Summer Exhibition catalogue

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UNESCO World Heritage
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ARCHITECTURE, LANDSCAPE AND INTERIOR DESIGN EXHIBITION 2013
UNESCO World Heritage
This catalogue is a record of the work at Kingston School of Architecture and Landscape,
in our Architecture, Landscape and Interior Design courses.
This year the school began a research project, which will continue over the coming years
into sites governed by UNESCO World Heritage. Projects range in scale from landscapes,
to cities, buildings and rooms and consider the implications of heritage listing for the past,
present and future of their sites.
Contents
Introduction2
The London Public House4
Graduate Diploma Architecture8
Unit 110
Unit 214
Unit 318
Unit 422
Unit 526
Diploma Landscape Architecture and MA Landscape & Urbanism
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Essay: Museum City, After All, Paul Theo34
BA (Hons) Architecture36
Studio 1.138
Studio 1.239
Studio 1.340
Studio 1.441
Studio 1.5 Landscape Architecture42
Studio 1.6 & 1.7 Interior Design
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Design Representation & Communication44
Studio 2.146
Studio 2.250
Studio 2.354
Studio 2.458
Studio 2.5 Architecture & Interior Design
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Studio 2.6 Interior Design66
Studio 2.7 Landscape Architecture70
Studio 3.174
Studio 3.278
Studio 3.382
Studio 3.486
Studio 3.5 Interior Design90
Studio 3.6 Landscape Architecture94
Portable Spire98
Acknowledgements100
A series of postcards from the UNESCO
World Heritage sites studied in 2012-13
Kingston University School of Architecture and Landscape
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INTRODUCTION
Earlier this year, in preparation for a successful visit by the Validation Panel of the Royal Institute of British Architects,
we prepared a statement outlining our position as a School, with respect both to education and the practices in
which we collectively engage. Recording a version of that statement here, in place of the usual introduction, seems an
appropriate way to introduce this year’s Summer Show Catalogue; remembering that, as a document, it is not only a
celebration of a successful years work and a record of achievement but also a statement of intent:
It is an aspiration that is underpinned by the sustained consideration of who ‘we’ are. Our students
encompass an enormous and welcome diversity of background and experience. Nonetheless they
are defined collectively by the School’s understanding of them as developing practitioners and protoprofessionals from the moment of their arrival, a critical and open relationship to practice that extends
through the life of the School.
Daniel Rosbottom, Head of School
It is an approach made manifest in our collective commitment to design as an iterative, hands-on process,
rather than an abstracted, conceptual one. Exemplified in the idea of ‘thinking through making’ this is a
position that takes full advantage of the myriad facilities we have access to as part of an art and design faculty
and one that places material thinking at the heart of the design process. At Postgraduate level this extends
into specialist making options and a suite of modules that encourage students to interrogate their individual
attitudes to making and technology. It culminates in our engagement with live projects, which range from
structures, to interior spaces, to small buildings - another key point at which academia and practice meet.
The success of such a position is dependent on the ways that we support students in developing the skills
and the confidence to effectively communicate and represent their work. We embed both traditional and
contemporary drawing, modelling and making techniques at the core of what we do. From the outset, great
emphasis is placed on a student’s ability to communicate their projects both visually and verbally, offering
them the opportunity to construct a critical narrative that integrates work from across their studies and, at
best, establishes an individual design research agenda.
In these and other ways, our commitment to design excellence draws together, rather than precludes, the
wider skills and knowledge that constitute the breadth of our professions and which underpin the day-to-day
activities of contemporary practice.
Since 2008, the projects of individual teaching studios have been undertaken in response to propositions
or themes established across the School. Over the last four years these were focused upon our own city,
London, and undertaken in collaboration with Croydon Council, Design for London and the Olympic Legacy
Company. Carefully chosen to elicit a breadth of response, the scope of these projects offered particular
opportunities for students to develop designs in relation to strategic policy and complex urban conditions.
This year the School has expanded its horizons, beginning an international project, which will continue into
next year and which is working within the diverse contexts and conditions of UNESCO World Heritage.
Raphael, The School of Athens, Stanza della Segnatura, The Vatican, Rome, 1510
Introducing a School
We are a School. Beyond its more usual embodiment as a convenient administrative entity, we consider
a School as a place - in which to converse, to debate, to work and to learn. It also constitutes, for us, a
developing and discursive position through which, as staff and students, we are collectively able to critique
both our disciplines and their wider relationship with contemporary society and culture. In a city that hosts
nine architecture schools, this focused engagement feels appropriate. Given that context, we do not attempt
to explore every opportunity that the breadth of contemporary education offers, but what we do, we do
with intent and a sense of purpose.
As a School, we collectively understand what we do as a social, ethical and material practice, addressing both
how and why things are made and the often complex and ambivalent situations into which they are placed.
These concerns are explored at scales that range from the room to the city, a breadth that reflects the
School’s courses, which encompass the design of landscapes, buildings and their interiors.
We enjoy such continuities and extend them to include both the temporal and the philosophical. Our
projects learn from and enjoy the creative richness of the past whilst being firmly placed within the
complexities and opportunities of the present. We are sceptical of contemporary rhetoric, with its privileging
of hermetic formalism and its obsession with invention and authorship. Instead our students make proposals
that are robust and responsive; which seek satisfaction in reflecting upon and reinforcing their sites; which
find expression through spatial and material means and which both enjoy and are enriched by appropriation
and adaption, over time.
This commitment to making work that is both engaged and engaging is fundamental. It defines what we do,
from our admissions policies to the structure of our courses; from the character of our modules to the ways
in which they become integrated; from the projects we make to the research we undertake.
In a parallel with the live projects, the establishment of this common ground offers an opportunity to extend
individual, academic aspirations into a productive and potentially influential whole, which can reach into the
World beyond the academy. This is exemplified in the international attention given to this year’s Vertical
Project – a four-day, School wide, introductory exercise that instigated a bid to gain UNESCO status for the
London public house - ‘the pub’. Such initiatives demonstrate how the School can play a role in generating
social, political and urban debate, an opportunity for collective, applied research that we will seek to develop
further in the future.
The annual Vertical Project is the first of a series of events, which collect the School together during the
course of an academic year. At the end of the first semester, the School Assembly offers an opportunity
for every studio and unit within the School to present their developing work and debate with one another.
Alongside its accompanying catalogue, the Summer Exhibition concludes the academic year by bringing
together the work of individual students, studios and units. Re-situating it within the context of the larger,
School project, this offers everyone an opportunity to reconsider projects within that wider context.
In a period of educational upheaval and professional uncertainty, the School has to take profound and
often difficult decisions but has also been fortunate in realising opportunities to build upon its profile and
to consolidate its position. This positive direction has been supported by the facilities across our campus,
including our own recently refurbished studios. In large measure though, it is a result of the balance between
rigour and engagement that is embedded within the curriculum of each of our courses, underpinned by
a commitment and an ability to deliver knowledge, skills and abilities, which we regard as fundamental to
education. We are, nonetheless, very aware of the continuing need to develop and refine what we do if we
are to keep pace with the challenges that all Schools are confronting - turning them, where we can, into
opportunities. In 2013, as part of a University wide Review of its Academic Framework, we will revalidate
our courses for the second time in four years, further embedding design studio within a suite of thematic
modules. These will, we trust, build on the success of what we have achieved to date but will demand from
students a level of integration that will concretise their understanding of design as a synthetic discipline. This
is just one example of our belief that both the School and its courses represent an iterative process rather
than a static entity. Through this on going critique of our own situation we see a direct correlation between
academia and the practice of design.
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Diploma Option Module
David Knight
Daniel Rosbottom
The London Public House, UNESCO bid
In conjunction with the school’s year focus on World Heritage Sites, a small group of Diploma
students have undertaken the task of investigating the potential for applying for UNESCO World
Heritage for the London Pub. Kingston University’s Interior Design, Architecture and Landscape
architecture students initially conducted surveys and interviews at pubs of particular cultural
and historical interest across London and as part of a live module option we are formulating this
research.
We are not aiming to protect any one specific pub, but the London pub as a type, much like the
listed serial sites of modernist housing estates in Berlin or the prehistoric caves in France. To this
end, more than 400 students from Kingston University’s School of Architecture, Landscape and
Interior Design have worked together to document more than 80 pubs across the capital. Our
research captures extraordinary examples but it also aims to try and describe the typical, or generic
qualities of the London pub which might influence policy.
Cittie of York, Chancery Lane, section
Rather than concentrating solely on the fixtures and fittings, we are taking into account the
significance of a pub within a community and what it means to the people who use it. UNESCO
lists intangible heritage, which includes cultural traditions such as Cypriot poetic duelling, Croatian
gingerbread craft and Spanish flamenco dancing and even the gastronomic meal of the French. To
date the UK has not recognised any sites as having ‘intangible heritage’ and this project also aims
to encourage focus on this agenda.
It is more than just a place for drinking that is under threat of being bought up by developers or
supermarkets; pub function rooms often take on the role of the village hall whilst hosting receptions
after weddings or funerals. An interesting precedent for the bid is the currently protected Viennese
Coffee house culture. This classification focuses on urban buildings and the significance of the
service
they provide.
Rather than treating planning and heritage as constraints, this project, on top of the school’s
continuing interest in heritage has encouraged our cohort to see them as points from which
interesting designs can be formulated.
Research topics currently being investigated include the pub’s physical features, its historic
importance within the city, its economical attributes, its importance in local communities and how
the pub could be potentially used in the future.
