Gibb<br />
Conveying the significance of community involvement in heritage conservation this<br />
study examines the adaptive reuse of the Wills cigarette factory in Newcastle upon Tyne.<br />
Having critically examined the literature surrounding ‘official’ heritage and the relevance of<br />
architectural and historical significance, the study uses a mix of archival research and semistructured<br />
interviews to explore what factors determine how heritage value is perceived. It<br />
finds that, while heritage value is changing in response to generational shift, the value itself<br />
of such buildings, does not diminish.<br />
Image: The Wills Building (Source: author’s own).<br />
How does the reputation of Rotherham town centre impact its future?<br />
Jessica Hacking<br />
Reflecting on Rotherham Town Centre’s image as a ‘left behind’ town with a poor<br />
reputation and low daily footfall this dissertation unpacks how the current reputation<br />
of the town is linked to the social disconnect surrounding it. Semi-structured interviews<br />
with local people reveal the inconvenience of town centre shopping, and how their<br />
reluctance to use the town centre is reinforced by their feelings of discomfort about this<br />
part of Rotherham. It shows that whilst some people are aware of the redevelopment that<br />
Rotherham is undergoing, their incentives to visit are still little to non-existent, therefore<br />
prolonging the town’s decline.<br />
Image: Planters and cycle racks that are part of public realm improvements in Rotherham (Source: author’s<br />
own).<br />
Bio-composites for sustainable development – integrating natural elements<br />
in the built environment.<br />
Alice Moore<br />
Looking at Mycelium based bio-composites (MBCs), a sustainable material created by<br />
fungi, this dissertation explores whether MBCs have a future, with a particular focus on<br />
their public perception. Through the use of questionnaires and interviews, backed up by<br />
interviews conducted with architects and researchers, it argues that more information and<br />
cost considerations would be the key to creating a more positive perception and acceptance<br />
of these materials. Overall, this project highlights the enormous potential that MBCs have<br />
to help create a more sustainable built environment.<br />
Image: Packaging made by Ecovative, a pioneering company in the development and creation of MBCs<br />
(Source: Bayer and Mcintyre).<br />
Reviving Minka in Japan: analysing the issues of Minka and vacant houses –<br />
a case study in Ehime Prefecture.<br />
Nanako Ochi<br />
Examining challenges and adaptive responses to Minka restoration in Ehime Prefecture,<br />
Japan, this study uses qualitative methods to explore the experiences of families living<br />
in traditional houses that are over 90 years old. Looking at two cities in Ehime – Saijo<br />
and Ozu – Saijo City reveals architectural and emotional aspects of Minka living, while<br />
Ozu City allows examination of regeneration efforts, highlighting collaborative approaches<br />
for community-driven revitalisation. The research considers regional and individual<br />
variations in challenges and responses, emphasising the need for ongoing inquiry to adapt<br />
preservation strategies, considering economic barriers and the sustainability of tourism.<br />
Image: Family Group 1 House Exterior (Source: author’s own).<br />
143
Greening the cities: volunteer efforts for urban ecosystems.<br />
Dasha Seedin<br />
Considering the financial constraints and ethical issues surrounding conservation, this<br />
research evaluates the contribution that volunteer organisations make to the preservation<br />
of urban ecosystems. It looks at how such organisations perceive their involvement in<br />
conservation efforts, finding that shortage of funds and worries about health and safety<br />
are among the main issues affecting volunteer efforts. The study concludes that volunteer<br />
organisations, despite their limited funding and ethical constraints, manage to preserve<br />
urban ecosystems. Yet, it highlights that sole dependence on volunteers is not a substitute<br />
for the wider roles that other actors and systems need to play.<br />
Image: Trees moved to clear a pathway (Source: author’s own).<br />
Exploring the sustainability and energy efficiency of new builds through<br />
smart meters and domestic appliances.<br />
Charlie Shields<br />
Exploring the sustainability and energy efficiency of new builds, this dissertation uses<br />
smart meters and domestic appliances as a window onto these important topics. The<br />
project recognises the pressing need to address the environmental concerns surrounding<br />
new builds, reducing energy consumption in line with net-zero targets. It explores the<br />
perceptions and opinions of residents on the sustainability and energy efficiency of their<br />
new build homes, providing valuable insights for professionals working in the construction<br />
industry, towards creating more environmentally friendly and energy efficient homes.<br />
Image: Postcards used for participant recruitment (Source: author’s own).<br />
The role of community gardens in fostering place attachment: gaining<br />
insight through the community gardening experience.<br />
Maria Syed<br />
Exploring how community gardens fostering place attachment for their users, this study<br />
examines the Wild Roots Community Garden in Ouseburn Valley, Newcastle upon Tyne.<br />
Formerly a brownfield site, the land has become a thriving community garden postpandemic.<br />
The study focuses on the volunteers in the garden who meet every session to<br />
take refuge in nature and enjoy gardening together on a communal plot of land. Through<br />
volunteering, observations and semi-structured interviews, the study notes that community<br />
gardens outside of the US are under-researched. The findings confirm the significance of<br />
urban community gardens as a green infrastructure strategy<br />
Image: The volunteers at Wild Roots Community Garden (Source: author’s own).<br />
On emotional connection to obsolete motorcars: identifying the driving<br />
mechanisms of attachment to obsolete cars to pave the road for specific<br />
countermeasures in an environmental context.<br />
Miles Thomas<br />
Exploring the factors that make obsolete motorcars appealing, this research aims to<br />
understand hobbyists’ attachment in order to inform countermeasures that might reduce<br />
the unsustainable use of this type of vehicle. Having critically analysed existing literature<br />
relating to the motorcar, semi-structured interviews using photo elicitation were carried<br />
out with obsolete car hobbyists. Through this empirical work, emotional themes from the<br />
literature were clarified, and new non-emotional themes were identified. In conclusion,<br />
emotion, identity, wider interests of hobbyists and their design preferences were found to<br />
be the motivating factors of attachment.<br />
Image: 1990 Vauxhall Astra Mk2 1.4 L (Source: author’s own).<br />
144
Coffee shops to concert halls: an exploration into the impact the design of<br />
live music venues has on user experience.<br />
Lucy Topp<br />
Exploring the architectural design of live music venues, this project assesses how design<br />
affects the experience of women who attend live music venues. It advances the notion that<br />
live music is becoming a social occasion and recognises growing interest in smaller venues.<br />
The research was conducted using focus groups and photo elicitation interviews, drawing<br />
together aspects of literature related to the importance of live music and the positionality<br />
of women in the night-time economy. It concludes that urban policymaking needs to be<br />
attentive to the user experience of live music venues.<br />
Image: An example of the photos used for the PEI inspired section of the focus groups (Source: author’s own)<br />
A study on place attachment in response to social change in County Durham’s<br />
post-mining villages: the case of Easington Colliery.<br />
Amelia Trattles<br />
Considering the intricate social concept of sense of place this ethnographic study<br />
explores how the residents of ex-mining villages have felt the effects of social change in<br />
their communities. Focused on the residents of Easington Village and Colliery, which<br />
was formerly a flourishing, self-sufficient and economically stable community, it finds<br />
that participants’ place attachment comes from a position of emotional attachment and<br />
memory. It also shows how practical considerations shape place attachment for these<br />
residents and reflects on how the concept of place attachment can be better utilised in<br />
understanding what makes people want to stay in places.<br />
Image: The mining garden located in the centre of Easington Colliery (Source: Authors own).<br />
What impact has the lack of planning and participation of HS2 had on the<br />
local communities and the surrounding environments?<br />
Theo Weldon<br />
Drawing attention to a neglected community where lives have been drastically changed due<br />
to the construction of HS2, this study also shows the scope for community involvement<br />
in major infrastructure projects, suggesting that the community is key in developing this<br />
type of scheme. The research raises questions about the true need for high-speed rail in the<br />
United Kingdom and stresses the importance of citizen voice, identifying the need for more<br />
research on the impact of infrastructure projects like HS2 on smaller, rural communities.<br />
Image: Road obstruction due to HS2, which impacts the everyday lives of residents (Source: author’s own).<br />
Transit-oriented development: an analysis of the Underground station in<br />
Canary Wharf (London) after the Jubilee Line extension.<br />
Emily Zheng<br />
Examining citizens’ attitudes and perception towards transit-oriented development in<br />
Canary Wharf after the Jubilee Line extension, this study focuses on understanding how<br />
factors such as mobility behaviour and user satisfaction influence how people engage with<br />
public transport. Looking at how everyday ways of travelling are sustained, it highlights<br />
the importance of addressing community needs and shows the problems residents and the<br />
working community of Canary Wharf face as a result of transit-oriented developments.<br />
Image: Mapping perceived safety on the platform (Source: author’s own).<br />
145
MA in Urban Design<br />
Natalia Villamizar Duarte<br />
Contributors: Ali Madanipour, Tim Townshend, Alkistis Pitsikali, Julia Heslop, Laura Pinzon Cardona, Martin Bonner, Merve Gouck, Tim<br />
Crawshaw, Alex Blanchard, Thomas Kern, Smajo Besos, Husam Kanon, John Devlin, Luke Leung, Vafa Dianati<br />
The MA in Urban Design at Newcastle University is a multidisciplinary programme that draws on<br />
expertise from the three disciplines represented in the school. This reflects the diverse educational<br />
backgrounds of our students. The course balances skills and techniques in contextual design with an<br />
in-depth understanding of the built environment and social science theories and methods. It primarily<br />
uses studio-based pedagogy, where students acquire disciplinary, technical, and collaborative skills<br />
while critically questioning the ways in which we intervene in urban environments. This distinctive<br />
approach promotes critical awareness of the complex dynamics shaping urban spaces and fosters a<br />
relational understanding of the built environment and public life, giving our programme a unique<br />
character within the UK.<br />
The design modules integrate social theory and practice, while lecture and seminar modules provide<br />
essential knowledge on classic and contemporary urban design issues to support design projects.<br />
The course has a strong studio focus, encouraging skills sharing through group work and peer<br />
collaboration. It also boasts significant input from professionals from relevant disciplines and<br />
maintains important connections with both public and private sector agencies in the region.<br />
Three distinct design projects punctuate the year, supported by theory courses and critical debates<br />
on urban design practice. Each project addresses a key urban design issue, engaging with a specific<br />
locality and the unique challenges and themes of that place.<br />
This year, the first major project focuses on a complex site around the City Centre, now branded as<br />
Creative Central Newcastle (CCN). The project familiarizes students with urban design scale and<br />
context, promoting a critical understanding of the various actors, factors, and interests involved in<br />
revitalizing central areas. By developing design strategies, a masterplan, and urban interventions,<br />
students contribute ideas for affordable workspaces for artists and creative practitioners, ensuring<br />
an accessible environment with adequate streetscape, landscape, signage, permeability, and mobility<br />
