Summer Exhibition catalogue .

U
U
U
UNESCO World Heritage
Architecture and Landscape Design Exhibition 2015
UNESCO World Heritage
This catalogue is a record of the work at Kingston School of Architecture and Landscape, in our
Architecture and Landscape courses.
This year the school concludes a school-wide research project, started in 2012, into sites governed
by UNESCO World Heritage. Projects range in scale from landscapes, to cities, buildings and
interiors and consider the implications of heritage listing for the past, present and future of their
sites.
Contents
Introduction
2
Architecture: Remaking the World, Bruno Silvestre
4
The Right Scale, Hugh Strange
8
MArch Architecture
Unit 1
10
Unit 2
14
Unit 3
18
Unit 4
22
Unit 5
26
Unit 6
30
Diploma Landscape Architecture and MA Landscape & Urbanism
34
Japanese Carpentry and the Hands-On Aspect of Architecture, Takeshi Hayatsu
38
A Student Retrospective, Joe Lyth
40
BA(Hons) Architecture
42
Studio 1.1
44
Studio 1.2
46
Studio 1.3
47
Studio 1.4
48
Studio 1.5
49
Studio 2.1
50
Studio 2.2
54
Studio 2.3
58
Studio 2.4
62
Studio 2.5
66
Studio 3.1
70
Studio 3.2
74
Studio 3.3
78
Studio 3.4
82
Studio 3.5 Landscape Architecture
86
Postgraduate Live Project: Rose Theatre, Kingston
92
First Year 1:1 Making Project
93
Temple Construction Project
94
Acknowledgements
96
Kingston University School of Architecture and Landscape
1
Introduction
Daniel Rosbottom
Head of the School of Architecture and Landscape, 2008-2015
This is my seventh and last introduction to a Summer Exhibition catalogue. Like many of you I am
leaving at the end of this academic year to seek new challenges and opportunities, each of us
taking the next step of our journey. For me the destination is Delft in the Netherlands, where I will
be taking up a Professorship in the Technical University. My best wishes will follow each of you,
whether you are graduating or moving forward into the next year of your course here.
Those of us who are leaving will leave a good School and a distinctive one. Of that I am certain. The
esteemed Italian magazine Domus tells me, once again, that we are one of the top 50 Architecture
Schools in Europe but I knew it already. It has been a huge collective effort to arrive where we are,
often in the face of real challenges and I am hugely proud of what we have achieved together as
a body of staff and students. Everybody has played their part and there are many without whose
effort and commitment we would not have come close to achieving what we have. You know who
you are and it is nice to have an opportunity to say thank you.
Innumerable models and drawings have been made and talked about over those seven years.
Buildings have been built and gardens planted. This year third year students are building an
extraordinary Japanese Temple structure as I write. There have been many highlights, awards and
prizes culminating, for me, in last year’s graduate Simon Dean winning the 2014 RIBA President’s
Bronze Medal for the best undergraduate architecture project. As a School we presented work at
the Venice Architecture Biennale during my time here, but perhaps the best moment of every year
has been this one, when we present to one another in the Summer Exhibition. Rooms are cleaned,
tables are set out and there is an opportunity both to see the density, intelligence and beauty of
collectively telling. It is always a thrill and I look forward to receiving an invitation in the years to
come.
precious heritage sites. Through Vertical Projects and School Assemblies we have debated both our
attitudes and our responsibilities towards them, establishing the common ground that has allowed
us to become a school of thought, beyond the administrative entity that the University understands
the term to mean. My last proposal to you all is that this is the right time to move on from those
trajectory.
This year, an excellent First Year began to think about the ways in which we can value and build
upon the heterogeneous city that we inherited from the last century, as both a social and cultural
discourse and a formal, spatial and material one. It is a timely and critical debate, which one could
imagine addressing across both the existing disciplines of Architecture and Landscape Architecture
and the new ones that are developing. MA Urban Design and Planning, MSc Historic Building
Conservation and MSc Sustainable Building Design and Performance are courses that will allow
the School to offer an unmatched breadth of expertise across the built environment but they also
need to be part of its culture and party to its conversation. Collectively the task of staff and students
might be to bring the city into sense.
For those of you who are staying, your challenge is to build upon the strong foundations laid, as
you enter into a period of uncertainty with a newly powerful Conservative Government, a new Head
of School and a University in the midst of on going change. I hope you are afforded the opportunity
to play a part in making the decision about a new Head but whoever takes on my role will, I am
certain, appreciate the School’s strength of character, purpose and intellect. They will count
themselves even luckier if they encounter the warmth and friendship that have made my time here
so singularly rewarding. I remain your friend and once again I thank you all, wish you well and hope
to see many of you again in the not too distant future.
Facing page: Measuring the walls on Pico, Unit 1, Daniel Rosbottom and Andrew Houlton
2
3
Architecture: Remaking the World
Bruno Silvestre
Associate Lecturer in Architecture – Undergraduate Design Studio Tutor
“Worldmaking as we know it always starts from worlds already on hand; the making is a remaking.”
Nelson Goodman, Ways of Worldmaking
developed in the late 19th century Beaux Arts period. In his activity as a professor at the École
Polytechnique JN Louis Durand gathered and reinvented building types organised according to
The idea of heritage is intrinsic to the making of Architecture. However obvious this statement may
History is an instrumental quarry of knowledge of millennia of architectural production made available to
academicians and practicing architects.
instrumental role in the continuous remaking of our cities and landscapes. Such urgency is manifested in
the very fact that our school has spent the last three years working within or in the vicinities of UNESCO
World Heritage sites throughout the world.
of which largely transcend the territory of our discipline. According to the Oxford English Dictionary,
heritage means “Valued objects and qualities such as historic buildings and cultural traditions that have
1
Under the 1972 UNESCO Convention Concerning
In the early 20th Century, devotion to technological progress at the age of the machine denied history
its prominent role in the architectural production of the Modern Movement. Typology was the nostalgic
stance of the 19th century academicians and therefore wholly rejected as an obstacle to progress and
to the new creative power of freedom. There were no history lectures at the Bauhaus, architectural
form must follow function, not history. Functionalism had liberated architecture from its own heritage,
focusing on the methodologies akin to industry and standardised building construction. The notion
4
“groups of separate or connected buildings which, because of their architecture, their homogeneity or
their place in the landscape, are of outstanding universal value from the point of view of history, art or
2
In response to the failure of Modern Architecture to address the city and its post war reconstruction,
in the 1960’s Argan and Rossi returned to the issue of typology, reviving interest in the theories of
the history and theory of our discipline.
of history or nature, neither form nor function, but above all a cultural instance that must be studied
Firstly, my aim is to argue for the instrumental role that the notion of Heritage and the History and
Theory of our discipline play in the making of the architectural project. Even if such argument may seem
redundant following three years of UNESCO related design studio work in our school, it is still pertinent
to establish the merits of the initiative. I will argue for typology as the most valuable heritage of our
discipline, a productive instrument we have in our disposal, a world already on hand, that establishes the
architectural, formal and spatial principles that formulate the architectural project.
if not combined with a meticulous understanding of the physical context in which we operate. The
urban topography acts upon the architectural work bearing the generative power to instigate change,
functionalism was based on the claim that the city is primarily a product of architecture. For Rossi,
architectural form liberated from the burden of function is always reducible to types, arguing that
“typology presents itself as the study of types of elements that cannot be further reduced, elements
5
This revised concept of typology seeks to solve “the questions
of avenue, arcade, street and square, park and house, institution and equipment in a continuous
typology of elements that together coheres with past fabric and present intervention to make one
6
Such typological continuity between the architecture and the
Rossi the idea of typology recognizes the city as both the context and the outcome of architectural
founded in typological research.
for its relevance in projecting architecture in the city. More recently Rafael Moneo argued that “the
architectural object can no longer be considered as a single, isolated event because it is bounded by
design studio where we explored the typologies and topographies of Granada and Seville.
in Architecture must relate to the surrounding topography of the city.
Architecture – technological and social revolutions and the emergence of sciences and new modes
In our historic cities, in places of outstanding universal value, an intimate relationship between typology
[building form] and topography [the form of the city] can be found. In the hillsides of Granada the
Carmen is a free standing house that opens itself up to the landscape of terraced gardens and the city
of space over centuries of architectural production. Building types were organised according to their
the second depends upon a vertical relationship with the sky. In this instance, it can be said that the
based on the nature of the architectural object, a formal framework that serves as a rule for the second.
3
within the Islamic wall protecting the city. Seville did not expand its urban territory beyond the city wall
according to use and these parts further decomposed in elements of construction according to
materials. The task of the architect proposed by Durand is to combine elements of this extensive
repertoire deploying the square grid and the axis as instruments of composition, a method further
4
1
Oxford English Dictionary
2
Convention Concerning the Protection of the World Cultural and Natural Heritage, UNESCO 1972
3
Quatremère de Quincy, cited by Anthony Vidler, Oppositions 8 (Spring 1977), page 148
pasaje (passage) are the three native typologies that emerge in a derivative process responding to the
5
Aldo Rossi, “Architecture in the City”, Opposition Books/The MIT Press, Cambridge Massachusetts, 1982, page 41
5
manifestation of the relationship between typology and the world around, topography.
The patio house is the basic typology that structures the evolution of the city. Initially a simple structure
of single ownership, it consists of four two storey wings enclosing a central void, the patio. The
thickened boundary along the street is inhabited, accommodating the main rooms of the house with
openings onto the street and the zaguan, the covered entrance space that provides access to the
interior of the plot and to the central patio. The remaining three wings conceal the normally awkward
void that structures the house – the patio is the architecture. The corral is a direct derivation of the
patio house. Larger in scale, the corral consists of a two storey structure extended to accommodate
the growing urban working class in a multy occupancy arrangement. Stretching towards the interior
of a larger plot, the sequence of individual rooms of the patio house is transformed in a series of
rented residential units normally consisting of two rooms. The patio becomes the corral (a central
courtyard), a large open space where shared facilities such as kitchen, toilets and a water well are
centrally accommodated. Along the street frontage, the casa tapón (front house, normally owned by the
landlord), retains its formal and hierarchy autonomy presiding over the whole. The pasaje constitutes
a variation of the corral. It can be described as a narrow and elongated corral penetrating the depth
of a large urban block. The pasaje acknowledges the need to break the large scale of city blocks by
establishing new urban connections in through the interior of the plot. Writing on the Pasaje Valvanera
Aldo Rossi described it as “a house and a street, a bridge and a path. The term passage exceeds the
where reality is the basis and the object of the imagination. Valvanera could be a novel or a movie; to
7
From this statement one can say that Aldo Rossi’s enthusiasm
for the typologies of Seville resides primarily in the fact that these are founded in the form of the voids
that ultimately structure the city. Like the streets and the plazas, the patio, the corral and the pasaje are
also open spaces of civility where the collective urban life takes place – the mediators of architecture
and the city.
heritage offered by the history of our discipline and topography as the external forces of the city
acting upon our architectural, our studies in Seville suggest otherwise. It suggests that the step
towards topography has already taken place throughout the evolving process of these typologies.
Typology is therefore an evolving entity that when subjected to the topographical forces of the city,
These external forces we call topography are not only those that can be seen and measured, but
also latent characteristics of the site and its history. Borrowing an explanation of the term from
David Leatherbarrow, “topography incorporates terrain, built and unbuilt, but more than that, for
it also includes practical affairs, or their traces, ranging from those that are typical to those that are
8
Put this way, topography should be embraced as a cultural instance. Surveying and
understanding the topography of the site is no less relevant than studying the native typologies of the
city. Orthogonal alignments, axial lines, geometric proportions of facades, windows and passages, pace
measured distances, near and far, levels, thresholds but also views, the movement of shadows, of wind
and people, human activity, unique and recurring events, textures and materials, ageing surfaces and
cracks, light, noise, smell. By recording the measured and the unmeasurable, an understanding of the
topography emerges as the indispensable condition for typological evolution.