By compiling this large body of work, alongside creating a website and exhibitting at Ecobuild, we
hope to gain attention from those comitted to the same ideal of gaining Heritage Status.
Paxton’s Head, Knightsbridge
Comparative pub plans
Pubs in central London in 1913
Pubs in central London in 2013
Location of pubs in
Central London in 1913
The Wenlock Arms, Wenlock Road, section
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Unit 1
Daniel Rosbottom
Andrew Houlton
Curating the City
‘Conservation is Transformation’
Professor Bernhard Furrer, architect and former Preservation Officer for Bern
Bern, our chosen site for investigation this year, is the Capital of one of Europe’s richest countries,
Switzerland. The baroque streets, which form the body of the city, are laid out within a highly
structured and largely intact medieval plan, defined by the dramatic topography of the rocky
promontory on which it sits, against the deeply carved valley of the River Aare. It is a privileged
environment, but in the years since 1967, when the artist Christo announced his international
career by wrapping its Kunsthalle, Bern’s cultural prominence has receded as the reputations
of its competing neighbours, Basel, Zurich and Lausanne, have grown. With its historic centre
increasingly understood as a tourist destination, new cultural monuments have begun to be
built in its hinterlands, as ‘magnets’ for future urban expansion. In response Unit 1 proposes
to restructure Casinoplatz, simultaneously an important space of infrastructure, forming the
principal gateway to historic Bern, and an unresolved urban square that disrupts its distinct spatial
and material character. Working with the Rupf Foundation, a substantial collection of Twentieth
Century art currently archived in the city’s Kunstmuseum, students have proposed new art
institutions as the focus of a larger urban ensemble within Casinoplatz. The Foundation acts as
a cultural catalyst, offering opportunities to curate new urban relationships with its immediate
neighbours that would simultaneously engage with the wider city and its landscape horizon. The
projects do not deny the possibilities for more dispersed urban growth but, in their appreciation
of the possibilities inherent within this singular context, they critique it.
With thanks to
Suzanne Friedli, Rupf Foundation, Bern
Andreas Furrer, Frank Furrer and Shaun Young, Furrer Architekten, Bern
Professor Bernhard Furrer, Architect and former Preservation Officer, Bern
David Howarth, DRDH Architects
Andy Sedgewick, Arup Associates
JonathanWoodward, An Eaves to the River Aare
Facing: Eleanor Wright Art, Gallery Section
Oguz Akdas, Ali Al-Khateeb, Yusra Al-Nakeeb, James Barker, Aslihan Caroupapoulle, Samuel Darkins, Olugbenga Fagbewesa, Farida
Farooqi, Mir Hosseini, Matias Kiialainen, John Laide, Jennifer Marshall, Siraaj Mitha, Katy Murray, Adam Powell, Lee Sawyer, Tanvinder
Sehmi, Michael Smith, David Tenters, Steven Thorpe, Jonathan Woodward, Eleanor Wright
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Longitudinal section
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1.Michael Smith, City Section
2.Eleanor Wright , Carved Model
3.JonathanWoodward, Eaves to the River Aare
4.Michael Smith Gallery Window
5.Aslihan Caroupapoulle, Gallery Pavilion
6.Eleanor Wright, Artists Studio Interior
7.Siraaj Mitha, Gallery from Library Courtyard
8.­Lee Sawyer Embedded Tower from Bridge
9.David Tenter, Building Model from Valley
10.Siraaj Mitha, Art Gallery Archive
11.James Barker, Art Gallery Exploded
axonometric
12. JonathanWoodward, RupfFoundation Gallery
Entrance and tiled facade detail
13. Olu’Fagbewesa, Curating the City Elevation
to the River Aare
14. Eleanor Wright, Art Gallery Interior
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Unit 2
David Knight
Cristina Monteiro
Tangible Heritage
What should be protected in a World Heritage site that continues to be a functioning city? In
Porto, Portugal’s second city, today’s focus on the preservation of façades means that social
structures present for 2000 years are erased overnight in the name of preservation and the
tourist economy, resulting in a hollowed-out urbanism where heritage is no more than skin deep.
We began the year by investigating the potential of a façade to offer more than just a heritagefriendly skin. Then, on the first of two trips to Porto, we documented a series of urban blocks
within the city’s World Heritage site to understand their tangible and intangible qualities, whilst
also making a comparative study of radical housing prototypes built in Porto’s mid-century
suburbs.
Our proposals for new urban quarters work with Porto’s ancient and modern popular urbanism
and use heritage, tourism & policymaking as tools rather than constraints. Students have produced
urban proposals for three sites in Porto: one in the tourist heart of the city’s heritage site, one
on its post-industrial periphery, and one just outside the city walls in an area ignored by the city’s
heritage industry.
Weng Liu, Facade Study
Facing: Weng Liu, Proposed and Existing Roofscapes
Yasir Azami, Sam Bennett, Emilija Blinstrubyte, Tom Burton, Emma Byom, Venus Chan, Hamish Coyne, Khaled Gamgoum, Asim
Hussain, William Jones-Berney, Dimitra Karampatsou, Eleni Koundouraki, Claudia Lengui, Weng Liu, Joseph Manuel, Mohammed
Mughal, Matthew Parsons Brown, Hazim Ramadan, Sumet Ruamjai, Randeep Soha
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1. Hamish Coyne, view of new urban block shoring up its site
2. Hamish Coyne, view of internal courtyard
3. Sam Bennett & Emilja Blinstrubyte, elevation study of Saint Paul’s studios
4. Sumet Ruamjai and Harmish Coyne, study of communal staircase, guindais and portico
5. Emilja Blinstrubyte, study of Bolhao Market
6. Emilja Blinstrubyte, study of Porto’s cast iron shop front
7. Emilja Blinstrubyte, urban proposal
8, Matthew Parsons Brown, view of interior
9. Sumet Ruamjai, fragment of handrail in the Roberto Ivens House
10. Asim Hussain, view of proposed residential towers
11. Weng Liu, view of communal roof terraces and the city beyond
12. Emilja Blinstrubyte, study of the new housing in relation to existing
13. Asim Hussain, proposal elevation study
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Unit 3
Cathy Hawley
Hugh Strange
Beguinage
The Flemish Beguinages are unique architectural ensembles protected through their Unesco
World Heritage Listing. Houses, churches, communal buildings, squares and gardens make up
these former semi-religious, enclosed communities of women, built from the 12th Century
through to the 19th Century. Varying in configuration, yet always embedded as miniature cities
within cities, they were originally surrounded by walls or ditches and opened their gates to the
outside world only during the day.
Since the late Twentieth Century our site, the Grand Beguinage of Leuven, has been occupied
by Leuven University and used for staff and student accommodation. In common with the unit’s
precedent studies, both original and current uses can be defined as semi-private communities set
within a wider urban setting requiring communal and private spaces.
The year’s design project is a University complex containing a range of spaces specific to their
uses; study bedroom, common room, shared kitchen, public corridor and stairs, communal dining
room, library or place of worship or congregation. Each proposal forms both a complete world
within its own confines and is also a part of the larger body that is the University, which is part
of the larger body that is the city; projects aim to make space for differing degrees of public and
private occupations and connections.
Amandeep Kalra, Oxburgh Hall Elevation
Facing: Hala Kamand & Arne Jacobsen, St. Catherines College and Ground Conditions
Sara Arif, Peter Bayley, Francesca Bianchi, Clementine Brentnall, Maria Ghislanzoni, Michael Ha, Elizabeth Hall, Matthew Hine, Nicholas
Hui, Tommy Jay, Amandeep Kalra, Hala Kamand, Shapur Keshvari, Pei-Ying Liu, Caroline Lozynskyj, Shyam Makwana, Prabjyot Mankoo,
Louise Mark, Francesca Minuti, Jack Mousley, Iaroslava Perederii, Mio Tokushima, Robert Whitten
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1. Sara Arif, university hall gallery space
2. Tommy Jay, proposal section
3. Michael Ha, housing and library model
4. Site Model
5. Nicholas Hui, university residence view
6. Sara Arif and Shyam makwana, William Butterfields All Saints elevations
7. Francesca Minuti, university hall interior
8, Michael Ha and Matthew Hines, Royal Chelsea Hospital internal elevation
9. Nicholas Hui, interior model
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Unit 4
Pierre d’Avoine
Pereen d’Avoine
Manufacture
UNESCO has acknowleged The Derwent Valley as the crucible of the first modern factory system.
This year Unit 4 focused on the consequences of man’s capacity for invention and its effect on
land, people and architecture in the context of the Derwent Valley Mills.
Our studies engaged with the Derwent Valley Mills World Heritage Site in terms of its location,
history and influence. During the period of industrialisation from mid 1800s to mid 1900s the
Derwent Valley was developed with new worker settlements including housing, schools, chapels
and markets and provided with new transport infrastructure - railways, roads and canals. The
region has experienced a long slow decline and Studio 04 was interested in what happens to place
and community after the post-industrial. The studio programme was an invitation for students to
develop propositions for sites within and along the Derwent Valley that critiqued the notion of
heritage and explored the potential for new initiatives and strategies to reactivate once thriving
communities.