alternatives.<br />
The second major project, ‘Housing alternatives’ examines new models of neighbourhood design<br />
in the context of the housing crisis and housing needs in UK. This year’s project focuses on the<br />
Gateshead riverfront, a mixed-use area of leisure, culture, employment, and light industry, with a<br />
currently inaccessible riverside. The project explores concepts of affordability, sustainable living, and<br />
community-led models, along with new and contemporary living models addressing resilience and<br />
changing work patterns. Students are challenged to rethink current housing delivery approaches that<br />
often overlook the climate emergency and the critical need for affordable housing.<br />
Students<br />
Ananthakrishnan Mony<br />
Bin Shan<br />
Bingchuan Wang<br />
Cong Nie<br />
Dan yu<br />
Devanshi Rajan Vedpathak<br />
Duy Son Vo<br />
Haojun Sun<br />
Jinghai Huang<br />
Jinlin Liu<br />
Kewal Yogesh Mehta<br />
Megan Dennison<br />
Menghua Ni<br />
Nishita Valli Patti Nataraj<br />
Reham Eter<br />
Runquan Li<br />
Runzi Lu<br />
Rutuja Rajesh Malusare<br />
Salome Johnson<br />
Sayanka Basu<br />
Sukriti Rastogi<br />
Sumit Navinbhai Poriya<br />
Sushmita Prajapati<br />
Tian Ruan<br />
Vaneti Khyash Lativa<br />
Waad Ali H Hanbouli<br />
Wei Lyu<br />
Weiyi Xu<br />
Wenyu Tao<br />
Xiao Liu<br />
Yuzhi yao<br />
Ziyu Wang<br />
In Semester 2, the use of design codes is introduced through a project based in the Ouseburn Valley.<br />
Students are tasked with creating a master-planning vision for either Character Area 1 or 2, Central<br />
Ouseburn, as designated by the Ouseburn Design Code. The focus is on producing a viable and<br />
deliverable masterplan that adheres to the principles set out in the design code.<br />
The year concludes with the final major project, an urban design thesis. This research-led design<br />
project allows students to explore topics of their choice, providing opportunities to elaborate on<br />
many of the themes introduced throughout the course.<br />
146
Top - Dan Yu Middle - Ananthakrishnan Mony Bottom, Left to Right - Bingchuan Wang, Nishita Valli Patti Nataraj<br />
147
Master of Landscape Architecture (MLA)<br />
Stef Leach<br />
The Master of Landscape Architecture is a two-year, full time<br />
postgraduate conversion course for graduates in other disciplines<br />
who wish to pursue professional studies in the UK. The course is<br />
fully accredited by the Landscape Institute.<br />
Landscape Architecture has evolved and is constantly evolving to<br />
respond to the climate and biodiversity emergency, to acknowledge<br />
diverse modes of knowing and doing landscape, and to make<br />
access to landscape inclusive for all. In our studio learning we focus<br />
on a series of principles that envisage landscape planning, design<br />
and management as a conduit for planetary health and well-being.<br />
These principles build on one another and are threaded by art<br />
and ecology which are intertwined in the practice of Landscape<br />
Architecture.<br />
In our first landscape studio research and skills module, we focus<br />
on design as life-centred, more than human and multisensorial<br />
to develop strategies, forms and narratives for contemporary<br />
landscape. In our second studio, we focus on landscape design<br />
as a cyclical and dynamic process, and as a catalyst for cascading<br />
connections and interactions. We encourage students to consider<br />
the city as a landscape and develop manifestos that set the scene<br />
for human-nonhuman cohabitation, from local to planetary scale.<br />
In our third studio, we focus on landscape design as a process of<br />
finding, revealing, and rearranging. In our fourth studio, we focus<br />
on landscape design as a slow and modest activity. We encourage<br />
students to work with the processes of the site and to do little to<br />
achieve more, a motto now practiced by many landscape architects<br />
across the world.<br />
As we say goodbye to our third cohort of Master of Landscape<br />
Architecture students, we also reflect on the ethos and character<br />
of our programme. The planetary scope of our ethos is reflective<br />
and responsive to the global character of our cohort. Nationalities<br />
represented across our cohort include Chinese, Indian, Japanese,<br />
Iranian, Thai, Vietnamese, Nigerian, Saudi Arabian, South Korean,<br />
Australian, and Czech, as well as Scottish and Welsh and English.<br />
Our programme is deeply enriched by each and every one of our<br />
students and the cultural and personal ways of knowing and doing<br />
landscape that they bring to the MLA. This year our MLA Stage<br />
2 Students have embraced the experimental nature of our design<br />
thesis brief and the opportunities it offers to explore and expand<br />
on their ways of experiencing and researching landscape. Many of<br />
the projects included in the <strong>Yearbook</strong> are highly experimental both<br />
in terms of proposed interventions and also in their approach to<br />
design research and representation. This year our students’ projects<br />
have explored ideas as varied as natural burials, art and intertidal<br />
landscape change, multispecies design, soundscape design,<br />
landscapes for social justice, landscape and heritage conservation,<br />
repurpose and reuse of brownfield sites, urban farming and econeighbourhoods.<br />
Stage 1 Students<br />
Abulimiti Dilinigeer<br />
Afrooza Aziz Marutheri<br />
Parambath<br />
Annie Watson<br />
Asako Kumabe<br />
Aswathy Kundu Jayaram<br />
Barzin Geravandi<br />
Dominic Payne<br />
Fangfang Xu<br />
Gayathri Bindu Suseel<br />
Ilakkiya Paulsamy<br />
Chidambaram<br />
Jialiang Ping<br />
Jiaxin He<br />
Jiayuan Chen<br />
Jiyoung Hwang<br />
Manas Vij<br />
Meenakshi Nair Preethi<br />
Miao Liu<br />
Nga Sze Ko<br />
Niranjana Puthen Veettil<br />
Balachandran<br />
Premlekshmi Chokkalinkam<br />
Qinyan Li<br />
Qujian Li<br />
Rawan Allehbee<br />
Roypim Sakuncharoenkij<br />
Sreeraksha Lakshminarayana<br />
Tamilnesan Janakiraman<br />
Ramani<br />
Tianke Liu<br />
Tianyu Huang<br />
Vaishnavi Vaibhav Amberkar<br />
Vignesh Karthik<br />
Venkatraman<br />
Vojtech Kotrc<br />
Wai Leuk Chan<br />
Wenlu Sun<br />
William Smith<br />
Xiaonan Zhou<br />
Zhenyu Tian<br />
Stage 2<br />
Ahmad Salim Vaniyarambath<br />
Abdul Kareem<br />
Amrita Sabu<br />
Ancha Theresa 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 Chaloemphao<br />
Cheuk Hin Yee<br />
Chirag Jayesh Chheda<br />
Gwen Elizabeth Shail<br />
Hai Anh Nguyen<br />
Jialu Miao<br />
Jingyang Li<br />
Kartik Shekhar<br />
Kazusa Hayashi<br />
Ki Fung Wong<br />
Krit Chantapireepun<br />
Krithika Palanivel<br />
Maedehsadat Shanehsaz<br />
Mahiro Sato<br />
Man Wai Stephanie Chan<br />
Maria Susan Dalai<br />
Mayuri Kakasaheb Korde<br />
Owen James Harlow<br />
Precious Enanga-Che Ovat<br />
Qian Mao<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 />
Ziyi Zhang<br />
Contributors<br />
Adriana Oliveros Blanco<br />
Alastair Rigby<br />
Alison Unsworth<br />
Annabel Downs<br />
Catherine Dee<br />
David Barter<br />
Gary Cartwright<br />
Geoff Whitten<br />
Gulce Kanturer Yasar<br />
Henna Asikainen<br />
Kevin Johnson<br />
Liam Haggerty<br />
Lotte Dijkstra<br />
Luca Csepely-Knorr<br />
Lucy Green<br />
Rob Mackay<br />
Robert Golden<br />
Sally Watson<br />
Scott Matthews<br />
Tim Waterman<br />
148
149
Growing Through Planting:<br />
A Sustainable Ecological<br />
Community<br />
This project is located in the<br />
Newcastle area, aiming to create<br />
a better interactive landscape for<br />
children. It provides entertainment<br />
areas for the surrounding children<br />
while offering sustainable food<br />
production for the local residents.<br />
This aims to achieve a green and<br />
sustainable ecological community.<br />
Closing The Resource<br />
Loop: Creating a<br />
productive landscape for<br />
local communities in a<br />
biodiverse landscape<br />
With the development of<br />
industry and population, it<br />
is common to see a conflict<br />
between city sprawl and<br />
agriculture. Cities highly<br />
rely on global economies for<br />
food production. However,<br />
through market gardening,<br />
we can combine cities and<br />
agriculture, especially in<br />
suburban areas, to achieve a<br />
much more sustainable and<br />
resilient future.<br />
150 Top - Tracey Long Bottom - Bixin Gao
The Scotswood Belvedere: A<br />
stepped approach to brownfield<br />
resilience in Scotswood<br />
Based on the historic context and<br />
current situation of Scotswood,<br />
the approach proposes a<br />
systematic framework that<br />
includes enhancing the area of<br />
existing regeneration vegetation,<br />
remediation strategies, creation<br />
of new habitats and increased<br />
biodiversity, increased community<br />
engagement. The aim is to<br />
transform these derelict areas into<br />
sustainable and resilient spaces<br />
that benefit both the community<br />
and the environment.<br />
Harbouring Memories: Hawthorn<br />
Leslie Shipyard Celebration and<br />
Ecological Restoration<br />
This thesis envisions the revival of<br />
Hawthorn Leslie shipyard by integrating<br />
unique salt marsh landscape ecology<br />
restoration with commemoration of its<br />
historical significance. The project aims<br />
to create a sustainable recreation space,<br />
inviting community engagement and<br />
reconnecting communities with their<br />
maritime heritage while preserving and<br />
showcasing the ecological uniqueness<br />
of the site for present and future<br />
generations, as well as honoring its<br />
pivotal role in maritime history.<br />
Top - Tingying Hu<br />
Bottom - Charnnapat Chaloemphao<br />
151
Lordenshaw: Bound for Beyond<br />
The proposal is an imaginative<br />
projection for inclusive heritage<br />
landscapes focused on Lordenshaw<br />
in Northumberland, a site<br />
containing rich archaeological and<br />
ecosystem values. This approach<br />
draws on the idea that landscapes<br />
are materially, symbolically, and<br />
experientially co-created, inspired<br />
by a sense that Lordenshaw is an<br />
‘other’ place and a belief it can be<br />
enjoyed by everyone.<br />
Re-inviting Habitats<br />
Formerly known as Wardley colliery,<br />
the site has a resilient history of being<br />
identified as a local wildlife site even<br />
after enduring the open mining.<br />
Although it has been trying to thrive<br />
and achieve natural succession, the site<br />
has been currently undergoing what is<br />
known as arrested succession/ delayed<br />
succession where the land is forced to<br />
an halt and not flourishing to its best.<br />
Thus, my thesis aim to address the<br />
arrested succession through pockets of<br />
interventions as a catalyst to push the<br />
landscape in order to unlock its full<br />
potential.<br />
152 Top - Ben Crowe Bottom - Krithika Palanivel
A Tranquil Sanctuary in<br />
The City: Rehabilitation of<br />
A Peaceful Spot In Smiths<br />
Dockyard<br />
According to Smiths Dock’s<br />
tranquillity levels and human<br />
activity patterns, renovation<br />
of a historic pier comprises<br />
introducing noise barriers,<br />
renewable vegetation to green<br />
wasteland, flood mitigation,<br />
habitat creation, and biodiversity.<br />
The purpose is to improve<br />
visual, auditory, olfactory, and<br />
psychological tranquillity.<br />
Resonating Relations: A sonic<br />
exploratory trail delving into the<br />
convergence of human connections<br />
and ecological dynamics in Lambton<br />
Park.<br />
At Lambton Park, Durham, this project<br />
delves into the intricate connections<br />
between community, sound, and<br />
biodiversity. The thesis endeavours to<br />
craft profound connections through<br />
a captivating auditory trail that aims<br />
to deepen appreciation for nature and<br />
enhance ecological awareness. The<br />
design strategies and commitment<br />
to ecological sensitivity ensure an<br />
immersive experience resonating with<br />
visitors, preserving the park’s integrity.<br />
Top - Gabby Wang<br />
Bottom - Chirag Chheda<br />
153
Time Weave: Ouseburn’s<br />
Ecosystem Tapestry<br />
The project intertwines culture,<br />
ecology, and community, aiming<br />
to restore the valley while<br />
honouring its heritage. History<br />
reveals a landscape once adorned<br />
with open spaces that gradually<br />
yielded to urban development,<br />
which raises the question: does<br />
Ouseburn’s cultural revival come<br />
at the expense of its precious open<br />
green spaces? Thus begins a quest<br />
for balancing ecology alongside<br />
culture.<br />
Timeless gardens: from carboniferous<br />
to contemporary<br />
This thesis proposal of a botanical<br />
garden at Newcastle’s science central,<br />
intertwines history, nature, and<br />
humanity. It weaves a narrative<br />
transcending epochs, unveiling<br />
botanical histories that embody<br />
memory, experience, and ecological<br />
significance. Rooted in sustainability,<br />
