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Yearbook 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 />

61


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 />

62


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 />

74<br />

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 />

77


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 />

15.<br />

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1.<br />

2.<br />

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 />

41.<br />

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 />

7.<br />

7.<br />

3.<br />

2.<br />

3.<br />

2.<br />

1.<br />

9.<br />

1.<br />

4.<br />

1.<br />

1.<br />

4.<br />

4.<br />

4.<br />

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 />

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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 />

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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 case​study 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 />

190


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 />

206<br />

grimshaw<br />

grimshawarch<br />

©Hufton + Crow

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