Marina Polykarpou and Karman Wan, Belper East Mill, CHP building, rapeseed fields and allotments
Facing: Hannah Shaw, Derwent Valley Apple Industry orchard map
Lisa Ames, Anish Bhatt, Rachel Bristow, Tzu-Hsuan Chuang, George Hodgson, Emma Hyett, William Law, Paul Newsome, Marina Polykarpou, Tala
Safavi, Michael Schrepfer, Cecil Schuepbach, Seyedehbahareh Seyedtabatabaei, Hannah Shaw, John Smith, Samantha Swallow, Azar Talibov,
Ioannis Timagenis, Ekta Vekaria, Christopher Veloso, Karman Wan, Colleen Whyte
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1. Paul Newsome, The Rock and Roll Circus section through train
2. Sectional Perspective
3. Perspective through plunge pool
4. Marina Polykarpou and Karman Wan, aerial of proposals for
Belper East Mill, CHP building, rapeseed fields and allotments
5. Matthew Borret, axonometric studies
6. Karman Wan, model of proposal with view
7. Lisa Ames, model of proposal
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Unit 5
Jonathan Woolf
Matthew Dalziel
Venice Building
“Like a piece of writing that constructs an elastic and flexible plot with its punctuation and ellipses,Venice
cannot be readily reduced to the linearity of a mannerist account, and hence not even to the myth of the
anti-modern city by definition. From this point of view, it lays down a challenge to architecture, expecting
it to be a kind of measure rather than an act. Architecture is asked to exercise its skill in the art of
detachment, identifying limits, establishing heights and configuring thicknesses; to gauge the built body by
making it look like a comment on the question of the city’s changeable form.”
- Fulvio Irace
Semester one required the making of physical artefact. The brief situated the student within a
personally selected intimate space (identified from either a found photograph or painting) whose
broader context was studied. This was then abstracted into a hand made object representing both
detail and context. The interests that surfaced from this were taken into Semester two, evolving
into individual buildings and spaces. Whilst each project explores its own discreet theme, they
unite around a resistance to the continued touristic incursions on Venice’s normalcy as a place to
live and as such are a provocation to the commerce controlling heritage policy.
Luke Curnow, Casted facade study
Facing: Elleanor Farrant, Courtyard model of proposal
Michael Anderson, Andrea Assad Alvarez, Dean Beattie, Emma Croyle, Luke Curnow, Sayam Dulyapach, Nyamoi Fall Taylor, Eleanor Farrant, Tika
GilbertLisa Gould, Sina Hovaisi, Stephen IllingworthDimitrios Karaiskakis, Aikaterini Karyopouli, Sara Krunic, Alice Lindsay, Christopher Makariou,
Craig Mitchell, Vaida Morkunaite, Christopher Octive, Paul Theo, Iasonas Tzannes
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1. Elleanor Farrant, artefact
2. Elleanor Farrant, artefact
3. Paul Theo, massing in context
4. Katarina Karyopouli, elevations
5. Michael Anderson, visual of proposal
6. Luke Curnow, Facade Study
7. Lisa Gould, courtyard perspective
8. Sara Krunic, workshop interior
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Postgraduate Diploma Landscape Architecture and MA Landscape & Urbanism
Pat Brown
Ed Wall
Christoph Lueder
Liverpool, New York
A design collaboration across landscape and urbanism based at Kingston University.
Liverpool, New York compares distant cities, relationships, mobility, connectivity, and the agency
and capacity of landscape urbanism practice, in designing cities for the future .
Projects are strategic, extending beyond site boundaries, and place specific. All define ideas for
‘change through time’ with themes of adaptation, resilience, production and social inclusion in the
public realm. Qualities of experience are measured and mapped providing an evidence base for
design proposition.
Liverpool
With colleagues from Liverpool University, we explored the Liverpool Maritime Mercantile City
awarded UNESCO World Heritage Status in 2004. Now pressure for commercial development
threatens this status. Taking a wider view including the River Mersey and Birkenhead, there is
extended scope for ‘future heritage’.
New York
Our focus in New York Harbour is Red Hook Brooklyn, hit by Hurricane Sandy and working to
recover from significant flood and hurricane damage. The Van Alen Institute hosted our Liverpool,
New York design workshop. With colleagues from Columbia, Cooper Union and NYIT, we
debated design roles in relation to flood risk, the functioning future harbour and urban continuity.
In Hull, we identified test bed sites for UK resilience in the context of water city territory, in the
UK city at greatest risk of flooding.
All Students, liverpool site model
Facing: Alexandru Malaescu, view of Birkenhead Priory New Square, Liverpool
Yang Hui, John Markwell, Emily Smith, Dima Attar, Alexandru Malaescu, Marjan Masoudi, Ambika Mathur, Marianne Medeiros Gomes Paul Mitache,
Vivienne Shaolong Li, Colum Sheanon, Stran Star, Mohamad Zeaiter, Isabella Yi Zhang
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1. Isabella Yi Zhang, waterways analysis
2. Alexandru Malaescu, Productive Landscape, Aquaculture Park
3. Marianne Medeiros Gomes, diagram of public spaces typologies
4. John Markwell, Red Hook Dunes Masterplan
5. Alexandru Malaescu, river Hull edge analysis
6. Isabella Yi Zhang, Section
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Museum City, After All
Paul Theo, Diploma Unit 5
Venice, Canal Grande from Ponte di Rialto
The current UNESCO World Heritage mission statement is broad and lengthy but at its most fundamental ‘The United
Nations Educational, Scientific and Cultural Organization (UNESCO) seeks to encourage the identification, protection
and preservation of cultural and natural heritage around the world considered to be of outstanding value to humanity.’
This understands heritage as our legacy from the past, what we live with today, and what we ourselves will pass on to
future generations. Our cultural and natural heritages are equally irreplaceable sources of life and inspiration.
It is an important and universal endeavor to protect the heritage of the world. However, it is also crucial to consider
the repercussions of a presumption that nations, cities, towns and people do not have the critical values and sensibility
to allow this heritage to be protected in more intrinsic and local ways.
My studio project this year is situated in Venice, once the most vibrant and diverse city in the world. Its unique position
and trading focus made it a commercial city of world importance, which flourished in that form from the 1400s until
the early 19th century. An inventive solution to a harsh way of life, coupled with incredible wealth, resulted in a place
of extraordinary quality. The cultural value consequently placed on it as an urban artefact, allied to the imminent
destructive capacity of the lagoon in which Venice sits, called for a plan to protect the city and its many ornate and
beautiful buildings.
However, immortalizing such places of historical value by preserving them stifles their natural progression in time.
It freezes them, in the state at which this value was recognised. Such processes of ossification detach them from
their cultural trajectory, making it harder for their communities to relate to them. Thus, over time, a once intrinsic
subconscious connection is lost. Careful management of a culture’s heritage should respect therefore that places
are inextricably bound to people and vice versa. Such protection of a people or a culture is referred to, in UNESCO
terms, as ‘intangible heritage’. Unfortunately, this is something that has been neglected over the years in Venice, perhaps
because of the more pressing problem of flood damage and the more lucrative possibilities of mass tourism.
The now commonplace critique of Venice as a ‘Museum City’, devoid of any real life, is undoubtedly a real one. The
high costs of living, driven by the inexorable rise of house prices due to tourism has caused a mass exodus of the local
population, ‘a population which peaked at 164,000 in 1931 an is now hovering at around 60,000.’ Shockingly, this is
paralleled by an equivalent number of 60,000 tourists, who statistically visit the city every day.
The ‘Museum City’ is a consequence of the city’s popularity. Its perfectly preserved buildings and public areas are the
embodiment of the city’s illustrious past and the importance of preserving them in their current frozen state has
become so central to its economy that it consistently takes precedence over and above the well being of the local
inhabitants. Paradoxically, the very thing that keeps the city alive, tourism, is also killing it.
The latest plan to revitalise its local economy is to put in place a tax on one-day visitors, with the money
raised being put towards the provision of more affordable housing and the modernization of some of the local
infrastructure. Thus tourism might be used for the benefit of the people. However it may also be too late to
rescue Venice from its touristic paralysis. The watery city is perhaps too unique and difficult to adapt to modern
day life as we know it, and stopping both the inundation of salty water and sweaty tourists seems impossible.
However, further investigation into the distinctive character of Venice reveals that the term ‘Museum City’ is
not necessarily a condemnation after all. The idea of ‘city as museum’ can be extended to the analogy of ‘city as
a building’, which is an intriguing notion. Understanding Venice as a metaphorical building made up of rooms is
perhaps a way of beginning to understand it as a living city. Each city room in Venice, whether it is a campo or a
courtyard, is a new experience that has its own distinctive material character and a rich history. As in a museum,
the city guides you with visual and atmospheric clues that define an elaborate hierarchy of spaces. This layering of
experiences is particularly Venetian, where buildings are rarely experienced in their entirety, rather as fragments.
These fragments combine to make the whole through a journey, in which each spatial fragment offers a sense of
anticipation for the next.
Buildings outlast the people that live with them. The time scale for a building can be hundreds or even thousands
of years and places with distinctive character can retain this even when their function or usage changes. The
recalibrating of values, for the purpose of sustaining a viable working population in Venice, could be centred on the
preservation of an ‘idea’ or ‘mode’ of city, alongside or even instead of its actual stones. This academic year started
with the School’s attempt at applying for world heritage status for the London Pub; the school discovered that it
was an effort to preserve and document the ‘idea’ of a pub rather than the pub itself. This intangible heritage is
more like a memory than an object. Perhaps the ‘idea’ of Venice is the experience of a journey from a public room
to a private one in an ever-extending threshold.