it inspires reverence for our planet,<br />
fostering a profound connection to its<br />
storied past.<br />
The proposal invites visitors to rediscover<br />
the beauty and resilience of our world,<br />
igniting a collective commitment to<br />
environmental preservation.<br />
154 Top - Shabana Mundodan Bottom - Kartik Shekar
Eternal Harmony: The Cyclic<br />
Tapestry of Life And Death In<br />
Riverside Cemetery And Park<br />
A narrative of life and death in<br />
cemetery design, in which the<br />
symbiotic relationship between<br />
life and death unfolds. Amidst<br />
the cemetery’s heart, trees stand as<br />
stoic sentinels, offering solace and<br />
perpetuating serenity. Guided by<br />
conscious design, this sacred space<br />
embraces biodiversity, weaving a<br />
tapestry where human narratives<br />
meld with nature’s cycle. Here,<br />
tranquillity reigns eternal,<br />
promising companionship,<br />
protection, and peace amidst life’s<br />
complexities.<br />
Educationally Refunctionalize Post-Brownfeld:<br />
St Anthony’s Lead Work Post Brownfield<br />
Renovation<br />
The purpose of this thesis proposal is to discuss<br />
how to re-functionalise post-brown field, explore<br />
possibilities of populating and solving ‘drama’<br />
caused by brown history, in a way that provokes<br />
communities to think about relationships between<br />
landscape and industrialisation.<br />
Top - Amrita Sabu<br />
Bottom - Jingyang Li<br />
155
Junction of the Characters:<br />
Celebrating Humans And<br />
Non-Humans Along The<br />
Derwent Through Renaturalisation<br />
At Derwent Haugh, located at<br />
the junction of the Derwent<br />
and the Tyne rivers, a diverse<br />
landscape includes preserved<br />
meadows, mudflats, and<br />
historical industrial activities.<br />
The design leverages this<br />
richness and embodies renaturalisation<br />
as a concept,<br />
providing a harmonious stage<br />
for human and non-human<br />
‘characters’ to collaborate.<br />
Social Justice Landscape:<br />
Transforming Shieldfield Through<br />
Community-Driven Design for<br />
Social Equity<br />
This project explores the existing<br />
landscape and social injustices within<br />
Shieldfield, Newcastle upon Tyne. Its<br />
objective is to promote social justice<br />
through landscape and environmental<br />
design, enhancing quality of life. By<br />
integrating the community into the<br />
design process, the aim is to create<br />
inclusive spaces suitable for individuals<br />
of all ages and races.<br />
156 Top - Kazusa Hayashi Bottom - Krit Chantapireepun
Art, Impermanence and<br />
Renewal: Land Art As A Means<br />
of Honouring the Sensitivity<br />
and Liveliness of The Coast.<br />
Marsden lea is part of the<br />
Durham coast, a special area of<br />
conservation. Despite this the area<br />
is experiencing profound changes<br />
due to coastal erosion. My aim is<br />
not to resort to extreme measures<br />
by trying to prevent change but<br />
to accept the transformations that<br />
have and will happen. The design,<br />
emphasising a gentle approach,<br />
allows a gentle approach allows<br />
land art to sit within the landscape<br />
without retracting from it.<br />
Flowing futures: rethinking riverside<br />
living along The Tyne<br />
Flowing futures is a visionary<br />
multifaceted project spanning from<br />
Malmo Quay to the old spillers mill<br />
site, addressing the intersection of flood<br />
resilience, riverside living and postindustrial<br />
adaptation along the River<br />
Tyne. By improving habitat connectivity<br />
and fostering a harmonious relationship<br />
between people and water, flowing<br />
futures navigates the climate emergency<br />
through a pre-emptive approach,<br />
working with the tides and not against<br />
them.<br />
Top - Gwen Shail<br />
Bottom - Ancha Myburgh<br />
157
Remediation of Brownfield<br />
Site in Jarrow : Exploring How<br />
to Recycle a Brownfield Site<br />
and Turn it into a Sustainable,<br />
Functionalist, Enjoyable<br />
Landscape for the Local<br />
Community<br />
This project critically examines<br />
the relationship between<br />
brownfield and landscape, and<br />
how the brownfield can be reused<br />
in formulating a sustainable<br />
park in Jarrow by retaining<br />
existing site and vegetation. By<br />
exploring innovative approaches<br />
to repurposing brownfield sites,<br />
the study seeks to unravel the<br />
potential of these neglected spaces<br />
as vibrant assets within urban<br />
landscapes.<br />
Tyne Trail: A Journey of Active Exploration<br />
This design thesis attempts to promote active travel<br />
as the preferred mode of transport when traveling<br />
between the centre of Newcastle and Gateshead.<br />
My thesis research explores the relationship of<br />
landscape to people’s willingness to travel actively.<br />
158 Top - Ki Fung Wong Bottom - Adrian Yee
Wildlife Enhancement Corridor<br />
Strategy in Front Garden City<br />
In response to the vanishing front<br />
gardens in Jesmond, which results<br />
in fragmentation in wildlife,<br />
the project attempts to rebuild<br />
the relationship between public<br />
space and private front gardens.<br />
Designing a public space to<br />
affect and be affected by private<br />
space will maximise the value of<br />
space/place for wildlife as well as<br />
community.<br />
Play Park Against Environmental<br />
Anti-Social Behaviour<br />
Play Park Against Environmental<br />
Anti-Social Behaviour in Gateshead<br />
is aimed at fostering neighbourliness<br />
and providing a space for play and<br />
learning, which will recover the sense<br />
of ownership and reduce anti-social<br />
activities. It will be achieved using a<br />
child-friendly concept and natural<br />
play so that the site benefits from<br />
augmented biodiversity and provides<br />
play sufficiency via a sustainable design.<br />
Top - Mahiro Sato<br />
Bottom - Precious Ovat<br />
159
Interwoven Tapestry: A<br />
Threaded Narrative of Holywell<br />
Set in the heart of Seaton valley,<br />
the site in Holywell is bounded<br />
by residential communities,<br />
Holywell first school, and a nature<br />
reserve, and inadvertently impedes<br />
their potential for coherence.<br />
The project aspires to create a<br />
landscape where these boundaries<br />
transcend, unfolding a narrative<br />
as they interlace. This journey<br />
of transcendence progresses to<br />
unearth a forgotten history that<br />
was once integral to the story of<br />
Holywell.<br />
Gateshead Urban Diversity Nexus: A<br />
Walk to Remember<br />
Revitalizing the quay area in Gateshead<br />
and transforming it into a vibrant<br />
and inclusive urban space, the project<br />
seeks to integrate various user groups,<br />
fostering connectivity and dynamic<br />
interactions. The urban diversity nexus<br />
examines the interplay of culture, socioeconomic<br />
factors, and forming a lifestyle<br />
within Gateshead. It underscores the<br />
necessity of inclusive area planning for<br />
equitable communities. The project<br />
seeks to improve the quality of life for<br />
the people of Gateshead. The area action<br />
planning prioritizes achieving social<br />
unity, economic advancement, and the<br />
sustainable evolution of Gateshead by<br />
embracing diversity.<br />
160 Top - Anjana Alex Bottom - Ann Sara Abraham
Re-thinking the Landscape of<br />
Death<br />
The project ‘rethinking the<br />
landscape of death’ aims to explore<br />
and reimagine traditional burial<br />
practices in response to changing<br />
societal values, environmental<br />
concerns, and urban development<br />
trends. Drawing inspiration from<br />
historical shifts in burial practices,<br />
from the medieval period to the<br />
present day, the project seeks to<br />
create innovative solutions that<br />
address the evolving needs and<br />
preferences of communities.<br />
We’re All Connected<br />
Exploring sustainable land management<br />
methods through permaculture design,<br />
this project focuses primarily on<br />
connections, connecting humans to<br />
nature, humans to the landscape and<br />
nature to the landscape. The site in<br />
question is a disused holiday and wildlife<br />
park that has fallen into neglect and<br />
become segregated and disconnected<br />
from the surrounding communities.<br />
I hope to approach this issue through<br />
informed design research to answer<br />
the question, ‘Can we connect humans<br />
and nature with neglected landscapes<br />
through holistic land management?’<br />
Top - Shihan Wang<br />
Bottom - Owen Harlow<br />
161
Harbouring History<br />
Harbouring history sets sail on a<br />
quest to revive the forgotten legacy<br />
of a shipbuilding site, where three<br />
historic dry docks, an extension<br />
of Hadrian’s wall, and the trails<br />
of two coal mining tracks await<br />
their revival. The thesis attempts<br />
to build a fantastical layered<br />
narrative, blending landscape<br />
architecture with the idea of<br />
holding on to history, inviting the<br />
land to whisper its centuries-old<br />
tales of industry and innovation<br />
to the visitor.<br />
Meadow Muse: Public engagement<br />
with art, nature, and magpie magic<br />
A dynamic landscape project nestled<br />
between iconic cultural landmarks along<br />
the Tyne riverside, meadow muse fosters<br />
public engagement with art, nature, and<br />
the enchanting presence of magpies.<br />
Embracing contours as viewing<br />
platforms, it blends ecological habitats<br />
for butterflies and magpies, sculptural<br />
art spaces, and riverside walkabouts for<br />
a harmonious urban-nature dialogue.<br />
162 Top - Ateeqa Chaudhari Bottom - Ahmad Salim Vaniyarambath
Revitalizing Urban Spaces:<br />
Adaptive Reuse in Ouseburn for<br />
a Creative Placemaking<br />
This study delves into repurposing<br />
industrial spaces for cultural<br />
revitalization and sustainable<br />
development. Focusing on urban<br />
revitalization, it explores strategies<br />
to integrate historical heritage<br />
with contemporary identity,<br />
aiming to transform Newcastle’s<br />
landscape into a dynamic,<br />
economically viable environment.<br />
Coquet Currents: Weaving Water,<br />
Wildlife and Walkways into<br />
Warkworth’s Weft<br />
A forward-thinking approach to<br />
landscape design in response to climate<br />
change, the project focuses on preparing<br />
Warkworth for rising water levels and<br />
mitigating flooding risks through<br />
innovative, sustainable integration of<br />
the landscape’s ecological and cultural<br />
elements.<br />
Top - Mayuri Korde<br />
Bottom - Udith Vasanth Shetty<br />
163
Tranquillity Blooms: A Healing<br />
Oasis at Northgate Hospital<br />
In the heart of Morpeth, nestled<br />
amidst the bustling town and<br />
rolling countryside, lies Northgate<br />
hospital, a beacon of hope and<br />
solace for those seeking healing<br />
and restoration of the mind.<br />
Within its compassionate walls,<br />
a vision of serenity takes root – a<br />
healing/therapy landscape garden,<br />
designed to provide respite and<br />
rejuvenation for mental health<br />
patients.<br />
Grounds for Optimism: Natural<br />
Succession to Productive Landscape<br />
The project transforms a forgotten<br />
urban plot of land to create a sustainable<br />
and inclusive community forest garden<br />
that honours the site’s history, a multilayered<br />
landscape where tradition<br />
and innovation intertwine, fostering<br />
ecological resilience which inspires a<br />
sense of optimism for the future.<br />
164 Top - Susan Dalai Bottom - Hai Anh Nguyen
Coastal Park: Resilient<br />
Landscape Design<br />
In response to climate change,<br />
this project integrates new energy<br />
sources like solar and wind to<br />
reduce carbon emissions and<br />
provide self-sufficient energy. It<br />
explores how landscape energy<br />
systems can create multifunctional<br />
spaces at the intersection of nature<br />
and technology, offering green<br />
energy and inspiring community<br />
engagement.<br />
Threads of Diversity: Connecting<br />
Newcastle’s Multicultural<br />
Tapestry through Urban Streets<br />
Threads of Diversity focuses on<br />
exploring the urban streetscapes<br />
of Newcastle and discovering ways<br />
to transform them to promote<br />
inclusivity and social cohesion<br />
amongst diverse multicultural<br />
groups. The project spans<br />
from Blackett to New Bridge<br />
West Street, along with its<br />
surrounding facilities that create<br />
a connective flow around the site.<br />
Top - Yiming Wang<br />
Bottom - Stephanie Man Wai<br />
165
Eco-Renaissance: the rebirth of Calder Leadworks<br />
This design project aims to rehabilitate and transform the Calder Leadworks, a derelict industrial site located in Newcastle upon Tyne.<br />
This site carries a rich industrial history, having once been a bustling center of lead manufacturing, which has played an important<br />
role since the late 18th century. However, over time the industrial estate closed in 2002 and was demolished in 2004, leaving a derelict<br />
