AUP Yearbook 2016 - 2024
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<strong>2016</strong><br />
School of Architecture, Planning and Landscape<br />
Newcastle University
BA Architecture & Urban Planning (<strong>AUP</strong>)<br />
The BA (Hons) Architecture and Urban Planning (<strong>AUP</strong>) is an evolving three year programme which<br />
began in September 2013 and is now reaching its first cycle of maturity. The degree programme is a<br />
broad one that seeks to unite academic themes and approaches from the architecture and urban planning<br />
programmes across the School. But whilst many joint degrees can sometimes simply mesh two existing<br />
programmes together, we wanted to do something different. The <strong>AUP</strong> degree carries its own intellectual<br />
and pedagogical themes that cannot be found on other programmes elsewhere in the School. There are<br />
four conceptual strands, which includes one major theme, ‘alternative practice’, and three minor themes:<br />
visual culture, urban design and social enterprise.<br />
The alternative practice strand responds to a critique of twentieth century architecture and planning as<br />
overly technocratic and individualised. Returning to these critiques, alternative practice intends to address<br />
these issues by a greater focus on social, cultural, political and environmental concerns in the design and<br />
construction of the built environment. Our course has drawn inspiration from a range of thinkers and<br />
practitioners concerned with the built environment (including philosophers, political activists, sociologists,<br />
geographers, architects and planners) that have sought to engage and include communities in design<br />
and building (sometimes self-build, sometimes co-production).<br />
The following section which contains images of design work from Stage 1, 2 and 3 of the programme<br />
effectively showcases much of the intellectual and practical academic content of the degree – particularly<br />
the degree’s internal themes – and should be of interest to all with a firm awareness of the connections<br />
between social, environmental and design issues and the built environment more specifically. We hope you<br />
will enjoy the work shown here and derive as much pleasure from these projects as we have in helping their<br />
creators to realise their own personal goals.<br />
Directors<br />
Andrew Law<br />
Armelle Tardiveau<br />
Project Leaders<br />
Armelle Tardiveau<br />
David McKenna<br />
Rutter Carroll<br />
Tim Townshend<br />
Contributors<br />
Adam Sharr<br />
Ali Madanipour<br />
Andrew Donaldson<br />
Andy M Law<br />
Armelle Tardiveau<br />
Cat Button<br />
Chris Beale<br />
Cristina Pallini<br />
Damien Wootten<br />
Daniel Mallo<br />
Dave Webb<br />
Dhruv Sookhoo<br />
Geoff Vigar<br />
Georgia Giannopoulou<br />
Helen Robinson<br />
Ian McCaffery<br />
Irene Curulli<br />
Irene Mosley<br />
James Longfield<br />
James Street<br />
Jane Midgely<br />
Joe Dent<br />
John Pendlebury<br />
Jules Brown<br />
Kati Blom<br />
Katie Lloyd Thomas<br />
Ken Hutchinson<br />
Loes Veldpaus<br />
Marion Talbot<br />
Mark Tewdwr-Jones<br />
Martin Beatie<br />
Martin Bonner<br />
Matt Ozga Lawn<br />
Matt Wilcox<br />
Montse Ferres<br />
Neil Powe<br />
Paola Gazzola<br />
Paul Crompton<br />
Peter Kellett<br />
Peter Mouncey<br />
Prue Chiles<br />
Raphael Selby<br />
Ray Verrall<br />
Roger Maier<br />
Rose Gilroy<br />
Rutter Carroll<br />
Scott Savin<br />
Steve Dudek<br />
Steve Graham<br />
Steve Parnell<br />
Stuart Cameron<br />
Su Ann Lim<br />
Sue Speak<br />
Teresa Strachan<br />
Tibo Labat<br />
Tim Mosedale<br />
Tim Townshend<br />
Usue Ruiz Arana<br />
Stage 1<br />
Abbey JoForster<br />
AdilZeynalov<br />
AhmadNamazli<br />
Ahmet Halil Hayta<br />
Ben Edward Johnson<br />
Callum Robert<br />
Campbell<br />
Conrad Chi WahLi<br />
EmilyWhyman<br />
Fatma Beyza Celebi<br />
Flynn Christopher<br />
Linklater-Johnson<br />
Georgia AnneMiles<br />
HarryBloomfield<br />
Huiyu Zhou<br />
Jemima Anulika<br />
Manasoko Onugha<br />
Jiewen Tan<br />
Jieyang Zhou<br />
John-Kervin Marcos<br />
Joshua Edward Beattie<br />
Joshua Thomas Goodliffe<br />
Junqiang Chen<br />
Ka Hei Chan<br />
Ka Hei Wong<br />
Konstantins Briskins<br />
Marvin Shikanga Mbasu<br />
Max James Hardy<br />
Mehboob Chatur<br />
Michael John<br />
Rosciszewski Dodgson<br />
Minsub Lee<br />
Nikshith Reddy<br />
Nagaraja Reddy<br />
Photbarom Korworrakul<br />
Racheal Felicia<br />
Modupeayo Osinuga<br />
Richard George Gilliatt<br />
Ryan Patrick Thomas<br />
Sahir Thapar<br />
Shaoyun Wang<br />
Siddhant Agarwal<br />
Sonali Venkateswaran<br />
Stephen Johnston<br />
Sutong Yu<br />
Theodore Christian<br />
Robert VostBond<br />
Ting En Wu<br />
Vaios Tsoupos<br />
Van Abner Tabigue<br />
Consul<br />
Winnie Wing Yee<br />
Wong<br />
Xi LIN<br />
Xinyun Zhang<br />
Xuanzhi Huang<br />
Yasmine Khammo<br />
Yuan Xu<br />
Zeynab Bozorg<br />
Stage 2<br />
Alex Joseph Robson<br />
Ali Alshirawi<br />
Andrew John Laurence<br />
Blandford-Newson<br />
Chia-Yuan Chang<br />
Christopher Hau<br />
Eleanor Kate Chapman<br />
Filip Ferkovic<br />
George Jeavons-Fellows<br />
Hannah Rose Knott<br />
Henry Andrew Morgan<br />
Hiu Ying Sung<br />
Jieyu Xiong<br />
Jonas Wohni Grytnes<br />
Lok Hang L Leung<br />
Nadine Landes<br />
Phuong Anh Pham<br />
Runyu Zhang<br />
Seyed Masoumi Fard<br />
Sheryl Lee<br />
Simona Penkauskaite<br />
Sze Chai Anthony Choy<br />
Thomas Gibbons<br />
Yeqian Gao<br />
Yilan Zhang<br />
Stage 3<br />
Yuxiang Wang<br />
Adem Mehmet<br />
Altunkaya<br />
Blair Forrest Nimmo<br />
Charles Richard Moore<br />
Charlotte Harrison<br />
Fedelis Fernando<br />
Tosandi<br />
Harry George<br />
Treanor<br />
Jack William Burnett<br />
Jessica Lily Poyner<br />
Martin Kruczyk<br />
Po-Yen Chang<br />
Rebecca Mary<br />
Alexander<br />
Richard Keeling<br />
Rutheep Prabhakaran<br />
Ryan Thomas Conlon<br />
Safeer Shersad<br />
Shu Ting Tang<br />
Sophie Hannah Laverick<br />
Thomas Bartholomew<br />
Charles Wessely<br />
Veenay Patel<br />
Zheng Kit Leong<br />
80<br />
Opposite - First Graduating Year <strong>AUP</strong>
<strong>AUP</strong> Stage 1 – Measure<br />
David McKenna<br />
There are 14 boat houses belonging to various colleges, schools and amateur rowing clubs located along the Wear in Durham. The earliest date from<br />
the early 1800s and coincide with the founding of the university. Measure required the design of a 15th boat house and cafe that would form a gateway<br />
from the city centre to the university playing fields.<br />
82<br />
Top left - Konstantins Briskins Top right - Callum Campbell Middle - Callum Campbell Bottom left - yasmine khammo bottom left - Xi Lin
Top left to bottom right - Ka Chan, Xi Lin, Sutong Yu, Ka Chan, Yasmine Khammo, Winnie Wong, Sutong Yu 83
<strong>AUP</strong> Stage 2 – Theory and Form<br />
Rutter Carroll<br />
In semester two of Twentieth Century Architecture, students were asked to consider a Theory + Form approach to the submission of an essay and design<br />
project, through a strategy for the reuse/conversion/extension/adaptation of an existing post war building in the Tyneside area.<br />
Wallsend Central Library, a key building from the post war period in the region, was identified for study and analysis with respect to its reuse. Built in<br />
1967 as the main library in the town of Wallsend, and designed by local architects Faulkner Brown (formerly Williamson Faulkner Brown and Partners),<br />
the building allowed students to assess the design through a series of Theory + Form lectures, seminars, design analysis tutorials and exercises.<br />
84 Top - Wallsend Central Library, Williamson, Faulkner Brown and Partners, 1966 Bottom - Seyed Masoumi Fard, Yuxiang Wang, Jonas Grytnes
Group work: Jieyu Xiong, Lok Hang Leung, Chia-Yuan Chang, Seyed Masoumi Fard, Yuxiang Wang, Jonas Grytnes, Thomas Gibbons, Alex Robson,<br />
Christopher Hau, Henry Morgan, Yilan Zhang, Runyu Zhang, Sze Chai Anthony Choy, Hui Ying Sung<br />
85
<strong>AUP</strong> Stage 3 – A Home for All: Housing for Vulnerable Population<br />
Tim Townshend<br />
During the 2020s a point will be reached when 25% of the UK population will aged 65 and over. People are living more active lifestyles into older<br />
age and there is a huge challenge to meet the needs and aspirations of these ‘active third agers’. APL 3002 explored the complexities of providing<br />
a stimulating, safe, appropriate and desirable home for older persons in an existing setting, Armstrong House, a listed Arts-and-Crafts property in<br />
Bamburgh. Armstrong House Bamburgh is an independent charitable trust providing ‘independent living with support’ affiliated to the national<br />
Abbeyfield society. The students were charged with thinking holistically about the place of older persons’ housing in a settlement such as Bamburgh<br />
and how it might be more fully integrated into the everyday life of the community, by providing ‘places of encounter’ learning from Dutch experience.<br />
86
87
<strong>AUP</strong> Stage 3 – Alternative Practice: Co-producing Space<br />
Daniel Mallo & Armelle Tardiveau<br />
For Alternative Practice: Co-producing Space, students focused on a live project at Denton Burn Community Association which concerns the design<br />
of a community garden and a playful area for an unused derelict plot. The project included the mapping of the Network of Social and Environmental<br />
Initiatives in the neighbourhood and aimed to engage students with existing community-led initiatives. The project culminated with a series of design<br />
proposals and temporary installations on site, which allowed the community to experience the transformed space and trigger conversations about the<br />
potential of the place as well as learning together through the enactment of a temporary community space.<br />
88 Installation at Denton Burn
89
<strong>AUP</strong> Creative Practice / Social Sciences Dissertation<br />
Tyne Deck in the 21st Century: How can architectural interventions be used to improve the<br />
relationship between Newcastle and Gateshead?<br />
Tom Wessely<br />
This Creative Practice Dissertation analyses how the infrastructure at Quayside has developed since<br />
the Roman period. It focuses on the key changes at Quayside such as the construction of the High<br />
Level Bridge, built in 1847. Following this, it critically examines in greater detail the structures<br />
built in the contemporary era, such as the Millennium Bridge and the Sage. The aim is to establish<br />
through a design proposal how the quayside area might help improve the relationship between<br />
Newcastle and Gateshead. Information obtained through interviews and focus groups influences the<br />
design proposal. Through a mapping exercise, I unpack the urban quality of Quayside and propose<br />
possible ways of improving the relationship at Quayside through architectural interventions. The<br />
proposal is influenced by the Tyne Deck, designed in 1969 by Gordon Ryder and Peter Yates (but<br />
never built) reflects on the controversial Garden Bridge by Thomas Heatherwick. In the conclusion,<br />
I discuss what impact such proposed infrastructure could have on local organisations such as the<br />
NewcastleGateshead Initiative and how it might improve the relationship between Newcastle and<br />
Gateshead.<br />
Public Spaces in Kibera<br />
Veenay Patel<br />
This dissertation looks to unfold the production and consumption of public spaces in Kibera.<br />
The research was conducted in the Gatwekera district of the informal settlement and focuses on<br />
six public spaces in the area. The information collected about each space is portrayed through six<br />
narratives, where I express conversed, observatory and researched findings. The intention is to try<br />
and understand the relationship between people and place within the settlement. Furthermore, the<br />
aim is to explore the possibilities that may enhance these spaces for the residents and enable them<br />
to effect change for a better future.<br />
The focus of this study is to look in particular at the production and use of public spaces within the<br />
settlement. Kibera is structured upon government owned land and therefore, in layman’s terms is all<br />
considered to be public space. However, this is not the case as the informal city works with the same<br />
notions of public and private as the formal city. For the purpose of this study, a public space can be<br />
defined as a social space that is generally open and accessible to the people. The characteristics of a<br />
public space in the formal city differ to those of the informal as the facets that define these spaces<br />
are dependent on the people that utilise them. This led to an exploration of ‘What defines a public<br />
space in Kibera?’ The insinuation being that the functional and symbolic value of a public space in<br />
an informal settlement like Kibera is based upon the foundation of what the residents require rather<br />
than being a simple space of leisure. Thus, this research aims to unravel some key concepts that can<br />
help us understand how public spaces work in Kibera and the bearing this has on the lives of the<br />
citizens that reside there.<br />
Identifying Inadequacies of Water and Sanitation Provision in the Slums of Mumbai and the<br />
Consequences of this for Female Access to Education and Employment.<br />
Rebecca Alexander<br />
Water and sanitation provision is a concern for many informal settlements in the cities of<br />
developing countries. Cultural norms in many countries mean that women from low-income urban<br />
communities find that their lives and opportunities are shaped by the inadequate provision of basic<br />
services. Mumbai is a city with one of the largest informal populations in the world. Understanding<br />
the nature of these informal settlements is necessary in order to intervene most effectively. This study<br />
examines the challenges of delivering adequate water and sanitation services to the slums of Mumbai.<br />
The inadequacies of both formal and informal systems were explored to identify the consequences of<br />
such shortfalls. The research found that many aspects of life within Mumbai slums were connected<br />
to water and sanitation related activities. Furthermore it was found that because women and girls<br />
bare the brunt of the burden of these activities their education and employment opportunities are<br />
negatively impacted by insufficiencies.<br />
77
2017<br />
School of Architecture, Planning and Landscape<br />
Newcastle University
BA Architecture & Urban Planning (<strong>AUP</strong>)<br />
Andrew Law & Armelle Tardiveau – Degree Programme Directors<br />
The BA (Hons) Architecture and Urban Planning (<strong>AUP</strong>) is an evolving three-year<br />
programme that seeks to unite academic themes and approaches from the architecture<br />
and urban planning programmes across the School. The <strong>AUP</strong> degree carries its own<br />
intellectual and pedagogical themes that cannot be found on other programmes<br />
elsewhere in the School. There are four conceptual strands, which includes one major<br />
theme, ‘alternative practice’, and three minor themes: visual culture, urban design and<br />
spatial practice as well as social enterprise.<br />
The alternative practice strand responds to a critique of twentieth century architecture<br />
and planning as overly technocratic and individualised. Returning to these critiques,<br />
alternative practice bring to the fore social, cultural, political and environmental<br />
concerns in the design and construction of the built environment. Our course has<br />
drawn inspiration from a range of thinkers and practitioners concerned with the built<br />
environment (including philosophers, political activists, sociologists, geographers,<br />
architects and planners) that have sought to engage and include communities in design<br />
and building (sometimes self-build, sometimes co-production).<br />
The design work from Stages 1, 2 and 3 of the programme selectively showcases much of<br />
the intellectual and practical academic content of the degree while helping the students<br />
to develop visual and spatial skills; we aim to engage students in developing their own<br />
agenda and interests making clear the connections between social, environmental and<br />
design issues and the built environment as the driving spirit of their endeavors.<br />
67
<strong>AUP</strong> Stage 1<br />
The <strong>AUP</strong> programme is radically interdisciplinary and offers an integrated approach to both<br />
Architecture and Urban Planning. The first semester focuses on skill building with formative<br />
design projects allowing students to develop drawing abilities in free hand and orthographic<br />
representation, as well as engage them in materialising spatial ideas three dimensionally through<br />
modelling and sketching.<br />
Students begin the year with the study of an urban scene in Siena painted by Lorenzetti in 1339;<br />
they interrogate the socio-spatial relationships and model to scale their interpretation of the<br />
urban fabric. This first exercise is intended to set the tone of the programme and engage students<br />
in unpacking traditional questions in urban studies at all scales (city, building, people). This is<br />
supported in greater depth with non-design modules such as ‘Alternative Practice Histories’<br />
and ‘Social Worlds’ allowing students to develop critical thinking of the power of the standard<br />
profession while broadening the spectrum of the myriad of other actors of the built environment.<br />
The design projects together with the ‘Introduction to Architectural History’ and ‘Architectural<br />
Technology’ are shared with Stage 1 BA Architecture ensuring that <strong>AUP</strong> students are familiar with<br />
existing architectural practice, discourse and culture. As such the artists and design contributors<br />
from Architecture provide an invaluable input and grounding into the first year programme.<br />
Linked with BA Stage 1 (see pg.12-15)<br />
Project Leaders<br />
Armelle Tardiveau<br />
David McKenna<br />
Elizabeth Baldwin Grey<br />
James Longfield<br />
Kati Blom<br />
Sean Douglas<br />
Stage 1<br />
Abell Ene<br />
Aimee Akinola<br />
Amabelle Aranas<br />
Andrew Fong<br />
Andrew Webb<br />
Anqi Li<br />
Cameron Reid<br />
Chloe Cummings<br />
Chunyang Song<br />
Daniel Carr<br />
Dongjae Lee<br />
Dwayne De Vera<br />
Ella Spencer<br />
Ellis Salthouse<br />
Emma Van Der Welle<br />
Fabian Kamran<br />
Farah Binti Ashraf<br />
Haziqah Hafiz Howe<br />
Henry Oswald<br />
Julian Baxter<br />
Juliette Smith<br />
Karim Shaltout<br />
Karolina Smok<br />
Kelly Morris<br />
Kirin Gallop<br />
Luis Henriques Menezes Pataca<br />
Maisie Jenkins<br />
Matthew Li<br />
Mohammad Hassan<br />
Natalie Lau<br />
Nik Binti Azman<br />
Nur Salymbekov<br />
Oliver Timms<br />
Oyinkansola Omotola<br />
Ryan Hancock<br />
Salar Butt<br />
Samantha Chong<br />
Sara Fulton<br />
Sebestyen Laszlo Tali<br />
Shuli Wu<br />
Sophie Wakenshaw<br />
Stephen Teale<br />
Thanuyini Suseetharan<br />
Thomas McFall<br />
Thomas Sheridan<br />
Contributors<br />
See pg.201<br />
68<br />
Text by Armelle Tardiveau<br />
Opposite - Sophie Wakenshaw
Reading Into/Drawing From<br />
Armelle Tardiveau<br />
The project focuses on The Allegory of Good and Bad Government, an urban scene set in the city of Siena, Italy, painted by Ambrogio<br />
Lorenzetti between 1338-39. By observing, sketching and drawing the ensembles of buildings that can be read into Lorenzetti’s painting,<br />
students delve into a three-dimensional interpretation of the traditional urban fabric depicted. Working in groups, the outcome is the<br />
articulation of a plan and a model of the scene.<br />
70<br />
Group Work: Sophie Wakenshaw; Ryan Hancock; Luis Pataca, Shuli Wu; Juliette Smith; Karolina Smok; Oliver Timms, Amabelle Aranas; Julian Baxter; Dwayne<br />
De Vera; Sara Fulton, Karolina Smok, Oyinkansola Omotola, Haziqah Hafiz Howe, Daniel Carr; Sebestyen Laszlo Tali; Emma Van Der Welle
Measure<br />
David McKenna<br />
There are 14 boat houses belonging to various colleges, schools and amateur rowing clubs located along the Wear in Durham. The earliest dates<br />
from the early 1800s and coincide with the founding of the University. Measure required the design of a 15th boat house and cafe that would<br />
form a gateway from the city centre to the University playing fields with particular consideration of sunlight and floodwater.<br />
Top, left to right - Natalie Lau, Sophie Wakenshaw, Haziqah Hafiz Howe Middle - Ella Spencer Bottom - Kirin Gallop<br />
71
72 Top left to Bottom right - Haziqah Hafiz Howe, Natalie Lau, Shuli Wu(2), Karolina Smok, Chloe Cummings, Luis Henriques Menezes Pataca, Kirin Gallop
Top left to Bottom right - Ella Spencer, Anabelle Arana, Natalie Lau, Chloe Cummings, Andrew Webb<br />
73
<strong>AUP</strong> Stage 2<br />
Delving into greater depth in the alternative practice ethos, students develop further critical thinking<br />
by being exposed to theories pertaining to architecture and planning in the widest possible range of<br />
cultures and social groups. Positionality in both theory and design becomes a leading aspect of the<br />
<strong>AUP</strong> Stage 2. In addition, students are provided the opportunity to choose from a variety of options<br />
so that they can carve their own career path and further develop skills and imagination in design<br />
projects but also specialisms in planning, social enterprise, poverty and informal housing as well as<br />
sociology and the politics of urban space. The optional field trip to the Netherlands is a highlight<br />
of the second semester where students are exposed to alternative practice projects and governance<br />
methods as well as sustainable approaches to the built environment.<br />
Project Leaders<br />
Rutter Carroll<br />
Stage 2<br />
Abbey Forster<br />
Adil Zeynalov<br />
Ahmet Hayta<br />
Ben Johnson<br />
Beyza Celebi<br />
Bunkechukwu Obiagwu<br />
Dominica Bates<br />
Emily Whyman<br />
Flynn Linklater-Johnson<br />
Georgia Miles<br />
Hannah Hiscock<br />
Jeffrey Korworrakul<br />
Jieyang Zhou<br />
Jing Su<br />
Joshua Beattie<br />
Junqiang Chen<br />
Ka Hei Wong<br />
Michael Rosciszewski Dodgson<br />
Minsub Lee<br />
Racheal Osinuga<br />
Richard Gilliatt<br />
Ryan Thomas<br />
Sahir Thapar<br />
Sanghyeok Lee<br />
Shaoyun Wang<br />
Sonali Venkateswaran<br />
Sutong Yu<br />
Theodore VostBond<br />
Ting En Wu<br />
Van Abner Tabigue Consul<br />
Winnie Wong<br />
Zeynab Bozorg<br />
Contributors<br />
See pg.201<br />
74<br />
Text by Armelle Tardiveau<br />
Opposite - Group work
Theory and Form<br />
Rutter Carroll<br />
The module considered the development of architectural expression in response to the economic challenges and social optimism that<br />
characterises the North East region.<br />
Students considered a Theory + Form approach in the submission of an essay and design project pursuing a strategy for the re-use/conversion/<br />
extension/adaptation of an existing post war building on Tyneside.<br />
The Salvation Army Men’s Hostel, by Ryder and Yates, a key building from the post war period in the region, was identified for study and<br />
analysis by allowing students to assess the design through a series of lectures, visits, seminars, design analysis tutorials and exercises.<br />
76<br />
Top - Salvation Army Men’s Hostel, by Ryder and Yates 1974<br />
Bottom - Group work: Junqiang Chen, Minsub Lee, Ka Hei Wong, Ting En Wu
Group Work: Jing Su, Shaoyun Wang, Sutong Yu, Jieyang Zhou, Ahmet Halil Hayta, Sanghyeok Lee, Reacheal Felicia Modupeayo Osinuga, Winnie Wing Yee<br />
Wong, Zeynab Bozorg, Van Abner Tabigue, Consul, Sahir Thaper, Ryan Patrick Thomas, Fatma Beyza Celebi, Bunkechukwu Chiagoziem Obiagwu, Sonali<br />
Venkateswaran, Dominica Ruby Bates, Joshua Edward Beattie, Theodore Christian Robert VostBond, Emily Whyman<br />
77
<strong>AUP</strong> Stage 3<br />
The major component of Stage 3 is the dissertation. In order to cater for the variety of strengths and<br />
abilities of the cohort, students may choose to write a Social Science dissertation or Creative Practice<br />
dissertation using design as a form of enquiry. The design modules offered, including housing for<br />
vulnerable populations and co-production of space, ensure an incremental experience of working<br />
in/for/with communities. Furthermore, the Erasmus exchange to Amsterdam and Stockholm in<br />