Danai Tsiouri, Study of Sevillian Typologies, studio 3.3 2014/2015
In Architecture, Typology and Topography are our worlds already on hand; the making is a remaking.
lona, 1978, page 30
8
6
David Leathrbarrow, Topographical Stories, Studies in Landscape and Architecture, University of Pennsylvania Press, Philadelphia 2004,
page 12
7
The Right Scale
Hugh Strange
Postgraduate Design Unit Tutor
April 25th 1974, SAAL, the Servico Amulatorio de Apoio Local, was established by the Ministry of Housing,
Social affairs and the Environment. Aimed directly at addressing the urgent need for new housing within
the underprivileged communities of urban Portugal, the Service was modeled around a series of technical
teams, known as Brigades, who were to support residents’ committees, facilitating housing projects
that were, critically, conceived with the local communities rather than for them. Led by Architects, the
who surveyed the current conditions, gave legal support in land ownership issues, and acted as listeners,
negotiators and facilitators. Ultimately they were also there to produce buildings.
The geographical scope of the programme was matched by both the breadth of approaches the
participatory process took and the multiplicity of relationships that developed between the existing political
structures, such as the Communist Party, and the emerging residents’ movement. Despite representing
a radical departure, the constructed schemes also owed much to the pre-Revolution world, not least
because although they sought alternative models of social housing, they were in many ways predicated on
existing architectural models. As Alvaro Siza Vieira noted in a recorded interview of 1978, “It was not us that
The SAAL scheme was active for just 26 months, ending in October 1976 amidst a tense climate of political
change, yet during this short time formed an ideological program that reimagined the task of providing
housing for the population as a collective and participatory process. Remarkably, it was a brief moment
when the State legitimized a radical idea of direct democracy that provided an alternative to top-down
developmental strategies.
The program eventually involved 170 projects ranged across the country, including Siza’s key early housing
precursors to his much larger scheme for Malaguiera, Evora. Whilst 1100 houses were completed within
Malagueira over a long project gestation, a change in the local administration resulted in the postponement
of Siza’s proposals for various associated public buildings. The re-election now of a Communist local
administration has brought back the possibility of realising new public buildings, the most likely of these
being the construction of the concrete cupola that was designed for the central public space.
The contemporary social and economic context is however very different, and serious questions need
asking as to what type of civic structures are now needed and can indeed be afforded. This year, our
students responded to this particular social and urban condition by taking Siza at his word in his suggestion
housing complex. Given Siza’s way of working – that, in an iterative, exploratory and deeply personal
process, he uses sketching to understand a site and develop a response to it in - it seemed appropriate
to start with the drawings. The Architectural Drawing Archive we visited there is located in a valley setting
within an evolving cluster of buildings growing out from an existing farmyard, and was designed by my
practice, Hugh Strange Architects, and completed in 2014. Following a visit to the building, Siza noted,
“…it (the Architectural Drawing Archive) has a sense of scale - scale in terms of the transforming scale of
something added. I mean the role of this building in the whole is not something to emerge completely, so
this has the right scale, scale not only in the sense of the dimensions, but of its meaning in the complex.
You have added something that seems (to have been) there since always …we cannot imagine the whole
Private Collection - Copyright the Architect
In the same way that the ensemble of buildings within the Somerset farmyard are gradually evolving and
complex and, using sensitive design judgments in relation to the changed conditions, suggesting strategic
responses, and making proposals that felt appropriate, that had, in Siza’s terminology, ‘the right scale of
meaning’ within the community of Malagueira.
8
9
Unit 1
Daniel Rosbottom
Andrew Houlton
Pico: a productive landscape
Pico is one of the cluster of nine volcanic islands that forms the Azores, an autonomous region of
Portugal. Situated on the mid-Atlantic ridge, at the junction of three tectonic plates and 1600km
from the mainland, it is the youngest landmass in Europe and the highest point in Portugal at
forms of the Black Island, creating a brooding, yet enigmatically beautiful atmosphere. Portuguese
Architect Eduardo Souta da Moura has said of Pico that ‘the island functions as a machine.’ Its
character, expressed through the unique structure of its agricultural landscape and the simple
Traditionally each vine is planted into the cracked rocky surface and protected from the salt and
sea winds by a dry stone enclosure of large basalt stones, cleared from the ground. Known as
currais, these walls collectively trace an extraordinary, lace-like pattern of stone across an expanse
19th Century, when a catastrophic outbreak of disease signalled the onset of sharp economic
decline. Since 2004, the World Heritage status of this productive landscape has acted as a catalyst.
potential as a wine region is beginning to be revealed once again in the steadily increasing quality
and scale of its output.
Portuguese winemaker António Maçanita and Sami Arquitectos, this year’s projects present
proposals for a contemporary adega alongside its associated vineyards. Working across a number
of different sites they individually consider both the cultural and physical impact and the potentially
positive contribution that modern production methods and new scales and forms of architecture
might have upon this rugged yet fertile landscape and the communities that live and work within it.
Facing page: Pamandeep Gill, Fragment
Above (top): Unit 1 Group, Walls; Above (bottom): Joe Lyth, Volcano
Amanpreet Bhullar, Alex Buck, James Chandler, Niall Crowley, Ioannis Devaris, Angharad Jones, Natalia Karvouni, Matthew
Ludbrook, Nuana Mosella, Liv Benedicte Brekke, Priscilla Chan, Kaja Dahl, Olugbenga Fagbewesa, Pamandeep Gill, Angeliki
Loutsiou, Joseph Lyth, Stanimira Pepeldjiyska, Daniel Titchener, Antonio Romero, Beinta Steig, Chris Raven.
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11
1. Kaja Dahl, View From the Top
2. Stanimira Pepeldjiyska, Carving Space
3. Priscilla Chan, Production Buildings
4. Angeliki Loutsiou, Barrel Room
5. Stanimira Pepeldjiyska, Barrel Room
6. Daniel Titchener, Belvedere
7. Angeliki Loutsiou, Production Room
8. Natalia Karvouni, Barrel Hoist Section
9. Joseph Lyth, Production Facility
10. Olugbenga Fagbewesa, Temple
11. Angharad Jones, View towards Pico
12. Niall Crowley, Exploded Axonometric
13. Liv Benedicte Brekke, View from
Currais
2
8
1
3
4
46
9
10
Expressed Gutters and sliding doors
Outer skin
5
Floor Finish designating area
uses and wrapping the gables
11
Landscape connection ramp
Ground Beams
Material Concept
6
12
7
12
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Unit 2
Karin Templin
Alfredo Caraballo
Domestic Building as Civic Architecture
The construction of Renaissance Florence and its individual structures provided a model for the
ideals of good citizenship and collective living as illustrated in the cohesive design of the city and
civic nature of individual buildings. Those responsible for building projects, whether public or
their family name but also the image of the city.
residential architecture as well as seen in the construction of palazzi and subsequently palazzine
(apartment blocks) throughout the city. Due to their contribution to the respectability and
themselves with the design of these noble urban houses with numerous treatises being written on
the relationship of these dwellings and the image of the city.
What makes a building civic? How does housing contribute to the grandeur and collective nature of
the city? Working within the historic centre and along its fringes, Unit 2 studied these masterpieces
of civic architecture and urban composition in order to understand how their formal arrangements
Florence set the benchmark.
Facing page: Joe Hewlett, Street View
Above: Amarilnto Gkiosa, Florence Figure-ground
Martin Allen, Cheryl Bannerman-Swaniker, Gregory Davidson, Aikateri Kachramani, Jae Jin Lee, Tiago Manetti, Mahdi
Mongabadi, Line Young, Alexandra Zoupa, Ali Al-Khateeb, Elizabeth Flower, Amarilnto Gkiosa, Joseph Hewlett, Istiaq
Prodhan, Hazim Ramadan, Georgios Skouros, Bhavik Sondagar, Adoracion Marco Vidal, Chika Igwe, Dario Cavadini
14
15
1
6
1. Amarilnto Gkiosa, Bay Studies
2. Bhavik Sondagar, Perspective Section
3. Joe Hewlett, Street View
4. Joe Hewlett, Piazza di Cestello
5. Hazim Ramadan, Via Panzani View
6. Cheryl Bannerman, Elevation
7. Joe Hewlett, Albertopolis Doors
8. Elizabeth Flower, Ognissanti Sequence
9. Amarilnto Gkiosa, Piazza Della Passera
10. Amarilnto Gkiosa, Perspective
2
Albert Court - Civic entrance
7
8
Albert Court - Service entrance
1:50 Entrance study - Albertopolis, London
4
Piazza di Cestello
9
3
16
Via del Piaggione - view looking west
5
10
11
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Unit 3
Cathy Hawley
Hugh Strange
Siza in Evora
Malagueira, a public housing development designed by Alvaro Siza from 1976 onwards, sits on
the periphery of the ancient Roman, medieval and baroque city of Evora in Portugal. It has long
been regarded internationally as a seminal work of critical regionalism and Siza’s most important
statement on the typologies of social housing. Conceived of as an extension of the old city, it
equivalent density, to the local landscape and vernacular building form.
Shortage of public funds, and the advent of a socialist government in the 1990’s, meant that
none of the civic buildings designed by Siza were completed. There is a will on the part of the
newly elected communist Mayor of the city to revive these projects by looking again at the urban
ensemble. Our unit is situated in this contemporaneous situation and speculates on ideas of
collective living: the individual and the city. Projects include forms of collective housing: co-housing,
housing for old people; buildings for the public and the community; and urban proposals that
reinforce the idea of the collective life in and around Malagueira.
Facing page: Catherine Shiner, Market Hall, View Across the Landscape
Above: Catherine Shiner, Market Hall
Nana Biamah-Ofosu, Hey Chan, Biana Clay, Nisreen Karsou-Mubarak, Joshua Ovenden, Charlotte Peters, Victoria Sehlstedt,
Benjamin Shaw, Georgina Shaw, Catherine Shiner, Danielle Witter, Sean Allen, Patrick Ambridge, Claire Bennett, Hristina
Kehayova, Aline Knowles, Bushra Mohamed, Jack Rosewall, Jay Ruparelia, Christopher Veloso.
18
19
1
1. Ben Shaw, Artefact
2. Nana Biamah-Ofosu, Walls and Landscape
3. Catherine Shiner, Market Hall, Fragmentary Gateways
4. Hristina Kehayova, Model
5. Claire Bennet, Church Plan
6. Bushra Mohamed, New Civic Centre, Facade Study
5
2
4
20
3
6
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Unit 4
Pierre d’Avoine
Colette Sheddick
High Ground
Unit 4 has researched the Derwent Valley World Heritage Site over the last three years. This year we
investigated the impact of infrastructure on community and landscape. Transport networks and sites
of extraction have scarred the English landscape over millennia. The pragmatics of constructing
such infrastructure reveal different building types and land use, sometimes in surreal juxtaposition.
upper edges of the valley, which bounds the DVWHS, and its hinterland. There are moments when
the boundary line appears arbitrary and the reasons for its exact location unclear. We have explored
this ambiguity and made proposals for the landscape which straddles this edge. We carried out
preliminary exercises including ethnographic studies (interview and artefact), made carved and
cast models of scarred ground and conceptual drawings of landscape. Unit 4 travelled to Evora
to experience and survey Alvaro Siza’s Malaguera quarter, in particular the relationship between
housing and infrastructure designed by Siza to provide an urban ordering to the new development.