and empty site. Nonetheless, its rich history and post-industrial state provide a unique cultural and environmental context for this<br />
project. The core of the project is to address the long-term industrial legacy through green revitalization measures, transforming this<br />
abandoned industrial site into a space that promotes biodiversity, environmental health, and community interaction. The design<br />
will take into account the industrial character of the site, such as the original buildings, storage areas and railroad lines, while paying<br />
attention to the potential soil contamination due to long-term industrial activities. Through landscape design, this project not only<br />
hopes to restore the ecosystem of the site, but also incorporates educational and narrative elements to tell the story of the transition<br />
from industrial use to green space. This project symbolizes an important shift from environmental degradation to sustainability and<br />
community engagement, demonstrating the nascent potential of abandoned industrial sites and a deeper connection between urban<br />
communities and the natural environment.<br />
166 Top - Sai Zhou
Tides Of Transformation:<br />
Reclaiming Nature, Reinventing<br />
Space<br />
In response to rising sea levels and<br />
flood risk due to climate change,<br />
this thesis proposes a landscape<br />
architecture intervention inspired<br />
by sponge city principles.<br />
Through nature-based solutions,<br />
including restoring mudflat, salt<br />
marsh, and woodland ecosystems,<br />
the project aims to mitigate<br />
flood risks, enhance biodiversity,<br />
and reconnect humans with<br />
nature, fostering resilience and<br />
sustainability in the transformed<br />
landscape.<br />
Geological Dialogues - A<br />
metaphorical exchange between<br />
the ephemeral nature of human<br />
design and the enduring presence of<br />
geological formations<br />
Hawthorn quarry lies abandoned. It’s<br />
rich geological heritage in fixing what<br />
is broken, we do not merely restore,<br />
but craft a world more beautiful than<br />
before. The project aims to revive the<br />
unique ecosystem through interventions<br />
that work around the beautiful lie of the<br />
land and also function as an educational<br />
hub, enlightening visitors about its rich<br />
geological heritage. In this spirit, it will<br />
form a conversation between human<br />
intervention and the ancient geological<br />
history of hawthorn quarry.<br />
Top - Brijesh Yadav<br />
Bottom - Athira Sebastian<br />
167
Tribute in Memory of Shabana Mundodan<br />
In loving memory of Shabana Mundodan, an MLA Stage 2 student, who<br />
sadly passed away in June, after a short illness. She was at home in India and<br />
surrounded by her loving family.<br />
Shabana joined the MLA in September 2022. When she started with us<br />
her aspirations were to ‘work and get experience in one of the UK’s premier<br />
architectural firms…then return to India to set up her own business’. Her time<br />
with us was marked by this level of ambition and drive and also by her kindness<br />
and passion for learning.<br />
Shabana’s gentle presence and bright smile drew people towards her, and<br />
she quickly forged friendships with many of her course mates, becoming an<br />
important member of our MLA community.<br />
Shabana embraced all the opportunities her studies offered her to<br />
engage with and explore landscape in all it facets. She developed particular<br />
interests in Landscape Ecology and Regenerative Design. When asked to<br />
consider her future practice as a Landscape Architect she noted her primary<br />
aim would be to only intervene in landscapes in a way that ‘leaves them<br />
ecologically healthier and more resilient than when [she] found them’. As part<br />
of her final reflections on her Design Thesis, submitted in May this year,<br />
Shabana wrote enthusiastically of setting out on exploratory adventures – to<br />
understand and uncover the ‘the intangibles, the nuanced details, the deeply<br />
personal connections that influence our perception of place’. Shabana wanted<br />
to continue to research and design landscapes and to discover in them their<br />
‘heart and soul, where the spirit of resilience and rebirth rules supreme and<br />
the past and present collide’.<br />
We will deeply miss Shabana’s inquisitive eyes and bright presence and<br />
forever carry her memory close to our hearts.<br />
168
169
MSc Advanced Landscape Planning and Management (ALPM)<br />
Charlotte Veal<br />
MSc Advanced Landscape Planning and Management is a full time, one year, interdisciplinary<br />
course designed to develop leadership in landscape planning and management.<br />
The programme develops and applies critical thinking, evidence-based research, spatial<br />
skills, and real-world strategies and proposals to tackle global challenges: from the climate<br />
and biodiversity crises to issues of social justice and living healthy lives. The central ethos<br />
of ALPM is the protection and enhancement of the environment for nature, landscape,<br />
and people. Through hands-on fieldwork, advanced academic training in methods and<br />
theory, engagement with landscape and environment proposals and strategies, and skillsdevelopment<br />
opportunities, students gain the knowledge and expertise to contribute<br />
meaningful solutions to contemporary challenges at a range of scales and across time<br />
frames. Our staff have inter/national partnerships with leading cultural-environmental<br />
organisations and professionals (responsible for rural, coastal, urban and peri-urban<br />
landscapes), supporting student transition into nature-based and green-blue careers. The<br />
programme is situated in a top 15 global University for ‘environmental research’ aligned to<br />
six of the UN’s Sustainable Development Goals, and benefits from a close relationship to<br />
Newcastle University’s Centre for Research Excellence in Landscape.<br />
Students<br />
Bowen Huang<br />
Di Tian<br />
Renjie Fan<br />
Yixuang Peng<br />
Contributors<br />
Cameron Sked<br />
Clive Davies<br />
Diego Garcia-Mejuto<br />
Gulce Yasar<br />
Ikbal Berk<br />
Lotte Dijkstra<br />
Lucy Green<br />
Maggie Roe<br />
Qianqian Qin<br />
170 Images - Charlotte Veal
Images - Charlotte Veal<br />
171
Research and Engagement:<br />
Architectural Research Collaborative<br />
Based on strong ethical agendas, ARC has kept nurturing collaborations inside and outside of the<br />
department and the school, providing a dynamic environment in which research and teaching<br />
are rigorously linked. A number of individual and collective projects have been supported this<br />
year by ARC’s research platform. Our members have been working on different projects that cut<br />
across traditional thematics and connect researchers with diverse expertise to stimulate innovation<br />
and bear collectively on the complexity demanded by architectural, cultural and societal questions.<br />
Reflecting its rigorous contribution to the research agenda of SAPL, the 4* REF results have been<br />
received as a greatly rewarding response with enthusiasm for this success and encouraging us to<br />
further work along the lines we have set as a group.<br />
Celebrating the 101 years of accredited architecture programmes at Newcastle University, the<br />
international conference Architecture 101 – Questioning the Fundamentals was a key event of<br />
this year held in November 2023. Key focus areas of the conference were climate emergency,<br />
professional equity, values in architectural discipline and future perspectives that explored filling<br />
gaps in current education and practice. The event consisted of a variety of participations: workshops,<br />
papers, performances and provocations, in-person and online. In addition to a published booklet<br />
of abstracts, an issue of arq: Architectural Research Quarterly emerging from the conference is<br />
currently being curated and edited.<br />
In parallel, ‘Breathing Space’, an interdisciplinary project led by Prof Prue Chiles, studied ‘gardens<br />
in the sky’, seeking to answer questions on prioritising nature on roofs and balconies. With a first<br />
open discussion curated in November 2023, the project aims at a future exhibition culminating<br />
in ideas for a new vision for our external spaces around and a-top buildings and how these can<br />
transform our lives and our cities.<br />
In March <strong>2024</strong> the International Conference ‘Production Studies’ was held, organised by Prof<br />
Katie-Lloyd Thomas and Dr Will Thomson, seeking to explore transformations of knowledges<br />
and practices of architecture and design if labour, know-how and processes of building production<br />
were made central. The conference involved a number of events, including a book launch and an<br />
exhibition at the Farrell Centre entitled ‘Building: An exhibition under construction’.<br />
Following the successful experimental conduct of Embodied Awareness of Space Symposium (April<br />
2021), an edition entitled Embodied Awareness of Space: Body, Agency and Current Practice (edited<br />
by Christos Kakalis and David Boyd, Palgrave Macmillan, <strong>2024</strong>) is now in publication, reflecting<br />
the collaborative ethos of ARC, but also connections with other organisations and universities in<br />
and outside of the UK.<br />
A number of MArch linked research projects have been cultivated and further developed in the<br />
environment of and support by ARC during this academic year. Themes include, live-build<br />
projects, historical documentation, architectural biographies, creative practice recordings of urban<br />
environments, community-led documentation and design propositions for different (urban or<br />
rural) areas, as well a look at collaborative understandings of architectural design between different<br />
stakeholders and community groups.<br />
172<br />
Text by Christos Kakalis<br />
Opposite - Production Studies
173
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 />
Colonial Narratives in English Country Houses<br />
Isobel Prosser<br />
English country houses have traditionally been a symbol of English aristocracy; many have ties to the East India Company and<br />
Atlantic slave trade. The narratives of National Trust country houses typically focus on the lives of their owners, but uncomfortable<br />
historic connections have only begun to be acknowledged within these narratives. Stemming from the Trust’s ‘Interim Report on<br />
the Connections Between Colonialism and Properties now in the Care of the National Trust’, I examine how three country houses<br />
present their colonial connections. National Trust country houses are beginning to represent connections to the East India Company<br />
and Atlantic slave trade to varying degrees, but there are still areas where more could be displayed, and evidence of ongoing research<br />
into these connections.<br />
Examining the Regeneration of Sheffield’s Park Hill Estate, with Critique of Architectural Awards, Media Narratives, and<br />
Marketing Strategies<br />
Christopher Anderson<br />
In October 2023, Sheffield’s Park Hill estate was awarded the Overall Winner Award at the 2023 Housing Design Awards. The<br />
regeneration of the dilapidated former social housing estate has been undertaken by Manchester-based firm Urban Splash, who set<br />
about renovating the estate in several phases. Their latest award win saw the company’s approach to their most recent phase praised;<br />
how Urban Splash had reconfigured the flats, creating a new flat type with ‘generous open plan living spaces’ and double width<br />
balconies, and the coloured, insulated cladding panels drew special mention in the listing. This dissertation seeks to examine the way<br />
in which Sheffield’s Park Hill estate has been regenerated, with discussion of how the regeneration has impacted on the social housing<br />
offering in Sheffield. It will also critique the impact and influence of architectural awards and acclaim in the regeneration process,<br />
and how their prioritisation of the aesthetics over the ethics of a project can impact the representation of the architectural profession<br />
as a whole. In addition, it will examine how media narratives are built up and used in schemes such as this one, as well as the way in<br />
which Park Hill’s regeneration and that of similar estates are marketed, and to whom.<br />
174
‘Zoomer Music and the City: The Author-Listener Experience in Urban Environments through Gen-Z Music’<br />
José Figueira<br />
A dramatic democratisation has occurred of teenagers’ agency to choose what, how and when they ‘consume’ 21st century media<br />
– and, with music, in its production as well. In parallel, that same digital medium has been the first to successfully commercialise<br />
teenage artists’ work, with a refreshing authenticity compared to post-WW2 popular music, including an honest spatial dimension<br />