semester one reinforces the diversity of approaches around alternative practice. The year culminates<br />
with a series of talks by a variety of practitioners and activists of the built environment with a view<br />
to inspire students for their next academic or professional steps – these include Amy Lindford<br />
of MUF Architects,Kate Percival and Sara Cooper of 22 Sheds, Dr Emma Coffield curator of<br />
Newcastle City Futures, Michael Crilly of Studio Urban Area, Ryan Conlon a student from the<br />
MA Urban Design student (<strong>AUP</strong> 15/16 graduate), Sally Watson Architectural Curator and Dhruv<br />
Sookhoo, architect, planner and developer.<br />
Project Leaders<br />
Armelle Tardiveau<br />
Daniel Mallo<br />
Tim Townshend<br />
Stage 3<br />
Alex Robson<br />
Ali Alshirawi<br />
Andrew Blandford-Newson<br />
Anthony Choy<br />
Chia-Yuan Chang<br />
Christopher Hau<br />
Eleanor Chapman<br />
George Jeavons-Fellows<br />
Hannah Knott<br />
Henry Morgan<br />
Jieyu Xiong<br />
Jonas Grytnes<br />
Luke Leung<br />
Nadine Landes<br />
Natalie Sung<br />
Phuong Anh Pham<br />
Runyu Zhang<br />
Sheryl Lee<br />
Simona Penkauskaite<br />
Thomas Gibbons<br />
Yeqian Gao<br />
Yilan Zhang<br />
Yuxiang Wang<br />
Contributors<br />
See pg.201<br />
78<br />
Text be Armelle Tardiveau<br />
Opposite - Group work
Housing For Vulnerable Populations<br />
Tim Townshend<br />
During the 2020s a point will be reached where 25% of the UK’s population is 65 or over. However people are not simply living longer,<br />
but living more active lives into older age. There is a huge challenge to meet the needs and aspirations of these active ‘third agers’. Working<br />
with Armstrong House an independent charity providing ‘independent living with support‘, in the village of Bamburgh, Northumberland<br />
explored the complexities of providing a safe, stimulating and desirable home for older people in the existing setting of a listed building.<br />
80 Top - Luke Leung Middle - Jonas Grytne Bottom - Anthony Choy and Yuxiang Xang
S E N S O R Y G A R D E N S M E L L T O U C H S O U N D S I G H T<br />
S E N S O R Y G A R D E N S M E L L T O U C H S O U N D S I G H T<br />
HONEYSUCKLE<br />
HONEYSUCKLE<br />
HONEYSUCKLE<br />
LAMB’S EARS<br />
LAMB’S EARS<br />
LAMB’S EARS<br />
LAVENDER<br />
LAVENDER<br />
LAVENDER<br />
SUCCULENT<br />
SUCCULENT<br />
SUCCULENT<br />
ASHLAR<br />
ASHLAR<br />
ASHLAR<br />
GLASS<br />
GLASS<br />
GLASS<br />
TIMBER BEAM<br />
TIMBER BEAM<br />
TIMBER BEAM<br />
PEBBLE DASH<br />
PEBBLE DASH<br />
PEBBLE DASH<br />
STONE PATH<br />
STONE PATH<br />
STONE PATH<br />
FOUNTAIN GRASS<br />
FOUNTAIN GRASS<br />
FOUNTAIN GRASS<br />
CURRY PLANT<br />
CURRY PLANT<br />
CURRY PLANT<br />
SECTION 11 : : 200<br />
COURTYARD LOUNGE<br />
SECTION 1 : 200<br />
Top - Sheryl Lee Middle - Yequian Gao Bottom - Simona Penkauskaite<br />
81
Co-Production of Space: Probing the Future<br />
Daniel Mallo & Armelle Tardiveau<br />
Set in the West End of Newcastle upon Tyne, this project aimed to promote/expand on the initiatives of Edible Elswick. Students designed<br />
and built a prototype that would enhance the practices of planting, growing and cooking initiatives in an ethnically diverse neighbourhood.<br />
This informed the design of a master plan for Mill Lane using urban agriculture as the leading drive for an inclusive urban space that engages<br />
social groups from diverse age, social and religious backgrounds.<br />
82<br />
Group Work: Shelley Xiong, Runyu Zhang, Yilan Zhang, Andy Chang, Natalie Sung, Simona Penkauskaite, Yu / Jason Wang, Ali Alshirawi, Hannah Knott,<br />
Nadine Landes, Ellie Chapman, Andrew Blandford-Newson, Jonas Grytnes, Yeqian Gao, Sheryl Lee, Luke Leung
Group Work: Alex Robson, Chris Hau, Tom Gibbons, Henry Morgan, Jonas Grytnes, Yeqian Gao, Sheryl Lee, Luke Leung<br />
83
<strong>AUP</strong> Creative Practice / Social Sciences Dissertations<br />
Window: mediation between two spaces: The inhabitants and the street watchers?<br />
Yeqian Gao<br />
I chose the window and the transparency behaviology around the window as the key words<br />
of my dissertation. The main inspiration was from a study trip to the Netherlands which took<br />
place in April <strong>2016</strong>. During the trip, we did several neighbourhood site visits. One thing<br />
that impressed me was the design of the windows. I could not help but look in the rooms<br />
behind every window. Even though sometimes nobody was at home just looking at the stylish<br />
interiors greatly enhanced my experience. It got more interesting when there were people<br />
inside, then you get to see all sorts of activities take place and even eye contact when they<br />
realized pedestrians like me, were looking through the window. Also, when a whole group of<br />
students with a guide walking around your neighbourhood, the residents will get curious and<br />
attempt to look out from the window.<br />
Soon, a question of what other contribution these windows by the street have to their<br />
neighbourhood and street experience in residential area? Rather than just playing a role of<br />
natural surveillance, which was from the eyes on the street theory from Jane Jacob, from my<br />
own observation and experience, the window contributes to the liveliness of the street and<br />
neighbourhood and therefore improve the walking experience among the neighbourhoods.<br />
Along with the research, the literature reading started based on the keywords: urban scale,<br />
lively street and neighbourhoods, private and public urban space, walk, window… However,<br />
most of the literature covers the topic of urban design only assume the public space as urban<br />
area and more specifically majority were about boosting economic in commercial area. Walking<br />
experience researches, that I covered, had more attention to neighbourhoods, nonetheless,<br />
they often relate to healthy urban. All enhanced the purpose of this research. Therefore, at this<br />
stage, I ste my research question into two aspects, windowology and within neighborhoods.<br />
Five site visits have done in Newcastle Upon Tyne, throughout different typology of the<br />
neighborhoods in Newcastle, linkages and clues are coming up slowly, and in this draft, I<br />
would like to share my findings basing on three of the Newcastle window experience.<br />
The Impact of Street Art Graffiti in the Process of Regeneration<br />
Lok Hang Luke Leung<br />
The importance of art that surrounds us in our society – among our built environment there<br />
is undiscovered uniqueness, for each passage and alleyways there is something mysterious. Of<br />
which, street and graffiti artists operate in these scenes, captivity transforming urban waste<br />
into a city canvas. These artists are the urban regenerators, reflecting their work on the social<br />
political aspect of the media. Furthermore, to contact these invisible figures among our society,<br />
I used the platform of Instagram to attract artist’s attention, as well as keeping a recording of<br />
this subcultural movement. Overall, the study revealed that city acceptance toward street and<br />
graffiti are the main contributors in elevating the creative industries within a city, however, it<br />
is the individuals that underline the city success.<br />
What are the impaction of Graffiti in the process of regeneration? How has Culture shifted?<br />
Making Street Art and Graffiti as part of our culture? Does Street Art and Graffiti have benefits<br />
to the wider norms of society?<br />
An Investigation into Subterranean Residential Developments within the Royal Borough<br />
of Kensington and Chelsea<br />
Andrew Blandford-Newson<br />
This dissertation explores the incentives behind the new popular method of undertaking<br />
subterranean residential developments within Kensington and Chelsea and how their impacts<br />
have labelled such constructions as an issue for concern over recent years, leading to respective<br />
local planning legislation changes. Through a qualitative research process, material from<br />
professionals, local residents and submitted Planning Applications are analysed to better<br />
understand such impacts and the adequacy of such newly established policies within the<br />
planning system itself. The results show an insight into the important role that the planning<br />
system plays in ensuring planning for the future in the best interest of serving the public.<br />
163
2018<br />
School of Architecture, Planning and Landscape<br />
Newcastle University
BA Architecture & Urban Planning (<strong>AUP</strong>)<br />
Andrew Law & Armelle Tardiveau – Degree Programme Directors<br />
The BA (Hons) Architecture and Urban Planning programme is radically<br />
interdisciplinary and offers an integrated approach to both Architecture<br />
and Urban Planning. This dynamic course has evolved since its inception<br />
in September 2013 and has benefited from the meaningful feedback and<br />
reflections of past and current students, as well as the commitment of an<br />
invaluable team of design and planning staff.<br />
Underpinned by histories and theories of alternative practice, the design<br />
and planning programme focuses on alternative approaches to the built<br />
environment which have included ideas relating to co-operative planning<br />
and architecture, co-operative communities and self-build. The degree<br />
has also explored issues relating to social design, relational approaches to<br />
place, creative practice as a form of enquiry, twentieth century heritage<br />
and healthy living.<br />
Key to our programme is the breadth of modules on offer so that students<br />
can fashion their own BA, which relate to alternative approaches in wider<br />
fields such as social enterprise, film studies, cultural studies, sociology<br />
and anthropology.<br />
The programme has been praised for pushing the boundaries of the<br />
subject of architecture and urban planning. We are determined to push<br />
these further so that students become active and critical agents of the<br />
built environment in their future careers.<br />
69
<strong>AUP</strong> Stage 1<br />
The design projects together with the ‘Introduction to Architectural History’ and ‘Architectural<br />
Technology’ modules are shared with Stage 1 BA Architecture ensuring that <strong>AUP</strong> students are<br />
familiar with existing architectural practice, discourse and culture. As such, the artists and design<br />
contributors from Architecture provide an invaluable input and grounding into the first year<br />
programme.<br />
Stage 1 <strong>AUP</strong> runs its own specific set of design projects, giving us the opportunity to frame briefs at<br />
the intersections of architectural design and urban thinking. Four projects were designed to build<br />
students’ skills and techniques in anticipation of their first foray into design with a project bringing<br />
all skills together with a focus on simple environmental and landscape considerations.<br />
The new technology modules in semester one and two innovatively engages the students in a<br />
conceptual and physical understanding of technology through essays and models of existing<br />
practices and precedents. To complement this experience, students were taken to Dilston Woods in<br />
Northumberland to build a lean-to as part of the Histories of Alternative Practice module.<br />
Project Leaders<br />
Armelle Tardiveau<br />
David McKenna<br />
Elizabeth Baldwin Grey<br />
James Longfield<br />
Kati Blom<br />
Sean Douglas<br />
Stage 1<br />
Sarah Al Hasan<br />
Razan Al Hinai<br />
Richard Allen<br />
Kelly Andwa<br />
Sam Bell<br />
Will Bell<br />
Norliyana Norfadelizan<br />
Sarah Bird<br />
Adam Blacknell<br />
Matthias Bohr<br />
Nicholas Casey<br />
Jingwen Chen<br />
Sam Elliott<br />
Ruby Ellis<br />
Peiyun Fu<br />
Akhila Shamanur<br />
Henry Gomm<br />
Matthew Howard<br />
Austin Huang<br />
Jianbo Huang<br />
Anna Jones<br />
Reuben Jones<br />
Tham Kiengvarangkoon<br />
Kushi Lai<br />
Lok Ming Law<br />
Charlotte Maynard<br />
Jake McClay<br />
Bethany Meer<br />
Alexander Mewis<br />
Rasel Miah<br />
Bhumit Mistry<br />
Miranda Muhajier<br />
Samantha Owen<br />
Jeongyeon Park<br />
Dominic Payne<br />
Amruta Satre<br />
Kaniz Shanzida<br />
Milena Sharkova<br />
Jessica Tiele<br />
Leila Udol<br />
Robert Walker<br />
Janet Wolf<br />
Charlie Wong<br />
Contributors<br />
James Longfield<br />
Kati Blom<br />
Laura Harty<br />
Ed Wainwright<br />
David McKenna<br />
Sean Douglas<br />
Di Leitch<br />
Joanna Wiley<br />
Armelle Tardiveau<br />
Freddie Armitage<br />
Ellie Gair<br />
Ruta Bertauskyte<br />
Tooka Taheri<br />
70 Text by Armelle Tardiveau Opposite - Austin Huang
Reading Into/Drawing From<br />
James Longfield<br />
A close reading of Ambrogio Lorenzetti’s famous painting of Sienna - The Effects of Good Governance in the City - through a process of<br />
modelling the painting as 3D space, introduced students to modelling techniques while hosting discussions around public and private space,<br />
socio-economic contexts and material considerations that inform the realisation of architecture and the urban realm.<br />
72<br />
Group Work
Measured Drawing<br />
Kati Blom<br />
The second project introduces the conventions of orthographic drawings and other two dimensional media using a space in campus as a<br />
survey location. Students not only measure a site, but they also record and discuss their own impressions using photographs, observational<br />
drawings and short texts. The reiterative process of hand drawing establishes students’ understanding of the importance of two dimensional<br />
abstract representation.<br />
Left - Henry Gomm Top, left to right - Bethany Meer, Janet Wolf Bottom - Jingwen Chen<br />
73
Architecture Occupied<br />
Laura Harty<br />
By re-modelling seminal pieces of urban architecture - Jorn Utzon’s Fredensborg Houses, Peter Salter’s Walmer Yard, Hertzberger’s Diagoon<br />
Dwellings + Copper Lane Co-housing by HHR - students learnt to make a connection between the real and the imagined, resulting in a<br />
personal occupation of these projects through their own collages and photographs.<br />
74<br />
Top left to Bottom right - Exhibition, Austin Huang, Reuben Jones, Bethany Meer
Measure<br />
David McKenna<br />
There are 14 boat houses belonging to various colleges, schools and amateur rowing clubs located along the Wear in Durham. The earliest<br />
dates from the early 1800s and coincide with the founding of the University. Measure required the design of a 15th boat house and cafe that<br />
would form a gateway from the city centre to the University playing fields with particular consideration given to sunlight and floodwater.<br />
Top, left to right - Kushi Lai Middle - Jingwen Chen Bottom - Adam Blacknell<br />
75
Co-created City<br />
Ed Wainwright<br />
Negotiating a clash of urbanisms in Gateshead - top-down private development at Trinity Square and the grassroots arts collective of the<br />
Newbridge project - formed the context to this project. On-site workshops with the studio holders at Newbridge helped students establish<br />
a brief for a threshold space to act as a connecting public foyer between the project and the formal urban realm of Trinity Square. Design<br />
proposals were then presented back to the artists in a final review held in the studio spaces, as well as members of the public through outdoor<br />
projections of student work.<br />
76<br />
Top, left to right: Jingwen Chen<br />
Botttom: Rueben Jones
Top, left to right: William Bell, Kaniz Shanzida & Amruta Satre<br />
Bottom, left to right: Jessica Tiele, Kushi Lai<br />
77
<strong>AUP</strong> Stage 2<br />
Delving into greater depth in the alternative practice ethos, students develop further critical thinking<br />
by being exposed to theories pertaining to architecture and planning in the widest possible range of<br />
cultures and social groups. Positionality in both theory and design becomes a leading aspect of the<br />
<strong>AUP</strong> Stage 2. In addition, students are provided the opportunity to choose from a variety of options<br />
so that they can carve their own career path and further develop skills and imagination in design<br />
projects but also specialisms in planning, social enterprise, poverty and informal housing as well as<br />
sociology and the politics of urban space. The optional field trip to the Netherlands is a highlight of<br />
semester two where students are exposed to alternative practice projects and governance methods as<br />
well as sustainable approaches to the built environment.<br />
Project Leaders<br />
Rutter Carroll<br />
Sarah Stead<br />
Stage 2<br />
Aimee-Anna Akinola<br />
Mohammad Hassan<br />
Cherry Au<br />
Julian Baxter<br />
Farah Ashraf<br />
Nik Azman<br />
Salar Butt<br />
Daniel Carr<br />
Samantha Chong<br />
Chloe Cummings<br />
Dwayne De Vera<br />
Wenjing Deng<br />
Abell Ene<br />
Andrew Fong<br />
Zhongqing Gu<br />
Ryan Hancock<br />
Luis Menezes Pataca<br />
Maisie Jenkins<br />
Fabian Kamran<br />
Karl Lam<br />
Dongjae Lee<br />
Matthew Li<br />
Dianne Odede<br />
Henry Oswald<br />
Ellis Salthouse<br />
Nur Salymbekov<br />
Karim Shaltout<br />
Juliette Smith<br />
Ella Spencer<br />
Oliver Timms<br />
Emma Van Der Welle<br />
Andrew Webb<br />
Contributors<br />
Sarah Stead<br />
Xi Chen<br />
Ziwen Sun<br />
Nikoletta Karastahi<br />
Daniel Mallo<br />
Rutter Carroll<br />
Sophie Ellis<br />
Xi Chen<br />
James Longfield<br />
78<br />
Text by Armelle Tardiveau<br />
Opposite - Group work: Karim Shaltout, Ella Spencer, Andrew Webb
Mappable Traces<br />
Sarah Stead, Xi Chen and Ziwen Sun<br />
This project invited students to explore how architecture and urban space are experienced and re-used by the public. This fundamentally<br />
turned students’ curiosity and speculation to re-think the existing static spatial terms as a series of urban transitions, itinerant everyday<br />
activities and moveable apparatuses.<br />
By mapping these uncertainties and engaging with the public, students initially provoked, sliced or experimented with various ideas around<br />
the Laing Gallery, Newcastle. These insights informed the subsequent project, which was to design small transformational architectures that<br />
could create an event to engage, intervene, or mediate the public in heterogeneous ways.<br />
80<br />
Top - Karim Shaltout<br />
Bottom - Andrew Webb
Top: Daniel Carr Middle: Group Work: Chloe Cummings, Andrew Webb, Dongjae Lee Bottom: Samantha Chong<br />
81
Theory and Form<br />
Rutter Carroll and Sophie Ellis<br />
The module considered the development of architectural expression in response to the economic challenges and social optimism that<br />
characterises the post war North East region.<br />
Students were asked to consider a theory and form approach in the submission of an essay and design project pursuing a strategy for the re-use/<br />
conversion/extension/adaptation of an existing building from the period on Tyneside.<br />
The Claremont Tower and Daysh Building, by Sheppard, Robson & Partners, (completed in 1968), a key project from the post-war period in<br />
the region on the University campus, was identified for study and analysis by allowing students to assess the design through a series of lectures,<br />
visits, seminars, design analysis tutorials and exercises.<br />
82<br />
Top right - Group work: Julian Baxter, Daniel Robert Carr, Ellis Matthew Salthouse, Oliver James Timms<br />
Top left and Bottom - Group work: Farah Madiha Binti Ashraf, Nik Amanda Farhana Binti Azman, Chloe Savannah Cummings, Dianne Kwene Aku Odede
Top - Group Work: Ryan Hancock, Karim Mohamed Khairy Shaltout, Ella Sophia Spencer, Andrew Thomas Webb Bottom, left to right - Group work: Salar<br />
Butt, Dwayne Joshua, Afable De Vera, Abell Eduard Ene, Andrew Fong, Group work: Julian Baxter, Daniel Robert Carr, Ellis Matthew Salthouse, Oliver<br />
James Timms<br />
83
<strong>AUP</strong> Stage 3<br />
The dissertation is the only compulsory module in the third year. Here, students further develop<br />
their research skills through social science or creative practice methods to underpin an independent<br />
piece of research. Students who choose a design pathway are provided with the opportunity to<br />
put theories of alternative practice into live practice by being encouraged to develop their work, in<br />
dialogue, with a community or a client. Meanwhile the array of optional modules widens and the<br />
students can build upon and consolidate a variety of academic themes that were developed in the<br />
earlier stages of the programme: such as themes relating to housing, politics, homelessness, design<br />
and/or sociology and politics.<br />
The Erasmus Exchange offers a chance for students to engage with different yet complementary<br />
pedagogical approaches. This year KTH Stockholm was the favoured destination. Furthermore, to<br />
engage students in considering their next step in professional or academic life, practitioners and agents<br />
of the built environment are invited to talk to the students about their work. Finally in this final stage<br />
of their programme students also greatly benefit from Newcastle University’s career services.<br />
Project Leaders<br />
Armelle Tardiveau<br />
Daniel Mallo<br />
Tim Townshend<br />
Smajo Beso<br />
Stage 3<br />
Minnie Bates<br />
Joshua Beattie<br />
Zeynab Bozorg<br />
Fatma Celebi<br />
Junqiang Chen<br />
Van Tabigue Consul<br />
Abbey Forster<br />
Richard Gilliatt<br />
Ahmet Hayta<br />
Hannah Hiscock<br />
Ben Johnson<br />
Jeff Korworrakul<br />
Minsub Lee<br />
Sanghyeok Lee<br />
Flynn Linklater-Johnson<br />
Georgia Miles<br />
Bunkechukwu Obiagwu<br />
Racheal Modupeayo Osinuga<br />
Michael Rosciszewski Dodgson<br />
Jing Su<br />
Sahir Thapar<br />
Ryan Thomas<br />
Sonali Venkateswaran<br />
Theodore VostBond<br />
Shaoyun Wang<br />
Emily Whyman<br />
Ka Hei Wong<br />
Winnie Wong<br />
Ting En Wu<br />
Sutong Yu<br />
Adil Zeynalov<br />
Jieyang Zhou<br />
Contributors<br />
Sue Scott<br />
Sue Downing<br />
Claire Harper<br />
Kathleen MacKnight<br />
Matthew Potter<br />
Fred Plater (Tyne Bar)<br />
Lisa Tolan (Toffee Factory)<br />
Tim Bailey (Xsite architects)<br />
Chris Barnard (Ouseburn Trust)<br />
Anna Hedworth (Cook House)<br />
Dan Russell<br />
James Longfield<br />
84<br />
Text by Armelle Tardiveau<br />
Opposite - Group work: Van Abner Tabigue Consul, Bunkechukwu<br />
Chiagoziem Obiagwu, Winnie Wing Yee Wong, Richard<br />
George Gilliatt
Housing For Vulnerable Populations<br />
Tim Townshend<br />
There is an acute need for facilities for those coping with/recovering from addiction. Alcohol and drug problems are prevalent in all walks of<br />
society and Newcastle has higher rates than the national average. Newcastle City Council intends to work in partnership with a care provider<br />
to develop a health, well-being and recovery hub at Western Lodge – a former park keeper’s cottage - located on the west side of Leazes Park,<br />
adjacent to the City Centre. The hub will provide access to dedicated recovery activities.<br />
Adopting the Council’s brief, the project explored the complexities of providing a well-being and recovery hub for service users and their<br />
families - which meets the needs of those service users and providers in a stimulating, enjoyable, safe and appropriate environment.<br />
86 Top - Just Five: Winnie Wong, Eric Wu, Van Consul, Jieyang Zhou, Minsub Lee<br />
Bottom - WE: F. Beyza Celebi, Ahmet Hayta, Adil Zeynalov, Sonali Venkateswaran, Ka Hei Wong
Top, left to right - Just Five, Self Builders: Sutong Yu, Shaoyun Wang, Jing Su, Junqiang Chen<br />
Bottom - FAB: Zeynab Bozorg, Sahir Thapar, Bunkechukwu Obiagwu<br />
Middle - WE<br />
87
Co-Production of Space: Probing the Future<br />
Daniel Mallo and Armelle Tardiveau<br />
The Ouseburn Community Emerging project explores the socio-spatial relations between the residents of the Malings, a pioneering housing<br />
scheme in the Ouseburn Valley (Newcastle upon Tyne), and the creative and artistic scene nestled in this culturally vibrant pocket of postindustrial<br />
land. Through a participatory design process, encompassing the creation of open-ended inspirational prompts, students captured,<br />
traced and revealed urban narratives that culminated with the design and installation of urban prototypes. Over the course of a day, these<br />
interventions, with evocative titles such as ‘soft boundary’, ‘whouseburn’, ‘frame it’, ‘centre point’, ‘the collectors’ or ‘Ouseburn market’,<br />
sparked dialogue and intrigue while making community desires visible.<br />