We also visited Hadspen to study the Malaguera archive. The major design project encompassed
the design of buildings, infrastructure and an attitude to ordering the landscape, with an emphasis
on visionary environmental scenarios and carefully calibrated architectural judgement.
With thanks to:
Adrian Farmer, Janet Honey, George Jones, Barry Joyce, Pippa Mansel, and Mark Suggit in Belper
Alice Foxley for the landscape modelling workshop
and critics Pat Brown, Lorna Davies, Pereen d’Avoine, Alice Foxley, Doug Hodgson, Andrew
Houlton, Tom Lewith, Daniel Rosbottom, and Fred Scott
Facing page: Rafael Cunha, Masterplan
Above: Lewis Marriott, Agricultural Sprawl Masterplan
Alexander Bowers, Rebecca Dillon-Robinson, Nael Kazma, Jay King, Sheena Patel, Chris Penford, Carl Young, Rafael Abreu
Araujo Cunha, Mark Allner, Thomas Boyd, Laurence Holmes, Lewis Marriott, Paul Myers, Ricardo Pereira, Viruth Purichanont.
22
23
1. Thomas Boyd, Gutter Detail
2.Viruth Purichanont, Ruinscape
3. Mark Allner, Forest Archipelago, Masterplan
4. Rebecca Dillon-Robinson, Masterplan
5. Rafael Cunha, Masterplan Montage
6. Mark Allner, Quarry Model
7. Rafael Cunha, Quarry Model
8. Chris Penford, Brewery, Main Building Structural
Axo
9.Jay King, Music School
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7
3
4
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5
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Unit 5
Jonathan Woolf
Matthew Dalziel
Stephen Taylor
Peabodyness
This year unit 5 have continued their investigation of the house and the city. We have undertaken
a research project into ‘Peabodyness’. That is, to investigate the buildings and urban spaces of
London’s Peabody estates. Through measured drawings, photography and modelling we have tried
of city.
These estates, at their best, have a fundamental dignity, humility and strength to them. They have
formal potency but feel somehow still humble. They are rich in materiality and tectonic but are not
overly decorative. Their façades often feel mute and almost silent.
simple urban spaces between them, based on an initial desire for street and square or courtyard,
but this remains somehow contingent and undeveloped, like fragments of a more formal order
but stripped of its embellishments and rituals. They rely on the buildings’ detail to frame these
spaces. But they are rarely fully framed spaces, leaving their open edges to be framed by adjacent
buildings in an accidental and unplanned way.
Their dwellings rely deeply on the need to share spaces and objects, from city street entrances to
courtyard, inner street, building entrances, hallways, stairs etc. Not only physically but also as visual
amenity, these are collectively looked out onto. The windows are regularly placed and proportioned
been combined to make larger units, lifts added, changes have been made to refuse, storage, and
parking. But there are also informal changes made actively by residence or passively by patterns
of use; paths and stairs worn by foot fall, handrails and door handles polished smooth. They have
welcomed inhabitation and encouraged communality.
Through research and proposition unit 5 have asked what these Victorian Hof houses have to tell us
about building housing in the city.
Coptic & Streatham Street
Whitecross
Vauxhall Bridge Road
Islington
Herbrand Street
Blackfriars
Peabody Avenue
Coptic & Streatham Street
Whitecross
Vauxhall Bridge Road
Islington
Herbrand Street
Blackfriars
Some of the existing Peabody Estates
Oak and iroko models by Studio 5
Modelled at 1:500
Peabody Avenue
Some of the existing Peab
Oak and iroko models
Mo
Facing page: Gavin Chan, Elevation and Façade Section of Coptic and Streatham Street Peabody Estate
Above: Oak and Iroko models of existing Peabody Estates by Studio 5
Coptic & Streatham Street
Whitecross
Peabody Avenue
Coptic & Streatham
Coptic &
Street
Streatham
Coptic &Street
Streatham
Whitecross
Street Whitecross Whitecross
Peabody Avenue
Peabody Avenue
Peabody Avenue
Vauxhall Bridge Road
Vauxhall Bridge
Vauxhall
Road Bridge
Vauxhall
RoadBridgeIslington
Road
26
1:50 Section of Stedham Chambers
on Streatham Street & Coptic Street
Islington
Islington
Tayo Abdul-Mali, Filippo Antonucci, Nichola Barnor, Richard Draper, Rosy Jones, Michal Krol, Maria Moschou, Nicholas
Percivale-Murraine, Daniel Wilkinson, Rowena Bond, Gavin Chan, Sushanon Go, Chetan Hirani, George Hodgson, Katherine
Marshall, Serena Yao, Sivavut Pinon, Silvia Ribeiro Peluso, Karim Romay.
Herbrand Street
1:50 Elevation of Stedham Chambers
on Streatham Street & Coptic Street
Islington
Herbrand Street
Herbrand Street
Herbrand StreetBlackfriars
Blackfriars
Blackfriars Blackfriars
Some of the existing Peabody Estates
Oak
andPeabody
iroko
models
by Peabody
Studio
5 Estates
Some of Some
the existing
ofSome
the
existing
of the
existing
Peabody
Estates
Estates
Modelled
at 1:500
Oak andOak
irokoand
models
Oak
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by
models
Studio
iroko
by
models
5 Studio
by5Studio 5
Modelled at
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Modelled
1:500 at 1:500
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1. Serena Yao, Exterior View
2. Nichola Barnor, Site Sketch
3. Richard Draper, Elevation
4. Rowena Bond, Interior View
5. George Hodgson, Interior Model
6. Rosy Jones, Typical Plan of a Typical Block
7. Rowena Bond, Elevation
8. Filippo Antonucci, Interior Model
9. Serena Yao, Interior View
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Unit 6
Timothy Smith
Jonathan Taylor
Order
The heterogeneous nature of the City of London at the beginning of the 21st Century presents
a challenge to those with the responsibility for shaping its built environment. The number of tall
buildings recently completed, or nearing completion – the result of decisions made by planners
and architects over the last decade or so – are now being energetically discussed by critics.
Organisations such as The Prince’s Foundation and the AJ / Observer Skyline Campaign are making
the case for improved quality in new buildings in London, but recognise different approaches
to scale and volume in order to achieve the required development densities. UNESCO is
reconsidering the formal heritage status of parts of central London owing to the construction of tall
buildings in and around the City.
The legacy of the Twentieth Century is a cacophony of architectural attitudes exhibited in an
Lefaivre drawing on Aristotle’s Poetics - taxis. To paraphrase Tzonis and Lefaivre, taxis divides a
coherent work.
Unit Six engaged with the notion of classical order as a generative and structuring medium for a
new building for a City institution. In addition to architectural and urban order, the unit considered
notions of heritage as well as what might be termed cultural order. The City of London’s heritage
is part of what has sustained its success for centuries, and it contains exceptional buildings from
all periods, but it is also the heritage embodied in its institutions, which created and maintains the
life of the city. The livery companies, banks, traders and guardians of the City comprise its order as
much as its good buildings and network of ancient streets and alleys.
The Unit visited Berlin to look at the buildings of Karl Friedrich Schinkel and Vienna to look at works
by Adolf Loös.
Facing page: William Creech, Floor Plan of Michael Gottlieb Bindesbøll’s Thorvaldsens Museum
Above: Joseph Manuel, Corinthian Order Facade Setting Out
Mariam Ahmadzade, Wan Emir Astar, Sergiu Donca, Willam Jones-Berney, John Kemp, Sarah Mcnamara, Regina Ortega
Barbedillo, Albert Parkhouse, Bogdan Pataliu, Snejinka Radulova, Francesca Saia, Clare Salter, Simon Smyly, William Creech,
Nyamoi Fall Taylor, Joseph Manuel, Joanna Pullan, Jack Syer.
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‘Tall buildings as those that are substatially taller than their surroundings, cause significant
change on the skyline or are larger than the threshold size set for referral of planning
applicationsto the Mayor of London’s office’
London Plan
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1. William Creech, Proposed Tower in the City of London
2. William Creech, City Skyscapers in Canary Wharf,
Skyscraper-less City
3. Nyamoi Fall Taylor, Facade Detail
4. Joseph Manuel, Courtyard
5. Clare Salter, Long Section through Proposal and Tower of
London
6. Joseph Manuel, Facade to Duke’s Place
7. William Creech, Cloister Terminated by Fountain
8. Jack Syer, Elevation Detail
9. Francesca Saia, Livery Hall Interior
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Postgraduate Diploma Landscape Architecture and MA Landscape & Urbanism
Pat Brown
city_port; forest_beach
Le Havre (now France’s largest container port), was founded in the 16th century on drained
of the Paris _ London Basin. The chalk bedrock is expressed as a 110m cliff separating the upper
town from the lower city and port.
In 1944 much of this lower city was destroyed by World War II allied bombing, and rebuilt between
1945 and 1964 by Atelier Auguste Perret, over material of the destroyed city.
In 2005, the rebuilt city was awarded UNESCO World Heritage status, as ‘an outstanding post-war
example of urban planning and architecture based on the unity of methodology and the use of
prefabrication, the systematic utilization of a modular grid, and the innovative exploitation of the
potential of concrete’.
The Landscape and Urbanism studio is exploring ecological, social and cultural potentials of Le
and threshold conditions between neighbourhoods and programmes.
Our work is informed and inspired by dialogue with colleagues, in particular those of the Agence
AURH priorities of increased connectivity across the city and region; maximising the value of Le
Havre’s natural and knowledge capital, and ‘landscape urbanism’ potentials.
Projects seek to extend the reach and capacities of the remnant ancient forest of Montgeon, the
a fresh engagement with the sea; renewable energies, food networks, provenance of local soil and
water; for the immediate future, and for long term resilience.
Propositions include a new outlook and arrival experience and reimagining of programmes for La
Citadelle, the Quai de Southampton, the Seine valley, and thread of routes, for fresh journeys and
horizons.
With special thanks to: Boris Menguy, Thierry Lochard (AURH), Olivier Forget (Port of Le Havre ) and
to Simon Green ARUP, Vladimir Guculak, Nina Kolbeck, Helena Rivera
Facing page: Fabio Porcu & Dimitri Vroonen, Le Havre Waterfront Model
Above: Masoum Fayaz, Concept Sketches
MA Landscape & Urbanism: Ceyda Ceylan, Flora Saghar Eshagzadeh, Masomeh Fayaz, Rawan Jaber, Fabio Porcu, Ales Seitl,
Dimitri Vroonen, Ivor Chongyi Wu, Chuhan Xu, Postgraduate Diploma Landscape Architecture: Alba Campos Vázquez
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1
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4
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1. Flore Eshagzadeh, Cliff Section
2. Masoum Fayaz, Sketches
3. Fabio Porcu, Threshold & Water’s
Edge
4. Dimitri Vroonen, Waterfront
Perspective
5. Dimitri Vroonen, Model
6. Dimitri Vroonen, Fish Market
Undercroft
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6
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Japanese Carpentry and the Hands-On Aspect of Architecture
Takeshi Hayatsu
During November 2014 architecture studio 3.2 students and tutors and staff from the 3D
workshops at Kingston University visited Japan for a study trip. The focus of the trip was to learn
about the history and contemporary practice of Miyadaiku, the specialist carpenters who build
temples and shrines. The trip was inspired by the life story of the man responsible for the repair
Asuka period (538 – 710), the oldest surviving wooden construction in the world.
