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    9 Architectur e Research Unit8

    Architectual Research Unitaru.londonmet.ac.uk

    4. Positive People is designedas a pair of related figures,one standing still and theother slightly turning away,forming a little public courtbetween them. We referto the public space as apositively charged void.

    5. Photo: Jonathan LovekinA33 km long sea wall wascompleted in Spring 2007 toenable the land reclamation.Tis is the longest sea wallin the world. Photo: PhilipChristou, January 2008

    1. Tin House, Hadspen,Somerset. Design sketch byFlorian Beigel, July 2007

    2. Youlhwadang 02, façademodel. Te Art Yard Façade isenhanced by a thin tectonicrelief to give civility to thepublic space in front.

     ARU is an architectural desig n laboratoryprimarily concerned with the explorationof ideas about space. Tese ideas aretested in live projects. We consider theselive projects to be design as research.

     ARU continues to work on t he design ofnew buildings at Paju Book City in SouthKorea, as built demonstrations of theurban and landscape guidelines that wemade for Paju in 1999.

    Positive People Publishing Company ,completed in April 2007, is designedas a pair of related figures that frame atapering public courtyard open to thestreet.

    Youl Hwa Dang Phase 02 , is the thirdcultural building designed by ARU alongthe same street in PajuBookCity. It is anextension of a building that ARU designedfor the same client several years ago. It will house a new art and cu lture book halland two apartments on the floors above.Te Art Yard Façade is set back from thestreet to create a new public space.

    Tin House  will form a ne w building

    ensemble with an Old Gardeners Cottage within a n 18th Centur y landscape inSomerset, England. Tis landscape isstructured like a city in many respects,a quality the project aims to reveal andenhance.

    Te Saemangeum project  is a large 400 km2 land reclamation project on the west coastof the Korean peninsula. ARU is exploringideas about a water city of co-existence.

    In this and all new works, ARU continuestheir design research into the idea of anarchitecture of continuity. What can abuilding do for the city?  is an essentialquestion in these design investigations.

    Te Positive People and the Youl HwaDang 02 Buildings are joint designcollaborations between ARU and Networkin Architecture, Seoul.

    3. Construction of Youlhwadang 02 star ted inMay 2008 and is expectedto be completed by early2009. Te yellow postersays: ‘Youlhwadang – FineConstruct ion (Ltd.)’. Photo:Network in Architecture,May 2008

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    11

    Foundation Diploma

    Tutors:Pablo GilIngrid HoraOnkar Kular Marie LundInigo MinnsRose NagAlexander SchellowMarloes ten Bhomer Paolo Zaide

    Te theme for this years work starts with the premise that t he architectura lenvironment is not only defined by thephysical matter in which it is embodied.On top of form and substance liesanother, more intimate reality that canbe described as interpretation. Tisperception of space is deeply personal,

    consisting of a constant interplay betweenthe physical fact and a complex layeringof memories, feelings and associations.

    So what happens when these personalinterpretations become distorted orexaggerated? When the experience of aplace becomes so affected by our personalrelationship to it that it becomes farremoved from the everyday and rational,and slips into a subconscious world ofexcess, confusion and fear? Tis is the

    reality for sufferers of extreme phobias andexaggerated desires, and forms the basisof the research field for this years designproject in which we ask the question:How can we as designers deal with theseexceptional psychological states?

    1. Nobuki akagawa, New tree2. Andrea Gillow Closter, 1cm

    of Intimacy—part 13. Abdulqadir Hussein, Vanity

    unit

    2 3

    1

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    1312 Foundation Diploma

    ‘Kingsland is an area that lives a shadowyexistence, appearing in street names,station names and preserved on somemodern maps, such as the London A–Z(2005), that valiant conserver of lostLondon districts. But if you were to golooking for it, you would be hard put tofind such a place in modern Hackney — itappears on no signposts, such as theubiquitous blue signs that point to more vital locales. So where has it gone?’

    Students were sent off on a journeyalong Kingsland Road and challengedto discover tiny fragments representingactivities, desires and memories. Teimaginative understandings of the routeand their investigations of phenomenathat distinguish the moments alongit, created an inventory filled withmaterial — a collection of curiosities. Tecritical, absurd and fantastic qualitiesof this collection were captured ininterpretative drawings and transformedinto 3-dimensional installation pieces thatcollectively triggered the memory of thestudents’ journey.