It is possible, through literature and paintings, to revisit Venice, prior to its industrialisation and the flood of
tourism This is a creative act that requires appropriate translation but it could allow those historical nuances that
once made Venice a thriving, working city to be interrogated, in order to design a piece of Venice that works as a
modern city and for the benefit of the Venetians. If architecture is the physical representation and embodiment of
culture then it must have both the ability to uphold its lasting principles but also adapt and progress. This includes
even the architecture of the ‘museum city’.
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Studio 1.1
Christoph Lueder
Lara Rettondini
Studio 1.2
Joanna Bailey
Zoe Jones
(with thanks to St Mary’s Secret Garden)
This year we engaged with issues of urban and cultural heritage by exploring how a cultural
program can manifest itself at a small scale; an intimate library in a residential context. Our site is
located in Strand on the Green, between Thames Road and a public promenade along the Thames
in Kew, which is intermittently flooded at high tide. The program comprises a library and a small
studio flat to accommodate overnight stays of the owner or guest. The library holds and displays
a collection of books and media related to an area of study which individual students explored in
their first semester. The library is opened to the public for readings or exhibitions.
Studio 1.2 began with detailed building studies of the Marianne North and Shirley Sherwood
Galleries, and continued working in and around the Royal Botanic Gardens at Kew for the
academic year. A design brief for two rooms for a scholar at Kew culminated in a proposition for
a new building, situated adjacent to Kew Gardens railway station. We explored ways of engaging
the local community and the public with the work of Kew by creating a public building, an outpost,
which could provide an exhibition space & bookshop and a temporary residence/workplace for
a scholar. The site allowed us to connect with pedestrian routes including the existing route to
the Gardens and also with a local plant shop, scout hall and the street. Having already formed an
understanding of their particular scholars specialism, students were then able to develop spaces
to both nurture and reveal the work of botanists, botanical artists, collectors, photographers and
archivists. Our site allowed areas for cultivating, trading and exhibiting plants in collaboration
with the Kew Gardener shop and for students to analyse and make decisions about the nature of
public space, private space, heritage and the community.
Isabella Hughes, The Botanist’s Library
Wing Chang, The Entomologist’s Library
Brad Sumner, The Botanical Artist’s Library
Derick Agyemang, Hazel Alderson, Helena Anthony, Wajeeh-Ur-Rehman Bashir, Danny Bush, Hong Chang, Danielle Cook, Jacob
Deyoul, Madoka Ellis, Damilola Fapohunda, Miranda-Alix Forsyth, Floriane Gonsalves, William Himpe, Isabella Hughes, Ane Jakobsen,
Davis Kapambwe, Ziyang Li, Ioannis Liargkovas, Ivan Markovic, Sonali Mistry, Anderson Morales Ramon, Stefan Necula, Alfred Osei,
Kwame Rennalls, Varun Sharma, Bradley Sumner, Lindsay Wheatley, Dimitri Xitas
Pablo Feito Boirac, Exterior Perspective
Elle Bytautaite, Exterior Perspective
Berit Vold, Gallery Interior
Luciana
A
Mameri
Barros,
Koorosh
Ameri,
Olivia
Bailey,
Lene
Bjerkeli,
Egle
Bytautaite,
Nila
Choudhury,
James Cura, Ashley Dunford, Pablo Feito Boirac, Ayesha Gajraj, Miles Greenaway, Marie Hogevold, Fatimah Ishmael,
Katarzyna Janos, Mohammed Khashoggi, Areeb Khan, Undraa Khurtsbilegt, Shaun Lilley, Joseph Marshall, Alice Moden, Laith
Nada-Ali, Damilola Nezianya, Robert Overton, Natalie Roberts, Yiannakis Spyrou, Tara Tamang, Berit Vold, Michael Woods
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Studio 1.3
Mario Pilla
Launa Davies
Studio 1.4
David Lawrence
Grant Sheperd
Alongside the work undertaken at Kew Gardens during the first semester, we considered the
work of Kew’s sister site at Wakehurst Place to introduce semester two. There the Millennium
Seed bank collects, stores and safeguards seeds from around the world. The important work
undertaken in seed conservation prompted us to design a house in a Herbarium for a scholar,
overlooking Kew Green.
The preoccupations of the studio were twofold. Firstly, with reference to both orthographic
projection and botanical illustrations, five plants leaves, flowers, seedpods or seeds were selected
and measured and then drawn in plan, section and elevation. The chosen samples could either be
native to Kew Green or chosen to reflect the student’s home town, village or city. This facilitated
a conversation regarding scale and context to begin.
Secondly, in response to the immediate site context within an existing residential terrace and a
garden wall at the threshold to the site, the Herbarium would house the scholar’s workspace
which mediates between the public exhibition and their dwelling, comprising the private space of
the proposal.
This year we have been designing a ‘House for a Scholar’ situated close to Kew Royal Botanic
Gardens – the UNESCO World Heritage site. Focusing on a site facing Kew Green, we worked in
the tradition of eighteenth century scientists, creating houses as cabinets of curiosities.
We began the project with a intuitive clay work, exploring iterations in shape and form. Selecting
the most successful of these forms, we developed them to scaled card building volume models.
Our houses have been designed for botanists, entomologists, arboriculturalists and other
professionals related to the activities of the Royal Botanic Gardens. Our brief also included a
space for the public to view the work of the specialists, and most importantly the cabinets in
which the works were displayed and celebrated. Circulation models were used to investigate the
mediation between public and private spaces.
Finally, we developed our circulation and block models into building proposals, introducing space,
materiality and activity, and atmospheres. Through this process we have created a wide range
of intriguing potential schemes which embody the idea of a house for a scholar, rooted in the
materiality and context of the collector.
Bradlee Mulroe, charcoal drawing
Vibecke Stabell Solli, charcoal drawing
Sophie Molnes Sovik, watercolour
Hyun Kim, interior collage
Street perspective with proposal
Section through proposal
Sarah Abulhasan, Hind Alkaabi, Ziad Bakr, Zere Bedenova, Viktoriya Boykivska, Brandon Clemenson, Lisa Danquah, Sarah Dinnoo, Ideal Ferizi,
Konstantinos Gkikas, Asia Hama, Serina Harb, Kesiena Idebe, Sutthinee Jaroonsote, Farisa Khan, Hyun Kim, Karolina Kobus, Emma-Jo Lodge, Dellan
Meho, Sofie Molnes Sovik, Bradlee Mulroe, Grzegorz Oleniacz, Chantelle Pantelides, Ozan Sahin, Vibecke Stabell Solli, Russell Torkamani, Nathalie
Wathne
Ebba Daun, section through proposal
Sanaz Alavi, Charlie Alvarez, Buchard Bakundukize, Emre Bulmus, Zainab Camara, Grant Codrai, Ebba Daun, Charles Duzdabanian, Yasmine
Faress, James Fish, Emily Galliers, Mays Hamad, Tsz Hsu, Dorothy Jackson, Jieun Jun, Dalia Kharoufeh, Violet Lawrence, Christiana Mark-Ogunyadi,
Anna Milovanova, Shymah Monir, Sindre Narvestad, Alexandra Olsen, Georgios Perdikakis, Shpetim Serani, Benrico Stripe, Danai Tsiouri, Kerensa
Wellesley-Elliott, Ashley Worrell, Irem Yilmaz
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Studio 1.5 Landscape
James Fox
Alice Foxley
Grania Loughnan
First year students were introduced to Kew Gardens through an extended drawing project, which
aimed to transform casual interest in the extraordinary variety of plants and buildings within the
site into observant understanding of particular details. They were asked to compare the site as it
is today with the original plan of William Chambers and to appraise the intended relationships
between footpaths, landmarks and vistas and the visitor experience. For their first design project,
students were asked for a bold but sensitive move, involving a new path and three interventions
to improve the site choreography.
In semester two, by taking on the challenge of rethinking the landscape setting of the Tower of
London, we explored the question: What should I do? Not particularly a landscape question, but a
general question, the first and most open question of the design process. Students were
introduced to some of the theories of ‚psycho-geography‘ to help them engage with the complex
site. Some compelling answers to the brief, whether converting the Tower of London into an
internment camp for illegally detained terrorists, rebuilding parts of the the roman wall or moving
Fenchurch Street Station one hundred yards east, stimulated thought-provoking debate about
what one should or shouldn‘t do with a World Heritage Site.
Toya Peal, concept drawing
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Studio 1.6 & 1.7 Interior Design
Michel Schranz
Keita Tajima
Mo Woonyin Wong
Cham Yeong
Edyta Obrzut, detail drawing
Toya Peal, perspective drawing
Fatima Bamujally, Rob Beckett, Arushi Bhatnagar, Ethan Chong, Yidhen Dorji, Fleur Fairhall, Toby France, Hao Huan, Stuart Jones, Eileen Khounsombath,
Jordan Ling, Georgi Manchev, Edyta Obrzut, Toya Peal, Jo Pineda, Paul Rendle, Maylen Skofterud, Tim Taiwo, Adam Tamuzadde, Derya Yilmaz, Li Zhang
This year, Interior Design Studios 1.6 and 1.7 focused its studies on two sites in London. The first
semester site was the Temperate House at the Kew Royal Botanic Garden, a UNESCO World
Heritage site. The second semester site was an existing restaurant within a Victorian terrace in
Kew. We visited Berlin and London for our study trips.
The studio began with the careful observation and representation of existing conditions by
surveying, drawing and making models of the Temperate House. This developed an understanding
of the forms, conditions of materials, scales and habitation of its interior.