Tsunekazu Nishioka (1908 – 1995) was a master carpenter who lived and worked in Nishisato, Nara
Japan. He was the head of the Miyadaiku who dealt with all the aspects of construction including,
pagoda. The buildings were taken down piece by piece, every component was carefully taken
apart, from the ridge beam to the foundation stones. Nishioka examined the conditions of each
piece, repaired where necessary and made new pieces to replace the defective ones. The structures
were then reconstructed with care and attention to detail. Nishioka’s involvement in the repair
programme took 20 years. The temple buildings have been repaired in this manner every 300 years
Nishioka started the repair work at the age of 25. He wrote in his seminal book ‘Ki Ni Manabe’
(Learn from Trees), that he was fortunate to witness the repair programme in his lifetime as it occurs
contained in the building. To take on such a responsible task at the age of 25 is not for an ordinary
carpenter. Nishioka was exceptionally talented, raised and trained in a carpenter family that lived
in the district for generations. His grandfather, who trained him from the age of 5, was a master
carpenter, as was his father. Nishioka was sent to study agriculture at school, rather than to learn
carpentry or building technology, as his grandfather thought he needed to learn about the land and
the trees before he could understand the art of carpentry. Nishioka acknowledged the experience
was invaluable. He worked as farmer during the wartime and during downtimes, when there were
no carpentry jobs available. Nishioka restrained himself to work as a carpenter only to build temples
without resorting to building domestic houses for money.
location where it grew on a mountain. He talks about the twist in timber, which follows the direction
of sun and wind in relation to the position of tree. He says that if you want to build a temple you
need to buy a mountain rather than trees, and use the trees growing on the South side of the
mountain on the South side and trees growing on the North side of the mountain on the North side
of the temple. Nishioka elaborates that he can only judge the location and suitability of a tree when
touching the timber with his hands and reading the direction of grain and the signs of twists. This
notion of placing the right material in the right place is especially relevant to the Japanese wooden
temple construction as it uses massive Hinoki (Japanese Cyprus) to create solid columns, beams
and blocks. Heartwood is avoided and trees are quarter sawn to minimise the cracks and shakes.
the size necessary for extracting a 2’ diameter round column the tree needs to be more larger than
2m diameter. There are no such Hinoki trees growing in Japan today, the oldest Hinoki is about 450
years old.
but for the long lasting surface treatment of the timber. The chiselled surface maintains the grain
being trapped to prevent the timber getting wet and rotting.
Nishioka says that he has a responsibility to build a building that will last 1000 years if using
timber from a 1000 year old tree. The contemporary practice of designing and building with timber
doesn’t demand thinking in such extreme timescales as structures are usually designed to last
between 30 to 60 years. Nishioka believes that timber is the most long lasting building material. He
says that concrete and steel will corrode away after 500 years whereas timber will last 1000 years if it
is used and maintained in the right way.
Arguably, in the age of digital fabrication, the importance of hand crafting in architecture is again
becoming relevant. Japanese sawmills have adopted CNC machining to improve accuracy and to
achieve quicker production. However, timber is a natural product and this production process does
not allow for a close examination of the materials inherent property. The industry now attempts to
combine the experience of carpenters with digital fabrication, by involving them in the selection
process before sending the timber to the production line to ensure the character of each piece can
be examined and used appropriately.
Handling a material should be the starting point of teaching architecture. It is often more
important to recognise the limitations of a material rather than its possibilities. The limitations are
not only in the property of material but also in the associated constraints, such as, size, weight
door. The logistic of handling a material for fabrication and construction must be understood when
designing. Good design is often derived from dealing with these constraints. This is the starting
point for the construction projects our studio has been conducting for last four years. These
structures, a bridge, a spire, a chapel and a temple, were built by the students, with the support of
the 3D workshops. Students were responsible for all aspects of the projects from the historical and
contextual research, to structure design, to material selection and ordering, logistic, health and
safety and team working co-ordination.
For this year’s temple construction project we used standard size Scottish spruce, donated
for our project by one of the largest timber producers in the UK, James Jones and Sons. We
regularised and tanalised wood. It is about economy of means, and learning to create something
from what is available. The project is the translation of the existing 11th century wooden temple
gate in Nara, which uses solid Hinoki trees for its 1m diameter 29m tall columns. In contract to this
massive timber structure, we adopted the measurements given by the UK construction industry
standardisation. For our scaled version of the temple, the spruce carcassing timber were connected
with a minimum amount of plaining and notching. Whether it is the solid Hinoki chiselled by
is about understanding the material and working with it.
Mr Kitagawa who took us around the site explained that they could not use Japanese trees, as
there are no trees growing in the country for the size and volume they needed. The columns were
using Yari Ganna, a Japanese ancient plainer tool. The Yari Ganna disappeared from the carpentry
scene at the end of the Muromachi period (1337 – 1573) and was resurrected by Nishioka, whilst
buildings. This tool has a spearhead like sharp blade, which leaves a distinctive rippled mark on the
eave pieces, which are more than 20m high above ground level. It is there not for the visual effect
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A Student Retrospective
Joe Lyth
In collaboration with Nyamoi Fall Taylor, Aline Knowles, Joe Hewlett, Will Creech, Jack Syer, and Jay Ruparelia
Graduating after 6 years of studying architecture at Kingston university has given us a chance to
place throughout the year. It is a hive of activity, and an ever increasing voice in the architectural
landscape.
We have seen the School of Architecture and Landscape grow under Daniel Rosbottom’s leadership
and direction into an institution with international recognition, producing interesting and relevant
work that improves each year, whose graduates that are valued by the architectural and landscape
communities. The number of students that return to undertake postgraduate courses after their
undergraduate degree is an immediate indication of the success of the School.
After 7 years leading the School, Daniel Rosbottom is leaving, after a job well done. He has
moulded the School into a hub for architectural education in the UK, and one that will continue to
grow and improve as an entity thanks to the work put in by Daniel, and the group of excellent staff
Kingston with the knowledge that we are standing on a strong foundation, and are well prepared
for the next step in our careers. For that we thank you all.
A main success of the School is that it is not only a place of teaching and learning. The School
of Architecture and Landscape has developed into a melting pot of ideas and creativity that
engenders a close community, where ideas are shared between disciplines and across all years.
This integration began as soon as we joined the School through the vertical project, which begins
the academic year. All students in the School, from undergraduate to postgraduate, collaborate on
exhibition as the backdrop, beginning a theme of communication that continues throughout the
academic year.
The layout of the School, with all of the teaching studios in close proximity, allows students to see
what other studios and years are producing, and the provision of ‘home studios’ for each year
encourages students to work alongside one another. This enables students to seek advice from
their colleagues resulting in peer on peer reviewing, and a shared sense of belonging.
As students move through the year they are supported in their work by one of the main ethos’ of
the School, now extended to the Faculty, that of ‘thinking through making’. The Faculties’ facilities
give the student body the freedom to explore the spaces they create in physical form, in a wide
variety of mediums. This demonstrates the hands on approach to architecture and landscape that
Kingston encourages, where students are taught to understand how the designs they produce will
be made. Briefs such as the fragment study, issued as an addition to the design project, present the
idea that the resolution of the junction between a window frame and a wall is of equal importance
as an overall structural scheme; that it is the attention paid to the details that turns a good project
into a great project.
Each year the design studios base their proposals on real sites around the world. Students learn to
design within the constraints of scale, local context, and other real world qualities, while exploring
the possibilities of new ways of approaching them. This is especially apparent in the focus of the
last 3 years, where projects are all based in and around UNESCO listed sites around the world. A
number of approaches are explored through the wide range of work produced, and the School acts
as a machine, proposing answers to issues facing the architecture and landscape communities as a
whole.
The success of this is possible due to the knowledge and experience of the staff throughout the
School. The majority of the staff that teach in the School are also key members of the architecture
their own. They ensure their teaching focuses on real world issues that they are often extremely
passionate about, such as Karin Templin and the mansion block typology, or Timothy Smith and
Jonathan Taylor and their exploration of classical architecture. Many of the staff have taught at
other universities before joining Kingston, and some of them still do, ensuring that the university
maintains links to other institutions.
Kingston School of Architecture and Landscape has found its place in the wider context of
architectural education, a position that has elevated it to become one of the top two Schools
of Architecture in London. Despite its position in relation to the centre of London, the School
still feel a part of the lively and ever growing city, with studio sessions often held in venues such
come to Kingston to crit students work, and to take part in the weekly lecture series that takes
40
Clockwise from top left: Unit 6 Students work on a 1:1 drawing (Image: Benedicte Brekke), Understanding Pico Wine in Unit 1 (Image: Joe Lyth), Unit 1
on Pico (Image: Joe Lyth)
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BA (Hons) Architecture
Left to right: Olav Andersen, Jess Austria, Karolina Szauler
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Studio 1.1
Thomas Bates
Matt Phillips
This year Studio 1.1 have focused their investigations on making large scale civic rooms. Through a
series of projects, the studio has developed a collective catalogue of design ideas that have given
These investigations have been carried out through the study of exemplary architectural precedents
with a focus on making. As part of our research, the studio visited the Maison du Peuple de Clichy
in Paris by Jean Prouve, designed and built a room at 1:1 scale and made 1:20 structural and spatial
models of a number of other precedents that reinforce the idea of ‘Civic Rooms’.
years to material, making and construction. Using OSB and softwood the students developed a
bay which was then repeated to make an interior. Themes explored included structural rhythm,
repetition, the use of datum’s and the considered placement of windows. We wanted to try to
understand how these can inform the atmosphere and layout of a space.
precedents. Through the making of these at a large scale they drew upon similar themes and
understood the components that make up a building.
The third and main project saw the studio located on the Golden Lane Estate in London. We
proposed a new building to house two large public spaces with ancillary accommodation that
urban situation. Resolving this unsatisfactory fringe condition where modernist estate meets historic
city became an important move.
The studio’s focus was on designing in a three dimensional way with drawings made accurately at
the end of the project through surveying the models made. This enabled students to explore form
and space in a very physical, material way. 1:20 models were built early on and projects developed
internally and externally through a continual process of adjustments and revision.
1
4
Facing page: Karolina Szauler, Interior
1. Negar Sadeghi, Interior Model
2. Kadeem Gordon, Interior Model
3. Shega Emini, Interior Model
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4. Arbana Berdynaj, Interior Model
5. Sara Bjornevik, Interior Model
6. Fluke Chotphuang
7. Khadija Hh Al Sayyida
Daariq Abdi, Luis Abella, Aurelio Almeida Miranda, Olav Andersen, Jessiel Austria, Arbana Berdynaj, Sara Bjornevik,
Kwan Chan, Fluke Chotphuang, Shega Emini, Gyorgyi Francsics, Muhamad Gazimahdi, Kadeem Gordon, Madagamege
Gunathilaka, Khadija Hh Al Sayyida, Daniel Johnson, Yaasmeen Muhammad, Mohammad Noei, Negar Sadeghi, Direndra
Selvanayagam, Karolina Szlauer, Christopher Welbeck.
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Studio 1.3
Tim Gough
Paolo Scianna
Studio 1.2
Zoe Jones
Elli Farrant
The Spa Green Estate, designed by Berthold Lubetkin & Tecton in 1947, was ambitious in both
housing developments, its massing and orientation interrupt the grain of the previously established
street pattern. Studio 1.2 were interested in creating a counterpoint to this ‘object in the landscape’
urbanism.