    First YearCollecting Curiosities

    Tutors:Ian FergusonPablo GilTimo HaedrichIngrid HoraJoerg Majer Rose NagDavid PierceJuliet QuinteroTimothy SmithPaolo Zaide

    1, 2. First year interventions,Dalston displays

     

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    4. Daron Christie, micro-vista5. Lex Quiambao, ‘I can see

     you’6. Andrea Gillow Closter, 1cm

    of intimacy—part 27. Jeannie Carr Lopez, distorted

     viewpoint

     We are interested i n uncovering thestudents’ personal positions, be theyfunctional, playful, poetic or bizarreand with this in mind have defined aseries of mapping exercises and building workshops to encourage an exploration ofthe built environment and their particularrelationship to it.

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    15 First Year14 First Year 

     Annex — (v) . to attach, append, oradd, esp. to something larger or moreimportant. . to take or appropriate, esp. without permission. . (n) a subsidiar ybuilding or an addition to a building.

    Trough the making of the curiositycollection students set out to identify and

    to explore their own particular interests.Tis helped the students to develop anindividual brief for a small building. Anannex to Kingsland Road, an attachmentto something existing, a fragment on arooftop, somewhere between or underexisting covers. Te buildings developedfrom Kingsland Road hidden stories andreflect the route’s shifty and eccentriccharacter.

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    93 / 7. Luke Royffe, pigeonrestaurant

    4. Hassan Abbas, dairy/cheesemonger

    5. John Freddy Diaz,cardboard workshop

    6. Linda Bjorling, steam house8. Robert Kwolek, silversmiths

    on cotton gardens9. Edouard Rochet, hemp oil

    refinery 10. William Fairminer, tape

    studies

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    17 First Year Part Time16

    First Year Part-Time

    Tutors:Chi RobertsRose NagNikolai DelvendahlSarah Newine Moore

    Critic:Andy Stone

    Pan 1

    Te part-time level one students areintroduced, or re-acquainted, with therigor and creativity of design by engaging with the difficult process of maki ngtheir ideas as artefacts and makingrepresentations of their thinking asdrawings.

    Trough the modules ‘Visual Tinking’and ‘Making Ideas’ the basic tools ofdrawing and making are handled andused to explore, explain and representaspects of our material, social andconceptual world but more importantlyto critically reflect on the process ofdesigning.

     We scrutinised a collection of objectsto draw out the explicit and implicitinformation. Te qualities, properties,materialties, forms, structures,components, symmetries, surfaces andmore, were revealed and interpretedto begin to describe, understand anddevelop our own thought processes. We also investigate d the part icularprovenance, histories and meanings of the

    objects and explored ways of representingthe complex relationships between themany and various aspects.

     We regarded the objects asrepresentations of groups of objects andarranged them as part of a collection. We surveyed the objects in a v ariety ofcontexts whilst being aware of how weposition ourselves in this process. Byproposing alternative materialities forthe objects or alternative forms for thematerial of the objects, the viability ofthe object in the ‘original’ location wasquestioned. It suggested the object be‘displaced’ to other locations and finally‘replaced’ in a new site/context.

    1. Chris HealMaking Ideas

    2. Francesco Farci Visual Ti nking

    3. Samantha RanceMaking Ideas

    4. Alan Benzie Visual Ti nking

    5. Simon CampbellMaking Ideas

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    Pan 2

     An Inhabited wall  for music practice andperformance. A Patisserie  formed fromthe study of stacking, baking and smoke. A wisting tower of winding stairs to viewthe city and voice opinion. A Sunkentheatre  inspired by a dried fish head.

    Te variety of the propositions from thepart time studio emerges from the diversespectrum of professions and backgroundsof the students. Tey come together oncea week to create the atmosphere of an'instant studio'. Te full-time studio briefis adapted to their different experience ofthe degree course.

    Te site, on Dalston Lane opposite thenew East London Line station buildingsite, was selected for its proximity toRidley Road market and the storiesbehind the colourful mural on oneboundary wall. Students were askedto design a building for ‘repairing ormaking’. Tis was interpreted in different ways through t he preliminary mappingof the market and developed through theparticular interests or expertise of each

    student.