88<br />
Group 1: Minsub Lee, Sanghyeok Lee, Ting En Wu, Jeffery Korworrakul
Top: Group 5: Junqiang Chen, Jing Su, Shaoyun Wang, Sutong Yu<br />
Bottom: Group 2, Group 4:Van Abner Tabigue Consul, Bunkechukwu,<br />
Chiagoziem Obiagwu, Winnie Wing Yee Wong ,Richard George Gilliatt<br />
Middle, left to right: Group 2: Ahmet Halil Hayta, Ka Hei Wong ,Fatma Beyza<br />
Celebi, Adil Zeynalov, Group 4 (2)<br />
89
<strong>AUP</strong> Creative Practice / Social Sciences Dissertations<br />
Mobile homes are being used in the United Kingdom as a way to prevent or transcend primary<br />
homelessness and these people have limited access to support services and basic amenities.<br />
Ryan Patrick Thomas<br />
The dissertation used the social media platform Facebook to find and converse with people who were<br />
using mobile homes as a way to prevent or transcend primary and secondary homelessness. It used<br />
qualitative data collection techniques to explore their narratives and stories. It extensively explored<br />
the various ethical constraints, especially when conversing with vulnerable peoples and sensitive data.<br />
It paid particular attention to the modern social media ethical frameworks and techniques currently<br />
in circulation. Extreme caution had to be used due to how social media and the internet allows for<br />
the reidentification of respondents through search engines, to make sure data could be shared with<br />
confidence and anonymity. The respondents were found to be living in cheap, secondhand, substandard<br />
accommodation. They had limited access to support services, such as a General Practitioner<br />
and Social Security, mainly due to their lack of address. Their access to basic amenities such as laundry,<br />
running water and heating was severely reduced; with these factors it affected their mental health and<br />
general wellbeing. It found that further research should be undertaken to find the scope of the problem<br />
in a more homogeneous and quantitative form. It recommends that from this further research should<br />
influence and force policy changes that will be needed to support these people.<br />
An Exploration of the Relationship Between Self-Build, Individuality and Community,<br />
in Walter’s Way and Segal Close, London, UK.<br />
Dominica Bates<br />
The aim of this dissertation is to explore the long-term success of self-build housing and understand<br />
what factors contribute to the maintenance of individuality and community in an established selfbuild<br />
scheme. Advocates of self-build housing believe that it increases user-satisfaction in terms of<br />
design aspirations and personalisation, based on the idea that because the dweller built the house they<br />
can alter it with greater confidence and ease. Additionally, advocates of self-build on a communal<br />
scale believe that it improves community participation and place-making, as the process of physically<br />
constructing the community brings residents together, generating mutual responsibility.<br />
Segal Close and Walter’s Way in Lewisham, London are two of the most famous self-build schemes in<br />
the UK, designed by (and therefore named after) Walter Segal. They were constructed between 1976<br />
and 1987, and together they comprise 20 homes. Over the last 30 years the majority of the original<br />
self-builders have moved away and new residents have come to occupy the houses. In this context it<br />
is important to consider how self-build homes respond to new dwellers, and in turn, how dwellers<br />
respond to self-build homes, constructed by a previous dweller.<br />
“Making Things Visible”<br />
Revealing the Potential of Urban Loose Space Through Actor-Network Theory Newcastle upon<br />
Tyne, UK.<br />
Emily Whyman<br />
This dissertation used Latour’s Actor-Network Theory embedded theory in the design investigation as a<br />
way of addressing increasing urbanism in cities - looking at how we view space. Small, loose spaces are<br />
of an abundance in the city. It is within our capacity to become sensitive to these places, and train our<br />
creative intelligence towards them, to understand the exciting potential which they offer. To become<br />
aware of the networks within our built environment will increase our interaction with the physical,<br />
tangible and real - a reconnection with the non-human interfaces which influence our everyday choice.<br />
This was a study on how to create space through activation of the urban imaginary, a response to<br />
green washing and historic desensitisation concerning coexistence with the natural environment.<br />
Loose space is considered the space ‘inbetween’ - a byproduct of our global urbanism, it is undefined<br />
and unchartered, yet often the spaces that allow for the spontaneous and unexpected activities to<br />
occur. The dissertation looked at and intervened within different actor-networks functioning in the<br />
proximity of the space - for example, community gardens, cafe’s and cycle pathways. The potential of<br />
the space offers opportunity for temporary urbanism and experimentation in the public realm. Actornetwork<br />
theory looks at space in a way that redefines what it means to be aware. To become sensitive<br />
to the built environment is to look sustainably, understanding the process of interaction and relation.<br />
It looks at the current and genuine, breaking down meanings to understand our personal connection<br />
with space and how these relate our society as a whole.<br />
156 Top left - Name Name Project Title Top right - Nameless Nameless Project Title Bottom - Name Name Project Title
The Implementations of Prefabricated Architecture: A Rapid Response Towards<br />
Homelessness in Growing Urbanising Cities.<br />
Winnie Wing Yee Wong<br />
There are as much as 100 million people that are homeless worldwide, according to the latest<br />
United Nations global survey that was conducted in 2005 (Homeless World Cup, 2017), with<br />
1.6 billion people that do not have adequate housing (Habitat for Humanity, 2017). The<br />
purpose of this research is to study how prefabricated architecture can be used as a meaningful<br />
‘device’ for the homeless, in growing compact cities such as those in Asia. I want to gain an<br />
understanding to how we can utilise unused spaces for these devices, particularly the spaces<br />
under the West Kowloon Corridor flyover, in Hong Kong, along with the hope that these<br />
prefabricated architectures can adapt to daily lives, be easily-deployable and operate as longterm<br />
housing.<br />
Additionally, it can be argued by Erik Swyngedovw (2006, p.22), that urbanisation increases<br />
social and physical networks, it causes a lot of movement from different spaces; a neverending<br />
process of de-territorialisation. The homeless almost become the by-product of growth<br />
in cities, which is important, to understand the role of homelessness in the city, which is<br />
described as a large organic function by the Metabolism movement in the 1960s (Lin, 2010,<br />
p.22). But also, the way people utilise unused spaces, their network and the necessities they<br />
need in life. This is so that these spaces could also be used for future homes in a megalopolis<br />
society. In addition, the need to be aware of sustainable issues in the future, where technology<br />
and design will play an important role to adapt to these future changes. There will always be<br />
change but how can we pursue change without having to create negative impacts on cities, as<br />
urbanistic growth is a continuing process.<br />
Overall, to find out further about prefabricated architecture, I will also create a ‘Dialogue’<br />
between other architects and theorists interlinking with the theories of Metabolism to see how<br />
a strategy can be applied in contemporary society, along with an interactive model and a guide<br />
to survival in the city, which stimulates thinking…<br />
The Relationships between street art and individual experiences in forming urban<br />
identities and characters in Istanbul’s three districts?<br />
Fatma Beyza Celebi<br />
Street art provides visual connections to our urban environment, but they also have an<br />
astonishing relationship to various urban processes in cities. Istanbul has a growing number<br />
of street art in various districts that shape and form different urban identities and characters<br />
of those districts. Street art is researched in an urban scale, but how do individuals perceive<br />
and constitute to shaping urban identities and characters? As street art is very interactive and<br />
personal in its own nature, this research uses cultural probes for its methodology to understand<br />
individual experiences in an urban scale in relation to street art.<br />
How the Title of World Cultural Heritage Influences the Local Residents?<br />
Jieyang Zhou<br />
At present, the majority of the studies on the world cultural heritage lie in the discussions of<br />
physical heritage protection, but few attempt to establish the links with people. Acted as the<br />
inheritors and custodians, the local residents play vital roles not only in the continuation<br />
of the vitality of the historical buildings, but the sustainable development of heritage-related<br />
industries. They can be the promoters but also obstructors, which depends on the influence<br />
and changes in their lives.<br />
Selecting the Nanjing Tulou in China as the case area, this dissertation aims to explore the<br />
impacts on the local inhabitants living under the title of World Cultural Heritage. Furthermore,<br />
the story and the delicate relationship between people and the protection work of historical<br />
architectures would be told in my study. After series of semi-structure interviews, results are<br />
eventually<br />
analysed into four themes. The unsolved housing problems and<br />
restricted life that belong to the negative effects, and the pride feelings and return migration<br />
which motivate inhabitants to retain the housing patterns of Tulou, and participate in the<br />
development of heritage tourism.<br />
157
2019<br />
School of Architecture, Planning and Landscape<br />
Newcastle University
BA (Hons) Architecture & Urban Planning (<strong>AUP</strong>)<br />
Armelle Tardiveau - Degree Programme Director<br />
The BA (Hons) Architecture and Urban Planning programme is a radically<br />
interdisciplinary programme. It offers an integrated and critical approach<br />
to both disciplines and promotes an approach to the production of urban<br />
space from the perspective of people and communities who live and<br />
experience places. It addresses contemporary societal issues through the lens<br />
of participation, social justice and co-production of the built environment.<br />
As such the programme is dynamic and keeps on evolving for a great part<br />
thanks to the invaluable feedback from students, upon which we endeavour<br />
to reflect and take action.<br />
What’s new this year?<br />
Dr Andy Law, a sociologist and aspiring sinologist who used to lead the<br />
programme, is now my co-pilot for this journey and I am now in charge of<br />
leading and developing this exciting programme. As a designer and architect,<br />
I aim to improve the design provision keeping the focus on different ways of<br />
creating architecture, design and shaping our public realm.<br />
The programme ethos remains soundly underpinned by modules on<br />
alternative practice that fuse design issues with sociological and human<br />
geography themes. We offer three key routes alongside design and<br />
alternative practice: urban planning and urban development, social and<br />
political history and theory, as well as business and social enterprise. This<br />
allows students to develop their own interest and carve their own degree<br />
based on their interests and strengths. Very few <strong>AUP</strong> students graduate with<br />
the same profile, and this in my view, celebrates the diversity of students and<br />
the interdisciplinary nature of the programme.<br />
More news…<br />
In March 2019, the <strong>AUP</strong> design route received the RTPI accreditation as<br />
part of a pathway including the completion of the BA (Hons) Architecture<br />
and Urban Planning programme followed by the Certificate in Planning<br />
Practice and the MA Urban Design. This design route is particularly relevant<br />
for those students who are keen to pursue such creative practice through a<br />
more socially engaged practice including participatory approaches to the<br />
built environment.<br />
I remain immensely grateful to the committed staff from both Architecture<br />
and Planning who contribute meaningfully to this degree. A large part of<br />
their motivation lies in the value they place in educating students in thinking<br />
across disciplinary boundaries. In addition, their teaching generally emerges<br />
from their own research. Equally, a warm thanks to all practitioner tutors<br />
who provide an anchorage of the programme in professional practice.<br />
63
<strong>AUP</strong> Stage 1 - Reading Into/Drawing From<br />
Armelle Tardiveau<br />
The Reading Into/Drawing From project was inspired by Spanish architects Ricardo<br />
Flores and Eva Prats, who were regular leaders of the charrette week on the invitation<br />
of Professor Michael Tawa about a decade ago. In these charrettes, students were<br />
invited to imagine the space and the life beyond a painting. Michael Tawa would<br />
argue that they “set up open frameworks for the intricacies and intrigues of [everyday<br />
life] to be narrated. They are preludes and invitations to story-telling. They set the<br />
scene and deploy the rules that might then be followed, challenged or broken.”<br />
(Tawa, M., 2008)<br />
And so we start the first year in the Architecture and Urban Planning programme by<br />
engaging and scrutinising the life unfolding in a scene set in the city of Siena painted<br />
between 1338-39. Its author, Ambrogio Lorenzetti, was a precursor of his time:<br />
through his deep observation, he convincingly depicted spatial depth and empirically<br />
approximated the one-point perspective developed no less than a century later by<br />
maestri such as Brunelleschi, who revolutionised representation techniques in the<br />
Renaissance pictorial art.<br />
The Effects of Good Government in the City and the Country is part of three<br />
paintings including the Allegory of Good Government and the Allegory of Bad<br />
Government, all located in the Pallazzo Pubblico, one of the first civic buildings to be<br />
built at the end of the 13th century in Siena. The painting is considered one of the<br />
first realistic landscapes, filled with vibrant life showing people going about everyday<br />
activities (building, trading, learning, dancing, celebrating, hunting, harvesting, etc.)<br />
in a regulated, peaceful functioning social life set in an environment structured with<br />
streets, squares, buildings, city gates, hills, etc.<br />
By observing, sketching and drawing, we can guess, decipher, imagine and read into<br />
the painting. The Reading Into/Drawing From project aims to engage students in<br />
articulating a coherent visual presentation of ideas through drawing an orthographic<br />
plan of the neighbourhood showing the ensemble of buildings lined along a medieval<br />
street pattern. This steep learning experience is broadened by modelling the depicted<br />
buildings flanked on a hill along the city wall. During these two intense weeks, the<br />
students learn to work in a group, gain an insight into the life of a city from another<br />
era, and make sense of, and practice, the first fundamental skill that deals with scale,<br />
drawing and modelling.<br />
Over the last three years, committed Stage 6 students have taught the expertise<br />
required to build a three dimensional form out of the painting. Every year, I am<br />
fortunate to collaborate with a team of engaged Stage 6 students who have taught<br />
<strong>AUP</strong> Stage 1. Ellie Gair who is about to complete her MArch states that “teaching<br />
whilst studying for my master’s degree was invaluable, it allowed a chance for<br />
perspective and reflection on the journey through education. Often Stage 1 students<br />
asked ‘why’ they are taught non-design modules, I could explain that they helped to<br />
rationalise my own practice.”<br />
Stage 1 Students<br />
Abin John<br />
Aida Aghayeva<br />
Alexander Joe Mewis<br />
Amy-Rosie Manning<br />
Angus John Atkin<br />
Chelsea Nicole Petrillo<br />
Darcey Lily Morse<br />
Declan O’Neil<br />
Diana Mihailova<br />
Edward James Frederick Bousfield<br />
Emma-Maria mItu<br />
Gabriella Bryllian Lie<br />
George Woodruff<br />
George Joseph Avery<br />
Hoi Ning Wong<br />
Jack Andrew McMunn<br />
Jacob Bowell<br />
Jacob John David Hughes<br />
Jacobus Michael Merkx<br />
Jae Eun Cho<br />
Jamie Ryan Bone<br />
Jeremy Anthony Julian Bidwell<br />
Jordan Niels Patrick Shanks<br />
Kira Sonal Nitesh Shah<br />
Lap Yan Tai<br />
Laura Jane Nicholas<br />
Luke Dixon<br />
Marcelina W<br />
Martin Bastien Joly<br />
Mary-Anne Catherine Murphy<br />
Megan Jane Raw<br />
Mindaugas Rybakovas<br />
Ngai Chi Fung<br />
Olivia Forbes<br />
Owen Samuel Thomas<br />
Paplito Kitenge-Fuki<br />
Quitterie Toscane Elizabeth Marie d’Harcourt<br />
Rabi Sultana Sani Duba<br />
Rachel Turnbull<br />
Ruth Mary Jefferis<br />
Samer Alayan<br />
Sebastian Ignacio Mena<br />
Simon Avishek Lama<br />
Simon Benjamin Tarbox<br />
Stephen James Payne<br />
Sunny Noah Howd<br />
Tahnoon Abdulla Mohamed Ali Alshehhi<br />
Thomas Coutanche<br />
Thomas Carlton Paramor<br />
Yuxi Liang<br />
Zahra Khademi<br />
Zoe Elise Ingram<br />
Contributors<br />
Armelle Tardiveau<br />
Nick Simpson<br />
Robert Johnson<br />
Ellie Gair<br />
Freddie Armitage<br />
Jack Lewandowski<br />
Tom Goodby<br />
Tawa, M. (2008). Reading into, Drawing (out) from. Through the Canvas, (pp. 112 - 115). Barcelona,<br />
Spain: Actar-D<br />
64 Text by Armelle Tardiveau
Top, Left to Right - Zoe Ingram, Jacob Hughes Middle - Ambrogio Lorenzetti Painting Bottom - Diana Mihailova, Jacobus Merkx & Abin John<br />
65
<strong>AUP</strong> Stage 1 - Architecture Occupied<br />
James Longfield<br />
Contributors: James Longfield, Diana Wharton, Joanna Wylie, Alex Proctor, , Luke Leung, Mike Veitch, Tara Alisandratos, Charlotte Powell,<br />
Jane Milican, Anna Cumberland, Elinoah Etani, Freddie Armitage, Jack Lewandowski, Ellie Gair, Tom Goodby<br />
66<br />
Top Left to Right - Owen Thomas, Ngai Chi Fung, Lap Yan Tai<br />
Bottom Left to Right - Kit d’Harcourt, Edward Bousfield, Ruth Jefferis<br />
Middle Left to Right - Ngai Chi Fung, Hoi Ning Wong, Edward Bousfield
<strong>AUP</strong> Stage 1 - Taking Measure<br />
Kieran Connolly<br />
Site: Newcastle University<br />
Contributors: Kieran Connolly, Di Leitch, Robert Johnson, Juliet Odgers, Armelle Tardiveau, Tara Alisandratos, Damien Wootten, Charlotte<br />
Powell, Jane Millican, Elinoah Eitani, and Henna Asikainen<br />
Left - Marcelina Debska Top Right - Owen Thomas Bottom, Left to Right - Ed Bousfield , Helen Wong<br />
67
<strong>AUP</strong> Stage 1 - Co-created City<br />
Ed Wainwright<br />
Site: The NewBridge Project, Gateshead<br />
Contributors: Ed Wainwright, Claire Harper, Daniel Russell, Sarah Stead, John Pendlebury, Loes Veldpaus, Alex Blanchard, Peter Kellett<br />
ARC 1007 | STAGE 1 <strong>AUP</strong> | 17072492<br />
073<br />
72 CO - CREATED CITY<br />
Isomatric drawing<br />
demonstrating what<br />
how the building might<br />
be occupied and furnished.<br />
This drawing<br />
also attempts to show<br />
the curtain used for<br />
the changing rooms<br />
in the art studio. To<br />
conserve space, the<br />
studio can double up<br />
as changing rooms<br />
when a fashion show<br />
is taking place. This<br />
depiction also shows<br />
the foldable used in<br />
the studio, also with<br />
ideas to conserve<br />
space.<br />
5<br />
08<br />
CO-CREATED CITY<br />
ARC 1007 | STAGE 1 <strong>AUP</strong> |170283243<br />
075<br />
1:100 ATMOSPHERIC THRESHOLD EXPLORATION<br />
Through the use of the 1:100 site model I explored the threshold of the entrance gate. The area I designed is<br />
aimed to be spacious and open, to display the sculptures produced there. To understand the focus points of the<br />
site I used a blacked out version of the model to show light and dark areas, and the parts of site that would draw<br />
your attention. As the lighter area leads from the view of the entrance, it was ideal to have the presentation area<br />
within the view of the public passing by. Another point of focus is the raised floor of the building, which displays<br />
the balcony, where artists can work from, intriguing passers by.<br />
08<br />
CO-CREATED CITY<br />
ARC 1007 | STAGE 1 <strong>AUP</strong> |170283243<br />
075<br />
1:100 ATMOSPHERIC THRESHOLD EXPLORATION<br />
Through the use of the 1:100 site model I explored the threshold of the entrance gate. The area I designed is<br />
aimed to be spacious and open, to display the sculptures produced there. To understand the focus points of the<br />
site I used a blacked out version of the model to show light and dark areas, and the parts of site that would draw<br />
your attention. As the lighter area leads from the view of the entrance, it was ideal to have the presentation area<br />
within the view of the public passing by. Another point of focus is the raised floor of the building, which displays<br />
the balcony, where artists can work from, intriguing passers by.<br />
68<br />
Top, Left to Right - Rachel Turnbull, Jacob Hughes Middle - Ngai Chi Fung Botttom - Jack McMunn (2)
<strong>AUP</strong> Stage 1 - Shelter<br />
David McKenna<br />
Site: Longsands Beach, Tynemouth<br />
Contributors. David McKenna (Project Leader) Claire Harper, Di Leitch, Sarah Stead, Tara Alisandratos, Elinoah Eitani, Robert Johnson,<br />
Jane Millican, Damien Wootten<br />
Top, Left to Right - Ngai Chi Fung, Jacob Hughes, Megan Raw, Edward Bousfield Middle - Zoe Ingram Bottom - Jacob Hughes<br />
69
<strong>AUP</strong> Stage 2 - Place of Houses<br />
Peter Kellett<br />
Everyone lives somewhere, and our homes are arguably the most important places in our lives. Although ostensibly about<br />
housing and home, this module addresses one of the most fundamental aspects of both architecture and planning: the<br />
relationships we develop with the spaces and places we inhabit. Indeed the everyday processes of habitation and dwelling are<br />
at the core of this module.<br />
The module has a long history. It was developed in the 1990s as the theory element for the BA Architecture programme<br />
to run alongside a housing design project in second year. Three years ago History and Theory teaching in Architecture was<br />
reorganised, and housing was subsumed into a larger module (About Architecture). I continue to deliver a major component,<br />
‘Housing Cultures’, which engages with the key ideas. Simultaneously the new <strong>AUP</strong> programme was seeking a module to<br />
reinforce the housing element, so I reformulated the Place of Houses to match more closely to the dual disciplinary nature<br />
of <strong>AUP</strong> – giving greater emphasis to the characteristics and processes associated with the public realm of the city and the<br />
collective spaces within dwelling environments.<br />
The module encourages students to draw directly on their personal experiences of housing and to reflect on how different<br />
domestic environments help configure lifestyles and identities, as well as influencing the attitudes and decisions of designers<br />
and planners. The course has three aims:<br />
1. Inform and strengthen the theoretical basis on which students take design and planning decisions.<br />
2. Raise awareness of the richness and complexity of dwelling environments.<br />
3. Develop a critical understanding of domestic architecture and the interplay between ways of living and built form.<br />
Together we explore key theoretical concepts from a range of theorists including Dovey, Pallasmaa, Bourdieu, Rapoport,<br />
Oliver, Cooper-Marcus and Turner, to construct a conceptual framework which is then fleshed out using a range of case<br />
studies.<br />
The course is structured around the key forms of production and varying roles of designer, client and user. Emphasis is<br />
given to the relationship between the user and the home environment. The knowledge outcomes include an increased<br />