In the second semester, we worked on the design of a restaurant in Kew. We began with a series
of collaborative projects exploring the environment of eating. We tested various construction
techniques to understand the concept of form and structure by designing and making a cardboard
chair. The chairs were used to create an eating event to examine the anthropometric relationship
between furniture and space.
The final project was informed and developed by this research. Each student proposed a
restaurant that explored the nature of dining and the spatial qualities of natural and artificial
lighting, colour, materiality and texture, smell, sound and temporality.
Derek Zhang, chair design
Survey of table top
Derek Zhang, section through restaurant
Charlotte French, seminarium
Studio 1.6
Jonathan Craven, Charlotte French, Yixiang Jiang, Sarah Lailey, Rebekah Manfield, Kai Martin, Anam Mehmood, Roxana Murgu,
Pranatkasuda Parelai, Atousa Pirouzi, Ruth Potts, Atefeh Sadri Tabar, Manal Saeed, Greta Tunkunaite, Katie Wilk, Yongqiang
Zhang, Huiping Zhong
Studio 1.7
Oluwafemi Adedoyin, Zoe Baker, Zeferino Do Rosario Ng, Zsoka Erdelyi, Anna Georgiadou, Christine Huynh, Rosie Luck, Serpil
Marasli, Pouya Motallebzadeh,Fatemeh Narimani, Nuray Pinarbasi, Joana Popova, Yasmin Ruiterman, Line Skogsrud, Madeleine
Wells, Abert Wijaya, Mariane Xueref, Shimeng Zhang
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Design Representation
Jane Houghton
2
Facing: Oliver Lam Watson, Copped Hall Elevation
2.Sabreen Bucheeri, Chiswick House
3.Daniel Bulgen, Temple Drawing
4. Robin Sondergaard, Stain Drawing
3
4
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Studio 2.1
Ioana Marinescu
Naomi Shaw
Thomas Goodey
Urban Memory / Common Ground
Studio 2.1 travelled to Bosnia and Herzogovina to study the impact of the UNESCO World
Heritage status given to the Old Town and Old Bridge (Stari Most) in Mostar. After its destruction
in the wars of the early 1990s, The Old Bridge was meticulously re-built as an iconic image of
unification in this ethnically divided part of the world.
Studio 2.1 was interested in how to rebuild in the buffer zone of the UNESCO World Heritage
site, where local residents continue to live outside of the now tourist-led economy of the Old
Town. In stark contrast to the UNESCO site, which has been rebuilt brick for brick and is
now closed to further development, the partially war-damaged buffer zone remains alive with
opportunities.
We sought to build on existing and well established situations – events, activities and buildings –
within the buffer zone and chose to work in a neighbourhood situated on the river’s edge known
as ‘mejdan’, meaning a small public urban space. The students were asked to work in pairs to
propose new facilities and a small hostel for the thriving Kayak club, and an exhibition space for
the Bosnia and Herzogovina state archive with artists studios. Key to their individual proposals
is a strong approach to the existing derelict buildings, whilst their joint proposition re-instates a
public space.
Nathaniel Amissah, section through proposal
Facing: Arta Garanca, kayak workshop
Nathaniel Amissah, Kofi Appiah-Menkah, Radhesh Bhatt, Louise Cooke, Lukas Drotar, Jose Ferreira, Arta Garanca, Vasiliki Gkika, Prabhat Gurung,
George Hester, Denis Ismaili, Mahshad Khairani Sharahi, Ahreum Kim, Salah Krichen, Eleftheria Loupasaki, Sebastian Lundberg, Michael Morgan,
Daniel Rooke, Shadia Tajamal, Benjamin Yeates
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7
1. Prabhat Gurung, Mostar section through gallery
2. Site collage
3. Benjamin Yeates, South Bank reading room
4. Daniel Rooke, reading object
5. Michael Morgan, gallery staircase
6. Mostar site model
7. Elia Loupasaki, section through gallery
8. Prabhat Gurung, South Bank reading room
9. Arta Garanca, kayak club
1
2
3
8
4
5
6
9
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Studio 2.2
Eleanor Suess
Will Burges
Water / Crossings
Studio 2.2 has a long standing interest in the relationship between cities and water. This year the
studio has continued those themes by looking at the architecture of water-borne transportation,
and considering the role of water in supporting the back-of-house activities of particular
UNESCO World Heritage sites.
The semester 1 project made a connection between the World Heritage site of Greenwich and
the Isle of Dogs, separated by the official UNESCO ‘buffer zone’ – a threshold as wide as the river
itself. The studio proposed re-opening the Isle of Dogs to Greenwich ferry, to encourage that
perilous journey from north to south London and vice versa; to remake for our own times the
Ferry House that stood for centuries overlooking Greenwich from the north bank.
In Semester 2 we worked on another watery World Heritage site:Venice. It has become
commonplace to condemn Venice as some kind of enormous open air museum, a condition that
its status as a World Heritage Site merely, and tragically, confirms.
A squero is where new Gondolas and other kinds of watercraft (some of them as uniquely
Venetian as the Gondola) are made. In the second semester Studio 2.2 designed new, expanded
squeri on two sites in Venice, incorporating a traditional industry, as well as housing for a
squerarolo and their family. We considered how to build in a city where nothing new is allowed,
and how to relate to the practices associated with this traditional industry and the buildings
which house what UNESCO describes as “intangible cultural heritage”.
Vince Ruocco,Venice window study
Facing: Julia Kubisty, San Trovaso
Tareq Arafat, Mohammed AzamArne Bassoee-Eriks, en, Clare Brincat, Michelle Choi, Samuel Colmer, Jaime De Linares Florido, Mona
D’Souza, Helen Galletti Di Cadilhac, Petter Habostad, Christina Ihekwoaba, Sophie Ihua-Maduenyi, Fatemeh Kazeminajafabadi, Julia
Kubisty, Tongai Moyo, Amandin Richard, Vincent Ruocco, Christopher Scaplehorn, Mau Tam, Sara Tehrani, Christopher Thompson,
Khuong Vo
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1
1. Chris Scaplehorn, model in site
2. Arne Bassoee-Eriksen, squero workshop
3. Julia Kubisty, model
4. Julia Kubisty, canal elevation
5. Amandin Richard, courtyard
6. Arne Bassoee-Eriksen, photomontage
7. Chris Scaplehorn, window testing
2
4
5
3
6
7
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Studio 2.3
Aoife Donnelly
Kristin Trommler
Weaving Place and Memory
Following on from last years exploits in the grimy depths of London’s sewers, this year Studio
2.3 have continued to make proposals in seemingly suspended, half-abandoned places. Our work
this year was concerned with the reality of living and working in UNESCO World Heritage sites,
asking how the process of making and production might manifest in these places. These contexts
raise questions about how to balance the continuing real life of such a place with the pressures of
conservation and the promise, or threat, of affluent cultural tourism.
We focused on two such places, both with a long history in making and significantly shaped by it:
the Derwent Valley in Derbyshire and Gjirokastra in Southern Albania.
We catalogued the industrial heritage and infrastructure of the Derwent Valley Textile Mills, where
the mechanically-powered factory system that underpinned the Industrial Revolution was first
developed. We designed and constructed a 1:1 scale timber waterwheel, temporarily installed in
the Hogsmill River, then after walking the protected stretch of Valley, proposed a water-powered
sawmill as a new model for small-scale, local, sustainable industry.
Semester two took us to Gjirokastra, known as ‘The City of Stone’, an old Ottoman town in
Southern Albania. After the collapse of Enver Hoxa’s regime, under which the Ottoman skills of
making and craft blossomed, the town experienced the loss of its skilled craftsmen and it’s built
heritage gradually went into decline. Our proposals for a School of Master Crafts, aligned with
the aspirations of the locally active N.G.O., Cultural Heritage Without Borders, sought to protect
these skills and knowledge from the peril of dying out. We gathered a collection of remnants from
site, taking them away as catalysts for a series of contextually sensitive insertions.
Simon Dean, Masson Mills machine
Facing: Simon Dean, carding machine
Rima Akter, Raman Baban, Sebastian Barrett, Qendrim Berisha, Jessica Causey, Simon Dean, Rosie Ellis, Paul Johnson, Rohullah
Kazemi, Nael Kazma, Alicja Kowalska, Camille Lacoste, Kimberly Martinez, Mufaddal Nagree, Imeshka Ranatunga, Jamie Simon, Arjun
Singh, Pavel Stankov, Esra Tekagac, Slawomir Turek, Tomas Watson, Chung Yu
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1. Camille Lacoste, Gjirokastra
2. Sebastian Barrett, crafts school
3. Simon Dean, saw mill model
4. Rosie Ellis, craft school prints
5. Michael Yu, craft school sketch section
6. Nael Kazma, craft school model
7. Water wheel detail
8. Sebastian Barrett, sawmill interior
9. Mufaddal Nagree, saw mill structure
10. Simon Dean, crafts school cast model
6
1
7
3
8
4
2
5
9
10
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Studio 2.4
Timothy Smith
Jonathan Taylor
Palladian Revival
Classical architecture and urbanism is very often UNESCO accredited and the link between
UNESCO and built heritage is self-evident. Classicism is not a straightforward set of rules, but at
it does take as it’s starting point the application of the 5 orders of architecture as its decorative
elements. This definition is rather skin deep; a more elusive definition must recognise the
demonstrative harmony of parts towards which Classical architecture aims.
Copped Hall in Essex is a ruined Palladian mansion from 1759 which we surveyed in Semester 1
and which then formed the site of the first project, an aedicule, or ‘little house’, in which guests
could stay for a night or two to experience the elegant arrangement of generous spaces in their
raw semi-ruined condition.