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    18 Running Head 19

    Tis year’s programme has examinedthe typology of the hotel. In French, the word hôtel is more ambivalent than i sunderstood from its English usage. Indefining its attitude to the contemporaryhotel, the studio studied the typology ofthe hôtel particulier, which developedin Paris during the 16th and 17thCenturies. Grand urban residencies foran emerging bourgeoisie, they imposedrational, geometrical and idealisedforms onto the haphazard fabric of themedieval city. In the Marais, the Placedes Vosges, around which a constellationof these hôtels gravitates, propagatedsuch ideas at an urban scale. Ultimatelythis attitude to urban form led toHaussman’s transformation of the city,two centuries later.

    Te project takes as its context theintroduction of the new high-speed raillink from London to Paris and Brussels,integrating into a wider Europeannetwork. In London, the move of this newservice to St Pancras Station has instigatedthe refurbishment of Giles GilbertScott’s Midland Hotel; at the time of itscompletion in 1876 this was one of the

    most opulent hotels in Europe. Our projectis situated in the City of Paris, at the otherend of the line, on a site adjacent to twomajor stations, Gare du Nord and Gare del’Est. Te site lies between the geometriesof Haussman and the field space formedby another urban imposition, theconstructed topography of the railway.Unlike Giles Gilbert Scott’s hotel, ourproject mediates directly between the cityand the space of the tracks.

    Tis wider context extends the studio’songoing interest in the resonancesbetween different scales of space. Teproject oscillates from the scale of theroom to that of the city: from the intimate

    space of the bed, to the public space of thesalon; from the hotel as a figure within thecity, to the form of the city itself.

    Te investigation of the room began inthe reconstruction of a series of roomsdiscovered in paintings. Using modelingtechniques inspired by Tomas Demand,students investigated spaces found inpaintings by Hammershøi, Gandy andthe Dutch masters of the Delft School.Tese studies established conversationsabout both the structure and the surfacesof rooms, which transformed intopropositions for a Salon.

    Studio 1Hôtel

    Tutors:Daniel RosbottomDavid Howarth

    Guest Tutors:Alex BankSam CasswellDavid Grandorge

    1. Adam Gielniak, sketchdescribing the hôtel as urbanfigure

    2. Study models of the Placedes Vosges and six hôtelsparticuliers situated in the

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    Marais. Teir placementcorresponds to the hôtels’location as depicted byurgot in his isometric surveydrawings of Paris, completedin 1739

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    21 Studio 120 Studio 1

     A grand public room, removed from thespecificity of particular programmaticrequirements, the design of the Salonfocused instead on issues of form,proportion, light and material qualities.It became the catalyst for the design of thelarger building, in counterpoint to detailedstudies of individual hotel rooms. Tird Year students have designed 100 roomhotels, whilst Second Years have workedon a 10 room hotel for railway workers.

    Te room meets the city through thefaçade. Photogrammetric studies of thePlace des Vosges articulated issues ofrepetition and variation, which were ofimmediate relevance to the character of ahotel façade. In focusing upon the formalcharacter of its face, the project recalls thehôtel’s role as a cultural edifice, a figurein the city.

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    6. im Burton, a ‘paintedroom’, study model, afterEmmanuel de Witte,Interior with a woman at thevirginal , 1665

    7. Charles Chambers, modelstudy of hôtel room interior

    8. Jonathan Connolly, a‘painted room’ study model,after Vilhelm Hammershøi,Woman in an interior,Strandgade 30 , 1901

    9. George Gingell, a detailfrom an interior studymodel of the Salon,a public room in the hôtel

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    3. Jakob Gate and GeorgeGingell, planometricdrawing of the Hôtel deSully, 1625

    4. Gemma Wood,typical floorplan of the hôtel

    5. Gemma Wood, typical floor

    plan of the Hôtel

    10. Jonathan Connolly, detailfrom a façade studymodel (1:20)

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    23 Studio 222

    Tis year we learned about schools.