to it working within the fragmentation of traditional anthropological place. Singer-songwriter Lorde, and her seminal album Pure<br />
Heroine’s position as the first ‘Gen-Z’ record, is an example of the new sensibility of the condition of teenagers traversing and finding<br />
their way in the urban milieu, finding resonance in starkly different social and urban contexts. Changes in message – and messenger –<br />
are a fertile exploration ground of the experience of the globalised city. Detailing the evolution of music practices and anthropological<br />
concepts of ‘non-places’, the dissertation offers a body of auto-ethnographic research on how Gen-Z’s urban experience is mediated<br />
through their soundscapes.<br />
Ethic Not Aesthetic<br />
Why Socialist Principles in British Housing Must be Revived.<br />
Elle Jarah<br />
Britain is currently facing a social housing crisis. This dissertation discusses the origins of social housing and the brutalist movement<br />
(typically associated with Britain’s welfare state), and helps understand its subsequent political mishandling and underfunding.<br />
Case study analysis showcases the fast deterioration of socialist principles in architecture, and how they have been mistreated. This<br />
dissertation looks at some successful examples of retrofit in social housing. It also suggest how disused buildings might be acquired<br />
by local authorities, enabling a potential revival of socialist housing principles in the architectural industry.<br />
175
The Cross-Over between Architecture, and Vaastu: Exploring the Impacts on Design and Perception<br />
Kaviya Chenthil Kumar<br />
This dissertation investigates Vaastu Shastra, an Indian architectural science that integrates design, perception, and transformation. It<br />
examines the key concepts, charting their growth from Vedic knowledge to modern implementations, and compares them to Western<br />
architectural theories. It demonstrates cultural and climatic adaptations through case studies from India, China, and the United<br />
Kingdom. It addresses Vaastu’s commercialization and potential in the digital era, including the Metaverse, and its reach beyond<br />
conventional temples and modern design. This study invites further debate on Vaastu’s influence on physical and digital settings, with<br />
a focus on the cultural, climatic, and psychological components.<br />
VASTU<br />
A CROSS- OVER BETWEEN AND<br />
ARCHITECTURE<br />
Reclaiming Autonomy: Architectures Toward Freedom in Authoritarian Landscapes<br />
Katie Belch<br />
Expanding on prior research into the embedded politics of regime-built structures and their subsequent precariousness in<br />
architectural cultural history, this thesis aims to investigate how individuals or communities may reject authoritarian state ideology<br />
from within, resisting the passive ideological indoctrination of control state architectures. Poland, the key case study, encapsulates<br />
through architectural intervention the role of identity, collective cultural memory, and resistance in the city. Embedded politics, a<br />
fundamental thematic in the discussion of architectures toward Polish autonomy, provides a framework through which topics of<br />
genocide, anti-semitism and the revival of nationalist ideology can be addressed. Toward which I ask; how might communities,<br />
through architectural intervention, reconnect with self and culture, in effort to prevent ideological resurgence?<br />
Image: Muranów (Warsaw’s largest ghetto). Comparison of Post-war destruction and the Soviet rebuilding effort (1945-62)<br />
176
Architecture 101: Questioning the Fundamentals<br />
We conceived this conference with the intention of providing a forum for reflection<br />
on those aspects of architecture that really matter to us. It felt like a good moment<br />
for such a conversation, since whilst architecture continually renews itself through<br />
questioning, many of today’s questions are shaking the foundations of the discipline,<br />
affecting every architecture school, practice, and media outlet.<br />
The ‘101’ in our title has a dual reference. On the one hand we intended the event<br />
to mark the occasion of the 101 anniversary of architecture at Newcastle (why 101<br />
rather than 100? Look no further than the disruptions attendant on the Covid<br />
pandemic). On the other, the phrase ‘Architecture 101’ evoked an introductory<br />
course that addresses the basics of the discipline. It allowed us to ask: What are<br />
the fundamental questions of architecture? What were they 101 years ago, and<br />
what will they be in another 101 years? Elaborating this theme, we provided our<br />
delegates with further questions to prompt their individual enquiries:<br />
Organisers<br />
Adam Sharr<br />
Juliet Odgers<br />
Kieran Connolly<br />
Rosie Parnell<br />
Stephen Parnell<br />
Student Support<br />
Anupa Jacob<br />
José Figueira<br />
Kaviya Chentil Kumar<br />
Nicholas Stubbs<br />
Sophie Kebell<br />
How? The Climate Emergency: the biggest challenge to humanity with architecture<br />
at the centre. How do we think the unthought, story the unstoried? Unbuild and<br />
rebuild?<br />
Who? Equity: Who can become an architect? Who can practise architecture?<br />
Whose voices are heard and whose actions count? Who has the power to say what’s<br />
in and what’s out? Whom do architects serve? Whom do we include in our design<br />
work? Whom should architects work for? And maybe more importantly, whom<br />
shouldn’t architects work for?<br />
Why? Values: What matters in architecture? Why do we design how we do? What<br />
are the values that drive our actions? What role can architects play in society?<br />
Competition or collaboration? Award-winning, bread-winning, or just endlessly<br />
plate-spinning?<br />
When? The Future: What will we build? What won’t we build? What will new<br />
technologies, materials, processes, language and media enable in spatial design?<br />
Artificial intelligences or intelligent artifices? What kind of architecture might<br />
shape the world?<br />
Where? The Gaps: Between education and practice, technologies and cultures,<br />
women and men, design and performance, East and West, North and South, rich<br />
and poor. Where should energies be directed?<br />
Our five key note events were given by Nzinga Mboup of Worofilia, based in Dakar<br />
and London; Jaideep Chatterjee, Dean of the Jindal School of Art and Architecture,<br />
Delhi; Kiel Moe, a prominent practising architect and author from the USA; our<br />
own Newcastle University Professor Emeritus of Architecture, Andrew Ballantyne;<br />
and the four members of The Production Studies Group Tilo Amhoff from the<br />
University of Brighton; Lara Melotti, from the University of São Paulo; and from<br />
Newcastle University, Katie Lloyd Thomas and Will Thomson. Our thanks to<br />
them and all our contributors for making the conference a stimulating, provocative<br />
and friendly event raising new questions that affect us all and providing a truly<br />
international scope of background to the discussion.<br />
Finally, we offer particular thanks to Sarah Appleyard for her organisational help<br />
and excellent photographic record of the event; and to our team of student helpers<br />
who directed us from here to there whilst keeping us fully supplied with tea, snacks<br />
and lunches in excellent style!<br />
177
178 Top Half - Photography of Production Studies International Conference <strong>2024</strong> Bottom Half - Photography of Architecture 101: Questioning the<br />
Fundamentals
Production Studies International Conference <strong>2024</strong>: Transforming<br />
Knowledges of Architecture Design and Labour<br />
This year over 130 delegates participated 25-28 May in the Production Studies<br />
International Conference <strong>2024</strong>: Transforming Knowledges of Architecture Design<br />
and Labour (PSIC<strong>2024</strong>) here at Newcastle University. The conference was organised<br />
by Professor Katie Lloyd Thomas and Dr Will Thomson with the brilliant coordination<br />
of SAPL’s Sarah Appleyard and assistance from SAPL and Translations<br />
Studies MA students, as the climax of TF/TK – a four-year collaborative project<br />
between Brazilian and UK researchers funded by the AHRC (UK) and FAPESP (São<br />
Paulo) with generous support from project partners School of Architecture, Planning<br />
and Landscape at Newcastle University, École Nationale Supérieure d’Architecture<br />
de Grenoble and Central St Martins, and Instituto de Arquitetura e Urbanismo –<br />
IAU-USP and Faculdade de Arquitetura e Urbanismo – FAU-USP. TF/TK stands for<br />
Translating Ferro/Transforming Knowledges of Architecture, Design and Labour for<br />
the New Field of Production Studies: www.tf-tk.com<br />
Organisers<br />
Katie Lloyd Thomas<br />
Will Thomson<br />
PSIC<strong>2024</strong> marked a decade of collaboration towards bringing unique body of work<br />
of still active Brazilian French historian, theorist, and architect Sérgio Ferro to a wider<br />
audience through its translation into English and critical discussions across building<br />
cultures. We were delighted to have Sérgio Ferro with us to launch the first of our<br />
translations Architecture from Below: An anthology on Day 1 of the conference,<br />
following his keynote. Two further volumes of Ferro’s work will be published<br />
by MACK in <strong>2024</strong> and 2025; Design and the Building Site and Construction of<br />
Classical Design. The team has also been collecting the Sérgio Ferro archive for future<br />
scholarship at IAU-USP São Carlos and preparing an online catalogue and digitisation<br />
of the materials.<br />
Production Studies (PS) research looks to Ferro’s work to advance the critical<br />
understanding of relations between architectural design and the production and labour<br />
of building, with the aim to foster responsible and just alternatives and to embed<br />
teaching practices which introduce labour and the construction site into architectural<br />
education. Our researchers – both TF/TK core team members and affiliated researchers<br />
– are historians, theorists, architects, teachers and activists – and the case studies and<br />
issues they explore are drawn from across this spectrum of activity. Drawing on this<br />
research, we are publishing chapters on 20 cases in Building Sites: Architecture,<br />
labour, and the field of production studies (Routledge, 2025), and 12 full colour<br />
booklets in Production Studies Series in which each publication examines one of these<br />
cases through a production studies lens. We launched 5 of these at PSIC<strong>2024</strong> – these<br />
can be seen at the Farrell Centre’s related exhibition Building: An exhibition under<br />
construction which opened on Day 2 of the conference. The theatre company Capa-Pie<br />
have worked with eight of our researchers to develop a series of dual-language<br />
audio plays available to listen to at https://www.cap-a-pie.co.uk/shows/tf-tk/.<br />
That so many researchers, practitioners and activists joined us for PSIC<strong>2024</strong> from the<br />
UK, Brazil, Europe, South Africa, India and the United States to debate and address<br />
the themes we set out in our call for papers, confirms the interest in and urgent need<br />
for (production studies) research in architecture and related fields. We are looking<br />
forward to developing the Production Pedagogies network as a force for establishing<br />
production studies issues in architectural education and to many new publications and<br />
activities emerging from the conference sessions.<br />
179
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 />
Anna Toft<br />
Charlotte Ashford<br />
Maria Wood<br />
Sean Bartlem<br />
Manplan RefleXXIon<br />
Stephen Parnell<br />
Arthur Belime<br />
Vincent Woehlbier<br />
RESPIRE<br />
Ben Bridgens<br />
Jack O’Neill<br />
Kaywon Mirrezaei<br />
Niamh Condren<br />
Rebecca Neumann<br />
180 Opposite - Photography of Testing Ground Project
181
Manplan RefleXXIon<br />
Stephen Parnell<br />
Between 1968 and 1973, architecture’s ideology shifted due to disillusionment with post-WWII reconstruction, reflecting broader<br />
ecological consciousness in society. Influential publications like The Ecologist and some of the architectural press, such as Progressive<br />
Architecture, highlighted environmental damage and promoted sustainable alternatives, shaping new architectural discourse. The<br />
UK’s Architectural Review published the notable ‘Manplan’ series between September 1969 and September 1970. Although it failed<br />
to attract new subscribers and improve the magazine’s finances, ‘Manplan’ became known for its innovative approach, focusing on<br />
people and the environment rather than technological solutions. Initially planned for 20 issues, only eight were produced, each<br />
addressing themes like Industry, Community, Religion, Education, Housing, and Health & Welfare. Editor-in-Chief Hubert de<br />
Cronin Hastings intended to explore more ecological topics such as Land, Waste, and Energy, but these were never published.<br />