We studied the Palladian Revival in England of the Eighteenth century when rules of design were
set out in pattern-books, and then in January we visited Palladio’s villas in the Veneto. We learnt
from the buildings themselves, and to studied the translation which took place between Palladio’s
architecture and that of Eighteenth century England. These studies informed the design of a hotel
in the classical idiom in the immediate vicinity of one of the world’s most famous houses, the
Villa Almerico Capra, or La Rotunda. This building is a designated UNESCO World Heritage Site,
along with Vicenza and Palladio’s other villas; we find the question of how to build a genuinely
complimentary neighbour compelling.
Oliver Lam Watson,Villa La Rotunda Plan
Facing: Michail Sarafidis, Hotel Pool Model
Nalja Almutairi, Miral Ama, Sadiki Bailey, Mustafa Baskal, Richard Baylis, Daniel Bulgen, Lea Daniel, Amy Ford, Farah Hassan, Oliver
Lam-Watson, Evgeniya Makalenko, Evgeni Medarov, Any Medina Romero, Liz Muchatat, Michelle Mujakachi, Ellen Peirce, Fatima
Salman, Michail Sarafidis, David Schwitzke, Marian Twenefoo, Yutong Wang
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7
1
2
8
3
1.Oliver Lam Watson, Entrance Hall Interior Model
2.David Schwitzke, Photo Montage
3. Michail Sarafidis, Pool Interior Model
4.Oliver Lam Watson, Lightwell Sketch
5.Oliver Lam Watson, Atmospheric Section
6. Michail Sarafidis, Plan in Context
7.Daniel Bulgen, Interior Sketche
8.Daniel Bulgen, Measured Drawing
9.Studio 2.4, Copped Hall Model
10.Oliver Lam Watson, Photo Montage
4
5
9
10
6
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Studio 2.5
Nicola Read
Matthew Phillips
Villa Complexes: Interior Rooms to Landscape Rooms
The studio continues its research into rooms for gathering, this year within the context of an
incomplete and largely unrestored Palladian villa – Villa Trissino at Meledo in northern Italy.
Continuing with an interest in designing through making the studio comprised of both interior
design students and architecture students with an ambition to explore projects at a detailed level
and to encourage a discourse between the two disciplines within the school.
Inscribed by UNESCO on the World Heritage List,Villa Trissino sits in a state of neglect and
disrepair. The addition of later buildings and the adjustment and reordering of the site over
centuries has brought about a disconnect between the villa, the landscape and the hamlet in which
it sits. Through proposals for an agritourismo (a working farm with accommodation for tourists)
on the site we attempted to challenge the programmatic norm of world heritage sites as museum
pieces and to explore the art of intervening within, and the craft of making alterations to, historic
buildings.
Prior to beginning our studies in Italy we sought to understand the idea of the villa through the
neo-Palladian architecture of Chiswick House. We used Chiswick as a site to obsessively observe
and record characteristics of rooms both interior and exterior. This lead to design proposals
for a Casino (a small house with a gathering room) in Chiswick’s grounds which examined the
composition of an interior room with William Kent’s landscape.
For our field trip we undertook a Grand Tour of Italian villa complexes – from Villa Adriana at
Tivoli to Palladio’s villas in Vicenza – studying how their interiors were conceived and mediated
in relation to the landscape. Here, as in Chiswick, we explored the idea of the landscape room
as a mechanism for structuring exterior space, fields and gardens, and explored the potential for
interior rooms conceived in relation to this.
Georgia Davis, exploded axometric
Facing: Sabreen Bucheeri, Model with view from window
Hiba Alobaydi, Sarah Al-Radhi, , Michael Asante, Rima Boz, Georgina Campbell, Christina Fotiadou, Robin Sondergaard, Nima
Taghizoghi, Jeannette Woanya, Liam Crockett, Georgia Davis, Amani Alharbi, Dalal Ameen Christina Bailan, Sabreen Bucheeri, Emily
Budden, Chelsey Carter, Amira Eldahan, Hannah Field, Martyna Maziarz, Alexandra Nicolaescu, Esra Tekdal, Kelly Tooze, Magdalena Zawadzka
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1
2
1. Emily Budden, Detail of Moulding
2. Komadee Appasamy, Casting Study
3. Kelly Tooze, Interior Model
4. Michael Asante, Interior Model
5. Model of Hallway
6. Kelly Tooze, Section
7. Robin Sondergaard, Interior Model
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3
4
5
7
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Studio 2.6
Carol Mancke
Grant Shepherd
Cuppa Kissa
Tea drinking has been a significant part of British social culture since Queen Catherine made it
de-rigour among the aristocracy in the 17th century. Permeating many aspect of British society,
tea drinking has prompted the development of both social rituals and cultural artefacts. These
range from precise patterns of behaviour or etiquette to utensils as varied and elaborate as silver
tea services and the quilted tea cosy, different spaces at different scales and new kinds of foods.
Tea has had a similarly broad influence on other cultures, perhaps none more so than Japan where
the appreciation of tea and tea gathering has been distilled through Zen to become a highly
refined tea practice.
This year in Studio 2.6 we employed tea preparation and drinking as a thematic activity through
which to study and create spaces for informal and formal social gatherings. As a part of our tea
journey, we visited two World Heritage sites: Bath and Kyoto, Japan, where we looked at both
traditional and contemporary spaces for tea.
The studio focussed on the development of an understanding of scale and human comfort
through the interweaving of three strands: detailed precedent study; development of design
proposals and making at different scales. We created our vision for a contemporary tea gathering
space through a series of linked briefs which culminated in the design and construction of a
carefully considered space situated within a larger existing context. The installation was designed
and constructed by the studio as a whole and equipped with the furniture and utensils required
to serve tea.
Interior Model
Facing: Pot design
Eirini Alexakou, Cristina Ballesteros Colomina, Hannah Davies, Emilie Diomande, Aiva Dunauskaite, Lee Fifer, Jack Headford, Kit Hung, Katerina Kapetaniou, Anum Khan, Sofiia Khliabych, Simon Krapf, Mari Kukushkina, Iris Le Jannou, Charlotte Liberto, Eileen Maracha, Diana Njoki, Thongtipaya Pinitpouvado, Daniel Prendeville, Luke Salvi, Vatcharayut Sasit, Rachel Stott
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1
1. Detail of Moulding
2. Panalling Design
3. Pot concepts
4. Model of proposal
5. Model of Corridor
6. Interior staircase proposal
7. Moulding detail
8. Development model of tea house
2
6
3
4
5
7
7
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Studio 2.7
Jamie Dean
Helen Goodwin
David Richards
Alice Foxley
Pathways and Ecologies
The coast of the British Isles can be seen as a transition and a coming together of ancient tracks,
coastal routes and sea paths that have criss-crossed the British landscape and its waters. Over
time these ancient pathways have become inscribed with narratives of place - folklore, legend and
ritual.
The inhabitation of some of the richest of these – Poole Harbour South - has been the subject
of level 5 Landscape Studio. Conflicting and competing demands for occupation have been the
subject of negotiation and the development of sophisticated landscape strategies at a range of
scales.
From the unearthing of the ghosts and voices that haunt old paths, to the rigorous analysis of the
multiple layers of environmental, economic and social data - the studio objective has been the
realisation of the long sought after National Trail, to circulate Poole Harbour and enhance access
to its foreshores. A route that must pass through an array of varied and sensitive landscapes and
ecologies, where activity to promote access and recreation, nature conservation co-exist with the
infrastructure of oil extraction. This exercise is fore-grounded by the consideration of a future
application to UNESCO to extend the Jurassic Coast World Heritage Site designation into Poole
Harbour itself.
Libby Kim, Technical section
Facing: Tom Mcconnell, Proposed route
Mathew Adebayo, Hibba Alhaydari, Gurinder Bansal, Davon Bree, Ceyda Ceylan, Rie Chimura, Amal Choaie, Shoeba Chowdhury, Rachael Cox,
Simon Dessent, Flora Eshagzadeh, Joashua Gray, Bill Groth, Hadassah Hodari, Jiang Ziyang, Libby Kim, Tom Mcconnell, Ina Mula, Steven Nguyen,
Jakir Noor, Mafalda Ornelas Vanlente, Sam Perry, Suzie Samut Tagliaferro, Luke Szokalski, Sidonie Travers, Lorena Vaccarini Avila, Tom Wan
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6
1.Jakir Noor, Perspective
2.Ina Muller, Site Photo
3.Libby Kim, Sketch
4.Mafalda Ornelas Valenta, Site Photo
5.Tom Mcconnell, Proposed route perspective
6.Davon Bree, Proposed sections
7.Suzie SamutTagliaferro, Details
8.Ina Muller proposed model
1
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2
3
4
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8
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Studio 3.1
Jane Houghton
Stephen Baty
Essence
“ We must discover things and let them unfold their own forms”
Hugo Haring. ‘Approaches to Form’ 1925. Architectural Association Quarterly.Vol. 10.1978.
This year the studio has been looking at architecture as a built landscape, to site-responsive
structures and local building craft. Our Unesco world heritage sites are Pompeii and the Amalfi
coastal resorts of Sorrento and Capri.
We have researched indigenous building techniques, craft and materials and issues relating to
conservation, restoration and preservation in this extraordinary historical context. The hotel
programme evolved as a clear response to the touristic nature and activities of the area alongside
the archaeological make-up, topography and the volcanic geology of the region.