    “Here education is taken to mean; Teprocess by which each child is helped toprepare itself for adult life. At present,the only thing on which experts ineducation agree is that some preparationis necessary. Te extremes of policy nowpractised range from unlimited freedomfor the child to a complex course ofprogressive instruction in which almostevery hour is covered from the age of twoto twenty two. Somewhere between these

    lies the preparation which the averagecitizen thinks every child ought to have.”— Te Design of Nursery and Elementary

    Schools, H. Myles Wright & R. Gardner-Medwin, 1938

    Studio 2School

    Tutors:Tom Coward

     Vincent L acovaraGeoff Shearcroft

    Case Study Schools

     All students started t he year working inpairs producing detailed spatial analysisof three London ‘case study’ schools:Charles Dickens Primary School, HallfieldPrimary School and Friars PrimarySchool. Te schools were tested through

    the architectural devices of model,plan, section and elevation. In mostcases, research couldn’t help but turninto speculation, with school hall floorsturning to toffee.

     A field trip to Copenhagen gave studentsan opportunity to experience a furtherset of very different case study learningenvironments; from Hellerup Skole toChristiania Freetown to Utzon’s BagsværdChurch.

    An Extended Welcome

    In a rapid design project in Semester A,all students developed proposals from a

    real brief for an extended entrance andreception with community and learningspaces for Charles Dickens PrimarySchool in Southwark.

    Te Folly Of Learning

    Second semester started with an urbanscale study of Swiss Cottage – focussingon its unique collection of institutions,activities and communities; fromsmokers’ corners to new luxuryapartments to Sir Basil Spence’s library.

    Second years finished the semesterdeveloping proposals for a ‘Folly ofLearning’ for Hampstead Teatre.Somewhere between a cricket pavilion, a‘classroom of the future’ and an outdoortheatre, the folly is an imaginative newlearning space for the Teatre that alsoacts as billboard, inviting conversationbetween institution and community.

    Trough School Academy

    Meanwhile, with Hampstead Teatre astheir hypothetical client too, third yearsdesigned single form entry ‘through-school’ academies on a constrained

    urban site close to the theatre. Studentsinvestigated ways of challenging the UK’sconventional subdivision of educationin to infant, junior and senior – and into subjects, classes and streams – byproviding one through-school for 5 to 16 year-olds. What kind of architect ure fits anew kind of learning?

    1. Najat Mohamed, library,Swiss Cottage Performing

     Arts School2. Christian Palmer and MariaPeralta, Charles DickensHall with toffee floor

    3. Zeinab Rehal and Darta Viksna, model of CharlesDickens classroom

    4. Zeinab Rehal, Grassy HillStage

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    24 Studio 2 25

    Studio 3A Bank in Maidenhead

    Tutors:Matt BartonFrank Furrer 

    Collaborators:Peter BeardRoz DiamondTom EmersonMia Frostner

    Andreas FurrerBernhard FurrerDavid GrandorgeAdrian JonesSimon JonesHans-Jürg Eggimann Adam KhanBrad LochoreWill MuirRose NagJames PayneJon ShanksPeter St JohnRasmus TroelsenPeter Zumthor

    Studio 2’s year of propositional researchbroadened the students’ understanding ofthe design of learning environments. Te work forms a partial essay in t he shapethat schools take, charted against thecontinually reforming context of welfareand pedagogical policy in the UK.

    Tanks to: Jaime Bishop, Jon Buck, MatthewButcher, Dominic Cullinan, Carl Fraser, HarethPochee, Ottilie Ventiroso, Martin Waters.Special thanks to Christina Godiksen

    5. Maria Peralta, Treeowers Academy. Inspired

    by the growth of children,this school translates thetraditional British systemof primary, junior andsenior education in tothree interlinked towers.

     Where the towers meet ,shifts in architectural scaleprovide spaces of exchange,circulation and negotiation.

    6. Najat Mohamed, courtyard,Swiss Cottage Performing

     Arts School. In fants, Juniorsand Seniors are arrangedaround a shared centrallearning courtyard.

    7. Linda Mirtcheva, Backstage Academy. Studying becomesa performance, expressedand experienced througharchitectural composition.

     Activit ies are encouragedthrough suggestivespaces. ‘Backstage’describes everythingthat is a ‘preparation forperformance’. Tese areaspop out of the external façadeof the building, making thebackstage public.

    Te students of Studio 3 designed bankbranches for the suburban town ofMaidenhead. Collaboration with botharchitects and individuals from otherartistic practices was central to theintellectual and creative development ofthe studio's work.