Instead, the June 1971 ‘Civilia’ issue presented an imagined utopia using Brutalist collages without an ecological message.<br />
This project aimed to create a hypothetical ‘Lost Manplan’ issue using AI, envisioning what might have been published around<br />
1973. This endeavour underscores the complex role of generative AI in architectural design, history, and education, highlighting<br />
the need for critical evaluation. AI can produce impressive content but lacks the ability to critically assess or verify information,<br />
blending fact with fiction seamlessly. Inspired by Philippe Duboy’s ‘Lequeu: An Architectural Enigma,’ which suggests that Marcel<br />
Duchamp may have fabricated some of Jean-Jacques Lequeu’s drawings, this project acknowledges the constructed nature of historical<br />
narratives. Similarly, Colin Rowe’s unpublished thesis on an imaginary architectural treatise and Roland Barthes’ ‘Death of the<br />
Author’ argue that readers construct their own interpretations of history. Utilizing these theoretical frameworks, the project aims to<br />
test the authenticity of an AI-generated unpublished ‘Manplan’ issue, demonstrating how history is part fact, part speculation, and<br />
increasingly difficult to distinguish from fiction.<br />
182 Students - Arthur Belime, Vincent Woehlbier
RESPIRE<br />
Ben Bridgens<br />
RESPIRE - Passive, Responsive, Variable Porosity Building Skins is a three year research project funded by the Leverhulme<br />
Trust and led by Prof Ben Bridgens. The project aims to develop a new generation of low-cost, low-environmental impact, responsive<br />
building skins that moderate internal temperature and humidity by varying their porosity. The transformative approach of the<br />
RESPIRE project would improve internal air quality and eliminate the need for energy-intensive, high-maintenance mechanical<br />
ventilation systems, enabling fully passive, zero-energy buildings.<br />
Linked Research students were invited to work alongside the RESPIRE research team and develop their own research projects based<br />
on the RESPIRE research themes.<br />
Left: Cork<br />
infographic poster<br />
Fig 35: Image<br />
showing aerogel’s<br />
thermal insulation<br />
properties when<br />
compared to other<br />
common insulation<br />
types.<br />
These build ups provided a significant challenge<br />
to the creation of these posters, as learning about<br />
not only the insulation materials qualities but also<br />
when to use a VCL or breather membrane required<br />
significant amounts of research. In addition, it<br />
is very possible that more experienced designers<br />
could improve the build ups in order to achieve<br />
thinner wall thickness with similar benefits and<br />
u-values. Additionally, while these wall build-up<br />
details were made for the sake of comparison, it’s<br />
noteworthy that specifying aerogel insulation to<br />
achieve this specific U-value might be impractical.<br />
Factors such as the higher cost (Fig 26) and the<br />
preference for maximising internal floor space in<br />
retrofit applications often steer towards minimal<br />
insulation additions (Fig 35). In the case of aerogels,<br />
the optimal insulation thickness typically falls within<br />
the range of 22–50mm for insulated cavity walls<br />
and 34–62mm for non-insulated cavity walls (Cuce<br />
et al., 2014), in contrast to the 120mm thickness<br />
represented. The selection of a U-value of 0.14 W/<br />
m²K aligns with passive house standards, which<br />
stipulate that opaque building components should<br />
achieve a heat transfer coefficient of 0.15 W/m²K<br />
at most, in temperate cool climates (International<br />
Passive House Association, n.d.). T<br />
standard serves as a benchmark for<br />
ups due to its designation as a “scie<br />
tool.” Emphasising occupant health<br />
comfort, these standards mandates<br />
new builds to have minimal carbon<br />
low energy demand (Bere, 2013, p<br />
for its effectiveness, the passive hou<br />
the potential to reduce heating ene<br />
by up to 90% and overall energy c<br />
by 50-70% (Moskovitz, 2013). Thi<br />
particularly relevant in the context<br />
UK’s housing stock while striving<br />
zero energy consumption.<br />
4. 6 Results<br />
Developed Material Testing<br />
46<br />
Fig 35<br />
28 Infographic posters<br />
Figure 31: Bio-based Material Prototype - Weaving<br />
(Author)<br />
29<br />
Students - Jack O’Neill, Kaywon Mirrezaei, Niamh Condren, Rebecca Neumann<br />
HYDROCLAY<br />
2<br />
183
Testing Ground<br />
Graham Farmer & Peter Sharpe<br />
Testing Ground is a unique programme of constructive design-build research that is grounded in place-based inquiry and stakeholder<br />
engagement. Testing Ground aims to interrogate what it means for architectural knowledge and practice when we remove the<br />
established 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. Since 2013 we have collaborated with<br />
multiple external partners and over the past year, we have established an exciting new partnership with the National Trust and have<br />
commenced student self-build projects at Washington Old Hall and Cherryburn.<br />
Cherryburn is the humble birthplace and childhood home of Thomas Bewick, pioneering ecologist, master wood-engraver, artist<br />
and natural history author. Cherryburn is set in a beautiful landscape context with spectacular views across the Tyne Valley and is<br />
surrounded by the natural world that informed Bewick’s work. The students have worked closely with the Trust to establish a design<br />
brief and the resulting intervention provides a welcome pavilion; a space for receiving, welcoming and inducting visitors. The simple<br />
timber frame wedge-shaped pavilion, clad in charred larch and with a sedum roof is carefully placed to enhance the sense of arrival,<br />
to frame and respect views of Bewick’s birthplace and to respond to Cherryburn’s sensitive heritage context. It seeks to evoke Bewick’s<br />
craft and celebrates the views of the landscape which so inspired his work.<br />
184<br />
Students - Anna Toft, Charlotte Ashford, Maria Wood, Sean Bartlem
185
PhD and PhD by Creative Practice Students<br />
Continuing PhD Students:<br />
Assessing the Need for Public Participation in<br />
19th Century-built Heritage Management in<br />
the Context of Egypt<br />
Dina Abdelsalam<br />
Taking Space: Women’s Access to Public Space<br />
Through a Feminist Running Practice<br />
Sarah Ackland<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 Architectural Model Village: On the<br />
Mechanics of Models and Hobbyist Methods<br />
Michael Aling<br />
Adolescents’ Perception and Experiences in<br />
Public Space and Impacts on Mental Health<br />
and Wellbeing: A case study of Riyadh, Saudi<br />
Arabia<br />
Mohammed Alrubayan<br />
Non-cities as Categories of Practice: Imagining<br />
Within and Through Jakarta Urban Spatial<br />
Strategies<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 />
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 />
Inhabiting the Domestic Threshold in UK<br />
Council Housing: from Defensible Space to<br />
Infrastructure of Care.<br />
Elena Balzarini<br />
Accessing Embodied Knowledge to<br />
Understand Place: Developing and Evaluating<br />
a New Method<br />
Natalie Bamford<br />
Spatial Contest across Scales: A Study of<br />
Transportation Nodes at Dalian and Multi-<br />
Scalar Spatial Politics in Japan’s Colonial<br />
Project in East Asia (1895-1945)<br />
Lu Bao<br />
The More-than-Human Relations of<br />
Transplanetary Imaginaries and Habitats<br />
Anne-Sofie Belling<br />
Enabling a Contested Neighbourhood:<br />
Participatory Processes with Communities of<br />
Practice in Shieldfield, Newcastle upon Tyne,<br />
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 />
Accidental Projections: A Treatise on the<br />
Resistant Mechanisms of a ‘Pataphysical<br />
Practice’<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 />
National Reconstruction Projects Concerned<br />
with Security Vulnerabilities Under the Park<br />
Chung-Hee Regime in the 1960s and 1970S<br />
Uri Chae<br />
Unveiling the Depths: A Comprehensive<br />
Exploration of London’s Subterranean<br />
Architecture<br />
Yan Cheng<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 />
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 />
Urban Forest Stories: Exploring the<br />
intersectional environmental relation between<br />
senses of belonging and equitable access to<br />
urban forest places<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 />
Spaces Enabling Mixed Digital Physical<br />
Embodied Learning<br />
Nagham El Elani<br />
Architecture Education, with Empathy: a<br />
Theoretical and Qualitative Study Exploring<br />
the Potential of Empathy and Empathetic<br />
Practices in the Design Studio<br />
Elantha Evans<br />
The Impact of Digital Tools in Participatory<br />
Decision-making Processes in Urban Heritage<br />
Sites<br />
Merve Gokcu<br />
Reimagining Children’s Spaces with Seven<br />
Stories: The National Centre for Children’s<br />
Books<br />
Daniel Goodricke<br />
The City, The Scene of the Dominant<br />
Ideology, Investigating the Ideological Signs of<br />
the Built Environment in Contemporary Iran<br />
Shirin Hejazi<br />
Living Morphogenesis – Co-designing with<br />
Bacteria<br />
Aileen Hoenerloh<br />
A Feminist Reading of Spatial imaginaries of<br />
modernisation in Tehran, Iran, From 1920-<br />
1940<br />
Sadaf Hosseini Tabatabaei<br />
Exploring the Intersection of Hegemonic<br />
Discourse and Local Heritage: Towards<br />
a Dialogical Understanding of Adaptive<br />
Heritage Reuse<br />
Sinan Ihtiyaroglu<br />
Textile Templating: Knit Design Strategies for<br />
Myco-fabrication Systems across Spatial and<br />
Textile Scales<br />
Romy Kaiser<br />
Towards Autonomy – The Discursive Space in<br />
Jianzhu Xuebao in China (1973-1984)<br />
Lingfei Kong<br />
Biocybernetic Design Fabrication: Developing<br />
an Interactive Bioprocess for Mediating Cyber-<br />
Biological Interventions<br />
Sunbin Lee<br />
Jacob Lee Li<br />
186
Explore the Culture Disruption and<br />
Reconstruction in Post-Industrial City:<br />
Capturing People’s Memories, Forgetting and<br />
Expectations in Jingdezhen, China<br />
Minghe Ma<br />
Characterising Architecture: Investigating<br />
Form, Threshold and Meaning through<br />
Creative Inquiries into Calligraphic Space<br />
Abolfazl Majlesi<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 />
The Ethics of Self-Restraint: Applying<br />
Reversibility and Dharma in Environmental<br />
Policymaking in the UK<br />
Divyali Mehotra<br />
The Effects of Mass Tourism and Heritage<br />
Commodification on the Sense of Belonging<br />
and the Sense of Place<br />
Tinatin Meparishvili<br />
The Materiality of Well-Being in the Built<br />
Environment<br />
Paula Nerlich<br />
Environmental Impact of Non-<br />
Pharmacological Interventions for Frailty and<br />
Dementia Care in Tropical Regions<br />
Emmanuel Odugboye<br />
Exploring the Influence of Culture on the<br />
Actualised Design in Architecture Practice<br />
in Nigeria: with Reference to Selected<br />
Architectural Firms in Lagos<br />
Oluwakemi Oriowo<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 />
Space for Dying<br />
Virginia Rammou<br />
A Pathway to Study Shenzhen’s Identity:<br />
Investigating the Development of Shenzhen’s<br />
Residential Areas in Terms of the Economy,<br />
Migration, and the Built Environment<br />
Tiangchen Ren<br />
Museums & Landscapes to shape Modernity<br />
Aldric Rodriguez Iborra<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 />
Heritage-making to Heritage-mobilisation:<br />
Constructing a Selective History-based Stories<br />
and Heritage Power Landscapes in South<br />
Korea<br />
Minki Sung<br />
The Withdrawn Design: Object-Oriented<br />
Ontology and Architectural Practice<br />
Harry Thompson<br />
Fabrication Through Competition: Developing<br />
Guidelines for a Biological Fabrication<br />
Strategy Using the Mycelium Competition<br />
Ahmet Topcu<br />
Reconstructing the 1958 RIBA Oxford<br />
Conference on Architectural Education<br />
Raymond Verrall<br />
Weaving Modernity across Oceans: A<br />
geopolitical questioning of a transregional<br />
knowledge-making, Guangzhou (1949-1989)<br />
Yuqing Wang<br />
Housing Landscapes and the Politics of Play:<br />
From Parker Morris to Byker c.1955-1995<br />
Sally Watson<br />
Gathering Voices: A Human-natural Systems<br />
Approach to Developing Integrated Contextspecific<br />
Strategies to Improve the Longterm<br />
Sustainability and Resilience of Rural<br />
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 />
Climate-responsive Residential Building<br />
Design for Low-income Older People in<br />
Cold Climates of China: A Study Based on<br />
Occupancy Energy Use Behaviour<br />
Di Yang<br />
Rural-Urban Differences and Public Space<br />
Encounters: Policy Intervention, Social<br />
Segregation, and Identity Expression in<br />
Chinese Cities<br />
Zhan Zhang<br />