understanding of how housing environments are produced and consumed; a critical awareness of the role of professionals,<br />
complemented by an appreciation of every day environments and housing produced by non-professionals.<br />
My own background in both Architecture and Social Anthropology inflects the course towards the socio-cultural issues of<br />
housing. I draw heavily on my experience of living, working and researching in different parts of the world – particularly my<br />
long-term ethnographic experience in Latin America, as well as Indonesia, India and more recently Ethiopia. Most lectures<br />
are structured around current and recent research projects. This gives the course a strong cross-cultural focus – which is<br />
especially relevant given the international complexion of <strong>AUP</strong> cohorts and the increasing opportunities for students to work<br />
internationally in the future.<br />
In addition to lectures and films, small group presentations encourage shared learning within a lively, interactive and<br />
stimulating learning environment.<br />
70<br />
Text and images by Peter Kellett
71
<strong>AUP</strong> Stage 2 - Beijing Fieldtrip<br />
Andy Law, Qianqian Qin and Ruth Raynor<br />
In the second Semester of this year, along with Planning and Geography and Planning (GAP) students,<br />
a number of <strong>AUP</strong> students took the TCP2035 study visit module and chose to go to Beijing; facilitated<br />
by Dr Andy Law, Ms Qianqian Qin and Dr Ruth Raynor. The trip ran between the 24th and the 29th<br />
of March, during which they all visited the Yuanmingyuan Gardens; the Forbidden City; the Hutongs,<br />
the Nanluoguxiang and Han’s Royal Garden Hotel; the 798 art zone; the Tsinghua Urban Planning and<br />
Design institute and the Shichahai area; and the College of Urban and Environmental Sciences, Peking<br />
University.<br />
Highlights of the trip included the Forbidden City, where, as well as observing the intricate design and<br />
layout of the city, some students also managed to meet and interact with Chinese tourists visiting the site.<br />
Students<br />
Sam Davis<br />
Deborah Ewenla<br />
Emily Hindle<br />
Andrew Marshall<br />
Cailean McCann<br />
Jennifer Mitchell<br />
Ashleigh Rossiter<br />
Casey Scott<br />
Bronwen Thomson<br />
Jessica Tiele<br />
Ying Mo<br />
Sarah Bird<br />
Another highpoint of the trip was a visit to the Hutongs and particularly the Nanluoguxiang, which<br />
was built in the Yuan period (1271-1368), but was given its name in the Qing period (1636-1912). The<br />
Nanluoguxiang, which is approximately 800 metres in size and is a popular tourist site, also led to some<br />
excellent student research; one group of students looked at the touristification and gentrification issues<br />
associated with the site and later gave an excellent presentation back in Newcastle. As well as the 800<br />
metre main street which makes up the Nanluoguxiang, we also ventured off into the back alleys or ‘fishbone’<br />
lanes that are connected to the main street; arguably these back alleys or ‘fish-bone lanes’ have their<br />
own aesthetic and/or picturesque urban morphological features - see opposite top left.<br />
Another memorable event during this visit was a guided tour of Han’s Royal Garden Hotel, which gave<br />
students a decent introduction to the traditional Beijing Siheyuan - or Beijing courtyard - housing. As<br />
well as receiving a guided tour from Professor Bin Lu of Peking University, Ms Qin also commented on<br />
the structure and culture of the traditional courtyard - see opposite middle.<br />
Another highlight of the trip involved a lecture delivered to the students by planners and officials at the<br />
Tsinghua Planning institute; at length, institute staff discussed the development and regeneration of<br />
the Shichahai area in Beijing (near the Hohai lake); Dr Law, Ms Qin and Dr Raynor noted here, that<br />
all students from all programmes participated in a lively and respectful discussion with the Tsinghua<br />
planners that was both thoughtful and memorable.<br />
72<br />
Text by Andy Law<br />
Above - Sarah Bird having her photo taken with a Chinese tourist in the Forbidden City
Top, Left to Right - walking in one of the ‘fish-bone’ lanes off the Nanluoguxiang, one of the back lanes or ‘fishbone alleys’ off the Nanluoguxiang<br />
Middle - Ms Qin commenting on the courtyard structure of Han’s Royal Garden Hotel.<br />
Bottom, Left to Right - engaging in discussion with the Tsinghua Planning Institute, all students and staff with staff at the Tsinghua Institute<br />
73
<strong>AUP</strong> Stage 2 - Twentieth Century Architecture, Design and Heritage<br />
Rutter Carroll and Sophie Ellis<br />
Contributors: Tim Bailey (XSITE Architects), Will Mawson (MawsonKerr Architects), Ronnie Graham (Ryder Architecture), Prof John<br />
Pendlebury, Prof Prue Chiles<br />
Students: Akhila Ganesh Shamanur, Amruta Sahebrao Satre, Bethany Ruth Meer, Dominic Michael Payne, Erin Noelle Dent, Henry Philip<br />
Gomm, Jingwen Chen, Kaniz Shanzida, Matthew Ellis Howard, Razan Abdul Karim Zahran Al Hinai, Sophia Kathryn Norbury, Yinghe Yi<br />
74 Top - Sophia Norbury Bottom - Kaniz Shanzida
Top, Left to Right - Bethany Meer, Matthew Howard Middle - Henry Gomm Bottom, Left to Right - Jingwen Chen, Akhila Shamanur<br />
75
<strong>AUP</strong> Stage 2 - Relational Mapping, Design and Representation<br />
Sarah Stead, Koldo Telleria, Xi Chen, Ziwen Sun<br />
Students: Bethany Meer, Henry Gomm, Kaniz Shanzida, Jake McClay, Matthew Howard, Charlotte Maynard, Razan Al Hinai, Jessica Tiele,<br />
Bhumit Mistry, Akhila Ganesh, Amruta Satre, Jingwen Chen, Kelly Andwa, Dominic Payne, Leila Udol, Yinghe Yi, Matthias Bohr, Buddy<br />
Vuth, Ying Mo, Erin Dent<br />
76 Top - Groupwork Middle - Kaniz Shandiza Bottom, Left to Right - Matthew Howard, Jake McClay
Top - Site Sound Mapping Middle - Henry Gomm Bottom - Group Drawing: Henry Gomm, Bethany Meer, Kaniz Shanzida<br />
77
<strong>AUP</strong> Stage 3 - A Home For All<br />
Prof. Tim Townshend and Mr Smajo Beso<br />
Our surroundings have a profound impact on our health and well-being. Tim Townshend’s<br />
research has demonstrated how these impacts can be either positive - allowing people to live<br />
rich, fulfilling lives; or negative - constraining healthy lifestyle choices and thereby contributing<br />
to poor physical and mental health and so-called ‘lifestyle’ diseases. Public parks provide vital<br />
greenspaces for urban residents and when attractive and well maintained, contribute positively<br />
to health and well-being by providing space for restoration and relaxation; physical activity;<br />
socialisation; and reduced impacts of pollution. Parks attract a heterogeneous range of users, and<br />
informal encounters build and expand social networks, an essential element of creating a sense<br />
of community with shared values and aspirations. Free to access and providing opportunities for<br />
activities that require little, or no, specialist equipment (unlike more formal sports facilities) they<br />
are ‘neutral’ settings for community interaction, and so make a positive contribution to reducing<br />
health inequalities. Therefore, parks can provide a truly therapeutic platform on which to focus<br />
on individuals’ well-being.<br />
Some individuals’ needs for such therapeutic settings are greater than others are, however.<br />
Across the UK, for example, there is an acute need for facilities for those coping with and/or<br />
recovering from addiction and substance abuse. Alcohol and drug problems are prevalent in all<br />
areas and occur across all sectors of society, but unfortunately, Newcastle has higher rates than the<br />
national average. Harnessing the power of therapeutic landscapes is something taken seriously<br />
by health providers and Newcastle City Council is no exception. They currently have a project<br />
for a wellness hub for recovered addicts, this would encompass the restoration of a locally listed<br />
building, ‘Western Lodge’ which is set within a conservation landscape, ‘Leazes Park’; the first<br />
public park in Newcastle, opened in 1873.<br />
The student’s brief in this module, closely paralleled that produced by the local authority.<br />
They had to grapple with the designing of a ‘home’ for recovered addicts, not in the sense of a<br />
residential unit, but somewhere service users and their families could feel safe and secure, where<br />
recoverees could learn to reintegrate with civil society at their own pace and could develop new<br />
life skills for a brighter future. Essential design elements included space for physical exercise;<br />
a community garden for growing food; family activities; holistic therapies; a commercial style<br />
kitchen for nutritional advice and cookery instruction, with an associated community café<br />
open to the general public; and counselling and associated services. All of this with a historic<br />
conservation setting.<br />
Stage 3 Students<br />
Abell Eduard Ene<br />
Aimee-Anna Akinola<br />
Andrew Fong<br />
Andrew Thomas Webb<br />
Cherry Au<br />
Chloe Savannah Cummings<br />
Chun Wing Matthew Li<br />
Daniel Robert Carr<br />
Dianne Kwene Aku Odede<br />
Dongjae Lee<br />
Dwayne Joshua Afable De Vera<br />
Ella Sophia Spencer<br />
Ellis Matthew Salthouse<br />
Emma Van Der Welle<br />
Fabian Kamran<br />
Farah Madiha Binti Ashraf<br />
Henry James Oswald<br />
Julian Baxter<br />
Juliette Louise Smith<br />
Karim Mohamed Khairy Shaltout<br />
Karl Wood Nam Lam<br />
Maisie Jenkins<br />
Mohammad Izzat Ali Hassan<br />
Nik Amanda Farhana Binti Azman<br />
Nur Salymbekov<br />
Oliver James Timms<br />
Ryan Hancock<br />
Salar Butt<br />
Samantha Ming Chen Chong<br />
Wenjing Deng<br />
Zhongqing Gu<br />
Contributors<br />
Sue Scott<br />
Sue Downing<br />
Claire Harper<br />
Kathleen MacKnight<br />
Matthew Potter<br />
Fred Plater (Tyne Bar)<br />
Lisa Tolan (Toffee Factory)<br />
Tim Bailey (Xsite Architects)<br />
Chris Barnard (Ouseburn Trust)<br />
Anna Hedworth (Cook House)<br />
Dan Russell<br />
James Longfield<br />
As part of the project, students interacted with Andy Hackett and group members at the<br />
‘Roads to Recovery Trust’, in Newcastle; and were advised on their projects by Dr. Annette<br />
Payne, Health Improvement Practitioner, Newcastle City Council and Dr. Stephanie Wilkie,<br />
Environmental Psychologist, Sunderland University. We are grateful for all their inputs. The<br />
projects were presented to members of the council and interested parties at Newcastle City<br />
Council on 17.01.19.<br />
78 Text by Professor Tim Townshend Above - Team Oak: Andrew Fong, Karim Shaltout, Nik Amanda Farhana Binti Azman, Oliver Timms
Top - Team Beech: Andrew Webb, Daniel Carr, Dianne Odede, Samatha Chong<br />
Middle - Team Ash: Ella Spencer, Emma van der Welle, Juliette Smith, Zhongqing Gu<br />
Bottom - Team Lime: Chloe Cummings, Ellis Salthouse, Ryan Hancock<br />
79
<strong>AUP</strong> Stage 3 - Alternative Practice: Co-producing Space - Jesmond Community Festival<br />
Daniel Mallo and Armelle Tardiveau<br />
Site: Temporary interventions deployed as part of Jesmond Community Festival (Jesmond, Newcastle upon Tyne)<br />
Teaching contributors: Amy Linford, Sally Watson<br />
Community contributors: Fiona Clarke, Chris Clarke, Tony Waterston, Joan Aarvold, Gavin Aarvold, Rachel Gibson, Keith Jewitt<br />
Student names (by project group):<br />
Play city: Andrew Fong, Chloe Savannah Cummings, Karl Wood Nam Lam, Gabi Muller, Matthew Li<br />
Active city: Dongjae Lee, Mohammad Izzat Ali Hassan, Abell Eduard Ene, (Dereck ) Wenjing Deng, Nur Salymbekov<br />
Green city: Dwayne De Vera, Ryan Hancock, Nik Amanda Farhana Binti Azman, Rebeka Petrtylova<br />
80 Above - Play City: Andrew Fong, Chloe Savannah Cummings, Karl Wood Nam Lam, Gabi Muller, Matthew Li
Top (3) - Green City: Dwayne De Vera, Ryan Hancock, Nik Amanda<br />
Farhana Binti Azman, Rebeka Petrtylova<br />
Bottom - Active City: Dongjae Lee, Mohammad Izzat Ali Hassan, Abell Eduard<br />
Ene, (Dereck) Wenjing Deng, Nur Salymbekov<br />
81
<strong>AUP</strong> Dissertations<br />
Uncovering the third place concept and its importance in the neighbourhood:<br />
How the Egyptian ahwa could help improve British third places<br />
Karim Shaltout<br />
The popularity of third places has fluctuated in Britain throughout the years but there is currently a<br />
general downward trend. This research looked at how the Oriental Egyptian ahwa, which originally<br />
influenced the first British coffeehouse, could help improve modern British third places. This research<br />
investigated the ahwa’s place attachment through creative practice methods comprising of Atelier Bow-<br />
Wow’s observational study, Jacob Moreno’s sociograms and Nishat Awan’s interviews.<br />
‘An Investigation into the Makings of a Successful Intentional Community: A Case Study of the<br />
Isle of Erraid Community, Scotland, UK’<br />
Andrew Webb<br />
This research investigated the factors that contribute to the success of an intentional community.<br />
This was done in order to address the issues that cause an estimated 80% of these communities to<br />
fail within the first few years of their existence. Semi-structured interviews and observation were<br />
undertaken during a week spent living and participating with residents from the Isle of Erraid<br />
intentional community. Thematic analysis of the residents’ reflections gave an insight into how<br />
the community is able to achieve an environmentally conscious way of life without sacrificing<br />
the wellbeing of its members. Certain practices, such as the conflict resolution mechanisms, were<br />
identified as being fundamental to the communities’ long-term success. It is hoped that this research<br />
can give an indication of how other start-up communities might be able to adopt certain practices in<br />
order to improve their chances of long-term success.<br />
How public perception influences how skateboarders and traceurs use public space within<br />
Newcastle upon Tyne, United Kingdom<br />
Ella Spencer<br />
This dissertation draws from the concept of public space and what that entails. Within this topic it<br />
explores the relationship between skateboarding and parkour in the built environment, in particular<br />
it draws upon how public perception can influence this relationship. Through the case study of<br />
Newcastle upon Tyne, interviews from 13 people and multiple observations throughout the city centre<br />
were carried out. The end result highlighted how perception is key in whether these activities are<br />
allowed or prohibited in public space by the council and by the general public.<br />
146
2021<br />
School of Architecture, Planning and Landscape<br />
Newcastle University
BA (Hons) Architecture and Urban Planning (<strong>AUP</strong>)<br />
Armelle Tardiveau - Degree Programme Director<br />
What a challenging year! But how amazing and mature the <strong>AUP</strong> students have been during this unprecedented academic<br />
year. My heart goes to all <strong>AUP</strong>1 students, who joined our School in September and very quickly learnt to keep focused and<br />
embrace their learning without social interaction or engagement with their new peers; only lonely struggles with pens, paper,<br />
and new (always daunting) skills to acquire and harness. Of course, it has not been easy, almost everyone has experienced<br />
a wobbly moment of hesitation when more questions than certainties cross minds and motivation is difficult to maintain.<br />
The Taking Measure project (see page: 57) depicts the ever so limiting studying environment students have had to accept<br />
in the darkest hours of lockdown. Sketching, measuring and drawing their own everyday space was a task that revealed<br />
the limitations and restrictions of what felt like a never-ending situation. Thankfully, as soon as the government allowed,<br />
Architecture staff agreed to provide access to design studios once, then twice a week. For many of you in Newcastle, the access<br />
to the studio turned into a lifeline, although for those of you who hadn’t even managed to set foot in the city, the routines of<br />
studying remotely continued as before. Incredibly so, most first year students, during their end of year portfolio interview in<br />
June, stated that they had a good year; this is a tribute to all dedicated academic and support staff who have all gone above<br />
and beyond the imaginable to make this year possible and rich despite of the global pandemic.<br />
Architecture and Urban Planning students have matured at an unexpected pace, taking in their stride their frustrations,<br />
anger, desolation and difficulties. Yet, these struggles prepared students more than ever for professional life, being able to<br />
develop projects individually or in groups with colleagues across oceans. They have learned to organise themselves, to reach<br />
out in difficult times, to work together remotely. They have been able to reflect constructively on their learning process and<br />
succeeded in projecting themselves beyond their degree.<br />
The interdisciplinary nature of the BA (Hons) Architecture and Urban Planning programme meant that students had<br />
to adjust to a variety of virtual teaching approaches: Design projects included individual site visits for students based in<br />
Newcastle, but those studying remotely experienced the approach that many designer practitioners engage with when taking<br />
part in international competitions - including learning about a site through maps and data sourced while never setting foot<br />
on the actual ground. As part of APL2015 Relational Mapping: Design and Representation (see page: 60), a colleague<br />
walked Byker with a go-pro camera sharing live comments and observations. The APL2035 Participation: Theories and<br />
Practices (see page: 62) which intends to engage students with community groups turned out to be impossible. Instead<br />
colleagues from APL, Geography and Education generously supported the module allowing our students to remotely embrace<br />
a diversity of matters of concern faced by people in our city. Humbly accepting that we have all been learning, compassion<br />
and understanding have been paramount and essential to complete a year that could never prepare students better for the 21st<br />
century professional life. As a team, we have noted sustained academic standards, in some parts even higher achievements,<br />
thus demonstrating the level of resilience that was required.<br />
The programme has consolidated its socially engaged ethos to architecture and planning which is illustrated in the pages of<br />
this yearbook through the ARC1007 Architectural Design with the Co-created City project (see page: 54) that engages<br />
students in siting a small studio in dialogue with an artist. <strong>AUP</strong>2 offers, APL2015 Relational Mapping: Design and<br />
Representation (see page: 60), a design project that invites students to ‘explore a site carefully and to understand how<br />
architecture and urban space are designed, experienced, and enjoyed by the public before making suggestions for its future’.<br />
The socially embedded agenda is strengthened with the <strong>AUP</strong>2 module APL2035 Participation: Theories and Practices (see<br />
page: 62) which introduces students to the research of many colleagues in both Architecture and Planning but also provides<br />
them with tools to actively support changes in our city, and ensure all voices are heard. APL3001 Alternative Practice: Urban<br />
Prototyping design project “Urban Commons” (see page: 66) concludes a two-year collaboration with the AHRC funded<br />
project ‘Waste and Strays, past, present and future of Urban Commons’ focusing on Newcastle’s Town Moor as a space<br />
of reflection and engagement on common land. APL3007 Dissertation in Architecture and Urbanism (see page: 14)<br />
reflects students’ concerns and future professional endeavours exploring a wide diversity of topics ranging from informal<br />
settlements in Cairo and Abuja, biodiversity and wellbeing, the impact of the COVID-19 pandemic, climate emergency<br />
and ecological crisis to the pressing matter of women’s safety in the built environment.<br />
53
<strong>AUP</strong> Stage 1 - Co-created City<br />
Dan Russell<br />
I inherited this project from Ed Wainwright, having initially contributed to it when<br />
I moved to Newcastle a few years back. The module was previously based at The<br />
NewBridge Project in Gateshead, an artist-led organisation where I also work as<br />
Artist Development Programmer. When Ed asked if I knew anyone whose interests<br />
spanned contemporary art, social practice and the built environment to get involved<br />
in teaching, I cheekily said “yes, me”. This was not totally out of the blue as I have a<br />
background in architecture and a decade of working on socially engaged art projects.<br />
It has been enjoyable seeing the project evolve over the years and witness different<br />
students’ reactions to it - especially when being gently nudged out of their comfort<br />
zones!<br />
Whilst still geared around designing a residency space for an artist, this year we<br />
broke with tradition and sited the project away from NewBridge. We were still able<br />
to ground it in the realities and difficulties of art in the city: precarious temporary<br />
tenancies, the spectre of gentrification, and the misunderstanding and marginalisation<br />
of progressive creative practices that hint at better futures. Three real life artists were<br />
invited to act as client figures whose needs and specific artforms the students could<br />
design around, and the project aimed to help them investigate what it is artists do,<br />
and how this connects to bigger societal themes and issues in the context of the city,<br />
and why it is important.<br />
Starting with Joseph Beuys’ (1921–1986) “extended definition of art” where<br />
“everything under the sun is art” and “everyone is an artist” the cohort were<br />
encouraged to get into the heads of the client artists and draw their own conclusions<br />
as to what art might be - perhaps not limited to things like painting or drawing.<br />
This year we took into consideration the fact that people were still primarily working<br />
from their kitchen tables, bedrooms and sofas and might not have access to the<br />
luxuries of the studio - making preliminary site models out of piles of books, cereal<br />
boxes and folded jumpers. In lieu of being together on site, and catering for brains<br />
subdued by a year of lockdown, we did imaginative exercises inspired by designer<br />
Victor Papanek and futurologist Jerome Glenn to explore either a visionary approach<br />
(speculative, not-yet-practical designs) or super detail (pinpoint accurate refinement)<br />
angle for the project.<br />
Stage 1 Students<br />
Alexandra-Cristina Gherghe<br />
Amelia Rose Stewart Pegrum<br />
Andre Hansford<br />
Aube Aurelie Marguerite Bailly<br />
Bailey Hodgson<br />
Ben Joseph Foster<br />
Benjamin Hunter Dwyer Hill<br />
Benjamin James Johnson<br />
Charles James Joseph<br />
Connor Humble<br />
Daniel Casbolt<br />
Daniel Corden<br />
Dominic Bowell<br />
Douglas Butt<br />
Edward Adams<br />
Edward Jack Wilson<br />
Elif Gulistan Akbas<br />
Foivi Maniatopoulou<br />
Grace Tregenza<br />
James McCutcheon<br />
Jeni Larmour<br />
Jordan Shaw<br />
Josh Kalia<br />
Juliette Douin<br />
Kwan Kwan<br />
Mahamat Younis<br />
Miles Louis Thomas<br />
Patrick Eamonn Douglas<br />
Pollyanna Wagenmann<br />
Quanah Clark<br />
Samuel Gaisie<br />
Sujesh Bernardo Rajendra Kumar<br />
Tatiana Eleanor Rachel Addyman<br />
Tizzy George Sakala<br />
Tomislav Angelov<br />
Varun Awasthi<br />
Wei Che Chuang<br />
Zuzanna Tomasik<br />
Contributors<br />
James Perry<br />
Lesley Guy<br />
Sarah Stead<br />
Sue Loughlin<br />
Will Stockwell<br />
The idea with the project is to re-centre art as a vital part of the urban experience<br />
- alongside the multiplicity of societal things that make life worth living. The<br />
contributing artists all have practices that involved collaboration, other people and<br />
the general public and aim for a democratisation of culture rather than perpetuating<br />
the outdated idea of the lone genius struggling in their garret.<br />
This year’s cohort was expected to think more like actual contemporary artists: get<br />
inside their heads via storyboarding a day in their life; add a layer of reality to the<br />