An archetypal a tabular-rasa modernist scheme consisting of slab blocks set at a 45 degree angle
to the existing early Victorian stucco-fronted terraces and mews of Paddington and Bayswater, the
colonnades and Hotel Particulier .
and traditional spatial concerns of the city emphasised by the dramatic change in level over much
of the site. The task was to mediate the junction between Lubetkin’s sculptural blocks and the
remnants of a typical London street corner on the periphery of the Queensway shopping district.
Students were asked to propose a public house of some kind – a pub or café – and a performance
space, as part of a larger corner ensemble which they would propose at least in outline. A façade
study was asked for, taking the precedent of Fernand Pouillon’s Parisian work which we visited on
Extending vistas into, out of and through the site led to the development of a sequence of spaces,
relatively laconic as to the functions behind. The aim: to create a piece of the city and to undercut
Detailed recordings of the character of the estate and its distinct thresholds were undertaken to
measure the site within its wider urban context, exploring boundaries and connections. In parallel,
curated space, we proposed an ensemble of community led public rooms, stitching the urban form
and the public realm back into the city.
Our thanks to:
Thomas Cooper, Spa Green Estate Manager
Clive Cornwell, City of London Planning
Lucy Williams, Artist
Thanks to:
Stephen Donkin and Amarilnto Gkiosa
With thanks to Mark McGlinn for help on the 1-to-1 project
Critics:
Joanna Bailey, Elle Bytautaite, Joseph Hewlett, Andrew Humphreys, Joseph Lyth, Jack Syer
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1. Long Kwan, Plaster Model
2. Ara Cho, Timber Model
3. Jamie Waters, Gallery Interior
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4. Conor Foster, Gallery Interior
5. Georgia Gollop, Interior Model
6. Uzma Aynar, Interior Model
Mayar Abdel Hady, Darem Albuera, Emad Alimadadian, Uzma Aynar, Chunzeng Bai, Reem Bashawri, George Beavis, Jordan
Beech, A Ra Cho, Kristian Davies, Musawer Din, Conor Foster, Georgia Gollop, Yi Ping Kam, Long Kwan, Eray Ozcan, Rhea
Pascual, Zhiyuan Peng, Joshua Preston, Jamie Waters, Hana Zherka.
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2
3
1. Amalie Utigard, Plan
2. Amalie Utigard, External View
3. Mark Fox, External View
Oukeen Asad, Pollyanna Beasley, Ka Chan, Sek Mei Chio, Ryan Dick, Luca Fauciglietti, Mark Fox, Rana Ahmed Yasser
Mahmoud Gabr, Lisa Jensen, Bedran Kaya, Lingyun Lai, David Lewis, Inass Mzily, Sehaj Rathore, Therese Saltvedt, Riya Salvi,
Harpal Sihra, Abinaya Sivakumaran, Jamie Toro Paz, Amalie Utigard, Robb Wright.
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Studio 1.4
Aoife Donnelly
Carlos Sanchez
Kristin Trommler
Studio 1.5
Bruno Silvestre
Alex Gore
Studio 1.4 spent semester one astride the Barbican rooftops, imagining these underused layers
activated as spaces for the cultivation of vegetables, berries and climbers or simply as gardens
in the sky. Semester two then saw us focussed on Lubetkin’s 1954 Bevin Court Estate in Islington.
Proposals sought to complete the grade 2 listed estate, in the spirit of the original scheme, offering
communal facilities never realised in the 50’s due to a changing political climate and budgetary
constraints. Students added a nursery, a resident’s hall and a grower’s kitchen and canteen, within
the group of Lubetkin buildings, choosing to work within the grounds or rooftops.
‘We like to bring the exterior into the interior. We have taken the city into a room, and we make
the room the smallest city. We propose that the experience of the exterior in the interior brings a
sense or relativity, sometimes even an understanding of one’s human condition, one’s potential and
limitations.’
Research commenced through a study of London social housing examples, focussing on the social
elements of pioneering schemes including Kensal House and the Somerstown estate leading to Le
Corbusier’s communal schemes in Marseille and Paris, a fellow student of Lubetkin under Perret.
The halfway house is a staging post, halfway between prison and freedom. Whereas a prison is
a building of control, the halfway house is a building for sharing. The houses the students have
designed are halfway between a house and a city, where there is to be a balance between the idea
of the collective and that of the individual.
Students entered an often playful dialogue with the Lubetkin ensemble, responding to the rhythms
and sculptural qualities of Bevin Court, to the exciting topography of the area, the rooftops
themselves with their redundant drying galleries, the communal gardens and allotments already
on the site and neighbouring buildings ranging from early C19th Georgian grain of the New
and conversations evolved, we were reminded of the value of these communal elements and the
opportunities they provide for social interactions and spontaneous play.
‘..it is these aspects that make dense urban environments liveable and humane.’ Claire
Cumberlidge & Lucy Musgrave, Design & Landscape for People
Guests:
Diego Calderon
Max Kahlen
Benedicte Brekke
In the house we imagine the living room is a public square with people arriving from all sides and
corners, the corridors like animated streets with life along the two sides in constant dialogue.
Bedrooms form individual houses or like the monks cells in a monastery they group together to
form a neighbourhood where the private realm and occasional neighbourly encounter contribute to
the varied spatial character of the interior city.
Similar to the factories and industrial city neighbourhoods the houses have a workshop for learning
new skills. The workshop has a shopfront that will be a place to start engaging with the wider
place of contemplation or a productive landscape providing food to the kitchens.
The students have, with great thoughtfulness and playfulness, engaged with architecture and
started to understand how the design of houses and cities can offer us an insight into the human
condition.
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- Architecture Research Unit, Issues 1, p.9, Architectural Selection Process, South Bank Centre,
London, December 2000
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1. Hakon Fanes, Bevin Court Nursery, Submerged Hall
2. Charlie Tomplinson, Bevin Court Nursery, Structural Model
3. Matma Patel, Bevin Court Residents’ Hall, Model View
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4. Priyanka Dapodikar, Bevin Court Residents’ Hall, Model
View
5. Kristofer Mattsson, Bevin Court Dining Hall, Model View
Isaac Aryee, Adnan Bawa, Lars Bjornsen, Heidi Chiu, Vasiliki-Michaela Chouvarda, Priyanka Dapodikar, Håkon Fånes, Mariam
Gadzhieva, Abhishek Gautami, Dajana Grudinska, Madelene Isaksson, Leanne Lindsey, Mehrnoosh Maddah, Sarah Masih-Lal,
Donjeta Sejdu, Sketches and sketch model
Yazid Abdullah, Aaron Atkinson, Joshua Bassett-Franklin, Matthew Bathurst, Anne Bergstad, Bryan Collantes, Catriona Elliot,
Jeduana Mehmeti, Elife Ratkoceri, Prospero Rosales, Donjeta Sejdiu, Umar Shafaat, Ayaz Shah, Doruntina Ymeraj.
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Studio 2.1
Thomas Goodey
Ioana Marinescu
Naomi Shaw
Building and Residing
This year Studio 2.1 has been working in the UNESCO World Heritage Site of the Dorset and East
Devon Coast. Our work throughout the year has been in the tourist honeypot of Corfe Castle. The
site itself is one acre of land on the edge of the village, outside the conservation zone, between
the stream and the steam railway and with a direct view of the castle. It contains a collection of
ramshackle ex-industrial buildings that are currently used as artists’ and craftsmen’s studios. The
existing structures are distinctively un-picturesque whilst being replete with the suggestion of reuse and re-building. Our client, a stone carver who has recently purchased the site, wishes to leave
a legacy of affordable studio spaces and homes and he worked with the students to develop their
brief.
The students researched locally available materials and their tectonic possibilities. They
investigated the contradictions of preserving the built environment while sustaining local
communities that require new affordable places to live and work. On a trip to Portugal we
studied some of Alvaro Siza’s housing projects and back in the UK we visited modern homes
that responded to their contexts and communities in ingenious ways. Equipped with a deeper
carving workshop, and then a cluster of affordable homes for the Corfe Castle site.
Studio 2.1 would like to thank all those that have accommodated our various site visits:
Tony Viney, Haysoms & Landers Quarries, Ibstock Brick Ltd Swanage, Casa da Arquitectura Oporto,
Filipe da Costa Lima, Peter Aldington, Trich Pank & family, Richard & Mirais Burton
Studio 2.1 would also like to thank our guest critics:
John Glew, Andrew Laurie, Peter Youthed, Ioana Marinescu, Nana Y Biamah-Ofosu, Eimear
Hanratty
Facing page: Jack Bailey, Housing Cluster, Interior View
Above: 1:200 Site Model by Studio 2.1 collectively
Sara Aiar Dhahi, Ibrahim Aldowayan, Fatemeh Bagheri, Daniel Bailey, Jinga Bayz, Alexia Cachia, Alev Cakir, Hayley Garnham,
Christod Ioannou, Georgia Kalliantas, Mohammed Khashoggi, Iame Lopes, Sarea Mahmoud, Sandy Ni’Man, Bosko Pantovic,
Carla Pasini, Gouna Rahim, James Ranken, Kristina Rogers, Karl Smith-Meye, Fatima Tahan, Foyez Uddin, Cecília Vecchi
Machado.
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5
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1. Jack Bailey, Housing Cluster, Rear View of Houses from Stream
2. Jack Bailey, Housing Cluster, View of Houses on Entering Courtyard
3. Kristina Rogers, HousingCluster, Internal View Towards Garden Courtyard and Corfe
Castle
4. Karl Meyer-Smith, Housing Cluster, Interior View of House
5. Kristina Rogers, Housing Cluster, Rear View of Houses
6. Jinga Bayz, Housing Cluster, Ground Floor Plan
7. Karl Meyer-Smith, Housing Cluster, View of Front Elevation
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Studio 2.2
Will Burges
Eleanor Suess
Alex Zambelli
Sound & Light
photographic implements were related to techniques of cabinetmaking and the machinery of
precision: cameras, in short, were clocks for seeing. [Roland Barthes, Camera Lucida]
Studio 2.2 has a long-established passion for the back-of-house or edge condition of remarkable
the relationship these aspects of ‘intangible heritage’ have to more traditional, built, issues of
‘World Heritage’. This year the studio investigated the production, use and housing of sound
and light; their inextricable connection to the passage and measurement of time. After spending
semester one in the City of London designing a bell tower we left for Venice, that quintessential city
of sound and light.
We considered how to design and build in cities so dense with buildings and representations
of those buildings that we feel we know them before we’ve arrived. In the last century many of
festival and celebrates medium to low-budget ‘art house’ movie making. In a city of water and
understanding its unreal built environment as are pencil and paper.
The Biennale College Cinema is a recent initiative of the Festival and is a year-long competitive
studio brief was to design for them a permanent home. But in opposition to the international
Facing page: Merethe Granhus, View Down Canal
Above: Kate Ivinson, Inverse Cast
Charlie Alvarez, Olivia Bailey, Sonal Bajaria, Helen Bennett, Leithan Brimah, Kriza Caringal, Sarah Dinnoo, Merethe Granhus,
Ajay Gurung, Kate Ivinson, Maria Kuosmanen, George Moore, Eli Mu, Chaya Patel, Samuel Punchard, Laura Toledo Martin,
Isadora Carraro Tavares Monteiro, Klauss de Souza Borges, Roberta Diogo Glass, Izabella Nascimento De Almeida, Kaitlyn
Dunst.