    Te year began with studies of threebuildings in London: Congress House,Te Camden Arts Center and Te NationalTeater. Under the heading 'Looking andRepresenting' we made hand printed

    black and white photographs, 1:20 interiormodels and 1:1 drawings.

     We traveled to Switze rland and weregiven incredibly privileged access totowns, settlements, buildings andateliers. From the town of Bern and thesettlement Siedlung Halen we traveledEast to Graubuenden. We stayed in theTermal Baths in Vals and saw a varietyof buildings including the vernaculararchitecture of the Val Lumnezia. Te tripended with a major retrospective show ofPeter Zumthor's work in the KunsthausBregenz.

    On our return we went to Maidenhead andbegan a research project in collaboration with a young g raphic design practicecalled Europa. We collated this researchin an edition of 25 hand bound books which served as a collective resource f orthe subsequent work.

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    1. Kamal Shah, photograph ofMaidenhead High Street

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    27 Studio 326 Studio 3

    Te theme of 'Looking and Representing' was followed by 'Approximation' andfinally 'Resolution'. Our idea was touse models and verbal descriptionto approach the design of a building,thinking simultaneously aboutatmosphere and structure. From ourresearch we were aware of the functionaldemands of the programme but wantedto begin with a physical proposal beforetesting its organization.

     We used large scale drawings to

    investigate spatial and contextualrelationships; interior models to givea sense of scale and atmosphere and1:1 drawings which try to make anequivalence between materials and theirrepresentation.

     We started t he year with Peter Smithson'spolemical statement, 'Architecture is notmade with the brain'. On reflection wefeel that the best work has supported this, with making coming before theorizi ng.

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    2. Anton Burdeinyj, interiormodel (1:20), Camden ArtsCentre

    3. Europa and Studio 3,front cover, Knowledge Bank 

    4. Kevin Brewster, elevation(1:100)

    5. Max Lacey’s 1:100 model6. Caroline Svennerstedt's 1:50

    model7. John Laide, model (1:50),

    photograph by DavidGrandorge

    8. Monether Lafta, 1:1 detail

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    29 Studio 428

    In the opening sequence of the 1956movie ‘Te Man Who Knew oo Much’,Hitchcock stages the assassination ofa spy in the Djemaa el Fna market ofMarrakech. Te market’s name means Assembly of the dead in Arabic. Contraryto this, the square forms a stage set fordifferent protagonists: during the daycrowds gather to watch a play of acrobats,story-tellers and magicians that bynight transforms into a performance offlickering lanterns and savoury mist.

    Our starting point for the year was thespectacle. We were investigating thenotion of architectural space as a fieldof events and sequences. Tis suggestedthat places and buildings are never stillbut constantly in a state of flux defined byeconomic exchange, cultural shifts andchanging climates.

    Trough a series of projects, spectatorand spectacle, students took a close lookat the shifts and movements somewherein London (traces of forgotten spaces,snapshots of contemporary life, anoverlooked space in the city, a spacetrapped within a split second, a spaceunfolding in a rhythm, the imperceptiblespace of an encounter, an intermittentspace). A series of projects weredeveloped using film material or a vesselof projected narrative to define theirindividual interest and to form a distinctarchitectural brief.

    Te Final Project took us to Marrakech,Morocco. Projects were sited in the gapof the real and imaginary, between fact,myth and speculation. Observing thatspaces have never been static, changesare the key condition for the variety ofproposals developed in the studio 4this year.

    Studio 4Constructed spectacles

    Tutors:Paolo ZaideSabine Storp

    “Local Marrakeshis, eager to guidethe uninitiated through the medina’slabyrinthine souks, refer to the spacein English simply as ‘Big Square’, butthe Djemaa el Fna isn’t a square in anyEuropean sense of the word. Emergingfrom one of the narrow alleys to thenorth or west into its vast expanse gaveme the sense that I had been flushedthrough a great flume into an eddyingtorrent of humanity: Te Djemaa el Fnais an eruption of multiple human spirits, vivified over t he course of its daily cycle

    by a tumbling assortment of acrobats, juice-sellers, snake-charmers, stor y-tellers, monkey-pimps and meat-grillers,crooks, beggars, drummers, donkeys,cars and carts. As a tourist in Marrakesh I was alwayssemiconscious of the collusion betweenus as foreign observers and the locals weobserved; of our strange role in creatingand sustaining the landscapes, situationsand lifestyles we appeared, superficially,to be merely witnessing. Nonetheless, walking i n the medina it is possible toplunge ‘authentically’ from century tocentury within the space of a few steps.I saw skilled basket makers working in amanner unaltered since the time of the Almoravids (who ruled the cit y duringthe course of the 11th and 12th centuries)and observed a second later rooftopscoated by a thicket of satellite dishes,each a simulacrum of some object ofcontemporary desire” — Ben Farnsworth, Real time,18 February 2008