design process through incorporating an inventory of each artists effects and personal<br />
requirements; and perhaps even make the leap between the social practice techniques<br />
of art and their application to community-led regeneration, designing for end users<br />
and placing people before profit.<br />
54
Top, Left to Right - Miles Thomas, Josh Kalia Middle - Quanah Clark Bottom - Juliette Douin, Amelia Pegrum<br />
55
<strong>AUP</strong> Stage 1 - MapMe<br />
Armelle Tardiveau<br />
Contributors: Elinoah Eitani and Dan Russell<br />
56<br />
Top: Quanah Clark<br />
Botttom, Left to Right - Connor Humble, Tatiana Addymann
<strong>AUP</strong> Stage 1 - Taking Measure<br />
Kieran Connolly<br />
Contributors: Daniel Mallo, Dan Russell, James Perry, Elinoah Eitani and Jane Milican<br />
Top, Left to Right - Eddie Adams, Jordan Shaw<br />
Bottom - Amelia Pegrum<br />
57
<strong>AUP</strong> Stage 1 - Architecture Occupied<br />
James Longfield<br />
Contributors: James Perry, Armelle Tardiveau with the support of Anna Cumberland, Nicholas Honey, Robert Thackeray and Mark Laverty<br />
58<br />
Top Left to Right - Amelia Pegrum, Miles Thomas Middle Left to Right - Ed Wilson, Ben Foster Bottom - Jay Chuang
<strong>AUP</strong> Stage 1 - Shelter<br />
David McKenna<br />
Contributors: James Perry, Sarah Stead with the support of photographers Tara Alisandratos and Damien Wootten<br />
Top, Left to Right - Juliette Douin, Josh Kalia Middle - Douglas Butt Bottom - Quanah Clark<br />
59
<strong>AUP</strong> Stage 2 - Relational Mapping, Design and Representation<br />
Prue Chiles and Sarah Stead<br />
The Relational Mapping studio design project invited students to explore a site<br />
carefully and to understand how architecture and urban space are designed,<br />
experienced, and enjoyed by the public before making suggestions for its future. We<br />
introduced the practice of creative mapping to explore and understand the varied<br />
dynamics and uncertainties of urban sites, and to help students find inspiration<br />
to create architectural intervention projects within the chosen site. By mapping<br />
accurately both the physical qualities of the area as well as non-physical data,<br />
experiences and uncertainties, students understood both the Byker Estate and the<br />
Byker neighbourhood. These insights informed the next stages of the project. James<br />
Corner, the well-known landscape architect, writes that “maps can unfold potential<br />
and allow creative thinking, they are a cultural project, creating and building the<br />
world as much as measuring and describing it”. He believes that new and speculative<br />
forms of mapping may generate new practices of creativity and by showing the world<br />
“in new ways, unexpected solutions and effects may emerge”. Whilst there has<br />
been no shortage of new ideas and theories in design and planning there has been<br />
little advancement and invention of those specific tools and techniques-including<br />
mapping – that are so crucial for the “effective construal and construction of new<br />
worlds”.1<br />
The famous Byker estate lies to the east of Newcastle city centre. Byker nestles itself<br />
like an Italian hill-top town rising above it’s neighbours of Ouseburn and Shield road<br />
and looks down on the River Tyne. The Byker we see today is the replacement to the<br />
demolished area of Victorian working-class area of densely built terraces, designed<br />
by the Architect Ralph Erskine. The estate, characterised by it’s huge embracing<br />
Byker wall, was seen as an exemplar of architectural and landscape design and public<br />
participation. However, despite a vibrant community action group it has complex<br />
ongoing problems.<br />
Stage 2 Students<br />
Benjamin Duncan<br />
Chak Lam Cleve Yu<br />
Cheuk Hin Adrian Yee<br />
Danna Mercado<br />
David Lok<br />
Eisha Malik<br />
Ewan Mears<br />
Gabriela Serafin<br />
Ghaidaa Al Jamali<br />
Ieuan Phoenix<br />
Jake Anderson<br />
James Ross<br />
Khadijat Ismail<br />
Man Wai Stephanie Chan<br />
Matthew Payne<br />
Maud Webster<br />
Megan Dennison<br />
Peiyi Chen<br />
Sajid Ali<br />
Suksheetha Adulla<br />
Toprak Dal<br />
William Smith<br />
Contributors<br />
Anna Cumberland<br />
Claire Harper<br />
Heidi Kajita<br />
Nicky Watson (JDDK Architects)<br />
Sally Watson<br />
At the beginning of the project we managed a field trip to Byker and Ouseburn before<br />
the lockdown, allowing most of us to meet in person and explore through walking,<br />
discussing and drawing. The studio was supplemented with talks and seminars from<br />
visiting professionals working on and in Byker and by talks on representation and<br />
urban design techniques and tactics. The brief for the project used the scenario that<br />
groups of students have been commisioned by the Byker Community Trust to anaylse<br />
a particular area within Byker and to propose architectural interventions to celebrate<br />
and improve the diverse areas of the Estate. The group mapping explorations in the<br />
first few weeks informed a manifesto, a narrative written as a group of what is needed<br />
and desired and what kind of intervention might enhance, improve and celebrate<br />
either the public space, landscape, buildings or a combination of these. The manifesto<br />
developed into a proposed site plan where each member of the group designed an<br />
element of this, ensuring that their individual final designs were integrated into<br />
the overall group proposal. The projects successfully illustrated a knowledge and<br />
understanding of mapping as a vehicle of revealing the complexity of socio-spatial<br />
networks that make up the urban environment of Byker. The students showed an<br />
evolving personal, ethical and sustainable attitude to the project, grounded in civic<br />
engagement, as much as was possible this year, and this formed the basis for their<br />
designs and decision-making. Students developed their own working practices, online<br />
especially, whether working independently or in groups and articulated their<br />
ideas at neighbourhood design scale (1:500) as well as at a detailed scale (1:50/1:20).<br />
Particularly impressive this year was the way students worked in groups with each<br />
other, some members of the studio in far flung countries and others able to visit<br />
Byker. This made for a rewarding team working experience.<br />
60
Top, Left to Right - Eisha Malik, Will Smith, Group: Ewan Meers, Ghaidaa Al Jamali, Danna Mercado, Sajid Ali Bottom - Eisha Malik 61
<strong>AUP</strong> Stage 2 - Participation: Theories and Practices<br />
Armelle Tardiveau, supported by Georgia Giannopoulou and Gabriel Silvestre<br />
For their inspiring interventions deep thanks to Prof. Prue Chiles, Dr. Paul Cowie, Gareth Fern,<br />
Prof Patsy Healey, Dr Julia Heslop, Daniel Mallo, Owen Hopkins, Prof Rosie Parnell, Sean<br />
Peacock, Teresa Strachan, Dr Dave Webb and Dr Sebastian Weise. Also, warm thanks to ‘City<br />
Actors’ who engaged with our students in local urban challenges: Sally Watson, Elinoah Eitani,<br />
Neil Murphy, Liz Todd, Alison Stenning, Montse Ferres and Ed Wainwright.<br />
Participation: Theories and Practices is a module that emerged last academic year<br />
out of sheer desire to acknowledge and foreground the longstanding tradition of<br />
participation at the School of Architecture, Planning and Landscape with its wide<br />
spectrum of participatory research in the fields of both Architecture and Urban<br />
Planning. Inspired by the legacy of Professor Patsy Healey who pioneered research on<br />
collaborative planning (Healey, P. 2003), the module intends to introduce students<br />
to this expanding body of research within the school. It builds on the work of Teresa<br />
Strachan, whose decades of practice and research for Planning Aid allowed young<br />
people to have a voice about their neighbourhood and gave them means to shape it;<br />
it also draws from the practice-led research on socially engaged design and activism<br />
by Daniel Mallo and Armellle Tardiveau in Architecture. Indeed, the school’s website<br />
bursts with research on participation, civic engagement and activism by many<br />
colleagues, illustrating the depth and breath of the commitment of the school to<br />
participation mainly through research but now embedded in our teaching.<br />
Stage 2 Students<br />
Adrian Yee<br />
Ancha Myburgh<br />
Benjamin Duncan<br />
Cleve Yu<br />
David Lok<br />
Eisha Malik<br />
Grace Evans<br />
Ieuan Phoenix<br />
Kaan Mete<br />
Matthew Payne<br />
Megan Dennison<br />
Paul Anderson<br />
Sajid Ali<br />
Stephanie Chan<br />
Suksheetha Adulla<br />
William Smith<br />
The module aims to engage our students, the forthcoming generation of citizens<br />
and professionals of the built environment, in giving power to people (echoing Patti<br />
Smith’s popular song ‘People Have the Power’). Through a combination of seminars,<br />
live engagement and reflective writing, students develop an inclusive approach,<br />
that promotes all voices to be heard,. The ultimate objective being the Right to the<br />
City for all citizens and the creation of spaces that strengthen local democracy and<br />
community action. In this regard, students develop a participatory process addressing<br />
a local concern, in the context of Newcastle’s Urban Room, a space for debate and<br />
democracy, originally envisaged by Sir Terry Farrell in his Review of Architecture and<br />
the Built Environment (2014). As part of City Futures, Prof Mark Tewdwr Jones<br />
paved the way for an Urban Room (Tewdwr-Jones, 2019) to emerge at the heart<br />
of Newcastle University, a forum for expression, participation and engagement of<br />
Newcastle’s city actors and communities living and experiencing the city everyday.<br />
This exciting new initiative, praised in a national newspaper (Wainright, O. 2021),<br />
will open many opportunities to strengthen our role as a Civic University.<br />
Participation: Theories and Practices is offered to Stage 2 students from three<br />
undergraduates programmes in the school (BA Architecture and Urban Planning, BA<br />
Urban Planning, Master of Planning); it brings together colleagues from Architecture<br />
and Planning with an interdisciplinary expertise on histories of participation,<br />
representative democracy, civic life, analogue and digital participation tools, children<br />
and young people in participation, design activism, collaborative planning, the role<br />
of fine art and performing art in participation, etc. The course not only disseminates<br />
knowledge and the well-established tradition of participation at APL, but also aims<br />
to inspire a new generation of thinkers and activists, quench their thirst for action<br />
and, ultimately, equip our graduates with a critical framework to act and address the<br />
socio-ecological challenges lying ahead of us.<br />
62 Text by Armelle Tardiveau
Top, Left to Right - Team: Hattie Carr, Will Smith, Thomas Gimshaw, Matt Noble<br />
Bottom Left - Team: Louis Mc-Lean Steel, Matt Bishop, Megan Dennison, Samantha Lindsay, Zhuoruo Li<br />
Bottom Right - Team: Benjamin Duncan, Jake Anderson, Lee Yiu Sing, Rosie Beddows, Will McKenna<br />
63
<strong>AUP</strong> Stage 2 - Living Communally<br />
Claire Harper<br />
Contributors: James Perry, Ed Wainwright, Martina Schmuecker, Helen Jarvis, James Longfield, Rosie Parnell, Sarah Bushnell, Charlie Barratt<br />
Students: Benjamin Duncan, Chak Lam Cleve Yu, Cheuk Hin Adrian Yee, Danna Mercado, David Lok, Eisha Malik, Ewan Mears, Gabriela<br />
Serafin, Ghaidaa Al Jamali, Ieuan Phoenix, Jake Anderson, James Ross, Khadijat Ismail, Man Wai Stephanie Chan, Matthew Payne, Maud<br />
Webster, Megan Dennison, Peiyi Chen, Sajid Ali, Suksheetha Adulla, Toprak Dal, William Smith<br />
MAUD WEBSTER | 190104104 | APL2015 PORTFOLIO Page 35<br />
final itteration<br />
1:200 3D view (reduced)<br />
64 Top, Left to Right - Peiyi Chen, Chak Lam Cleve Yu Bottom - Maud Webster
<strong>AUP</strong> Stage 3 - Green Infrastructure for Well-being and Diversity<br />
Tim Townshend<br />
Tutor: Smajo Beso<br />
Contributors: Mr. Clive Davies, Dr. Stephanie Wilkie – Assoc. Professor of Environmental Psychology, Sunderland University, Ms Erin<br />
Robson – Senior Planner, ARUP<br />
Stage 3 Students<br />
Abin John<br />
Angus Atkin<br />
Changrui Li<br />
Darcey Morse<br />
Diana Mihailova<br />
Emma-Maria Itu<br />
George Woodruff<br />
Jack McMunn<br />
Jake Merkx<br />
Jeremy Bidwell<br />
Laura Nichola<br />
Martin Joly<br />
Mindaugas Rybakovas<br />
Quitterie D’Harcourt<br />
Rachel Turnbull<br />
Shu Zhang<br />
Sunny Howd<br />
Tahnoon Alshehhi<br />
Thomas Coutanche<br />
Thomas Paramor<br />
Thomas Tai<br />
Yuxi Liang<br />
Contributors<br />
Armelle Tardiveau<br />
Siobhan O’Neil<br />
Alex Zambelli<br />
Abby Schoneboom<br />
Top - Diana Mihailova<br />
Bottom, Left to Right - Emma Itu, Thomas Coutanche<br />
65
<strong>AUP</strong> Stage 3 - Urban Commons<br />
Daniel Mallo<br />
This project concludes a two-year collaboration with the AHRC funded research<br />
project on urban commons: Wastes and Strays: The Past, Present and Future of<br />
English Urban Commons (1). This contribution to the research set out to explore<br />
Newcastle’s unique urban common, the Town Moor, through a variety of lenses.<br />
Structured around three inter-related tasks, the project first scrutinized the history<br />
of the Town Moor, before investigating its current practices and then envisioning<br />
its future.<br />
Drawing from the history of the Moor, students designed an imaginary intervention<br />
that revealed traces or events of a distant or close past – amongst these, the execution<br />
of 14 witches in 1650, the construction of an hospital in 1883 to contain the small<br />
pox pandemic, or the ‘Hoppings’, to date, the largest travelling fun fair still coming<br />
to the city to celebrate the start of the summer for the joy of people of all ages.<br />
Today’s experience of the Town Moor was the focus of the design and making of<br />
participatory packs that were sent to anonymous users and lovers of the space. Filled<br />
with fun tasks and engaging prompts, coined as ‘cultural probes’ by Bill Gaver (2),<br />
the carefully crafted participatory packs helped chart stories, anecdotes, experiences<br />
and narratives of the present uses and practices of the Town Moor. Ten participants<br />
returned inspirational responses in the form of photographs, field notes, post-cards,<br />
drawings, objects collected from field and recordings, all of which informed a field<br />
guide or alternative map of the everyday inspired by art collective Art Gene’s rich<br />
and witty ‘Seldom Seen’ (3) maps of Morecambe Bay.<br />
Stage 3 Students<br />
Tahnoon Alshehhi<br />
Jeremy Bidwell<br />
Sarah Bird<br />
Thomas Coutanche<br />
Quitterie d’Harcourt<br />
Cecilia Egidi<br />
Sunny Howd<br />
Emma-Maria Itu<br />
Abin John<br />
Martin Joly<br />
Changrui Li<br />
Yuxi Liang<br />
Jack McMunn<br />
Jacobus Merkx<br />
Diana Mihailova<br />
Darcey Morse<br />
Laura Nicholas<br />
Thomas Paramor<br />
Mindaugas Rybakovas<br />
Thomas Tai<br />
Rachel Turnbull<br />
Shu Zhang<br />
Future visions of the Town Moor emerged out of critical reflection of the returned<br />
participatory packs. Materialised through temporary installations or performances<br />
over the course of one day, the interventions explored scenarios and triggered<br />
everyday users in thinking about the future of this cherished Urban Common. These<br />
provocative actions brought to the fore issues concerning women’s safety at night<br />
in such a poorly lit expanse of land, created opportunities for voicing diverging<br />
perspectives on the Town Moor’s governance and practices by locating a letter box<br />
at the heart of the space, raised the opportunity for carbon sequestration through<br />
tree planting, increasing wildlife and biodiversity, while still retaining the charm of<br />
cow grazing in the summer yet protecting those who are scared of them by creating<br />
a cow-proof shelter!<br />
Despite all the challenges of the current pandemic, this live project granted students<br />
the opportunity to work collectively and celebrate individual skills and capacities<br />
much valued in collaborative design practices including leading, making, researching,<br />
planning and engaging with the public. Such projects bring together the academic<br />
skills students develop through the degree including a robust and considered ethical<br />
approach to practice and research. Co-producing space concludes in spite of all<br />
circumstances, a learning journey that forges active citizens and designers engaged<br />
in the real world.<br />
66<br />
1 https://research.brighton.ac.uk/en/projects/wastes-and-strays-the-past-present-and-future-of-english-urban-co<br />
2 Gaver, B., Dunne, T., & Pacenti, E., (1999). Cultural probes. Interactions, January-February 6 (1), 21-29.<br />
3 https://www.art-gene.co.uk/project/seldom-seen-mapping-morecambe-bay/
Top, Left to Right - Sarah Bird, Diana Mihailova, Group: Diana Mihailova, Rachel Turnbull, Jack McMunn, Changrui Li<br />
Bottom, Left to Right- Emma Itu, Group: Diana Mihailova, Rachel Turnbull, Jack McMunn, Changrui Li<br />
67
Architecture and Urban Planning Dissertations<br />
Module leader: Daniel Mallo<br />
Supervisors: Usue Ruiz Arana, Sally Watson, Rosie Parnell, Andy Law, John Pendlebury and Daniel Mallo<br />
An Exploration Of The Pandemic’s Impact On The Safety Of Women Walking To And From<br />
Work After Dark<br />
Quitterie d’Harcourt<br />
With the arrival of COVID-19, growing levels of domestic abuse have been documented worldwide,<br />
allowing for extensive research into the challenges that women face in the private domain. However,<br />
little research has been undertaken on the issues that women encounter in public settings during the<br />
pandemic. Because women constitute most healthcare workers globally, this study seeks to understand<br />
the personal experiences of key female NHS workers who commute through urban public spaces, and<br />
assess the factors that contribute to them feeling unsafe during their commutes. Based on a literature<br />
assessment on the alienation of women in the public domain on Western society, nine female workers<br />
were interviewed using an interpretivist method to comprehend the substance of the harassment they<br />
confront in public settings. The research revealed that the pandemic has had a significant impact on<br />
women’s feeling of safety in public spaces, with an absence of eyes on the street arguably being the<br />
primary issue.<br />
In Their Own Words: What is Driving the Demand and Formation of Slums ? Answered by<br />
Abuja’s Slum Dwellers<br />
Sultana Duba<br />
This paper explored the forces behind the emergence of slums in Abuja from the perspective of<br />
slum residents. It also investigated the physical conditions of Abuja’s informal communities. Semistructured<br />
interviews were conducted with 123 slum dwellers across three slums; thematic analysis was<br />
used to identify themes and patterns from the interview responses. Six major factors were extracted<br />
and are presented as triggering the emergence of slums in the city. Direct immersion in Abuja’s slum<br />
communities also revealed the deplorable living conditions of thousands of the city’s inhabitants. The<br />
results of this study are hoped to provide a deeper understanding of slums and slum formation, as well<br />
as guide policy approaches aimed at resolving this housing crisis.<br />
Home Time: Examining Work Life Balance In Cohousing Development<br />
Sarah Bird<br />
This research focuses on time scarcity becoming a barrier to accessing cohousing, through an<br />
ethnographic study of a pre-build cohousing group and the struggles and sacrifices made by its<br />
members. The research is informed by rich histories of feminist literature examining time scarcity<br />
and post-work theory, interwoven with an exploration of the history of the current housing crisis<br />
and alternatives to the traditional housing market. With the study taking place over the COVID-19<br />
pandemic it explores unique relationships to both home and time. Through understanding the<br />
inequality of how people experience time-scarcity, its relationship to labour and its impact on access to<br />
housing, this study champions an implementation of Universal Basic Income.<br />
The Impact Of The Covid-19 Pandemic On Young People And Their Ability To Access Green<br />
Space For Health And Well-Being In Consett, County Durham<br />
George Woodruff<br />
This study explores the relationship young people (aged 10-15) have had with green space during the<br />
Covid-19 pandemic in Consett, United Kingdom. Examining the health and well-being advantages of<br />
green space and the effect restrictions have had on young people. The study uses several ethnographic<br />
methods: a questionnaire, observation and mapping. The study suggests that young people have<br />
been negatively impacted by the pandemic when accessing green space. The conclusion explores the<br />
importance of green space and the need to emphasise the benefits green space offers to young people<br />
after the Covid-19 pandemic. The study also demonstrates the need for further research after the<br />
pandemic to determine any long-term effects.<br />
141
2022<br />
Y E A R S<br />
School of Architecture, Planning and Landscape<br />
Newcastle University
136
BA (Hons) Architecture and Urban Planning (<strong>AUP</strong>)<br />
Armelle Tardiveau - Degree Programme Director<br />
So much joy has marked this year!<br />
<strong>AUP</strong> students and staff have had the great pleasure to return to studios and offices, even<br />
more importantly <strong>AUP</strong> have been blessed with newly refurbished studios, delivered<br />
a day before Induction – a warm thank you for all those involved who have made<br />
this possible. The <strong>AUP</strong> Stage 1 studio offers a breath-taking view over Newcastle city<br />
centre which acts as the best possible welcome to our incoming cohort. Even better, the<br />
<strong>AUP</strong> studios share corridor and lobby with other design students including the MA<br />
in Urban Design and Landscape Architecture – many of whom are <strong>AUP</strong> graduates.<br />
Design tutorials have returned to be face to face, or more precisely mask to mask – for<br />
this I am very grateful to all students who have been respectful of colleagues’ infection<br />
concerns and have accepted the burden of wearing masks during teaching sessions<br />
throughout the year. The design studio is known for its pedagogical benefit: students<br />
have repeatedly reported how much they enjoy working, hanging out, socialising,<br />
sharing practices alongside teaching activities in their studio. Also colleagues teaching<br />
research skills have used the studio for dynamic workshop sessions involving library<br />
staff too. This consolidates pedagogical innovation on the programme but also ensures<br />
that the studio is a space for all students. We hope to nurture this nascent studio<br />
culture.<br />
An additional accredited pathway strengthens the Royal Town Planning Institute<br />
pathway. The programme now offers a pathway towards the Royal Institute of British<br />
Architects and Architects Registration Board accreditation. Following the completion<br />
of traditional portfolio interviews at the end of Stage 1, an unexpected number of <strong>AUP</strong><br />
students have firmly embraced this new opportunity. They feel it provides them with<br />
time to explore the kind of discipline that they might want to embrace. It is only at<br />
the end of Stage 2 that students will have to make the decision towards their pathway,<br />
whether accredited or not. The <strong>AUP</strong> programme will celebrate 10 years of existence<br />
next year (22/23) when we will reflect on the multitudes of professions in the built<br />
environment our graduates have gone into.<br />
This year, the <strong>AUP</strong> pages provide an insight on design for the collective and the<br />
communal: a key theme of the programme. ARC1007 Architectural Design with<br />
Architecture Occupied project offers the opportunity in first year to explore a<br />
wide range of collective housing with different typologies, material cultures, and<br />
construction approaches. Albeit all conceived as aggregated units, students study these<br />
precedents through analysing plans and sections and translating those into models at<br />