The studio has sought to understand what has made the landscape and its structures the way that
they are, and to uncover the essence of this place.
Dan Borg, Room View.
Facing: Kalliopi Bouzounieraki, Section Forum Baths
Michelle Adora, Kim Assemat, Jessica Baah, Nana Biamah-Ofosu, Daniel Borg, Kalliopi Bouzounieraki, Sherice Brown, Alexander Buck,
Julie Chadwick, Laura Clamp, Brian Koo, Jolene Lao, Kai Li, Tanaka Mazivanhanga, Ioannis Nikiforidis, Wemboloke Onokoko, Oscar
Plastow, Janaina Castelo Rodrigues, Liang Sun, Emily Theodore, Jordan Whitaker, Busra Yavu
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1.Laura Clamp,View of Bedroom
2.Oscar Plastow, Interior model
3.Alex Buck, Section through proposal
4.Alex Buck, Resturant view.
5.Dan Borg, Night time view of courtyard
6.Oscar Plastow, Sectional model
7.Dan Borg, Axonometric of scheme
8.Oscar Plastow, Project at Night
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Studio 3.2
Tim Gough
Takeshi Hayatsu
Landmark
The bluestones forming the inner circle of Stonehenge were brought from South Wales, 240 miles
away from their current location on Salisbury Plain, Wiltshire. Larger sarsen stones for the outer
circle were quarried from Marlborough Dawns near Avebury, 20 miles due north. The ancient
landscape was measured by the movement of stones and the distant places were connected by
these means.
The movement of these large stones was the inspiration for the Studio’s work this year. In
order to understand the pain and joy of constructing such a landmark, we built a 9m tall timber
spire with our hands - a 1:5 scale replica of Salisbury Cathedral octagonal spire built in the 13th
century. We spent 5 days in Wiltshire, analysing topography, ground textures and distant views
around the ancient monuments. The spire was then used in projects as a marker on the ground,
in order to establish a new settlement in the contemporary landscape, where visitors and local
communities are currently separated and fragmented.
The studio’s building propositions speculate new settlements and their impact on the existing
ecology of the sites around Stonehenge and Avebury. A new hostel for visitors and a community
hall for local people aim to connect the fragmented landscape, and a concern for the interplay of
humans and animals was made a theme of the projects. Traditional barn and agricultural building
typologies were adapted to suit to modern materials and an economy of means. Rather than
treating the sites’ heritage as frozen archaeology, the proposals seek alternative ways for it to
continue and evolve.
Ian Pirie James Jones & Sons Timber supply
David Derby Mike Davies Price & Myers Structural Engineer
David Leviatin Oak frame specialist/ Carpenters Fellowship
Roger Partridge at 3D Workshop for spire and stone joinery projects
Jo Mayer Robert Creber United Business Media for Ecobuild
Asrina Miah, Spire being erected
Facing: Phil Forde, Structural components
Yukari Benedetti Aibe, Rana Alsarami, Ali Alshenkiti, Omar Bakr, Amanpreet Bhullar, Peter Canelle-Dance, Lewis Denson, Phillip Forde,
Maryam Gbum, Rachel Greenwood, Ameer Hussain, Sofia Katsarou, Christopher Kelly, John Kemp, Mark Mcglynn, Asrina Miah, Mahdi
Mongabadi, Stylianos Politis, Clare Salter, Alexander Trainor, Line Youn
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1. Mark McGlynn,Youth Hostel Long Section
2.Mark McGlynn,Youth Hostel perspective
3.Amanpreet Bhullar, Hostel Perspective Section
4.Mark McGlynn,Youth Hostel Structure and Interior
5.Chris Kelly, Stonehenge Section
6.Chris Kelly, Sheep Shearing Shed Model
7.Amanpreet Bhullar, Salisbury Cathedral Spire Section
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Studio 3.3
Alfredo Caraballo
Karin Templin
Bruno Marcelino
Urban Decorum
“Architecture begins in construction and ends in town planning…” Sigfried Gideon - Space, Time
and Architecture
THE BEHAVIOUR OF BUILDINGS
As urban architects, we are concerned with the behaviour and responsibility of the buildings that
form the public realm. What is the role of a single building within the structure of the city? How
do groups of buildings “behave” to form urban space?
URBAN DECORUM
Each urban building has a responsibility to the city as a whole, a sense of urban decorum.
The number and type of front doors, ground floor uses, the articulation of the ground floor,
permeability, scale and facades as “faces” express this decorum.
SANTA CHIARA – PISA, ITALY
With the transfer of the Santa Chiara hospital from its original 13th century location bordering
the Piazza dei Miracoli, an UNESCO World Heritage Site, to its new home in Cisanello on the
outskirts of Pisa, an unprecedented redevelopment opportunity has emerged and with it many
questions are raised. How can this ancient hospital site be reconnected with the city; how should
new architecture address the historic monuments for which Pisa is famously known; and how do
new buildings converse with existing structures to transform the urban structure?
Katrin Wahdat, conceptual Piece
Facing: Minghui Ke, Courtyard study
Sandra Adamczyk, Seyedeh Alaei Yazdi, Liam Andrews, Neethu Babu Raj, Hoda Chizari, Peter Folland, Gulcan Gaygusuz, Minghui Ke,
Gina Kerridge, Monika Konieczna, Oscar Martinez, Camila Morbini, Maria Moschou, Regina Ortega Barbedillo, Ketan Pithadia, Camila
Barbato Radici, Elisa Azevedo Ribeiro, Sura Saeed, Keyura Samson, Sofia Teriaki, Katrin Wahdat
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1.Santa Chiara, Facade study
2.Monika Konieczna, North Facing Perspective.
3.Santa Chiara, Courtyard view
4.Liam Andrews, Library Building Bay Study
5.Santa Chiara, View from street
6.Liam Andrews, Loggia Studies
7.East Elevation
8.Merve Gaygusuz, proposal conceptual model
9.Liam Andrews, Design Proposal West Site Elevation.jpg
10.Monika Konieczna, Contempory Design Model
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Studio 3.4
Michael Lee
David Owen
The Modernist City - Residential Towers
The nomenclature of the UNESCO listed White City in Tel Aviv refers to a collection of over
4,000 International Style buildings. They were constructed within a garden city plan by Patrick
Geddes by German Jewish graduates of the Bauhaus, who were immigrated to the British
Mandate of Palestine after the rise of the Nazi Party. Between 1932-1936 the displaced
architects sought to address the dichotomy of creating a new home and identity on land they
believed to be their ancient and spiritual home through the contextual adaptation of Modernism.
Israel exists within defined boundaries, albeit boundaries that prove more ‘flexible’ than most.
These borders contain thriving industries that support and depend on a highly educated
population that fluctuates at an unpredictable rate - the Law of Return grants anyone of Jewish
ancestry the right of return to live in Israel and gain citizenship. The alliance between religion and
state that so often defines Israel complicates the relationship between Israel and its neighbours.
Israel is becoming increasingly convinced of the need to be self sufficient in terms of resources,
placing even greater value on land for the production of food for consumption and export. As
a result cities are required to accommodate the increasing population within their existing
boundaries.
The city has begun to implement its 2025 Plan - a master plan comprising the strategic placement
of clusters of residential and commercial towers of between 28 and 44 storeys. Each student has
been allocated a site within this area of the 2025 Plan and been asked to develop a contemporary
response to building meaningfully within the influence of the protected White City.
Michal Krol, Residential Tower Street View
Facing: Laura Aldridge, Residential Tower,View to the Mediterranean
Laura Aldridge, Taissa Santos Araujo, Solaf Balisany, Shahrier Chowdhury, Elliot Dunn, Alaric Garratt, Edward Heritage, Deeqa Kabadeh,
Aikaterini Kachramani, Luke Kane, Jaemyoung Kim, Michal Krol, Sonny Medcalf, Mohammad-Annas Mojaddidi, Dhinesh Srinesa, Anthony Tran,
Tsz Tsang, George Tsouhnikas, Can Unal, Cephas Williams
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1. Sonny Medcalf, Residential Tower Apartment Interior
2. Laura Aldridge, Residential Tower Base
3.Alaric Garratt, Residential Tower Context Model
4. Elliot Dunn, The White City Tel Aviv
6.Can Unal, Residnetial Tower Outdoor Cinema
7. Can Unal, Three Religons
8.Solaf Balisany, Ze’ev Haller Mazeh Street
9.Deeqa Kabadeh, Tel Aviv
10.Can Unal, Wailing Wall Cinema
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Studio 3.5
Fenella Griffin
Helen Goodwin
John Lonsdale
Alice Foxley
Common Senses
The third year Interior Design studio has investigated the nature of the interior by designing
public and private spaces for a hotel. The proposals are for the transformation of the existing
General Surgery building on the old Santa Chiara hospital site in Pisa: a grand 1897 ‘villa’
strategically located adjacent to the UNESCO World Heritage site of the Piazza dei Miracoli with
the Duomo, Baptistery and Leaning Tower, close to the city wall, at a proposed future point of
arrival for tourists.
Notions of comfort were investigated in two kinds of interiors: the hotel room with the traveller’s
private needs, and the public interiors of the restaurant, bar and foyer. Research was made into
the characteristics and enrichments which sustain public interior and exterior urban life in the
cultural contexts of London and Pisa or Florence, with their transitions between the street and
the interior. We analysed the qualities of Pisa’s urban spaces, drawing from the materials of their
fabrication. Designs which addressed the transformation of experience through the totality of
the interior, were developed with their constituents of linings, integral furniture, lighting and their
fabrication. Detailed sections, full scale maquettes and real materials explored the aura of space
and its inhabitation, the relationship of interior to building envelope, and the allure of the powerful
location.