    Tanks to: Dimitris Argyros, Jacki Chan,Pascal Bronner, Ed Farndale, Maxwell Mutanda,Corinna Tielen, Peter Szepaniak, Patrick Weber

    1. Rebecca Fode, Laundry AtNight

    2. Myrabel Menis, ‘Veil theatre’3. Ben Farnsworth, Djemma El

    Fna Hamam4. Viktor Westerdahl,

    temporary structure5. Rebecca Fode, ‘Frogs legs’6. Rebecca Fode, ‘Irritation’7. Marie Kozjar, ‘Moments’8. Marie Kojzar, perception cast

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    30 Studio 4 31

    Studio 5Social Gravity

    Tutors:David KohnEmily Greeves Client:

    Pablo Flack, Bistrotheque 

    Consultants:Acoustic Engineering

    Stuart Colam, Arup AcousticsStructural EngineeringSteve Baker, Alan Baxter & AssociatesEnvironmental EngineeringJane Jackson, Max Fordham LLPRestauranteur Pablo Flack

    Critics:Hermann CzechChristophe GrafeSilvia Ullmayer Florian Zierer 

     As London changes, its public spacesand social character are under constantnegotiation. Tere is an ever-present needto redefine our collective ambitions forthe public realm and how they can berealised materially. What form should acontemporary architecture take that isable to establish and maintain a sense ofbelonging to the city first and foremostand to the world of commercial privateinterest second? In this context, the unit studied restaurant

    design. Te year began with detailedsurveys of several exemplary Londonrestaurants and bars, Te Wolesley,Bistrotheque, Petersham Nurseries andGordon’s. We then began to develop arestaurant brief from first principles bydesigning a meal in an open space, fromthe menu to the seating arrangement.Following a field trip to Vienna, proposals were developed for a site in Soho. Restaurants usually occupy existingbuildings. Terefore, designing newrestaurant structures presented anunusual challenge. What should arestaurant façade be like? Does thebuilding’s structure enable or hinderparticular table layouts? Consequently,can an intimate dining experience havea spatial impact on the city? 

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    9. Sinan Pririe, ‘weaked’

    10. Dean Myers, ‘Gardenshed’11. Bogna Sarosiek, ‘Shadow

    ransformation’12. Bronwen Loftus, ‘Flux’13. Asia Bartkowska ‘Music

    theatre’

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    Research1. Elodie Drissi, sketch,

    Palmenhaus, Vienna2. Michal Oglaza, survey

    drawing, PetershamPalmenhaus, Richmond,Petersham Nurseries

    33 Studio 532 Studio 5

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    33 Studio 532 Studio 5

    Troughout the year we discussed Austrian archite ct Hermann Czech’sadvice that a good restaurant shouldnot be noticed but remembered. Aneven greater challenge then, to createa memorable background to a mealenjoyed. Te role of the architecture mightseem tautological at first, background

    and memorable seeming irreconcilableideas. Consequently, the project requiresa subtle, complex, irregular and possiblyabsurd response from the architect.

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    Interior studies7. Paul Little8. Elodie Driss9. Peter von Essen

    Site plans10. Paul Little11. Peter von Essen12. Alex Tomalla13. Civita Halim

    14. Stephen Kennelly 15. Mette Soerenson

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    Designing a meal3. Te Representalists: a

    guerilla restaurant madeof tape, National Teatreenvirons

    4. Autumn celebration: ameal to celebrate autumn,Hyde Park 

    Exterior studies5. Elodie Drissi,

    polychromatic facade6. Paul Little

    35 Studio 634

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    Studio 6Entertaining London — TheRiverside Enjoyment…

    Tutors:Denis BalentAndrew Yau

     You can play beach volleyball on a sa ndyriverbank next to a palm tree in a pot if you are in Paris, or you can enjoy a lateevening fashion show next to the iberRiver if you stay in Rome. — What if youare in London, and what does the RiverTames have to offer?