1:50 and 1:20. The aim is to scrutinise the relationship between inside and outside, in<br />
particular the spaces of social interaction both internally and as part of the surrounding<br />
public realm. In turn APL2006 Living Communally explores co-housing as a vehicle<br />
to promote social and climate ecologies, where sharing resources enables sustainable<br />
responses. Students are asked to design a brief as part of a future co-housing group<br />
and establish shared values for living communally. APL3001 Co-producing space is a<br />
“Live Project”, a real-life brief set in a collaborative and participatory context working<br />
with local people and stakeholders. Working in Fenham, students built upon Fenham<br />
Pocket Park, the ongoing creative practice research of APL academics, and designed a<br />
series of engagement and participatory actions to explore social and climate imaginaries<br />
with local people and stakeholders. The project concluded with the staging of Fenham<br />
Parliament #1 that fostered a debate amongst the community about their visions and<br />
wishes for the social and climate futures of their neighbourhood.<br />
137
<strong>AUP</strong> Stage 1 - Architecture Occupied<br />
James Longfield<br />
As designers we work between reality and representation to document, imagine and<br />
project new possibilities. The skills required to propose, test and implement possible<br />
futures exist in the same realm as documentations of existing realities. A studious<br />
discovery of precedents may therefore perform the dual function of transporting<br />
us to real places that are remote from our immediate physical surroundings, and<br />
teach us how to project alternative possibilities through use of the same manners<br />
and means. This project, running for the past 5 years, encourages students to take on<br />
an active role in occupying architecture through studying its representations before<br />
producing proto-architecture through re-making their own versions of it primed for<br />
inhabitation.<br />
This imaginative inhabitation has focussed on a broad range of housing projects.<br />
Changing year on year, schemes have been chosen both for the variety of architectural<br />
expression, and for offering intensified relationships between housing as an individual<br />
unit and its expression of social collectively. In most cases, the process of design,<br />
construction or inhabitation offers space for residents to make a meaningful<br />
contribution to the ongoing or final materiality and configuration of the spaces,<br />
thereby offering students concrete applications of the participatory approaches<br />
introduced throughout the <strong>AUP</strong> course. Projects such as the Malings and Byker<br />
have allowed us to engage more closely with the local context around us, whilst<br />
concurrently, imaginatively learning from distant projects – like ELEMENTAL’s<br />
housing in Chile and Balkrishna Doshi’s Arayana incremental housing in India –<br />
reflects the diverse and international backgrounds and professional futures of many<br />
of our students.<br />
Centrally – drawing on the strength of the <strong>AUP</strong> programme – students are given the<br />
opportunity to investigate the interrelation of an individual dwelling with the wider<br />
urban, economic, social and environmental context and its experience at the level of<br />
personal inhabitation.<br />
In groups students are asked to trace 1/50 scale drawings of adjacent housing units,<br />
then to create a complete 1/50 model of the dwellings and their adjacent public<br />
spaces. Photographically studying the 3D representation, alongside knowledge<br />
developed through research, students individually select a key ‘threshold moment’ to<br />
investigate in further detail. These thresholds often illuminate the interface between<br />
private space and the adjacent public realm. An experimental collage, drawing on art<br />
practice, allows students to empathetically and imaginatively express the atmospheric<br />
character of their threshold moment – its experienced qualities of light, texture,<br />
surface and material and activity. This study leads to a final 1/20 modelled exploration<br />
that realises the imagined life projected by each student.<br />
Stage 1 Students<br />
Aayushi Derasadi<br />
Adolf Mwesige<br />
Aisha Al Musafir<br />
Alice Moore<br />
Amelia Trattles<br />
Angus Donald<br />
Archie Hurst<br />
Ayanda Dedicoat<br />
Ben Lindgren<br />
Benjamin Cox<br />
Bryan Wong<br />
Charlie Shields<br />
Chiana BhoolaJ<br />
Dasha Seedin<br />
Ella Ashley<br />
Ellie Craven<br />
Emily Zheng<br />
Freddie Naylor<br />
George Crowe<br />
Hope Xu<br />
Iona Gibb<br />
Qinyue Guo<br />
James Dawson<br />
James Worker<br />
Jamie Charlton<br />
Jessica Hacking<br />
Joshua Torczynowycz<br />
Kurt Lo<br />
Louis Winfield<br />
Luke Harrison<br />
Luke Henworth<br />
Maria Syed<br />
Martha Waples<br />
Natasha Kyalo<br />
Noah Holland<br />
Ruben Dascombe<br />
Siddhant Nandwani<br />
Theodore Weldon<br />
Thomas Hunt<br />
Tobiloba Owolabi<br />
Valerija Konovalova<br />
Contributors<br />
Anna Cumberland<br />
Damien Wootten<br />
Daniel Mallo<br />
Elinoah Eitani<br />
Harry Thompson<br />
Jane Millican<br />
Kaniz Shanzida<br />
Loes Veldpaus<br />
Luke Leung<br />
Mike Veitch<br />
Whilst the project over the years has established a valuable catalogue of precedent<br />
study, perhaps its greater value has been the introduction of students to a malleable<br />
working methodology for learning and interrogating future proposals that they can<br />
draw on as they step into a professional sphere. Being able to establish an empathetic<br />
and embodied connection between space as technically described through drawing<br />
and model conventions and its reality as an atmospheric place of sensory experience<br />
relating the to practicalities of daily occupation is central to the production of<br />
relevant, appropriate and empowering architecture.<br />
138
Left, Top to Bottom - Maud Webster, Martha Waples and Ruth Jeffries<br />
Right, Top to Bottom - Hoi Ning Wong, Edward Thomas<br />
139
<strong>AUP</strong> Stage 1 - MapMe<br />
Armelle Tardiveau<br />
Contributors: Elinoah Eitani and Dan Russell<br />
140<br />
Top - Maria Syed, Emily Zheng Middle - Dasha Seedin, Archie Hurst Bottom - Ayanda Dedicoat, Adolf Mwesige
<strong>AUP</strong> Stage 1 - Taking Measure<br />
Daniel Mallo<br />
Contributors: Daniel Mallo, Ellie Gair, Rusudan Mirzikashvili, Elinoah Eitani, Jane Millican, Mike Veitch and Damien Wootten<br />
Top - Ayanda Dedicoat , Hope Xu<br />
Bottom - Noah Holland, Kurt Lo<br />
141
<strong>AUP</strong> Stage 1 - Interpreting Lorenzetti<br />
Daniel Mallo & Loes Veldpaus<br />
Contributors: Isabel Fox, Jay Hallsworth and Jake Williams-Deoraj<br />
142<br />
Top - Group1: Shu Ming Shermaine Leung, Luke Henworth, Noah Holland and Iona Gibb<br />
Middle and Bottom - Group2: Siddhant Nandwani, Samuel Fry, Benjamin Harris and Jessica Hacking
<strong>AUP</strong> Stage 1 - Jetty<br />
David McKenna<br />
Contributors: David McKenna, Ellie Gair, James Longfield, Elinoah Eitani, Jane Millican and Mike Veitch<br />
Top, Left to Right - Martha Waples, Jessica Hacking and Charlie Shields<br />
Bottom - Martha Waples, Adolf Mwesige<br />
143
<strong>AUP</strong> Stage 1 - Urban Observatory<br />
Daniel Mallo<br />
Contributors: Daniel Mallo, Anna Cumberland and Karl Mok<br />
144<br />
Top - Charlie Shields, Adolf Mwesige Middle - Amelia Trattles Bottom - Valerija Konovalova
145
<strong>AUP</strong> Stage 2 - Relational Mapping, Design and Representation<br />
Armelle Tardiveau<br />
The Relational Mapping studio design project invited students to explore a site<br />
carefully and to understand how architecture and urban space are designed,<br />
experienced, and enjoyed by the public before making suggestions for its future. We<br />
introduced the practice of creative mapping to explore and understand the varied<br />
dynamics and uncertainties of urban sites, and to help students find inspiration<br />
to create architectural intervention projects within the chosen site. By mapping<br />
accurately both the physical qualities of the area as well as non-physical data,<br />
experiences and uncertainties, students understood both the Byker Estate and the<br />
Byker neighbourhood. These insights informed the next stages of the project. James<br />
Corner, the well-known landscape architect, writes that ‘maps can unfold potential<br />
and allow creative thinking, they are a cultural project, creating and building the<br />
world as much as measuring and describing it’. He believes that new and speculative<br />
forms of mapping may generate new practices of creativity and by showing the<br />
world ‘in new ways, unexpected solutions and effects may emerge’. Whilst there<br />
has been no shortage of new ideas and theories in design and planning there has been<br />
little advancement and invention of those specific tools and techniques ‒ including<br />
mapping – that are so crucial for the ‘effective construal and construction of new<br />
worlds’.<br />
Stage 2 Students<br />
Amelia Pegrum<br />
Connor Humble<br />
Douglas Butt<br />
Eddie Adams<br />
Elif Akbas<br />
Jay Chuang<br />
Jordan Shaw<br />
Kwan Kwan<br />
Lan Guo<br />
Miles Thomas<br />
Patrick Douglas<br />
Quanah Clark<br />
Samuel Gaisie<br />
Contributors<br />
Anna Cumberland<br />
Armelle Tardiveau<br />
Bryony Simcox<br />
Nick Simpson<br />
The famous Byker estate lies to the east of Newcastle city centre. Byker nestles itself<br />
like an Italian hill-top town rising above its neighbours of Ouseburn and Shield Road<br />
and looks down on the River Tyne. The Byker we see today is the replacement of<br />
the demolished Victorian working-class area of densely built terraces, designed by<br />
the Architect Ralph Erskine. The estate, characterised by its huge embracing Byker<br />
Wall, was seen as an exemplar of architectural and landscape design and public<br />
participation. However, despite a vibrant community action group, it has complex<br />
ongoing problems.<br />
At the beginning of the project we managed a field trip to Byker and Ouseburn,<br />
allowing most of us to meet in person and explore through walking, discussing<br />
and drawing. The studio was supplemented with talks and seminars from visiting<br />
professionals working on and in Byker and by talks on representation and urban<br />
design techniques and tactics. The brief for the project used the scenario that groups<br />
of students have been commisioned by the Byker Community Trust to anaylse a<br />
particular area within Byker and to propose architectural interventions to celebrate<br />
and improve the diverse areas of the Estate. The group mapping explorations in the<br />
first few weeks informed a manifesto, a narrative written as a group of what is needed<br />
and desired and what kind of intervention might enhance, improve and celebrate<br />
either the public space, landscape, buildings or a combination of these. The manifesto<br />
developed into a proposed site plan where each member of the group designed an<br />
element of this, ensuring that their individual final designs were integrated into<br />
the overall group proposal. The projects successfully illustrated a knowledge and<br />
understanding of mapping as a vehicle of revealing the complexity of socio-spatial<br />
networks that make up the urban environment of Byker. The students showed an<br />
evolving personal, ethical and sustainable attitude to the project, grounded in civic<br />
engagement, as much as was possible this year, and this formed the basis for their<br />
designs and decision-making. Students developed their own working practices,<br />
online especially, whether working independently or in groups and articulated their<br />
ideas at neighbourhood design scale (1:500) as well as at a detailed scale (1:50/1:20).<br />
Particularly impressive this year was the way students worked in groups with each<br />
other, some members of the studio in far flung countries and others able to visit<br />
Byker. This made for a rewarding team working experience.<br />
146
Top, Left to Right - Miles Thomas, Eddie Adams, Quanah Clark<br />
Bottom - Douglas Butt<br />
147
<strong>AUP</strong> Stage 2 - Living Communally<br />
Claire Harper, James Longfield supported Sarah Bird & Nick Simpson<br />
Living Communally offers the opportunity to work through the project as a group,<br />
in a shared group setting, on a site the students are already familiar with. The brief<br />
– to design a new co-housing neighbourhood on the edge of the Byker estate in<br />
Newcastle’s east end – encourages the students to consider the complexities and<br />
challenges of communality from different perspectives. As designers, what might it<br />
mean to work with a community? What tools and techniques do practitioners need<br />
to navigate the multiple needs and aspirations of different households and potential<br />
conflicts that might emerge? Furthermore, how does the communal nature of cohousing<br />
affect the way that spaces inside and outside the home are used?<br />
Stage 2 Students<br />
Amelia Pegrum<br />
Douglas Butt<br />
Eddie Adams<br />
Elif Akbas<br />
Jay Chuang<br />
Jordan Shaw<br />
Kwan Kwan<br />
Lan Guo<br />
Miles Thomas<br />
Quanah Clark<br />
As urban dwellers most of the spaces we occupy daily: the street, shop,<br />
playground, classroom, office, gym and pub, are shared spaces. This<br />
sharing usually takes place without conscious thought, directed instead<br />
by embodied, collectively understood rules about how space is used and<br />
the behaviour expected of us in a particular environment. This common<br />
understanding ‒ about private versus public space and the symbolic<br />
importance of different thresholds ‒ underpins many of the standards that<br />
govern the design of new residential environments. Co-housing provides<br />
the potential to challenge these rules.<br />
The history of co-housing as a designed collective housing typology originated with<br />
the Danish bofœllskab projects (translated as ‘living togetherness’) and Swedish<br />
kollectivhus, developed during the mid-1960s. Since then the model has been<br />
adapted by different groups with different organisational structures, but all broadly<br />
defined by the term ‘intentional’ communities. The intentionality inherent in cohousing,<br />
as social geographer and co-housing member Helen Jarvis describes it, ‘to<br />
simultaneously reject the mainstream options and create a better alternative’ offers an<br />
opportunity for students to design domestic space from a first principles approach.<br />
We ask the students to imagine themselves as a resident of this future co-housing<br />
community. A key part of the project is to reflect on the challenges of organising<br />
as a group and reaching collective decisions and compromises to inform the design<br />
brief for the project. Many are able to draw on their experience of shared student<br />
housing, bringing both tactics and methods for negotiating shared living, as well as<br />
understanding of how the spatial configuration of the home might affect relationships<br />
both within the household, and between each household and other co-housing<br />
residents. The task of designing for these relationships, presenting proposals to their<br />
peers (and would-be neighbours) and grappling with the importance of shared spaces<br />
within and around the site are essential to understanding the role and value that<br />
designers can bring to community projects, if they have the right tools.<br />
148
Top - Quanah Clark Bottom Left - Jordan Shaw Bottom Right, Top to Bottom - Douglas Butt, Eddie Adams<br />
149
<strong>AUP</strong> Stage 3 - Green Infrastructure for Well-being and Diversity<br />
Tim Townshend<br />
Tutor: Tim Townshend and Smajo Beso<br />
Stage 3 Students<br />
Adrian Yee<br />
Benjamin Duncan<br />
Cleve Yu<br />
Danna Mercado<br />
David Lok<br />
Eisha Malik<br />
Ewan Mears<br />
Gabriela Serafin<br />
Ghaidaa Al Jamali<br />
Jake Anderson<br />
James Ross<br />
Khadijat Ismail<br />
Matt Payne<br />
Maud Webster<br />
Megan Dennison<br />
Peiyi Chen<br />
Stephanie Chan<br />
Suksheetha Adulla<br />
Will Smith<br />
150<br />
Top - Ewan Mears Middle - MaudWebster Bottom - Matthew Payne
Top - Group Project<br />
151
<strong>AUP</strong> Stage 3 - Fenham Pocket Park<br />
Daniel Mallo & Armelle Tardiveau<br />
The Live Project which concludes the <strong>AUP</strong> design pathway is one of the features that<br />
makes this programme unique. It brings together the ethos of the degree: performative<br />
engagement in the urban realm in the form of ‘actions’ and ‘interventions’ that seek<br />
to unpack existing socio-spatial practices, foreground power asymmetries, claim<br />
forgotten spaces, revive past memories or open up new possibilities and capacities.<br />
The design studio becomes a ‘field’ of material and social exploration where students<br />
draw from their embodied experience of making, sharing, learning, and projecting<br />
future imaginaries.<br />
Fenham Pocket Park, a community-led green urban space, which opened six years<br />
ago was the setting for this year’s live project. Located in Fenham (Newcastle upon<br />
Tyne), the Park has been praised as a welcoming, calming environment open to<br />
local residents for planting, nurturing, maintaining and celebrating. It is deemed<br />
as an urban haven of biodiversity that contributes to the Newcastle City Council<br />
climate action plan which was rewarded with the Green Flag Community Award<br />
in autumn 2021. However, the area continues to be severely struck by the impact<br />
of austerity and the retreat of public services: the closure of the adjacent swimming<br />
pool in 2019 has led to a drastic loss of footfall, which has been exacerbated by the<br />
COVID-19 pandemic.<br />
<strong>AUP</strong> students took the challenge to re-kindle the momentum lost during the<br />
pandemic and the closure of Fenham Swimming Pool, and collectively re-imagine<br />
with community members social and climate future for the area. Students initially<br />
developed visions that re-centre the Park at the heart of the community taking on<br />
the wide range of social, ethnic, age groups as well as turning Fenham into a climate<br />
resilient beacon. The narrative of the project entailed three phases: visioning, enacting<br />
and prototyping / engaging that were recorded and disseminated through a blog that<br />
helped reflect on engagement, communicate with residents and stakeholders and<br />
publicise events: https://blogs.ncl.ac.uk/fenhamfutures/<br />
Initially students engaged in exploring social and climate imaginaries, drawing<br />
from existing community groups (including communities of interest, digital<br />
communities, resident-led initiatives). Students then explored social and climate<br />
imaginaries through a process of visioning aimed at regaining a collective momentum<br />
and triggering opportunities for social innovation and climate action. This led<br />
to experimenting and enacting social and climate imaginaries which entailed the<br />
translation of these visions in the form of installations and engaged community<br />
groups in open-ended conversations to stimulate imagination as well as capture<br />
stories and narratives for Fenham Futures.<br />
Stage 3 Students<br />
Adrian Yee<br />
Aurore Henrotte<br />
Benjamin Duncan<br />
Cleve Yu<br />
Danna Mercado<br />
David Lok<br />
Eisha Malik<br />
Ewan Mears<br />
Gabriela Serafin<br />
Ghaidaa Al Jamali<br />
Jake Anderson<br />
James Ross<br />
Khadijat Ismail<br />
Matt Payne<br />
Maud Webster<br />
Megan Dennison<br />
Peiyi Chen<br />
Sajid Ali<br />
Stephanie Chan<br />
Suksheetha Adulla<br />
Will Smith<br />
Contributors<br />
Friends of the Pocket Park: Helen<br />
Hardman, Imogen Cloet, Mark Pardoe,<br />
Stuart Stephenson, and supporters:<br />
Winnie Wong, Jane Lancaster and<br />
daughter;<br />
Library Services and user groups at<br />
Fenham Library: Matty Starforth<br />
(Newcastle Public Health); Sandra<br />
Adams (PROPS: Family Recovery<br />
Service; Claire McCardle (NTaR:<br />
Newcastle Treatment and Recovery);<br />
Emma Mould (FoodNewcastle /<br />
Nourish Food School); Chris Smith<br />
(Men’s Pie Club);<br />
Andrew Venus (Library Services<br />
Newcastle City Council).<br />
Academic colleagues: Tim Townshend,<br />
Emma Coffield, Mara Ferreri,<br />
Lucy Hatt, David Webb and Abby<br />
Schoneboom.<br />
The engagement concluded with the Fenham Futures Parliament #1. Students<br />
staged and orchestrated a space for debate with residents and community actors<br />
to deepen the three emerging themes from the initial engagement: Heritage and<br />
creative reuse opening up opportunities for creative reuse of Fenham Pool; Social<br />
economy initiatives stimulating local businesses and non-monetary exchanges;<br />
and Climate Futures promoting low carbon transport, greening and decarbonising<br />
Fenham. This project has enabled community groups to re-engage with Fenham<br />
Pocket Park and unlock opportunities for collectively envisioning a socially inclusive<br />
and climate resilient Fenham.<br />
152
Top, Left to Right - Sarah Bird, Diana Mihailova, Group: Diana Mihailova, Rachel Turnbull, Jack McMunn, Changrui Li<br />
Bottom, Left to Right- Emma Itu, Group: Diana Mihailova, Rachel Turnbull, Jack McMunn, Changrui Li<br />
153
Architecture and Urban Planning Dissertations<br />
Module leader: Daniel Mallo<br />
Supervisors: Ali Mandanipour, Abby Schoneboom, Andy Law, Loes Veldpaus, Sally Watson<br />
Reading the City: a Study of Text in Newcastle’s Ouseburn and Byker<br />
Maud Webster<br />
This research project reveals the intricacies of text used within Newcastle’s Ouseburn and Byker,<br />
detailing how textual signage is used for heritage, cultural, regulatory, navigational, commercial, and<br />
political purposes. It explores the role text plays in our experiences of urban spaces, the role it plays in<br />
shaping these spaces into places, and ultimately how text can reveal the visual character of an area and<br />
the changes it is undergoing.<br />
Why is Participatory Design Needed for the Future Renovation of Soviet-Era Prefabricated<br />
Apartment Blocks and for the Regeneration of ‘Space’ in the Context of Post-Soviet Ukraine?<br />
Ancha Myburgh<br />
This research focuses on the potential to renovate Soviet-era prefabricated apartment blocks across<br />
Ukraine, through a participatory design approach. The informal architecture, namely the collage of<br />
illegally constructed balconies on the facade of these Soviet-era prefabricated apartment blocks across<br />
Ukraine, such as the ‘Khrushchyovka’ apartment units, represents the importance of including those<br />
impacted by decisions regarding their urban environment in the decision-making process. This silent,<br />
collective protest against the authoritarian nature of Soviet architecture and planning is explored<br />
through the phenomenon of Ukrainian make-shift balconies and through the on-going conflict<br />
between public and private space. Communities within these apartment blocks often bonded over<br />
the deficiencies and shortcomings of the Soviet-era mass-housing schemes and in turn, displayed a<br />
natural sense of agency. The residents residing within the Soviet-era prefabricated apartment blocks<br />
overcame many of these deficiencies in a collaborative, communal process. This research focuses on<br />
and argues for a participatory approach towards future renovation of the apartment blocks across<br />
Ukraine, through Roman Blazhan’s ‘Enter Through the Balcony’.<br />
The Impact of Social Housing on Tenants Mental and Physical Well-Being; with Case Study<br />
Analysis of Orchard Park Estate, Kingston Upon Hull<br />
Megan Dennison<br />
This study explores the connections between social housing and the impacts on mental and physical<br />
well-being of its tenants, analysing the Orchard Park Estate, Hull. Using an ethnographic approach<br />
alongside a personal relationship with the estate and both its current and former residents allowed<br />
for a unique perspective on these matters, and a more conversational interviewing process that eased<br />
the study participants. The research findings suggest tenants of social housing are disproportionately<br />
disadvantaged comparatively to tenants of privately rented or owned housing, and as a result are<br />