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South Facing section
Through cinema and lower bar and cafe
1:100
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1. Merethe Granhus, Interior
2. Kate Ivinson, Exterior View
3. Merethe Granhus, Part Elevation
4. Laura Toledo Martin, External View
5. Isadora Monteiro, East Elevation
6. Olivia Bailey, Cinema Section
7. Maria Kuosmanen, Section
8. Maria Kuosmanen, East Elevation
9. Sam Punchard, Bay Study Elevation
B I EN N ALE F I LM CO LLEGE
EA S T ELEVAT I O N 1 :1 00
CA N N A R EGI O , VEN I CE
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Studio 2.3
Christoph Lueder
Fenna Haakma Wagenaar
Corridor
Studio 2.3 is interested in the corridor as an element of architecture as well as urbanism. Originating
from Italian corridor and historically associated with corridor, ‘runner’, its meaning has shifted from
of urban and architectural corridor typologies in London, ranging from private spaces such as in
the Royal Hospital Chelsea to public colonnades and arcades, and studied differing ways in which
these linear spaces are inhabited. In the second semester, the studio translated these ideas to a
site in Amsterdam near the Oude Kerk, located in a world heritage site as well as in Amsterdam’s
red-light district. The site is bounded by narrow, corridor-like alleyways, and, while currently being
reconsidered and redeveloped for new uses, harbours intermediate programs and activities such as
small galleries or a pirate radio station. Student proposals for a new hotel engaged this process of
transformation. The brief asked to incorporate a communal space and to address the relationship
between the urban corridors forming the site’s perimeter and interior spaces of movement and of
respite.
Facing page: Areeb Khan, Amsterdam Window Study
Above: Tsung Wu, Greenwich Site Study
Aygul Boyraz, Jessica Buss, Edmondo Dankwah, Yasir El-Ghaouba, Caspar Gescher, Hieu Hoang, Jama Jama, Areeb Khan,
Chun Lee, Hyunho Lo, Muhammad Mohd Nawaw, Melissa Rattray, Parniyan Salari, Armin Shokravy, Elizabeth So, Daban Star,
Saurabh Syal, Avneet Virdi, Tsung Wu, Rafael Cavalcanti Lazzarino, Sheila De Andrade, Mayara Cristina Alencar Bet, Leewon
Seo.
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1. Studio 2.3 Corridor Study Models (across top)
2. Areeb Khan, Amsterdam Hotel, Corridor Perspective
3. Aiman Mohd Nawawi, Amsterdam Hotel Model
4. Areeb Khan, Amsterdam Street Perspective
5. Hynho Lo, Amsterdam Hotel Axonometric
6. Hynho Lo, Amsterdam Hotel Ground Floor Plan
7. Parniyan Salari, South Elevation
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Studio 2.4
Andrew Budd
Chris Snow
Water’s Edge
Thames at Teddington and then a public archive building for the work of Alvaro Siza on the river
Douro in the Old Town of Porto.
Buildings on the river can act as functional interchange from land to water. The river affords an
immediate aspect on which to gaze from rooms within but also a wide, highly visible, landscape in
which to compose a façade. River buildings are by nature Janus faced looking inland as well as to
the water.
These simple themes were the backdrop to a complex design brief, including archive storage and
display, lecture and exhibition space, conservation and café spaces on a complex project site, set
over several levels, which incorporated a vehicle slip way between the street and the river.
one’s spatial experience of both Siza’s buildings and of his steeply sloping native city – that the
buildings evoke the city. Final projects explored the idea that a building, as well as providing a
spatial solution to a brief on a site, can also be ‘of a place’.
Thanks to:
Manuel Montenegro and the staff and students of FAUP
Casa Da Arquitectura ACA
Casa de Cha da Boa Nova
Jillian Jones DRDH
Jane Houghton
Bradley Sumner
Facing page: Yasir Ibrahim, Siza Vieira Archive, South Elevation
Above: Mergim Berisha, Siza Viera Archive, Interior View
Sarah Abulhasan, Marwa Al-Khudair, Ameeka Babra, Mergim Berisha, Harley Bryant, Emily Galliers, Junaid Ghafoor, Shamila
Gostelow, Melissa Hack, Yasir Ibrahim, Seniha Koca-Emir, Kevin Lai, Tom Mckinna, Khulani Mthembu, Wayne O’Connor,
Harriet Oxley, Fraser Swindell, Alexande Tonks, Kerensa Wellesley-Elliot, Dimitri Xitas, Lise Pinheiro Lenz Cesar, Yin Ngai
Tung.
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1. Marwa Al-Khudiary, Siza Viera Archive, Interior View
2. Lise Lenz, Siza Viera Archive, Interior View
3. Shamilla Gostelow, Size Viera Archive, Interior View
4. Junaid Abdul Ghafoor, Siza Viera Archive, Interior View
5. Sarah Abdulhasan, Siza Viera Archive From Across the River
6. Seniha Koca-Emir, Siza Viera Archive, Interior Model
7. Ameeka Babra, Siza Viera Archive, Interior Model
8. Mergim Berisha, Siza Viera Archive, South Elevation
9.Seniha Koca-Emir, Siza Viera Archive, South Elevation
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Studio 2.5
Lorna Davies
Mario Pilla
Work, rest and play
Studio 2.5 has been preoccupied with the territory along the edge of the tidal Thames (downstream
from Teddington Lock), where the topography of the street to the foreshore offers a stepped and
varied opportunity to develop a spatially diverse cross section.
Semester one; we studied a site in and around the The Bell and Crown Pub, reinstating a previous
proportions.
Girasole, Hadrian’s Villa and EUR for example.
During the second semester we were located in Brentford, upstream of semester one, overlooking
the Thames to Kew Gardens. A more exaggerated site section from the road to Waterman’s Park
then again to the river, siting accommodation to compliment either a coffee house, boat house or
school of gastronomy, testing a more complex site and brief.
Lorna Davies + Mario Pilla
With thanks to; Pierre D’Avoine, Bruno Silvestre and Richard Woolf.
Facing page: Oren Karev, North Elevation
Above: Bianca Marcu, Model
Timothy Adeyeloja, Lina Alhuro, Dominic Ammon, William Aston, Ziad Bakr, Jamie Bartle, James Bearman, Youjin Cui, Joel
Gumbe, Kesiena Idebe, Oren Karev, Undraa Khurtsbile, Chaelin Lee, Ziyang Li, Bianca-M Marcu, Morgan Patterson, Giuditta
Pedace, Ahmad Ruzaimi, Deanna Seymour, Ryan Shaw, Yiannaki Spyrou, Yue Zhang
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1. James Bearman, Flat Plans
2. James Bearman, Site Sketch
3. Morgan Patterson, South Section
4. Morgan Patterson, Section
5. Oren Karev, West Elevation
6. Ryan Shaw, Exterior Model View
7. James Bearman, Sketch Section
8. Morgan Patterson, Rendered Diagram
9. Jamie Bartle, Pantheon Section
10. Morgan Patterson, Elevation
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Studio 3.1
Stephen Baty
Shaun Young
Frontiers
‘I dedicated myself to the study of architecture in my youth, and since I always held the opinion that
the ancient Romans, as in many other things, had also greatly surpassed all those who came after
them in building well, I elected as my master Vitruvius, who is the only ancient writer on this art.
I set myself the task of investigating the remains of the ancient buildings that have survived despite
the ravages of time and the cruelty of the barbarians; I began to measure all their parts minutely
and with the greatest of care.
and abroad to in order to understand the totality of buildings from their parts and commit them to
drawings.’ 1
‘The ‘Roman Limes’ represents the border line of the Roman Empire at its greatest extent in the
2nd century AD. It stretched over 5,000 km from the Atlantic coast of northern Britain, through
Europe to the Black Sea, and from there to the Red Sea and across North Africa to the Atlantic
coast. The remains of the Limes today consist of vestiges of built walls, ditches, forts, fortresses,
watchtowers and civilian settlements. Certain elements of the line have been excavated, some
reconstructed and a few destroyed. The two sections of the Limes in Germany cover a length of 550
km from the north-west of the country to the Danube in the south-east. The 118-km-long Hadrian’s
Wall (UK) was built on the orders of the Emperor Hadrian c. AD 122 at the northernmost limits of
the Roman province of Britannia. It is a striking example of the organisation of a military zone and
illustrates the defensive techniques and geopolitical strategies of ancient Rome.’ 2
The studio looked at the northernmost frontier, the point where Hadrian’s Wall, the geological
Whinsill, and Pennine Way intersect with the aim of proposing a building to increase visitors to
Northumberland’s National Park.
1 Andrea Palladio, The Four Books on Architecture (The MIT Press London, England), p.5.
2 UNESCO description Frontiers of the Roman Empire
With thanks to:
Thierry Bal, Paol Kemp Roudot, Emily Scott, Tom Whittaker, Joseph Wilson
Facing page: Bradley Sumner, Elevation Study
Above: Thierry Bal, Site photograph
Mohammed Azam, Wajeeh-U Bashir, Mustafa Baskal, Amal Choaie, Michelle Choi, Brandon Clemenson, Lousie Cooke, James
Cura, Luka Drotar, Ashley Dunford, Ayesha Gajraj, Fatimah Ishmael, Kartarzyn Janos, Violet Lawrence, Shaun Lilley, Emma-Jo
Lodge, Alice Moden, Bradlee Mulroe, Damilola Nezianya, Grzegorz Oleniacz, Robert Overton, Bradley Sumner.
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1. Bradley Sumner, Elevation Detail
2. James Cura, Spatial Study
3. Bradley Sumner, Perspective
4. Bradley Sumner, Cast
5. Bradley Sumner, Plan Development
6. Bradley Sumner, Precedent
7. Ashley Dunford, Perspective
8. Bradley Sumner, Perspective
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Studio 3.2
Takeshi Hayatsu
Simon Jones
Contemporary Crafts
Studio 3.2 responded to the question of heritage, under the school wide theme of UNESCO, by
focusing on the aspects of traditional and contemporary crafts. The year long investigation on the
issues of craft was underlined by the Studio’s ‘hands on’ approach, starting from the making of a
kiln dried clay pizza oven and oak and pine tables, making of a series of 1:25 scale timber models
of traditional Japanese temples, to the construction of the 1:5 scale interpretation of Todaiji
Nandaimon temple gate in Dorich House Museum in Kingston Vale as a live project. The Studio
both traditional and contemporary.
The Studio’s thesis project site was set in Nara, on a plot of post agricultural vacant land on the
world heritage site. The Building Crafts College in Stratford had acted as a client for our students,
to design a satellite crafts college in Japan for their international cultural exchange programme.
Nishisato district is a town originally inhabited by Miyadaiku master carpenters and their families,
who were maintaining and repairing the wooden structures in the temple complex over the
centuries. Our Studio’s work could be seen as homage to this important area in the history of
timber construction and building crafts.
Guest critics:
James Payne, Takero Shimazaki, Maiko Tsutsumi, Jonathan Cook, David Leech, David Phillips, Jim
Reed, Sebastian Hicks.
Collaborators:
Stuart Hollister 3D Workshop, Tim Clarke 3D Worskhop, Richard Trupp 3D Workshop, David Falkner
Stanley Picker Gallery & Dorich House Museum, Building Crafts College Stratford, Price & Myers
structural engineer, James Jones and Sons timber supplier, Euroclad metal roof
Facing page: William Himpe, Axonometric
Above: Vibecke Solli, Topography Nara
Hind Alkaabi, Camila Benemann, Grant Codrai, Charles Duzdabania, Madoka Ellis, Yasmine Faress, Pablo Feito Boirac,
Asia Hama, William Himpe, Marie Hogevold, Dorothy Jackson, Sutthine Jaroonsote, Camille Lacoste, Francesca Merton,
Nathalie Wathne, Ashley Worrell.