Geo-political Stratagem on the Ground:<br />
‘Bordering’ as a Spatial Apparatus of Multi-<br />
Scales in the Making of Shenzhen during<br />
China’s Reform Era (1980s-2010s)<br />
Jun Zhou<br />
187
PhD Research<br />
Architecture Education, with Empathy:<br />
A Theoretical and Qualitative Study of Empathy and Empathetic Practices in the Design Studio.<br />
Elantha Evans<br />
This thesis presents design studios as both fertile and problematic spaces for developing and applying empathy. It starts with the<br />
premise that any meaningful response by architecture to social and environmental inequities must also be considered as part of<br />
architecture education, and that re-centring and expanding practical understandings of empathy is key. Using participatory, actionoriented<br />
research methods rooted in multi-disciplinary theoretical understandings and grounded in lived-experiences, the project<br />
makes connections between design, pedagogical practices, and learning environments. A practically applicable empathetic language<br />
is developed for educators, supporting inclusion of differences, amplification of learner voices and embodiment of diverse cultural<br />
values.<br />
Supervisors: Ruth Morrow & Rosie Parnell<br />
Understanding Urban Heritage Sites’ Values<br />
Minki Sung<br />
A wide range of definitions to describe the term ‘heritage’ exists, and heritage is now more commonly seen as a process of mobilising<br />
some pasts selectively for present-day purposes. This research will explore how selective history as a resource is actively mobilised to<br />
shape the presence of power. Drawing on the conceptualisation of power as an ability of resource mobilisation, I will analyse this case<br />
through the different forms of power exercise based on interviews by attempting to answer the research question: For whom and how<br />
is heritage mobilised and valued through the lens of power?<br />
Supervisors: Loes Veldpaus, Emma Ormerod & John Pendlebury<br />
188
Collaging Nicosia: Engaging with Contested Spaces through Collage-Making<br />
Ceren Senturk<br />
This research aims to investigate how collage, a creative practice, can provide productive opportunities to engage with contentious<br />
debates in contested spaces. Collage, characterised by fragmentation and reassembly, offers a process-oriented approach conducive<br />
to dialogue and intellectual engagement. By experimenting with ideas and fragments, collage facilitates exploration and intellectual<br />
interaction. Using Nicosia, the divided capital of Cyprus, as a testing space, this research employs a collage-based methodology to<br />
document and analyse the city’s socio-political fabric. Through five stages of collage-making, the study introduces the medium’s<br />
potential for description, critique, analysis, interpretation, and imagination, seeking to enrich spatial thinking and expand the<br />
understanding of contested spaces.<br />
Supervisors: Adam Sharr & Ruth Morrow<br />
Climate-responsive Residential Building Design for Low-income Elderly People in Cold Climates of China:<br />
A Study Based on Occupancy Energy Use Behaviour<br />
Di Yang<br />
This research focuses on designing climate-responsive residential buildings for low-income elderly individuals in rural China,<br />
particularly in cold climate zones. By examining the daily occupancy patterns and energy use behaviours, the study aims to improve<br />
indoor environmental conditions and overall well-being of the elderly. The research employs a mixed-methods approach, including<br />
qualitative interviews, quantitative surveys, and environmental monitoring, to gather comprehensive data. The findings will inform<br />
the development of sustainable and thermally efficient housing designs, addressing energy poverty and enhancing the living standards<br />
of elderly rural residents.<br />
Supervisors: Neveen Hamza & Rose Gilroy<br />
189
The Withdrawn Design<br />
Harry Thompson<br />
In the metaphysical cosmos of Object-Oriented Ontology (OOO), everything is an object: humans, non-humans, non-living beings,<br />
and even non-physical and fictional entities. Such thinking urges us towards a world where agency is shared equally between all<br />
things; but then what place is there for design or creativity: for any single entity to retain an element of individual power over the<br />
world around them? This creative practice research explores the world as a space for potentially radical coexistence, seeking methods<br />
of design where we might relinquish our anthropocentric agency, listening to the countless actants around us rather than speaking<br />
over them.<br />
Supervisors: Adam Sharr & Ed Wainwright<br />
Experiencing Architecture in the House Museum: An Auto-ethnographical Study of Walmer Yard<br />
Laura Mark<br />
My research considers our experience of domestic spaces and the museumification of the home through an autoethnographic study<br />
of Walmer Yard – a housing scheme in West London designed by Peter Salter. Based in situated practice, the research for my PhD is<br />
influenced by my work as Keeper of Walmer Yard from 2018 to 2023 and draws upon the public programmes I curated in the houses<br />
as well as my lived experience of them. My research involves critically assessing my own relationship to the building, while setting it<br />
in context as a home, public institution, lauded pieced of architecture and educational space.<br />
Supervisors: Prue Chiles & Adam Sharr<br />
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Urban Forest Stories: Exploring the Intersectional Environmental Relation Between Senses of Belonging and Equitable Access<br />
to Urban Forest Places<br />
Lotte Dijkstra<br />
What does it mean to belong in an urban forest? Who belongs in these more-than-human places? For many humans, urban forests are nature<br />
close to home. For more-than-human beings, urban forests are home. At the same time, engagement with and access to urban forests and<br />
their countless benefits are unequal. This PhD by creative practice explores how senses of belonging relate to equitable access to urban forest<br />
places across more-than-human communities. Collaborative place-based storytelling sessions help recover the interconnections between morethan-human<br />
beings, giving voice to historically marginalised perspectives, and exploring intersecting identities in and of the place itself. The<br />
resulting insights and methodology aim to support fair, healthy and resilient urban forest planning, design and management.<br />
Supervisors: Usue Ruiz Arana, Clive Davies & Maggie Roe<br />
Funding: Forshaw Award in Architecture, Institute of Social Sciences HaSS Pioneer Award<br />
Explore the Culture Disruption and Reconstruction in Industrial City: Capturing People’s Memories, Forgetting and<br />
Expectations in Jingdezhen, China<br />
Minghe Ma<br />
The study raises questions about the official elite’s reappropriation of recent heritage, its selective forgetting of history, studying the<br />
impact on porcelain industry practitioners. The research potential contributes to the investigation of the actual outcomes of topdown<br />
memory shaping by urban elites (officials, developers), and bottom-up analysis of the public’s (practitioners, locals, tourists)<br />
everyday behaviours in different positionality that are affected by the cultural power of the porcelain brand. My thesis takes the<br />
shaping of the city’s collective memory under social change, focussing on the relationship between reusing history and cultural<br />
branding as the research context, and explores the bottom-up response of public groups to the collective memory of the present and<br />
their imagining of visions for the future.<br />
Supervisors: Andrew M Law & Dariusz Gafiljczuk<br />
191
Spaces Enabling Mixed Digital Physical Embodied Learning<br />
Nagham El Elani<br />
My research aims to understand the architectural space that fosters and enhances embodied learning while examining the interrelation<br />
between digital and physical spaces. The study involved two primary schools in England, where teachers and children collaborated in<br />
shaping the research design. The study proposes an embodied learning framework, identifying five architectural modes that enhance<br />
embodied learning, based on sensorimotor, physical, social, and digital interactions. This framework challenges educators and school<br />
staff in rethinking learning activities. Drawing insights from museum design literature and biophilic patterns, the research proposes<br />
spaces and interventions within school environments that would promote mixed digital-physical embodied learning.<br />
Supervisors: Rosie Parnell & Pamela Woolner<br />
Exploring the Influence of Culture on the Actualised Design in Architecture Practice in Nigeria: With Reference to Selected<br />
Architectural Firms in Lagos<br />
Oluwakemi Adewumi Oriowo<br />
My research aims to understand the relationship between practice culture and the resultant designs produced. The study involved<br />
eight architectural firms, encompassing interviews with architects and observation of their offices and completed buildings. The study<br />
is expected to contribute to the knowledge of practice culture, hence providing a significant and measurable increase in the efficiency,<br />
effectiveness, profitability, and value generation of architectural firms and would in turn result in positive outcomes of design with<br />
improved quality and development of the built environment.<br />
Supervisors: John Kamara & Graham Farmer<br />
192
Housing Landscapes and the Politics of Play: From Parker Morris to Byker c.1955-c.1995<br />
Dr Sally Watson<br />
My research explores the relationship between children, housing policy and landscape design in postwar Britain. Adopting perspectives from<br />
childhood studies and based on archival, oral history, visual and mobile methods, it examines the making of national housing policy; the<br />
implementation of planning policy in Newcastle upon Tyne; the redevelopment of the Byker neighbourhood; and the experience of growing<br />
up in Byker. It critiques the processes and practices that constructed younger children as ‘playing’ and older children as ‘out of place’ in housing<br />
landscapes. My research shows how complaints about children’s safety and children’s play shaped conceptions of children, the places they grew<br />
up in and attitudes towards these places.<br />
Supervisors: Maggie Roe & John Pendlebury<br />
Image copyright: Jeremy Preston / RIBA Collections<br />
Taking Space: Women’s Access to Urban Space through a Feminist Running Practice<br />
Sarah Ackland<br />
This research uses creative practice to interrogate running in the city as a feminist practice that has the potential to expand women’s<br />
access to and experience of space. It asks how women have been taught to take up less space, and why women feel they cannot take<br />
up or access space, in both public and domestic domains. Feminist running practice challenges women’s historical exclusion from<br />
the holistic experience of public space and the constricted space they are routinely allocated in a patriarchal society. It concludes<br />
with a propositional definition of a feminist running practice, creating a route for others to explore the expansive space of running<br />
through Taking Space.<br />
Supervisors: Katie Lloyd Thomas, Juliet Odgers & Claire Harper<br />
193
Weaving Modernity across Oceans: Questioning a Trans-regional Knowledge Making, Guangzhou (1949-1989)<br />
Yuqing Wang<br />
This research focuses on the making of the Lingnan School of Architecture from a global perspective, which is currently often referred<br />
to as a tropical regional architecture. The research questions the current view and believes that the Lingnan School of Architecture was<br />
not primarily focused on geographical definition, but on a second abstraction of regionality to respond to State Nationalism. In this<br />
research, the Lingnan School of Architecture is viewed as a product of a new alliance of discourses between knowledge and power,<br />
and such alliance was brought about by the restructuring of power relations and their demands, following the social restructuring of<br />
China during the period 1949-89.<br />
Supervisors: Jianfei Zhu & Samuel Austin<br />
194
The Landscape Collaboratory<br />
Charlotte Veal & Maggie Roe<br />
The Landscape Collaboratory (TLC) was founded as a research group in the SAPL in 2021 and is currently co-led by Prof. Maggie<br />
Roe and Dr Charlotte Veal.<br />
In TLC we use a range of research and engagement methods including creative practice, collaborative transdisciplinary and naturebased<br />
approaches. We aim to reach an international audience through our research publications and outputs, keynote and conference<br />
presentations, work with communities, artists, professionals and policy makers, and through building funding collaborations and<br />
project partnerships.<br />
Since the millennium, landscape research in SAPL has developed an international profile through work in transdisciplinary landscape<br />