likely to face issues with their mental or physical health at some point in their lifetime. These issues<br />
are evidenced to cause a strain in further areas of life, often causing issues in relationships with family<br />
and friends as problems with mental and physical health become more prominent. By identifying<br />
these issues and the connecting impacts, we are able to assess the causation of the issues at their root,<br />
drawing up plans for further research and strategy implementation to improve the disproportionate<br />
standards of social housing.<br />
173
2023<br />
School of Architecture, Planning and Landscape<br />
Newcastle University
132
BA (Hons) Architecture and Urban Planning (<strong>AUP</strong>)<br />
Armelle Tardiveau - Degree Programme Director<br />
Buzzing studios on the 5th floor of the Daysh building started with a crossdisciplinary<br />
charrette week titled ‘Street Life’ which set off the design programme’s<br />
learning journey focusing on Clayton Street Past, Present and Future. Located<br />
centrally, this historic street edges Grainger Town and stretches from Central<br />
Station to Monument, yet despite its history, it has been suffering from economic<br />
decline over the past decade and is now part of a High Street regeneration<br />
programme by Newcastle City Council for a new Cultural and Creative Zone.<br />
Fifteen groups of students in Architecture and Urban Planning (<strong>AUP</strong>2 and<br />
<strong>AUP</strong>3) and masters students in Urban Design and Landscape Architecture (Stage<br />
2) worked together, observing and measuring this urban spine, sharing drawing<br />
skills and techniques or learning from each other’s disciplines. Some taught, some<br />
learnt, others enquired about the different professions, and everyone celebrated<br />
the fifteen boards exhibited at the end of the week.<br />
We welcomed nearly 40 students in Stage 1 whose first week’s MapMe project<br />
invites them to draw an object meaningful to them, to share their journey,<br />
culturally, emotionally or geographically to Newcastle University and compose<br />
posters which offer a snapshot into the students’ life, culture and experiences<br />
(see pages 136). In Stage 2, no fewer than 30 out of 40 students chose the<br />
optional modules offered for the accredited pathways into architecture or urban<br />
design. In addition, the programme is now strengthened with two new design<br />
and construction modules in landscape architecture which consolidates its<br />
interdisciplinary endeavour and reinforces its climate change agenda.<br />
And it is Climate Literacy that the next few <strong>AUP</strong> pages will illustrate and how<br />
through design projects and policy analysis we bring to the fore a matter that we<br />
all need to tackle together. Whether small or large, through action, design, or<br />
policy making, weaving in different approaches allows for an interdisciplinary<br />
response to a pressing concern that we all need to address and act on together.<br />
Jetty (see pages 134), a semester 2 design project requiring <strong>AUP</strong>1 students to<br />
embrace the landscape conditions of an estuary site and its elements (wind,<br />
sun, rain) developed a proposal for a jetty and a bothy to enable the return of<br />
a ferry crossing service. The jetty creates a site for the bothy that needs to take<br />
into account the climate induced tidal change and potential flooding of the area.<br />
The Participation module (<strong>AUP</strong>2) invited a city actor who asked the students<br />
to envisage giving voice to non-humans, namely microbes living in the Tyne<br />
mudflats that are known for the ecological and health significance as part of the<br />
Riverpark development, only a few steps away from major cultural landmarks, as<br />
well as Newcastle and Gateshead city centres. Students in 3rd year were offered a<br />
new module on Climate Literacy (see pages 144) and delved into understanding<br />
actions and decision-making processes for mitigating and adapting to climate<br />
change, whilst preserving and enhancing environmental values and resources<br />
drawing from a wide range of policy strategies and guidelines. This year, Stage 3<br />
design projects focused on Clayton Street through the lens of Green Infrastructure<br />
for Wellbeing and Biodiversity (see pages 142) in semester 1 while in semester 2,<br />
the Live Project explored how to Re-Value Clayton Street (see pages 146) through<br />
temporary interventions (as shown in the adjacent image) testing how the street is<br />
perceived and what small changes can make this area a destination. The inception<br />
of the project was supported by the invaluable input from Glasshouse who<br />
engaged students to co-lead a public workshop and help them gain confidence<br />
and understanding of what co-production with real people entails when it comes<br />
to shaping their city together.<br />
133
<strong>AUP</strong> Stage 1 - Jetty<br />
David McKenna<br />
It is estimated that around 3% of new buildings in England are built on flood plains and are at risk<br />
of inundation. The Jetty project introduces techniques for designers to address the effect of climate<br />
change on buildings and asked students to question the meaning of shelter and how architecture<br />
engages with its surrounding landscape and the elements by considering varying degrees of shelter,<br />
for example:<br />
• a place to listen to the rain falling on the roof<br />
• a place to look out across the estuary to the salt marsh<br />
• a place to lie down and look at the sky<br />
• a place to cook and listen to the water<br />
• a surface that collects and directs water to the sea<br />
Responding to the path of the sun, rising and falling water levels, as well as the possibility of more<br />
severe flooding, students celebrated the building’s proximity to water and allowed the flood water to<br />
interact with the structure. The site is usually located on the periphery of urban locations, on the edge<br />
of a wider, wilder landscape.<br />
This year the project was located in Alnmouth, a town on the Northumberland coast whose natural<br />
harbour led to it becoming a bustling medieval port: exporting grain from Northumberland and<br />
latterly importing bat guano from South America for use as fertiliser. The landscape was dramatically<br />
reshaped when a storm broke through the dunes and rerouted the course of the River Aln separating<br />
the town’s church from the rest of the settlement. This created large areas of saltwater marsh and<br />
reduced the capacity of the natural harbour making it less viable as a commercial port. Since the<br />
arrival of the railway, the town has been primarily a tourist destination. The river cuts off the town<br />
from the beaches to the South and, in order to avoid the long walk to the nearest bridge and around<br />
the perimeter of the salt marsh, a Ferryman used to row passengers back and forth across the River<br />
Aln.<br />
In anticipation of a revived ferry service, the students were asked to reinterpret the old Ferryman’s<br />
hut. It would comprise a temporary bothy for a Ferry Pilot, a Jetty and Kiosk to sell tickets and coffee,<br />
and a shelter for waiting passengers. At the highest tide, the water level in the bay is half a meter above<br />
the ground level so mitigation against this had to be incorporated into the design. The shelter and<br />
jetty (but not the bothy) were allowed to flood at the highest tide. We began by visiting the site. We<br />
experienced the landscape, observed and recorded the qualities of light, water, wind, rain, sun, tide,<br />
materiality and topography.<br />
‘Layering and changeability: this is the key, the combination that is worked into most of my buildings.<br />
Occupying one of these buildings is like sailing a yacht; you modify and manipulate its form and skin<br />
according to seasonal conditions and natural elements.’ Glenn Murcutt<br />
Stage 1 Students<br />
Arina Ardeeva<br />
Aurelia Paa-Kerner<br />
Benjamin Orchard<br />
Carina Kriesi<br />
Clara Townsend<br />
Ella Parsonage<br />
Ethan Sims<br />
Evie Perkins<br />
Fred Mitchell<br />
Grace Dore<br />
Harry Johnson-Hill<br />
Jake Gane<br />
Kate Graham<br />
Kennedy Iceton<br />
Laura Coulson<br />
Logi Gudmundsson<br />
Luke Richards<br />
Madina Abdullayeva<br />
Marlon MacDermott<br />
Matthew Ho<br />
Megan Barratt<br />
Michael Bailey<br />
Miruna-Luciana Cismas<br />
Rosa Goodman Fleischmann<br />
Sai Baluswami Sangeetha<br />
Sofiia Lukachuk<br />
Stella Toombs<br />
Tallulah Colclough<br />
Temi Ogunbanjo<br />
Tom Letts<br />
Vanessa Wong<br />
Yitong Li<br />
Zak Travers<br />
Zimeng Zhou<br />
Zion Hunt-Murphy<br />
Zoe Hill<br />
Zuzanna Tomasik<br />
Contributors<br />
Alkistis Pitsikali<br />
Damien Wootten<br />
Elinoah Eitani<br />
Kati Blom<br />
Sneha Solanki<br />
Their designs emphasised these qualities, responding to weather conditions and the changing tide.<br />
The hut is a place for passengers and passers-by to shelter and to experience the landscape as it is<br />
reframed by the building.<br />
‘We find beauty not in the thing itself but in the patterns of shadows, the light and the darkness, the<br />
one thing against another creates.’<br />
This quotation from Jun’ichirō Tanizaki’s ‘In Praise of Shadows’ (1933) describes the ephemeral<br />
qualities of light on a surface. The experience of light can be sublime, but the path of sunlight over<br />
a day is predictable.<br />
The students analysed the location of the sun in relation to their building. They considered, for<br />
example, whether parts of the structure would be in direct sunlight in the evening, or whether<br />
an interior space would be illuminated by even north light. Visitors to the Ferryman’s hut would<br />
experience the estuary, its landscape, tides and weather, as they are reframed by the students designs.<br />
134
Left, Top to Bottom - Rosa Fleischmann, Benjamin Orchard, Tallulah Colclough<br />
Right, Top to Bottom - Miruna-Luciana Cismas, Sofiia Lukachuk<br />
135
<strong>AUP</strong> Stage 1 - MapMe<br />
Loes Veldpaus<br />
Contributors: Elinoah Eitani, Gönül Bozoğlu, Jane Millican, Lisa Rippingale<br />
136<br />
Top - Miruna-Luciana Cismas, Aurelia Paa-Kerner Middle - Arina Ardeeva, Rosa Goodman Fleischmann Bottom - Zoe Hill, Tom Letts
<strong>AUP</strong> Stage 1 - Interpreting Lorenzetti<br />
Loes Veldpaus<br />
Contributors: Alkistis Pitsikali, Natalie Si Wing Lau, Olivia Jackson, Thomas Barnetson<br />
Top - Zoe Hill Middle - Group: Sofiia Lukachuk, Marlon Bottom Left - Group: Tom Letts, Miruna-Luciana Cismas, Grace Dore<br />
MacDermott, Rosa Goodman Fleischmann Bottom Right - Sofiia Lukachuk<br />
137
<strong>AUP</strong> Stage 1 - Architecture Occupied<br />
James Longfield<br />
Contributors: Alkistis Pitsikali, Anna Cumberland, Damien Wootten, Daniel Mallo, Elinoah Eitani, Mike Veitch, Natalie Si Wing<br />
Lau, Olivia Jackson, Sneha Solanki, Thomas Barnetson<br />
138 Top, Left to Right - Stella Toombs, Zimeng Zhou Bottom, Left to Right - Madina Abdullayeva, Rosa Goodman Fleischmann
<strong>AUP</strong> Stage 1 - Urban Observatory<br />
Kieran Connolly<br />
Contributors: Alkistis Pitsikali, Anna Cumberland<br />
Top, Left to Right - Evie Perkins, Fred Mitchell<br />
Bottom - Vanessa Wong<br />
139
<strong>AUP</strong> Stage 2 - Relational Mapping, Design and Representation<br />
Armelle Tardiveau<br />
Contributors: Anna Cumberland, Bryony Simcox, Ceren Senturk, Daniel Mallo, Stef Leach, Usue Ruiz Arana<br />
Students: Aayushi Derasadi, Alice Moore, Amber Deng, Amelia Trattles, Angus Donald, Archie Hurst, Ayanda Dedicoat, Benjamin Cox,<br />
Charlie Shields, Chiana Bhoola, Dasha Seedin, David Nikiforov, Emily Zheng, Flora Guo, Freddie Naylor, George Crowe, lla Ashley, Iona<br />
Gibb, James Dawson, James Worker, Jamie Charlton, Jessica Hacking, Joshua Torczynowycz, Louis Winfield, Luke Harrison, Luke Henworth,<br />
Mariia Kikot, Martha Waples, Nanako Ochi, Ruben Dascombe, Samuel Gaisie, Theodore Weldon, Tobi Owolabi, Ximo Li<br />
140<br />
Top - Alice Moore, Martha Waples Middle - Archie Hurst, Freddie Naylor Bottom - Jessica Hacking, Charlie Shields
<strong>AUP</strong> Stage 2 - Living Communally<br />
Kieran Connolly<br />
Contributors: Rosa Turner Wood<br />
Students: Alice Moore, Amber Deng, Amelia Trattles, Angus Donald, Archie Hurst, Ayanda Dedicoat, Benjamin Cox, Charlie Shields,<br />
Chiana Bhoola, Dasha Seedin, David Nikiforov, Ella Ashley, Emily Zheng, Flora Guo, Freddie Naylor, George Crowe, Iona Gibb, James<br />
Dawson, James Worker, Jamie Charlton, Jessica Hacking, Joshua Torczynowycz, Louis Winfield, Luke Harrison, Mariia Kikot, Martha<br />
Waples, Nanako Ochi, Ruben Dascombe, Samuel Gaisie, Theodore Weldon, Tobi Owolabi, Ximo Li<br />
Top - Ayanda Dedicoat, Nanako Ochi Middle - Samuel Gaisie, Collaborative Brief Making Bottom - Amelia Trattles, Emily Zheng<br />
141
<strong>AUP</strong> Stage 3 - Green Infrastructure for Well-being and Biodiversity<br />
Tim Townshend<br />
While the key focus of this studio-based design project is the relationship between green infrastructure<br />
(GI) and human/non-human health and well-being, there is a clear engagement with the theme of<br />
climate literacy, not least because climate change is the principal threat to the global health and wellbeing<br />
of human and non-human species. Even in a temperate climate like the UK, global warming<br />
and extreme weather events pose increased health risks for the individual - such as heat stroke in<br />
summer - and communities as a whole - for example the long-lasting trauma associated with flooding<br />
incidents.<br />
Urban GI (including blue infrastructure) can impact human health and well-being through different<br />
pathways. The presence of GI is known to improve mental health and mood, provides spaces that<br />
can encourage socialisation and physical activity and GI is a valuable asset in mitigating against issues<br />
such as air pollution, heat island effects and flooding. GI within city centres that is easily accessible<br />
to city-wide populations, will potentially have a greater overall impact than similar GI in peri-urban<br />
areas that is only generally accessible to local communities. Furthermore, it provides opportunities<br />
to support a wide range of flora and fauna – and to mitigate habitat destruction caused by urban<br />
expansion and industrialised techniques of farming. Many non-human species have found a ‘home’<br />
in urban areas in recent decades.<br />
Stage 3 Students<br />
Amelia Pegrum<br />
Douglas Butt<br />
Eddie Adams<br />
Elif Akbas<br />
Jordan Shaw<br />
Lan Guo<br />
Quanah Clark<br />
Contributors<br />
Smajo Beso<br />
The challenge of the project is to create an innovative vision for Clayton Street, Newcastle. Clayton<br />
Street is part of the 1840s remodelling of Newcastle City centre by developer Richard Grainger.<br />
However, this particular street was never completed and unlike some of the Granger Town streets,<br />
there are buildings of various periods. In this sense, it is one of the less sensitive streets of the Grainger<br />
Town and offers plenty of opportunity for improvement. Currently Clayton Street is anything<br />
but green– although there are some street trees on Clayton Street West. However, with bold and<br />
imaginative intervention the street could become a green corridor which would act as a key route<br />
through the city to promote well-being and biodiversity and as a lynchpin in a network of green<br />
spaces that would spread out across the city – eventually linking the Quayside to the south of the city<br />
centre with the Town Moor in the north.<br />
The project in part takes as its inspiration from London’s Wild West End project (see the interactive<br />
website http://www.wildwestend.london/) – this seeks to create a network of greenspaces through<br />
a combination of green roofs, green walls, planters and pocket habitats on new developments and<br />
existing buildings. The aim is to create valuable habitats for wildlife while concurrently improving<br />
the experience for people living, working, and visiting central London. Research has shown that such<br />
interventions create more footfall in those streets that have been greened, encourage pedestrians to<br />
linger longer and that greening improves participants self-reported health and well-being.<br />
The students engaged with the project with great enthusiasm. Their projects illustrated that full or<br />
partial pedestrianisation of Clayton Street is possible, thus creating a range of exciting opportunities<br />
to intervene at street level - however, green walls and roofs were also achievable with care (many<br />
of the buildings are listed, therefore changes to the structures are more problematic - though not<br />
impossible). The projects took a variety of approaches which included the introduction of temporary<br />
and permanent planting - this in turn focused on issues ranging from shading and shelter, and<br />
offering sensory experiences, to habitat creation for specific non-human species. Addressing water -<br />
for example through rainwater capture - using interventions to slow and manage storm-water events<br />
and sustainable urban drainage systems were also common elements. All projects were commended<br />
by the review panel as not only visionary and imaginative, but also largely deliverable.<br />
142
Top - Quanah Clark Middle - Douglas Butt Bottom - Amelia Pegrum<br />
143
<strong>AUP</strong> Stage 3 - Climate Literacy from Philosophies to Practice<br />
Clive Davies<br />
Climate change is literally the ‘hot topic’ of the modern age. This is very true for people who can<br />
help shape environments that are safer and more resilient to extremes but also make meaningful<br />
contributions to lower carbon footprint. At the same time, there is a global crisis surrounding the<br />
collapse of biodiversity. Climate and biodiversity loss are frequently two sides of the same coin. In<br />
this new module students were given the opportunity to engage with a combination of learning<br />
approaches involving lectures, workshops and study visits to promote shared learning and perspective<br />
exchanging - including use of the skill set known as ‘reflectivity’.<br />
The course began with a study on the philosophies of climate dating back to the stone age ‘Panel of<br />
the Unicorn’ at Lascaux dated to 17,000 BCE. Theory was dealt with through the work of Bernard<br />
Feltz who identifies four main approaches those of Descartes, Ecological Science, Deep Ecology and<br />
Nature & Human coexistence. Modern climate science was introduced including the record keeping<br />
on global CO2 levels dating back to 1960. Hot topics included looking at indigenous rights, the<br />
challenge to the global south, drought, fire, climate change denial, green growth, emigration and<br />
immigration, socio-ecological exclusion, population growth, divestments, and finally nature-based<br />
solutions as a potential way forward.<br />
We also took a global perspective looking at urban complexity using the UN Habitat III Congress in<br />
Quito, Ecuador in October <strong>2016</strong> as a starting point. We noted that the energy that cities consume and<br />
the associated emissions they produce can be attributed primarily to building construction, cooling,<br />
heating and electrification, vehicle use, industry, and manufacturing. Such multiple urban planning<br />
considerations help to determine the level and intensity of these emissions, including how we arrange<br />
our cities (urban form), population levels (urban density), and how we move in and through cities<br />
(urban mobility). We considered the concept of BioCities and the circular bioeconomy as one way<br />
to manage future cities both sustainably and with attention to nature recovery. Students also had the<br />
opportunity to look at the difference between climate mitigation and climate adaptation and the<br />
concept of resilience as addressing climate risk and unexpected events. No regret adaptation options<br />
were considered as particularly beneficial as these are activities which would provide immediate<br />
economic and environmental benefits and continue to be worthwhile regardless of future climate.<br />
Stage 3 Students<br />
Amelia Pegrum<br />
Anna Maw<br />
Cerris Walker<br />
Dominic Bowell<br />
Douglas Butt<br />
Eddie Adams<br />
Eleanor Howard<br />
Elif Gulistan Akbas<br />
Ellen Casson<br />
Euan Charlton<br />
Kwan Kwan<br />
Natalie Lakehal<br />
Rebecca Mackie<br />
Tatiana Addyman<br />
Contributors<br />
Lotte Dijkstra<br />
Qianqian Qin<br />
Ruth Morrow<br />
This module also considered how the use of new urbanism which focuses on human scaled urban<br />
design in the context of local climate management can make a difference. In terms of the future, the<br />
wellness of citizens is of increasing importance, and this is frequently a topic at the intersection of<br />
climate change and urban planning. Indeed, the role of next generation planners and urban designers<br />
was discussed which should strive to create greener and healthier built environments, including<br />
the retrofitting of existing infrastructure to be adaptable to the changing climate. It was noted that<br />
currently only 18% of European cities with a population of 1 million plus have climate adaptation<br />
plans.<br />
To drive urban change the concept of social-ecological-technological systems (SETS) was explored.<br />
Students were asked to consider (i) how can all urban residents be not mere spectators or victims of<br />
climate change, but engaged players that can lead to SETS for climate change adaptation? (ii) how<br />
can societal-level institutional bodies support just policy and governance actions to minimize tradeoffs<br />
and upscale impacts? and (iii) to what extent can we retrofit existing urban transformation and<br />
transition initiatives with climate change adaptation elements?<br />
Finally, students were asked to write an essay on ‘How to meet the environmental, social and<br />
economic challenges of climate change through urban design including architecture, public space<br />
and green infrastructure’ and produce a ‘well-illustrated case study of how urban design has been used<br />
in a named city or city region to tackle climate change’.<br />
Sources opposite<br />
Top left - https://www.landscapeinstitute.org/<br />
Top right - Map Works (2021)<br />
Bottom left - ‘Cycle through Water’ in Limburg, Belgium https://urbannext.net/xiamen-bicycle-skyway/<br />
Bottom right - https://www.visitlimburg.be/en/cycling-through-water<br />
144
Top, Left to Right - Amelia Pegrum, Tatiana Addyman<br />
Bottom - Dominic Bowell<br />
145
<strong>AUP</strong> Stage 3 - Co-producing Space ‘Re-value Clayton Street’<br />
Clive Davies<br />
This year’s Live Project focused on Clayton Street, a poor parent of the glorious Newcastle’s Grey<br />
Street, and part of the wider Grainger Town conservation area. The street has been deeply affected<br />
by gradual economic decline with shop closures which the pandemic worsened. Now designated<br />
Cultural and Creative Zone (CCZ), the street is part of a revitalisation programme placing at its heart<br />
local cultural and creative organisations.<br />
The aim of ‘Re-value Clayton Street’ has been to identify the local community who experience the<br />
street on a regular basis, stimulate dialogue and open up aspirations to jointly envisage Clayton Street<br />
as a destination. More than ever people need spaces for socialising, meeting, learning, and engaging<br />
with their community both indoor and outdoor, as such Re-value has offered a moment to pause, and<br />
to consider the assets of the street both socially and spatially.<br />
The current economic climate suggests that businesses are moving away from the city centre,<br />
including Clayton street, and are unlikely to come back. This is an opportunity to envisage the city<br />
beyond commerce and imagine alternative uses for the empty shops. To inspire and situate their<br />
engagement, students first drew from academic literature on community enterprise (Bailey, N. 2012),<br />
urban rooms (Tewdwr-Jones, M., Sookhoo, D., & Freestone, R. 2020) and from a research project<br />
titled Market 4 People to deepen their understanding of Grainger Market as a community hub<br />
enjoyed by a range of people with diverse socio-economic and cultural backgrounds.<br />
Stage 3 Students<br />
Amelia Pegrum<br />