Charlotte Rushforth
Facing: Polly Methley
Amie Bosson, Robyn Charlton, Timothy Cole, Nikita Cosier, Imogen Dorrell-King, Noemi Fele, India Galton Van Winden, Vasilia-Alexandra
Ganotakis, James Halliday, Zara Harradine, Catherine Hughes, Ju Hwang, Karolina Januskaite, Alexia Karakasi, Nelo Katodriti, Shamsi Kazaure,
Suju Kim, Lora Kirova, Adriana Kudelova, Liene Linke, Billie May, Polly Methley, Wendy Miao, Laura Nagy, Carlie Ng, Patricia Parayno, Sonali
Patel, Pooja Ramavrat, Charlotte Rushforth, Konstantinos Sedaridis, Remi Shrestha, Christine Spidsberg, Danina Stefanova, Harry Twigg,
Mustafa Yuksel
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1. Charlotte Rushforth, Flooring design
2. Carlie Ng, Bookcase design
3. Carlie Ng, Bookcase design in context
4. Laura Nagy, Interior proposal
5. Liene Linke, watercolour sketch series
6. James Halliday, Interior with view from window
7. Polly Methley, Axometric
8. Lily Ganotaki, Interior model
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Studio 3.6 Landscape Architecture
Fenella Griffin
Helen Goodwin
John Lonsdale
Alice Foxley
UNESCO’s World Heritage status has framed the enquiry across two distinct sites: the former
island of Schokland, surrounded by a constructed ‘sea of land,’ of the agrarian Noordoostpolder,
NL; and the town of Poole in Dorset, UK, in one of the largest natural harbours of the world.
Both are at risk of inundation through predicted climate change scenarios, both are in need of a
viable future. Working with tipping points, students developed 100 year strategies for the regional
adaptation of the polder, re-contextualising Schokland by re-qualifying the water management
system. De-poldering enabled the land to ‘re-member’ its underlying pleistocene form, initiating
ideas for transformation and building resilience through increased water storage capacity. Creating
new natural climate buffers to catalyse the restorative function of land as sponge and carbon sink
suggested secondary development of agri/aquacultures with programmes for wetland reserves
and their attendant economic, recreational and biodiversity benefits.
Working with the archetypes of street, square and park, students developed public realm
scheme designs for Poole’s urban landscape at the historic Quay and an adjacent post-industrial
site. Collective investigation through measured drawing enabled a close examination of spatial
character as a springboard for change, leading to proposals for the enhancement of the Quay as
both route and destination and a stronger sense of connection and identity for Poole itself. At
the former power station site of Hamworthy, students considered how to mediate the various
scales of infrastructure with existing and proposed neighbourhoods; how the reuse of a former
tile factory could be brought back into play to suggest new active uses and develop a sense of
place for a brownfield site which straddles town, port, and the salt marshes beyond to create an
extension of the waterside public realm - a new strand for Poole.
Students have embraced a significant breadth of landscape architectural practice -from
environmental planning to urban design, as well as the more familiar skills of site design and
resolution in pursuit of their projects. Their key challenge has been to develop a maturity of
approach that is inclusive of complexity, and the ability to see the ‘big picture’ – physically,
legislatively and temporally, and its relationship with how space and ‘things’ might manifest
authentically, now, and over time.
Mengdan Zhai, Perspective
Facing:Rob Baffour Awauh, Site Plan
Nora Alankari, Rachael Antonition,Yasemin Auer, Rob Baffour-Awuah, Tom Brantschen, Stavros Charitos, Grant Clement, Chris Daniells, Alex
du Preez, Mitra Hassan Bigi, Martin House, Rawan Jaber, Ji Kim,Vicky Mills, Magda Pelka, Johanna Rogers, Armin Sharifi, Periklis Tsoukalas,
Memo Vithana Pathirannehelage, Mengdan Zhai, Haya Aldaghaiter, Badriyya Mu‘Azu
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1. Mengdan Zhai, Plan
2. Rob Baffour Awauh, Proposed Plan
3. Magda Pelka, Model series
4. Grant Clement, Detail section
5. Grant Clement, Bench model
6.Yasemin Auer, Sections
7. Rob Baffour Awauh, Site Photo
8.Chris Daniells, Concept
9. Chris Daniells, Elevation
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GUESTS:
Alex Abbey
Samson Adjei
Isabel Allen
Melissa Appleton
Ian Appleton
Thierry Bal
Sherry Bates
Tom Bates
Peter Karl Becher
Gabriele Berti
Graham Bizley
Nicola Blustin
Shumi Bose
Mark Brearley
Oscar Brito
Robert Camlin
Katie Campbell
Giulia Carabelli
Massimo Carmassi
Kate Chappell
Peter Christian
Jonathan Cook
Tessa Cox
Alan Cox
Alison Crawshaw
Robert Creber
Mike Davies
Senada Demirovic
David Derby
Biba Dow
Gemma Drake
Lorraine Farrelly
Diasy Froud
Zoe Fudge
Gabor Gallov
Sophie Giles
John Glew
Alex Gore
Andrew Gowing
Kevin Haley
Ed Harbottle
Steven Harp
John Harrington
Giles Heap
Edwin Heathcote
Eleanor Hedley
Aiden Hodgkinson
David Howarth
Andy Humphreys
Karsten Huneck
Joanne Hunter
Kayleigh Hutton
Antonia Infanger
Mark Job
Simon Jones
Lewis Jones
Simon Jones
SCALe
School of Architecture and Landscape
Faculty of Art, Design & Architecture
Kingston University,
Knights Park Campus
Kingston KT1 2QJ
Dwyer Julia
Clara Maria Kraft
Clara Kraft
Clara Kraft
Jasper Kuipers
Maria Lardi
Brian Leung
David Leviatin
Mark Macintosh-Watson
Jo Mayer
Sam McDemott
Samuel Merrill
Julie Middleton
Manuel Montenegro
Sarah Moore
Tom Muirhead
Helen Neve
Olimpia Niglio
Donncha O’Shea
Zeilschip Oban
James Payne
Ben Pearce
Richard Peckham
Ian Pirie
Tom Raymont
Max Rengifo
Richard Reynolds
Guido Robazza
Shrimplin Roger
Vanessa Ross
Gregory Ross
Gregg Ross
Stephen Ryan
Will Sandy
Anna Schabel
Bernd Schmutz
Alexander Schramm
Andy Sedgewick, Arup
Daniel Serafimovski
Sumita Sinha
Craig Smith
Tom Smith
George Saumarez Smith
James Soane
David Storring
Hugh Strange
Steven Taylor
Marc Thomas
Honore van Rijswijk
Artus Viveiros
Donna Wallker
Tess Warburton
David Whitehead
Finn Williams
Brendan Woods
Jan Wouter Bruggenkamp
Alex Zambelli
Stamatis Zografos
EXTERNAL EXAMINERS:
Jamie Fobert
Dean Hawkes
Paul Jones
David Kohn
Julian Lewis
LECTURE SERIES GIVEN BY:
Pierre d’Avoine
William Mann
David Kohn
Jamie Fobert
Florian Beigel and Philip
Christou/ARU
Marie-Jose van Hee
Tony Fretton
Fred Scott
Todd Longstaffe-Gowan
TEACHING STAFF:
Joanna Bailey
Stephen Baty
Nikki Blustin
Patricia Brown
Andrew Budd
William Burges
Katie Campbell
Alfredo Caraballo
Pierre d’Avoine
Pereen d’Avoine
Matthew Dalziel
Lorna Davies
Jamie Dean
Rosamund Diamond
Aoife Donnelly
Judi Farren Bradley
Angela Ford
James Fox
Alice Foxley
Christian Frost
Thomas Goodey
Helen Goodwin
Tim Gough
Andrew Greig
Fenella Griffin
Cathy Hawley
Takeshi Hayatsu
Jane Houghton
Andrew Houlton
Zoe Jones
David Knight
Justine Langford
David Lawrence
Michael Lee
John Lonsdale
Grania Loughnan
Christoph Lueder
Carol Mancke
99
Bruno Marcelino
Ioana Marinescu
Donald Matheson
Cristina Monteiro
David Owen
Roger Partridge
Matthew Philipps
Mario Pilla
Stephen Pretlove
Nicola Read
David Richards
Daniel Rosbottom
Michel Schranz
Naomi Shaw
Grant Shepherd
Timothy Smith
Steve Smith
Chris Snow
Alexandra Stara
Hugh Strange
Eleanor Suess
Keita Tajima
Lucy Tauber
Jonathan Taylor
Karin Templin
Nik Thompson
Richard Trupp
Ed Wall
Tess Warburton
Mo Woonyin Wong
Jonathan Woolf
Cham Yeong
A very special thanks to
Dennise Yue, the Academic
Support Manager for the
School of Architecture
& Landscape, and School
Administrators Dorinda
Carter-Rowe, Gloria Bassoli,
Anne Dykes & Doreen
Harrison for all their hard
work and patience over the
last year.
KLASS
Kingston Landscape and
Architecture School Society
Oliver Lam-Watson, Nael
Kazma, Farah Hassan, David
Schwitzke, Julia Kubisty, Jaime
de Linares, Michael Morgan
Catalogue designed by Oliver
Lam-Watson, Daniel Bulgen &
Timothy Smith
Printed by exwhyzed
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U