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2. Marie Blaker, Interior View
3. Hind Alkaabi, Model
4. Sindre Aarhus, Model
5. Madoka Ellis, Perspective
Ceiling Plan
8. Francesca Merton, Rendered Perspective
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Studio 3.3
Bruno Silvestre
Noel Cash
Typology & Topography
In Architecture, Typology [form] and Topography [place] are perceived as two distinct notions acting
and formal heritage offered by the history of our discipline. Topography is the external dynamism
of the city and the natural forces of the environment acting upon works of architecture. Our studio
explores the relationship between architectural form and its place, aiming to substantiate the
interdependence between the typological and topographical dimensions of the architecture of the
city.
Set in Seville, Spain, one of the most important UNESCO World Heritage sites in southern
Europe, our studio investigates the various typologies of urban living that bear witness to the
expression and synergy of Christian and Muslim cultures forming the unique identity of Seville
designing eleven family homes and incorporating businesses, communal facilities and a public
space appropriate to the local neighbourhood.
Lectures and workshops at the University of Seville’s Higher Technical School of Architecture set
the culmination of which aim to reconcilliate the inner forces of the type of living chosen with the
external forces of the city.
CONTINUITY
‘The memory of the past predominates the present and creates a continuity of the past the present and the future’.
The thesis project revolves around the idea of continuity, a continuity of the city - letting the city continue its language of form into the void. A continuity of the site’s past to its present and future - what does one preserve and what
does one take away? Seville is a dense city, built up with narrow streets and plazas; every turn creates a new
moment between the rooftops. The narrow streets lets one creates its own little story about the city. The proposal
lets one enter a city within the city creating a continuity of these small moments between the buildings inside void,
which could be observed as a space of absence or space of expectation. The void is a Transformation of reality, a
con
Facing page: Alex Niemi, View Looking North
Above: Ebba Daun, Blue Door
Najla Almutairi, Sarah Al-Radhi, Helena Anthony, Raman Baban, Egle Bytautaite, Hong Chang, Amanda Curty Santos, Ebba
Daun, Gustavo Gabriel Engel, Floriane Gonsalves, Gustavo Gregório Gouveia, Ane Jakobsen, Ashlan Jones, Jieun Jun, Farisa
Khan, Karolina Kobus, Ioannis Liargkovas, Bárbara Maria Madeira Alvarenga, Joseph Marshall, Dellan Meho, Alexandra
Olsen, Benrico Stripe, Danai Tsiouri.
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1. Elle Bytautaite, Landscape Plan
2. Jieun Jun, Section of the Public Unit
3. Dellan Hafsa Meho, San Luis, Arcade Drawing
4. Joseph Marshall, Terrain Vague, External View
5. Dellan Hafsa Meho, San Luis, Sectional Axos
6. Ebba Daun, Rendered View
7. Jieun Jun, Interior Sections of a House
8. Ebba Daun, Project in context
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Studio 3.4
Michael Lee
David Owen
Unsentimental Contextualism : The Public Institution
The modernist city is an extraordinary, contrived place. Born out of a peculiar set of economic,
social, religious, cultural and political conditions, it is tied together by a common belief in
Modernism as a social and cultural ideal. These planned cities are in many ways an assembly of
cultural, social, administrative
Corbusier, Jeanneret, Drew and Fry’s city of Chandigarh.
Beyond providing a capital for the newly independent state of Punjab, Chandigarh was intended to
of challenges face India. We are interested in whether architecture, and in particular the concrete
the starting point the students each developed an architecture school. Not an architecture school
as you may be familiar
with but a total institution, a place where different parts of life occur within one physical space –
sleeping, eating, drinking, sport, prayer and thought.
Facing page: Luciana Mameri, Residential Interior Model
Above: Serina Harb, Photograph of Chandigarh
David Abimbola, Luciana Ayres Mameri Barros, Koorosh Ameri, Buchard Bakundukiz, Danielle Cook, Nathália Domingues Da
Silva Meyohas, Guilherme Erthal Paiva Antunes, Mays Hamad, Serina Harb, Tsz Lok Hsu, Isabella Hughes, Paul Johnson, Ivan
Markovic, Darren Maskell, Liz Muchatat, Stefan Necula, Alfred Osei, Ozan Sahin, Shpetim Serani, Arjun Singh, Mohammed
Torkamani, Berit Vold.
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1. Guilherme Erthal, School Interior
2. Berit Vold, School Library Interior
3. Stefan Necula, 3D Bay Study
4. Stefan Necula, School Library Interior
5. Berit Vold, School Studio Model
6. Guilherme Erthal, School Section
7. Guilherme Erthal, School Section
8. Buchard Bakundukize, School Interior
9. Ozan Sahin, Charcoal Drawing
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Studio 3.5 Landscape Architecture
Helen Goodwin
Come to the Edge
crooked town of Dover hid itself away from the beach, and ran its head into the chalk cliffs, like a
Charles Dickens, A Tale of Two Cities, 1859.
This year, we returned to Dover to explore its liminal edge and address the ‘marine ostrich’
effect that has come to characterise a town severed from the sea by the transport infrastructure
associated with the Port of Dover. Students undertook detailed analysis from local to regional
‘manufactured edge’. Strategic approaches emerged for stitching the seafront back to the town
places,’ and networks of avenues, parks and squares. One student radically inverted the ports to
dispense with the impacts of the A20, releasing land to plan a new neighbourhood, while others
tunnelled the port road to re-connect communities or make room for the river. Presentations
to Dover Big Local and the Dover Society were met with positive interest and encouragement,
providing inspiration (alongside a study visit to Porto and Lisbon) to address more directly the
critical concerns of economic growth, employment, education, health and wellbeing and ways of
making Dover’s cultural life more tangible.
Students responded with diverse programmatic and schematic proposals for promoting life at the
edge, including a seaweed and mussel farm, a Maggie’s Centre, global/local markets, lidos and
recreation facilities, arts centres and performance venues all situated in landscapes that link, set and
inter-relate the complex constitutional elements of place.
It is with thanks that we wish this last ever landscape undergraduate year the very best of luck for
their futures – we salute you!
With thanks to:
Dover Society
Dover Big Local
Facing page: Toya Peal, Patchwork of Places, Strategy Drawing
Above: Toby France, Dover, Working Landscape
Hibba Alhaydari, Arushi Bhatnagar, Ethan Chau, Rachael Cox, Yidhen Dorji, Toby France, Gillian German , Eileen
Khounsombath, Libby Kim, Jordan Ling, Victoria Peal, Samuel Perry, Paul Rendle, Derya Yilmaz, Li Zhang
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1. Rachael Cox, Wild Sea Platform
2. Group Site Model
3. Jordan Ling, Eastern Docks
4. Yidhen Dorji, Seafront Steps
5. Paul Rendle, Dover, Eastern Town Masterplan
6. Toya Peal, Tidal Pool Perspective
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Moving On; Architecture and Landscape at Kingston
Helen Goodwin
The 2015 Degree Show marks the closure of the undergraduate course in Landscape Architecture
at Kingston, a closure which could be seen as a lamentable loss to the School of Architecture and
Landscape as it sheds a limb at undergraduate level after more than 25 years of coexistence.
But perhaps it is time to move on. Undergraduate Landscape at Kingston is maybe not dying so
much as going through a process of transformation, for this moment provides an opportunity to
re-evaluate and recalibrate the relationship between the two disciplines within the teaching of the
School, if not within current practice. It offers the chance to open up a broader, cross-disciplinary
conversation about human dwelling and about our shared concern as architects and landscape
architects for a deeper ‘raison d’etre’ expressed in our shaping of the environment in informed,
the requirements of the respective RIBA/ARB and LI professional accreditation bodies, a constraint
which encourages mental barriers and suggests a more static, binary opposition between the
two disciplines. Breaking down these barriers and fostering a more collaborative dialogue in our
teaching can only broaden our collective horizons and enhance the set of skills with which we might
equip a generation of more rounded students as they venture out into the professions.
This collaboration feels long overdue. We are not the only ones pondering such questions,
seeking to overcome issues of professional identity and desiring to move beyond the territorial
battleground of the ‘environmental gladiators’, those planning, urban design, architect and
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spatial design of our urban environments. By bringing together the teaching of the two disciplines
into one studio as we have done in third year landscape architecture over the past three years,
it has enabled us to draw on the strengths, priorities and preoccupations of both disciplines to
enrich and expand our scope of enquiry. This model of co-teaching will be brought across into the
teaching of architecture going forwards in recognition of the fundamental (from the Latin word
‘fundamentalis’ meaning foundation, beginning, basis) and essential (from the Latin ‘essentialis’
meaning pertaining to or constituting the essence of a thing) role of landscape in shaping the
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character of a place.
of Ten: A Film Dealing with the Relative Size of Things in the Universe and the Effect of Adding
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Another Zero’. An overhead view of a couple picnicking on a rug in a park in Chicago framed by
the distant limits of the cosmos – a scale almost beyond the realm of human comprehension. If
white chalk cliffs and river valley which once formed a natural harbour in the south-eastern corner
of England, such a reading is essential to an understanding of why the small seaside market town
has evolved to become the town it is today, strangulated as it is by its heavy road infrastructure and
Such a broad ‘Landscape’ reading of site facilitates design at the diagnostic and strategic level
whilst simultaneously fostering an appreciation of delicate ecosystems which, in Dover as in so
many other towns and cities, have been almost forced out of existence by reckless waves of
urbanisation. An ‘Architecture’ reading, on the other hand, gets down to the nuts and bolts and
asks rigorous and precise questions about material, tectonic and spatial qualities which together
kind of sophistication and empathy and a different level of focus. Within the studio we have
engaged fully with buildings without actually designing them, responding to a building’s setting
and tectonic choices as well as appropriate and informed choices of planting in our spatial designs
in order to support and enhance the buildings, to surprise and delight, to strengthen or soften, to
blend meaningfully the built and the natural environments.
Successful landscape design is much more, however, than the assimilation of a set of site conditions
at a range of scales and much more than just scene-setting. Meaningful landscape architecture
ensures that places are embedded into their communities as much as into the wider landscape.
landscapes - and urban public spaces in particular – are required to meet the more ambiguous
demands of a wide range of groups and individuals. We have taken the stance that the public
realm, if well designed and well maintained, has the capacity to foster community and strengthen
social ties as well as connection with place and as such we engaged with that intangible and harda group of local people who share an interest in promoting the improvement of Dover’s public
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realm. Their hopes and aspirations, concerns and exasperations informed and reinforced our
understanding of the correlation between quality of environment and quality of life. If ever there
of shifting perspectives, relative scales and the interconnectedness of things - perhaps epitomizes
our approach within the studio; for ‘picnic rug in park in Chicago’ read ‘weathered concrete edge of
dock in Dover’; for ‘observable universe’ read ‘river valley, watershed or regional transport network
across the south-east’. We might not have pushed our enquiry quite to the extent of the observable
it, crushed as the people were by the seeming hopelessness of their town’s physical condition and
the consequent ill-health, unemployment and crime experienced by the Dover town community.
understanding of ‘site’ can be almost boundless and that our spaces of human inhabitation are
timescales. We have the privilege of being able to be pioneering, less constrained, unfettered by
legislation. In short, we can dare to dream. And so we did. Our students challenged the status quo
in Dover, drawing on their extensive contextual understanding to bring imaginative, surprising
and sometimes playfully bold solutions to some of the seemingly insoluble structural problems
of the town to propose a better quality, better connected public realm. If the local people gifted
their time and knowledge to our students who gained from the real life encounter a better
understanding of the needs of one community, we gifted them a set of ideas and proposals which,
Landscape architecture, being relational, is arguably harder and less tangible than the other design
disciplines, being also programmatically less determined and consequently requiring a level of
sophistication and empathy that is demanding for an undergraduate student in terms of the ability
to synthesise complexity of site conditions with ambiguity of brief (what is ‘a park’ for example,
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what do we mean by ‘public space’?) People can often struggle to see past objects and ‘things’
to the spaces and systems that interconnect them. However a deep sense of connection with
place comes from seeking an understanding of not only the immediate site context but also the
wider regional conditions; the topographical, ecological, hydrological and geological features and
1
Gordon Cullen, The Concise Townscape, Routledge, 1961, p193 for his discussion of the art of environment
2
Online dictionary of etymology
3
Philip Morrison, Charles and Ray Eames ‘Powers of Ten: A Film Dealing with the Relative Size of Things in the Universe and the Effect of
Adding Another Zero’ available on YouTube at https://www.youtube.com/watch?v=0fKBhvDjuy0
But there is hope. We have the privilege in education to test out ideas and theories which might
outcome of our studio’s collaborative work across landscape and architecture as we move on.