Betül Demirden<br />
Douglas Butt<br />
Eddie Adams<br />
Jordan Shaw<br />
Mahamat Younis<br />
Quanah Clark<br />
Contributors<br />
Bryony Simcox<br />
Consuelo Sanchez<br />
Glass House team<br />
Samuel Austin<br />
Most students taking this Live Project build upon the foundations of the module Participation:<br />
Theories and Practice offered in second year; however, bridging the daunting gap between theory<br />
and practice is always a challenging leap. Glass-House, the national Community-led Design charity,<br />
whose remit is to ‘explore the role of communities in design and placemaking’ invited us to join their<br />
WeDesign educational programme, thus granting students a first-hand experience in co-leading a<br />
public workshop in February. This event focused on the concept of Re-Value which was scrutinised<br />
through the lens of Community, Practice, Education and Ecology. No less than 40 people joined this<br />
session, a mix of residents, professionals and academics. Students designed an introductory activity<br />
that helped guests delve into Clayton Street and share their gaze and experience of the street. A<br />
large tablecloth, showing the hand-drawn street, invited people to share their experiences, anecdotes<br />
and perspective on the area. The tablecloth acted as the first designed artefact they created, a visual<br />
element that initiated their journey of engaging through design prompts and spatial interventions.<br />
Through designing prompts and deploying temporary actions in Clayton Street, students engaged<br />
with the local community and the people in imagining the future of the street. The hand drawn<br />
tablecloth reappeared, colourful seating suggested opportunities for stopping and resting whilst<br />
prompting thoughts of a greener and quieter environment, themed stencils provided a sense of fun<br />
and gave people a variety of ways to express themselves. Such temporary actions in the public realm<br />
play a key role in place-making as means to provoke imagination beyond perceived limitations.<br />
Transforming urban spaces temporarily can stimulate dialogue, open-up aspirations as well as harness<br />
social capital. Re-Value framed central questions: whose values and what is valued in the street. As<br />
educators in design and planning disciplines highlight, live projects afford an embodied experience of<br />
space that triggers inspirational responses. Live projects also enable and empower future professionals<br />
in shaping the city with its citizens and offer an opportunity for the local council to hear the voice<br />
of many.<br />
We are truly grateful to the Glass-House team for helping students bridge theory to practice and<br />
bounce from anxiety to desire of designing and engaging. The students in turn feel indebted towards<br />
the shopkeepers and their readiness to collaborate and celebrate Clayton Street through CLAY-DAY<br />
demonstrating pride, attachment and interest to work together towards a flourishing, greener and<br />
healthier environment.<br />
146
Left, Top to Bottom - Armelle Tardiveau<br />
Right, Top to Bottom - Armelle Tardiveau, Amelia Pegrum (2), Betül Demirden<br />
147
Architecture and Urban Planning Dissertations<br />
Abigail Schoneboom<br />
Supervisors: Abigail Schoneboom, John Pendlebury, Loes Veldpaus, Will Thomson<br />
This year’s cohort produced dissertation projects that delve into fascinating, topical aspects of architecture and urban design. Students<br />
carried out bold, innovative methodological work, such as riding buses and bikes to harness lived experience, using postcards to<br />
capture voices of pocket park users, or doing participant observation on a construction site. They pushed themselves to do realworld<br />
research, building rapport and immersing themselves in social worlds. Concentrating on issues they were passionate about,<br />
students developed focused questions while commenting on big challenges around sustainability and social justice, from the safety of<br />
precarious workers to the livability of affordable sustainable homes.<br />
Disorder or Freedom: Perceptions of Graffiti and Street Art in the Ouseburn<br />
Eddie Adams<br />
Through the use of semi-structured interviews in Newcastle upon Tyne’s ‘creative hub’ this<br />
research delves into the subculture of urban art to investigate the perceptions held by people<br />
that experience it first-hand. The research finds that for individuals who have a strong<br />
attachment to the aesthetics in an area are more likely to see urban art as a form of disorder.<br />
This research has helped to reflect the relationship between urban art and public space.<br />
Image: Land-use of Ouseburn in process of regeneration (2023).<br />
Heritage in Edinburgh’s Old Town: An Examination of Key Interventions<br />
Over the Last 150 Years Through the Lens of the Modern Professional.<br />
Tatiana E R Addyman<br />
Heritage is a fundamental building block of our identities must be protected for future<br />
generations. In terms of physical forms of heritage, it is the charge of the conservation<br />
architect/professional to ensure the survival of culturally significant structures and evidence<br />
as well as the character of the wider environment. This study, set in the city of Edinburgh as<br />
it is one of over 300 cities recognised as being of world heritage class standard, has helped<br />
to reflect the relationship between urban art and public space.<br />
Image: After the slum clearances and the insertion of Cockburn Street (1880).<br />
Exploring evolving Representation of Women in Domestic Architecture<br />
through the Architectural Review<br />
Elif Gulistan Akbas<br />
This dissertation investigates the role played by The Architectural Review, representing<br />
women throughout domestic architecture from 1908-1997, bringing awareness to issues<br />
regarding gender and discrimination in the built environment, in particular sexuality.<br />
It explores how women are perceived through external platforms, in which women are<br />
variables that play a role in the public realm.<br />
Image: A bath to please women (The Architectural Review, 1959).<br />
148
A Rich Portrait of the Quality of Construction and Lived Experience of<br />
Britain’s Post-War Prefabs and How They are till Relevant Today<br />
Dominic Bowell<br />
This research explores Britain’s post-war prefabricated houses, showing that prefabrication<br />
is the future of housing and should not be left in the past. Literature is reviewed to get a<br />
broad idea of prefabrication in both the past and present. An interview is carried out with<br />
a participant currently living in a Swedish timber-framed prefabricated post-war house,<br />
exploring the lived experience of a prefabricated home from post-war Britain. Building<br />
on the interview, the research looks into timber prefabrication today and its benefits and<br />
relevance today.<br />
Image: A cartoon depicting a stork delivering a prefabricated home to a homeless family<br />
(Vale,1995).<br />
Unpacking Social Interrelations in the Organisation of Work on the Building<br />
Site: The Limitations of Technical Relationships in Small-to-Medium-Sized<br />
Enterprises (SMEs)<br />
Douglas Butt<br />
This ethnographic study explores social relations in construction SMEs. Focused on<br />
realising architects’ ideas, it examines limits to worker communication/collaboration,<br />
and how these lead to social tensions and reduced work cohesion. It argues that here is<br />
a greater need for flexible, adaptable work processes and points to the need for a shared<br />
social identity and a supportive organisational culture, considering the implications of<br />
these findings for the broader construction industry.<br />
Image: The exasperating predicament we faced with the tin roof. Brian contemplates his next<br />
move as if against an opponent who was deliberately making the task more challenging.<br />
Analysis of Gentrification and Urban Identities through the Socio-Cultural<br />
Explorations: A Case Study of Gentrification in Ouseburn Newcastle<br />
Wei Chuang<br />
This research examines the overarching theme of gentrification to question the<br />
achievability of public policy goals in response to addressing the socio-cultural impacts<br />
on community. It shows that dissonance in the artistic intent and pecuniary interest has<br />
created conflicting perceived needs for neighbourhood revitalization to attract high income<br />
groups, underpinning gentrification, and its effect on the preservation of heritage character<br />
and urban fabric of Ouseburn. Personal narratives recounted through semi-structured<br />
interviews advance the voices and concerns of the lower to middle class residents who are<br />
often overlooked within literatures.<br />
Image: Ouseburn Christmas Market (Author, 2022).<br />
Journeying through Benwell: A Rich Portrait of Lived Experiences of Bus<br />
Travel from the Voices and Interactions of the People Within Newcastle’s<br />
West-End<br />
Quanah Clark<br />
This dissertation offers a rich portrait of the lived experiences surrounding bus travel<br />
in Benwell. It explores the impact of the lack of westward Metro expansion on public<br />
mobility, considering whether existing bus transport is adequate. Ethnography is used to<br />
covertly observe the public in and around bus shelters and on the bus. The literature review<br />
reveals negative connotations of bus travel in academic/popular discourses. This study<br />
uncovered under-researched micro-social situations, such as how daily inadequacies and<br />
problems promoted social interaction among users.<br />
Image: A metaphor for the lived experience of bus travel in the West End.<br />
149
The Hitchhikers Guide to Sustainable Development (keep calm and carry<br />
on, but sustainably this time)<br />
Patrick Douglas<br />
I examine the underpinning philosophical, political, economic, and social literature<br />
related to sustainable development but also focus on government decision-making in the<br />
past and how they’ve had a role in causing the issues of the present. I suggest the most<br />
suitable approach that societies, countries and cities should take to achieve sustainable<br />
development. The findings are presented through an axiological hierarchy of values, which<br />
concludes the first and foremost approach one should take to achieve sustainability is to<br />
reduce socio-economic inequities.<br />
Image: A ‘vandal’ tearing up bollards to make it difficult to reconstruct the bollards.<br />
The Role of Public Art in Urban Space: Gateshead Riverbank as a Case Study<br />
Lan Guo<br />
This study examines the role, potential and limitations of public art in urban regeneration,<br />
using Riverside Park as a case study. Through literature research and fieldwork, it analyses<br />
the relationship between public art and urban regeneration, and the challenges and<br />
opportunities faced. It finds that public art can shape public space and enhance a sense<br />
of place and collective identity through public engagement and collaboration with nonprofit<br />
organisations, proposing strategies to integrate public art and urban regeneration.<br />
The findings of the study can provide ideas and suggestions for future urban regeneration.<br />
Image: Sculptures damaged by graffiti.<br />
The Impacts of the Housing Crisis on the Young Generation in Newcastle<br />
Kwan Kwan<br />
This dissertation explores the youth housing crisis in Newcastle Upon Tyne and how it<br />
impacts the younger generation. This study adopted qualitative research methods using<br />
sampling and semi-structured interviews to explore the theme of this study. This study<br />
suggests the youth housing crisis is not only affected by the economic crisis but personal<br />
experience defined in the government action and target housing. The study discusses the<br />
impacts of the housing crisis and the role of government.<br />
Image: A housing development in Newcastle upon Tyne (Source: Google).<br />
The Relationship Between Street Space Allocation and Urban Mobility<br />
Culture: An Analysis of Resident’s Perception and Preference in the<br />
Kaiserviertel of Dortmund.<br />
James McCutcheon<br />
This report explores the concept of street space allocation and its relationship with urban<br />
mobility cultures within the Kaiserviertel neighbourhood of Dortmund. The relationship<br />
between urban mobility cultures and street space allocation is investigated using satellite<br />
data manipulation, site visits, and a neighbourhood-wide online survey. Existing literature<br />
and survey data are used to explore and reinforce theories of equitability in street space<br />
allocation. A semi-structured interview explores how the Dortmund case compares to inner<br />
cities on an international scale.<br />
Image: Car parking pressures in the Kaiserviertel (2022).<br />
150
<strong>2024</strong><br />
School of Architecture, Planning & Landscape<br />
Newcastle University
126
BA (Hons) Architecture and Urban Planning (<strong>AUP</strong>)<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-<strong>AUP</strong> (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 <strong>AUP</strong> 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 <strong>AUP</strong>3 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
<strong>AUP</strong> Stage 1 - Urban Observatory<br />
Daniel Mallo<br />
Urban Observatory, the final project of the year for <strong>AUP</strong> 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
<strong>AUP</strong> 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
<strong>AUP</strong> Stage 2 - Field Trip to London & Glass House Workshop<br />
Armelle Tardiveau<br />
Field trips have long-established pedagogical benefits that engage students with diverse contexts<br />
for research or design. Taking the teaching environment outside the institution enables students<br />
to connect with professional practice and enhances their learning.<br />
All <strong>AUP</strong>2 students were invited to join a trip to London together with the Urban Planning<br />
students who had opted for the Participation: Theories and Practice module (APL2035). The day<br />
visit mapped onto various areas of studies: Housing, Adaptive Re-use, Community Land Trust,<br />
Co-Design, Participation.<br />
The London visit started with the formally disused Grade II St Clement’s hospital refurbished<br />
into housing with 73 apartments retrofitted, alongside new buildings forming an ensemble of<br />
252 new homes that create a new urban route between the busy Mile End road and the haven of<br />
Tower Hamlets Cemetery, now turned into a Park hosting a wealth of biodiversity. Of particular<br />
interest to the housing complex was to find out about the 23 homes owned by the Community<br />
Land Trust (CLT) https://www.londonclt.org/st-clements.<br />
Dave Smith, community organiser kindly took the time to explain the process and determination<br />
required to establish the first Community Land Trust that ensures affordable homes for local<br />
people. Charles Campion, one of the partners at JTP Architects, Masterplanners, Placemakers, led<br />
the inspiring visit to this heritage site, alongside a resident who told us how the CLT opportunity<br />
meant that his family could grow in London, his wife, a hospital nurse, could continue working<br />
in the city without expensive and extended communing time.<br />
We then met The Glass-House Team in the astonishing Toynbee Studios, a significant social<br />
community organisation which has a history of 135 years supporting communities in the<br />
East End who are facing poverty and injustice. The sensitive retrofit refurbishment in between<br />
<strong>2016</strong>-2020, has enabled Toynbee Studios to continue to offer a wealth of support to the local<br />
community while offering a theatre, rehearsal spaces, offices and café. The warm and welcoming<br />
space was conducive to the workshop led by The Glass-House in preparation for the Co-design<br />
event scheduled in March in Newcastle as part of the WEdesign programme which “offers a<br />
supported space for students to explore co-design and placemaking through discussion, debate<br />
and playful co-design activities with a diverse audience.”<br />
Students<br />
Arina Ardeeva<br />
Benjamin Orchard<br />
Charlie Abbott<br />
Eleanor Loughlin<br />
Ethan Sims<br />
Evie Perkins<br />
Fred Mitchell<br />
Grace Dore<br />
Hiu Yee (Queenie) Cheng<br />
Kate Graham<br />
Leonie Beyer<br />
Lia Paa-Kerner<br />
Madina Abdullayeva<br />
Marlon MacDermott<br />
Noah Holland<br />
Rosa Goodman Fleischmann<br />
Shing Hei (Zak) Lau<br />
Temi Ogunbanjo<br />
Thomas Hateley<br />
Vanessa Wong<br />
Zak Travers<br />
Zuzanna Tomasik<br />
Contributors<br />
Glasshouse<br />
Louise Denison<br />
Sophia de Sousa<br />
Back in Newcastle, the public workshop took place in March and fed the Participation module<br />
providing students first-hand experience of co-designing. Students prepared engaging prompts<br />
related to their Participatory Pilot Study they were asked to design as one of the module<br />
assignments. Each group was in charge of a table focusing on a particular lens including Practice,<br />
Policy, Education, Ecology and Community. Sophia de Sousa, Chief Executive of The Glass-<br />
House Community-led Design , as chair of the event, provided the structure that started with<br />
informal conversation, moving on to more specific exchange of ideas and meanings about the<br />
table themes, to finally co-design models that would represent the debate of table with which was<br />
relayed to the wider audience.<br />
Students reflected on the event and expressed that this immersive experience enhanced their<br />
confidence and ability to engage in meaningful discussions with the public. They stressed that<br />
they developed skills, such as presentation skills, team building as well learned to reflect and<br />
critique effectively. Finally, many said that they were positively surprised how throughout the<br />
event participants were motivated and committed to work productively together.<br />
We are grateful to The Glasshouse for inviting <strong>AUP</strong> again to this year’s WeDesign programme<br />
together with Bartlett School of Planning (University College London), Sheffield School of<br />
Architecture (University of Sheffield & Live Works), and Mackintosh School of Architecture<br />
(The Glasgow School of Art).<br />
132<br />
Above - Armelle Tardiveau
133
134<br />
134<br />
Above - Armelle Tardiveau (3)
38<br />
<strong>AUP</strong> Stage 2 - Living Communally<br />
Byker Burn Cafe<br />
Claire Harper & Prue Chiles<br />
Byker Burn W<br />
Students: Arina Ardeeva, Aurelia Paa-Kerner, Benjamin Orchard, Carina Kriesi, Ethan Sims, Evie Perkins, Fred Mitchell, Laura Coulson,<br />
Madina Abdullayeva, Marlon MacDermott, Noah Holland, Rosa Goodman Fleischmann, Temi Ogunbanjo, Vanessa Wong, Yitong Li, Zak<br />
03| DESIGN DEVELOPMENT<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 <strong>AUP</strong> | 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 <strong>AUP</strong> | 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 - Ayanda Dedicoat, Nanako Ochi Middle - Samuel Gaisie, Collaborative Brief Making Bottom - Amelia Trattles, Emily Zheng<br />
135
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 />
<strong>AUP</strong> 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 <strong>AUP</strong>2 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 />
136
Top - Martha Barbara Waples Bottom - Alice Moore (2)<br />
137
Architectural Construction<br />
Ben Bridgens, Iván Márquez Muñoz & Daniel Mallo<br />
<strong>AUP</strong>3 students on the architecture accredited pathway (M-<strong>AUP</strong>) take two complementary<br />
modules in construction (shared with BA Architecture) through which they gain integrated<br />
architectural technology knowledge and skills.<br />
Construction in Detail focuses on materiality, structural logic and construction method, thermal<br />
performance, weatherproofing and materiality in detail. Working in groups, students develop<br />
and produce a large-scale part-sectional model of a casestudy building at 1:10 or 1:20. Using<br />
the model they engage in an in-depth investigation that demonstrates their confidence and<br />
expertise in detailing building envelopes and intersections as well as highlights how ‘design’ and<br />
‘technology’ are intrinsically interdependent.<br />
Stage 3 Students<br />
Angus Donald<br />
Charlie Shields<br />
Iona Gibb<br />
Jamie Charlton<br />
Ruben Dascombe<br />
Theo Weldon<br />
Contributors<br />
Toby Blackman<br />
Construction, Energy, Professional Practice introduces students to the different range of<br />
issues involved in being an architect within the context of the construction industry. Students<br />
develop an understanding of the embodied and operational energy associated with design and<br />
construction of the built environment.<br />
Through two illustrated reports, students have the opportunity to interrogate, develop and<br />
apply knowledge to the <strong>AUP</strong>2 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 />
138<br />
Above - Stage 2 Groupwork
Top, Left to Right - Ruben Dascombe, Iona Gibb Middle - Angus Donald Bottom - Theo Weldon (3)<br />
139
The Festival of the Youth: Reclaiming Spaces for the Youth in Shields<br />
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 />
Claire Harper<br />
Ellie Gair<br />
Nathan Hudson<br />
Richard Chippington<br />
Rosa Turner Wood<br />
Samuel Austin<br />
Sean Mallen<br />
140<br />
Above - Stage 3 Group 1 (3)
Top - Stage 3 Group 2 (4) Bottom - Stage 3 Group 3 (5)<br />
141
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 />
142
Left,Top to Bottom - Amelia Trattles, Dasha Seedin<br />
Right, Top to Bottom - Chiana Bhoola, Martha Waples<br />
143
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 />
144
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 />
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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 />
146
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 />
147
Capturing a rich Understanding of how Pocket Parks can Influence Sense of<br />
Place Through Creative Practice: a Study of Fenham Pocket Park<br />
Amelia Pegrum<br />
Noting a lack of qualitative research on sense of place, this dissertation explores how a<br />
creative practice approach can aid understanding of the complexity of sense of place.<br />
Postcards probed participants’ thinking about sense of place within Fenham Pocket Park.<br />
The study discovers three ways that creative practice aids understanding of the complexities<br />
of sense of place, while also portraying how Fenham Pocket Park has influenced sense of<br />
place.<br />
Image: A line drawing of the people engaging with the postcards, alongside quotes from the<br />
postcards, inspired by images from the researcher diary (Author’s own, 2023).<br />
What is the Lived Experience of People Living in Sustainable, Affordable<br />
Housing?<br />
Jordan Shaw<br />
Across the country, various development schemes that are positioned as both affordable and<br />
sustainable are underway. Looking at one such development, this study aims to evaluate<br />
the effectiveness of sustainable housing when combined with affordability. It examines<br />
people’s lived experiences of residing in what is considered the future of living. It helps<br />
determine the success of initiatives like this in addressing the pressing need for sustainable<br />
and affordable housing.<br />
Image: Postcards created in order to engage residents with the research project. (Author’s own,<br />
2023).<br />
Why do Deliveroo Riders Take Risks at Newcastle John Dobson Street?<br />
Mahamat Younis<br />
This study investigates Deliveroo riders’ reasons for taking risks at John Dobson Street,<br />
Newcastle. Deliveroo cyclists’ experiences highlight how living in an urban environment<br />
and earning a living intersect. This study fills a gap in the literature, examining why riders<br />
take risks, despite having a high-class cycle lane. More insight into the issues precarious<br />
workers in urban settings experience can be gained by understanding the elements that<br />
contribute to the risks faced by Deliveroo cyclists. Through comprehensive understanding,<br />
the number of Deliveroo riders who take risks can be reduced.<br />
Image: Deliveroo rider on John Dobson Street (Author’s own, 2023).<br />
151