planning, landscape ethics and design theory, Green Infrastructure (GI) planning, community forestry, coastal and water-based<br />
research, landscapes and social justice, and editorships (e.g. Landscape Research, Journal of Landscape Architecture and Cultural<br />
Geographies). Our continuing focus on the development of innovative methodological and theoretical approaches and policyrelevant<br />
applied research has resulted in considerable work with UK government, environmental agencies, organisations and<br />
institutions in the UK and internationally.<br />
The following five thematic groups provide the basis for our current research and the development of TLC. These themes are<br />
understood to be overlapping and mutually supporting and likely to change over time as our research and researcher base expands.<br />
They include: i) Trees and Woodlands; ii) Climate and Nature-Based Thinking; iii) Multi-Species and Bio-Design; iv) Creativity<br />
and Collaboration; and v) Cultures and Places. Recent projects led by TLC members include: Foodscapes, Beastly Landscapes,<br />
Community Forest Archive, Delta Bees, and Multispecies Tranquillity. Members of TLC are working closely with Newcastle<br />
University Centre for Research Excellence in Landscape.<br />
195
Hub for Biotechnology in the Built Environment (HBBE) Research<br />
Ben Bridgens<br />
The Hub for Biotechnology in the Built Environment is a collaboration between Newcastle University (School of Architecture,<br />
Planning & Landscape and School of Engineering) and Northumbria University (Department of Applied Sciences) which was<br />
established in 2019 with £8 million funding from Research England, which seeks to create built environments which are lifesustaining<br />
and sustained by life.<br />
Our vision is to develop biotechnologies to create a new generation of Living Buildings which are responsible and responsive to their<br />
natural environment; grown using living engineered materials to reduce inefficient industrial construction processes; metabolise<br />
their own waste, reduce pollution, generate energy and high-value products and modulate their microbiome to benefit human and<br />
ecological health and wellbeing.<br />
To achieve this requires collaboration across disciplines and scales, which is reflected in the HBBE’s unique facilities which include<br />
microbiology laboratories, a workshop which combines digital and biological fabrication with material testing, and an experimental<br />
building: The OME.<br />
196 Images - Ben Bridgens
Living Textiles<br />
In 2023 the fifth HBBE research theme<br />
was established: Living Textiles, led by<br />
Dr Jane Scott.<br />
Living Textiles positions textiles as a<br />
critical biofabrication strategy for the<br />
development of new materials and<br />
construction methods, transforming<br />
biomaterials and biosynthesised polymers<br />
into environmentally responsive, and<br />
programmable systems that operate at<br />
the scale of the built environment. Our<br />
research examines the potential to design<br />
with biology using textile materials,<br />
textiles thinking and advanced textiles<br />
technology. We enable multidisciplinary<br />
research collaborations with experts from<br />
across design and science communities<br />
leading to innovation across scales and<br />
applications.<br />
Highlights for 2023-24 included<br />
installation of large-scale mycelium-knit<br />
structures at the Design Museum in<br />
London and in the National Museum<br />
of Scotland for the Edinburgh Science<br />
Festival.<br />
Images - Ben Bridgens<br />
197
The Farrell Centre<br />
The Farrell Centre’s mission is to widen the debate around the crucial roles that architecture and planning play in the contemporary<br />
world in ways that are engaging, innovative and challenging.<br />
198<br />
Images - Farell Centre
Images - Farell Centre<br />
199
NUAS x NAS Design Competition<br />
On the 21st of February <strong>2024</strong>, we hosted our annual day-long design competition alongside Northumbria University Architecture<br />
Society. A brief was carefully set by members of both societies to propose the design of an exchange hub in Newcastle Upon Tyne situated<br />
around the elevated walkways built around the 1960s. The brief encouraged students to retrofit and redesign the existing structures<br />
keeping the cost-of-living crisis in mind to create spaces for sustainable trade.<br />
The competition culminated with students pinning up their work in the design studios in Sutherland Building, Northumbria University.<br />
We were joined by our sponsors and judges, Northern Architectural Association, JDDK Architects, FaulknerBrowns Architects,<br />
MawsonKerr, Elliott Architects and Alt Studios for the prize distribution.<br />
The APL Workshop<br />
The past year in the workshop has been<br />
marked by an extraordinary diversity<br />
of projects. From tiny scale models<br />
to permanent live builds, and from<br />
traditional woodworking techniques to<br />
digital fabrication and biotechnology, our<br />
team has thoroughly enjoyed supporting<br />
our talented students and colleagues.<br />
Notable highlights include the on-site<br />
assistance we provided at Cherryburn<br />
for the Testing Ground live-build and<br />
the support given to the creation and<br />
exhibition of The Growing Room at the<br />
National Museum of Scotland.<br />
200
NCAN & Small Talk<br />
‘Small Talk’ is our annual lecture series designed to spark big<br />
ideas through intimate and engaging discussions. This year,<br />
it has expanded to include four distinct lecture series, each<br />
addressing crucial aspects of architecture and beyond. With a<br />
diverse range of topics and expert speakers, “Small Talk” aims<br />
to provide a comprehensive learning experience that inspires<br />
and informs our community.<br />
“In-Practice” is a series designed to bridge the gap between<br />
architectural education and the realities of professional<br />
practice. The series offered students, emerging professionals,<br />
and enthusiasts a unique opportunity to gain insights from<br />
seasoned architects who share their firsthand experiences,<br />
diverse projects, and the day-to-day intricacies of working in<br />
the field.<br />
“NCAN” is a pivotal lecture series dedicated to addressing<br />
climate action through architecture and associated fields.<br />
This series brings together esteemed guest speakers from<br />
various professional backgrounds to share their insights on<br />
the importance of environmental consciousness and practical<br />
strategies for sustainability in design and construction.<br />
“Blueprint” was our in-house skillshare series designed<br />
to harness the collective knowledge of our members. It<br />
empowered students to teach and learn from one another,<br />
focusing on essential skillsets such as Adobe Suite, CAD,<br />
and BIM software. The series offered a peer-to-peer learning<br />
experience, fostering collaboration and mutual growth within<br />
the student body.<br />
“Beyond Architecture” is a captivating lecture series that<br />
explores the diverse career paths of individuals who studied<br />
architecture but have since ventured into different fields. This<br />
series aims to showcase the myriad of opportunities available<br />
to architecture graduates, highlighting how architectural<br />
education can serve as a springboard into various professional<br />
Matt Loader<br />
Founding Director<br />
Loader Monteith Architects<br />
Elizabeth Fraher<br />
Co-Founder<br />
Fraher & Findlay<br />
OXMAN<br />
Founded by<br />
Neri Oxman<br />
Ana Teresa Cristobal & Raphael Selby<br />
Architects<br />
Page Park Architects<br />
Armelle Breuil<br />
Founding Director<br />
ACT!<br />
James York<br />
Principal Consultant<br />
Collective Architecture<br />
Andrew Waugh<br />
Founding Director<br />
Waugh Thistleton Architects<br />
Emily Birch<br />
Research Associate<br />
HBBE<br />
Harry Thorpe<br />
Co-Founder<br />
Caukin Studios<br />
Benjamin Gath<br />
Stage 3 Student<br />
Adobe Photoshop<br />
José Figueira<br />
Stage 6 Student<br />
Adobe InDesign<br />
Jessica Simanjuntak<br />
Stage 3 Student<br />
Adobe Illustrator<br />
Dan Howarth<br />
Writer & Creative Consultant<br />
Freelance, Dezeen<br />
Alaric Campbell Garratt<br />
Founder<br />
Assorted Studios<br />
Images - NUAS<br />
201
A Thanks to all 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!)<br />
of these vital individuals who come week after week to teach in our School. Our thanks go to each and every one of them, and we hope<br />
they will keep returning, as without their critical input the School would be a very different place.<br />
Stage 1<br />
Abolfazl Majlesi<br />
Adam Sharr<br />
Alex Blanchard<br />
Armelle Tardiveau<br />
Ben Bridgens<br />
Cara Lund<br />
Chloe Gill<br />
Damien Wooten<br />
Daniel Mallo<br />
Dina Abdelsalam<br />
Elinoah Eitani<br />
Harry Thompson<br />
Henna Asikainen<br />
Husam Kanon<br />
Ivan Marquez-Muñoz<br />
Jianfei Zhu<br />
John Kinsley<br />
Juliet Odgers<br />
Kati Blom<br />
Katie Lloyd Thomas<br />
Kieran Connolly<br />
Lorna Smith<br />
Lu Bao<br />
Marina Kempa<br />
Martin Beattie<br />
Merve Gokcu Baz<br />
Mike Veitch<br />
Nathaniel Coleman<br />
Neil Burford<br />
Neveen Hamza<br />
Nick Clark<br />
Nicky Gardiner<br />
Owen Hopkins<br />
Peter Kellett<br />
Ruth Sidey<br />
Sabina Sallis<br />
Sadafa Tabatabaei<br />
Sam Austin<br />
Sana Al-Naimi<br />
Simon Hacker<br />
Simon Young<br />
Sophie Cobley<br />
Steve Parnell<br />
Thomas Kern<br />
Tolu Onabolu<br />
Will Knight<br />
Stage 2<br />
Alkistis Pitsikali<br />
Claire Prospert<br />
Jan Kattein<br />
Kieran Connolly<br />
Martin Beattie<br />
Matthew Margetts<br />
Michael Simpson<br />
Nicola Lynch<br />
Ruth Richardson<br />
Sally Southern<br />
Sarah Carr<br />
Tolulope Onabolu<br />
Stage 3<br />
Cara Lund<br />
Dan Sprawson<br />
Fiona McNeill<br />
Gillian Peskett<br />
Husam Kanon<br />
Jack Mutton<br />
James Longfield<br />
James Mason<br />
Jess Davidson<br />
John Kinsley<br />
Kati Blom<br />
Luke Rigg<br />
Matthew Margetts<br />
Rob Johnson<br />
Ruth Sheret<br />
Sana Al-Naimi<br />
Shaun Young<br />
Stella Mygdali<br />
Toby Blackman<br />
AUP<br />
Abigail Schoneboom<br />
Alkistis Pitsikali<br />
Andrew Law<br />
Anna Cumberland<br />
Armelle Tardiveau<br />
Arthur Belime<br />
Ben Bridgens<br />
Charlotte Ashford<br />
Chloe Gill<br />
Chris Charlton<br />
Claire Harper<br />
Damien Wootten<br />
Daniel Mallo<br />
David McKenna<br />
Elinoah Eitani<br />
Ellie Gair<br />
Glasshouse Team<br />
Henna Asikainen<br />
Iván J. Márquez Mũnoz<br />
James Longfield<br />
Jane Millican<br />
John Pendlebury<br />
Kati Blom<br />
Lisa Rippingale<br />
Loes Veldpaus<br />
Louise Denison<br />
Mike Veitch<br />
Nathan Hudson<br />
Prue Chiles<br />
Richard Chippington<br />
Rory Kavanagh<br />
Rosa Turner Wood<br />
Samuel Austin<br />
Sean Mallen<br />
Sneha Solanki<br />
Sophia de Sousa<br />
Stef Leach<br />
Toby Blackman<br />
MArch<br />
Adam Sharr<br />
Andrew Thompson<br />
Anna Czigler<br />
Ben Bridgens<br />
Carlos Calderon<br />
Christos Kakalis<br />
Claire Harper<br />
Daniel Burn<br />
David Boyd<br />
David Noble<br />
Graham Farmer<br />
Jane Redmond<br />
Juliet Odgers<br />
Kevin Fraser<br />
Nathaniel Coleman<br />
Neil Burford<br />
Neil Turner<br />
Neveen Hamza<br />
Niall Durney<br />
Nick Heyward<br />
Niki-Marie Jansson<br />
Peter Hunt<br />
Peter Sharpe<br />
Masters<br />
Adriana Oliveros Blanco<br />
Alastair Rigby<br />
Alex Blanchard<br />
Ali Madanipour<br />
Alison Unsworth<br />
Alkistis Pitsikali<br />
Annabel Downs<br />
Cameron Sked<br />
Catherine Dee<br />
Charlotte Veal<br />
Clive Davies<br />
David Barter<br />
Diego Garcia-Mejuto<br />
Gary Cartwright<br />
Geoff Whitten<br />
Gulce Kanturer Yasar<br />
Henna Asikainen<br />
Husam Kanon<br />
Ikbal Berk<br />
James Craig<br />
John Devlin<br />
Julia Heslop<br />
Kevin Johnson<br />
Laura Pinzon Cardona<br />
Liam Haggerty<br />
Lotte Dijkstra<br />
Luca Csepely-Knorr<br />
Lucy Green<br />
Luke Leung<br />
Maggie Roe<br />
Martin Bonner<br />
Merve Gouck<br />
Natalia Villamizar Duarte<br />
Qianqian Qin<br />
Rob Mackay<br />
Robert Golden<br />
Sally Watson<br />
Scott Matthews<br />
Smajo Besos<br />
Stef Leach<br />
Thomas Kern<br />
Tim Crawshaw<br />
Tim Townshend<br />
Tim Waterman<br />
Tolulope Onabolu<br />
Usue Ruiz Arana<br />
Vafa Dianati<br />
<strong>Yearbook</strong><br />
Contributors<br />
Brian Wing On Tse<br />
Molly Smith<br />
Sarah Appleyard<br />
202
203
Sponsors<br />
Sponsors<br />
Lougheed Towers, Burnaby<br />
140<br />
204
Grainger Market, Newcastle<br />
141 205
Proud to support the<br />
University of Newcastle<br />
Degree Show<br />
The Elizabeth line: line-wide design<br />
grimshawarch<br />
grimshaw.global<br />
206<br />
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grimshaw<br />
grimshawarch<br />
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