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We are grateful to Jeremy Cope of Dover Big Local and Pat Sherratt of the Dover Society for their enthusiastic reception and for invit
ing us back to Dover to share our ideas with Dover District Council.
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Post-graduate Live Project: Rose Theatre, Kingston
First Year 1:1 Making Project
Andrew Budd
Within the academy, architecture is inevitably understood speculatively through
mediated forms of representation. The development and construction of an actual,
built intervention draws students directly into dialogue with the world beyond the
School, allowing them to apply and to share the skills and knowledge they have
acquired from across the course and through their individual experience. The Live
Project Designate aims to engage a group of students, working as a team in the
realisation of a small-scale actual project within the course of an academic year.
It aims to encompass the processes of procurement, from developing a brief to
physical realisation, with the aim of improving a found condition.
It engages with the complexity and the potential risks inherent in actual construction;
engaging students with the immediate actions of making, understood in relation to
the overlapping contexts of site, regulation and budget and in dialogue with
communities and fellow professionals.
This year a group of 4th students developed a set of proposals for the Rose Theatre in Kingston
in response to a brief requiring the creation of a new members room for guests, patrons and
sponsors. The brief also required an approach that would respond appropriately to the urban
context of the theatre building within the heart of Kingston.
Realised as a bound report accompanied by 1:20 scale models and drawings, the group speculated
socializing within a particular cultural context. Large furniture pieces and spatial interventions were
working under the following topics:
a. Screening b. Storage c. Seating/ Repose d. Display
Each group worked with a set quota of 50x50mm softwood lengths and of 18mm Oriented Strand
Board. Studio tutors directed how groups interpreted and worked with the above headings.
The work produced forms our contribution to the School Assembly, when the whole School of
Architecture & Landscape come together over two days, to have a conversation about the work that
is being undertaken school-wide.
Equipped with hand tools, drawing and modelling materials, students commenced with a one-day
Charette, initially designing through scale drawings and models, working up to 1:1 scale production
drawings and prototypes. Cutting schedules were prepared, to draw attention to issues of economy
commenced.
This short and intensive project set out to get students engaged with working at 1:1 scale, with
employing hands, limited hand tools and the workshop, to make beautiful, coherent, precise,
quality timber installations from a very limited palate. Questions such as framing, structure, how
to stabilise, connect, support and brace your construction are raised, considerations that are then
applied to studio design work in semester 2.
Following a successful presentation to the chief executive the results have been presented to the
theatre for their consideration and it is hoped that the project will secure funding to allow it to be
constructed.
With thanks to Robert O’Dowd Chief Executive, Rose Theatre Kingston
Angharad Jones, Josh Ovenden, Chris Penford, Maria Moschou, Mahdi Mongabadi, Catherine Shiner
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Temple Construction Project
Takeshi Hayatsu
Simon Jones
Construction is like a DNA. In the marks of chiselled timber, one can read the mind of the
craftsman. Japan is a country of wooden construction, and the idea of heritage is unique in the
sense that the skill and knowledge of makers are transferred from generation to generation
through the act of dismantling and rebuilding. The ancient temples in Japan are re built every
300 years or so for major repairs. The building itself is considered as a record of history, reread by
carpenters every 300 years. The historic buildings are not the things of past, but the DNA for future
generations.
Facing Page: Sofei Sovik, Temple Section
This Page Image Credits
Top: Vibecke Solli
Bottom: Takeshi Hayatsu
The third year architecture students from Studio 3.2 at Kingston University led by tutors Takeshi
Hayatsu and Simon Jones continued this notion of learning through rebuilding, by prefabricating
and erecting wooden temple structure in the garden of Dorich House Museum, Kingston Vale.
It is a collaborative project with Stanley Picker Gallery (http://www.stanleypickergallery.org), the
Studio has been building temporary wooden structures for last three years, as part of the on-going
investigation into timber construction. This year, the Studio built an interpretation of the Temple
Gate from Todaiji Nandaimon, Nara Japan, built in 1199, and listed by UNESCO World Heritage
Site as a ‘Historic Monument of Ancient Nara’.
Half of Nandaimon at 1:5 scale was made using standard treated timber sections. The traditional
using jigs and templates to create a structure over 5m tall, and with a footprint of 3m square.
Structural advice has been very kindly provided once again by Price & Myers.
The timber is Scottish spruce and has been generously donated by James Jones and Sons, who
grow and harvest, sustainably managed forests in Scotland.
The installation at Dorich House Museum is forming a part of London Festival of Architecture 2015.
The Studio would like to give special thanks to the staff of 3D Workshop; Stuart Hollister, Tim
Clarke and Richard Trupp for their continuing support and advice.
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GUESTS
Lisa Ames
Peter Aldington
Stephen Archer
Joanna Bailey
Thierry Bal
Georgia Battye
Claire Bennie
Liz Betterton
Nana Y Biamah-Ofosu
Benedicte Brekke
Pat Brown
Richard & Mirais Burton
Elle Bytautaite
Diego Calderon
Thomas Cooper
Clive Cornwell
Joao Cortesao
William Creech
Pereen d’Avoine
Filipe da Costa Lima
Lorna Davies
Stephen Donkin
Elizabeth Dow
Hadas Even-Tzur
Adrian Farmer
Lorraine Farrelly
Olivier Forget
Alice Foxley
Amarilnto Gkiosa
John Glew
Simon Green
Vladimir Guculak
Iain Hales
Craig Hamilton
Eimear Hanratty
Matthew Hardy
Simon Henley
Joseph Hewlett
Aidan Hodgkinson
Doug Hodgson
Janet Honey
Jane Houghton
Andrew Houlton
Andrew Humphreys
Emma Hyett
David Jennings
George Jones
Jillian Jones
Barry Joyce
Max Kahlen
Paol Kemp Roudot
Lewis Khan
Nina Kolbeck
Andrew Laurie
David Leech
Tom Lewith
Thierry Lochard
Hana Loftus
Joseph Lyth
Pippa Mansel
Vasilis Maroulas
Sam McDermott
Mark McGlinn
Boris Menguy
Sara Moiola
Manuel Montenegro
Colm Moore
Kate Nicklin
Trich Pank & family
James Payne
Hugh Petter
James Reed
Helena Rivera
Fred Scott
Emily Scott
Jonathan Sergison
Takero Shimazaki
Svinder Sidhu
Eva Sopeoglou
Alex Stara
David Storring
Mark Suggit
Bradley Sumner
Jack Syer
James Taylor
David Valinsky
Tony Viney
Nicola Whiteford
David Whitehead
Tom Whittaker
Lucy Williams
Joseph Wilson
Ellis Woodman
Richard Woolf
Peter Youthed
EXTERNAL EXAMINERS
Peter Carl
Andrew Clancy
Harriet Devlin
Lorraine Farrelly
Jamie Fobert
Edward Fox
Prof Dean Hawkes
Orla Hegarty
Michael Howe
Paul Jones
Julian Lewis
Jo Lintonbon
Prof James Low
William Mann
Daniel Martin
Ruth Richards
John Stuart-Murray
Philip Villars
LECTURE SERIES
Grafton Architects – Shelley
McNamara & Yvonne Farrell
Assemble – Matthew Leung
Simon Jones Studio – Simon
Jones
NORD – Alan Pert & Graeme
Williamson
Studio Karst – Alice Foxley
Jonathan Hendry Architects –
Jonathan Hendry
Clancy Moore – Andrew Clancy
HAT Projects – Hana Loftus
Ellis Woodman
DKCM – David Knight
Hall McKnight – Ian McKnight
SOL89 – Maria Gonzàlez, Juanjo
DRDH – Daniel Rosbottom
MUMA – Stuart McKnight
TEACHING STAFF
Joanna Bailey
Thomas Bates
Stephen Baty
Carine Brannan
Pat Brown
Andrew Budd
William Burges
Katie Campbell
Alfredo Caraballo
Noel Cash
João Cortesão
Pierre D’Avoine
Matthew Dalziel
Lorna Davies
Aoife Donnelly
Ray Dudman
Abre Etteh
Elli Farrant
Judi Farren Bradley
Fiona Firth
Angela Ford
Alice Foxley
Carl Fraser
Lindsay Frost
Niall Gallacher
Thomas Goodey
Helen Goodwin
Alexander Gore
Tim Gough
Andy Greig
Fenna Haakma Wagenaar
Charlotte Harris
Cathy Hawley
Takeshi Hayatsu
Michael Herrmann
Jane Houghton
Andrew Houlton
Andy Humphreys
Bruce Induni
Simon Jones
Justine Langford
Michael Lee
Amanda Lewis
Christoph Lueder
Bruno Marcelino
Ioana Marinescu
Noha Nasser
Helen Neve
Will Nixon
Graduate Diploma in Architecture
David Owen
Richard Peckham
Matthew Phillips
Mario Pilla
Steve Pretlove
Nicola Read
Daniel Rosbottom
Vanessa Ross
Paulo Scianna
Naomi Shaw
Bruno Silvestre
Benjamin Smith
Timothy Smith
Christopher Snow
Alexandra Stara
Hugh Strange
Eleanor Suess
Jonathan Taylor
Stephen Taylor
Karin Templin
Kristin Trommler
Honore Van Rijswijk
Lucy Williams
Ellis Woodman
Jonathan Woolf
Georgia Wrighton
Shaun Young
Alessandro Zambelli
A very special thanks to Dennise
Yue, the Academic Support
Manager for the School of
Architecture & Landscape, and
School Adminstrators Gloria
Bassoli & Doreen Harrison, and
Annie Creasey & Fiona Ball in the
work and patience over the last
year.
KLASS
Kingston Landscape and
Architecture School Society
Kate Ivinson - President
Sandy Niman - Vice President
Marwa Al-Khudairy - Secretary
Laura Toledo - Treasurer
Catalogue designed by Benedicte
Brekke & Rosy Jones, and Stefan
Necula, Vibecke Solli &Berit Vold
Printed by exwhyzed
RESCALE
RESearch into the City, Architecture, Landscape and the Environment
School of Architecture and Landscape
Faculty of Art, Design & Architecture
Kingston University,
Knights Park Campus
Kingston KT1 2QJ
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UNESCO World Heritage