    “ Te Tames retreats to expose hundredsof meters of beach twice a day up anddown its length. Below the level of theroads, sounds of the traffic are filtered andthe acoustics offered up by the banks echo

    seagulls instead. Te most inland tidalsandcastle building site, the foreshore isLondon's underexploited playground.”—Reclaim the Beach

    London is a unique European capital city.Not only is it one of the most intensifiedand diversified cities, it is one of themost entertaining too, full of events andinspirations. However, it seems the roleof the River Tames has always beendownplayed. Tis year, studio 6 lookedinto the opportunities in transformingLondon with the touch of leisure andenjoyment along the river Tames.

    Te Tames Foreshore or the UpperPool of London is the stretch of riveralong London Bridge to ower Bridge, which has been wel l known for itshistorical presence as well as its affiliatedspontaneous events. Tere have beensummer festivals, music and feasts inthe past. Te Frost Fairs in the winterof 1683–84 belong some of the bestdocumented events.

    1. Lida Neishabourian,banking/exchange

    2. Gabriel Lee, solar charger/café

    3. odor Demirov, gallery/broadwalk 

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    Studio 6 investigated the complexitiesof the site and potential impacts of theproposed interventions. Te studentsexplored the collaborative phenomena incontemporary architectural design andtested collateral behaviour in their works.

    Te students visited Barcelona or Brightonand formulated a palette of initial ideas.Tey have advanced their design in owerForeshore in London investigating newarchitectural possibilities in working withcomponent-based projects testing thepotentials in responsive and performativebehaviour in design.

    Studio 6 would like to thank:Eduardo De Oliveira Barata, Jonas LundbergHugo Mulder (Arup Advanced echnology +Research), Nathan Wheatley (Buro Happold),London Metropolitan Works

    36 Studio 6 37

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    Studio 7Architecture of Rapid Changeand Scarce Resources

    Tutors:Robert BarnesAnnika Grafweg

    By engaging residential communities inconversation between architect and user,establishing a contemporary discoursearound their changing physical andcultural landscapes, the studio enablesdesign projects to be provoked byencounters between designers and theirclients.

    During the academic year and with afield trip in November 2007, the studioinvestigated illegal settlements in theKalyanpurii, Jilmil Industrial area and

    Sundra Nagri areas of Delhi east of the Yamuna River. Te illegal settlements were either spaces adjacent to earlierresettlement schemes which were filled with the overflow from these schemes,or in the case of Jilmil Industrial Area, vacant plots undeveloped by the f actoriesand warehouses built between the Grandrunk Road and the Delhi to CalcuttaRailway line.

    Tese mostly single storey, brick,back-to-back rooms straddling windingpedestrian lanes are home to desperatelypoor workers, lacking sanitation, adequateclean water, health and educationfacilities. Tese developments are all

    around 20+ years old and – althoughestablished – do not have any properstatus within the Delhi 2020 master plan.Designated ‘JJ Camps’, they appear asblank areas on the Eicher Map of Delhi(the A–Z equivalent), in stark contrast onGoogle Earth where they appear as themost densely occupied areas of the city.

    1. Put Verit VeliquissimDignissi.

    2. Per Sequam, Quam, Sum Vullaor Iure Facip Ea FacingEa Acil Ipissi Blamet

    3 .Dolor Sum Zzriliqui ioDo Ea Feuisl Et, Si e atueFeugait, Suscipi Smodolor

    1

    2 3

    4

    5

    6

    4. Aris Teodoropoulos,newsagent/bookshop

    5. Wei Hou, beachhut/sundeck 6. Chris Fulford, gallery/terrace7. Christine Wong, hotel/

    gallery

    7

    39 Studio 738 Studio 7

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    Each of the settlements studied aredistinct in character, culture, history, andurban grain. By surveying the physicallandscape and consciously interacting with local people, students built aphysical and cultural picture of eachsettlement. Student proposals have grownout of these investigations. In the illegalsettlements priority has been given toupgrading rather than resettlement andthus methods of phasing and decantingthe local population gradually andsensitively during the process has been

    paramount.

    Prior to the November field trip,techniques of investigation together with designi ng with loose fit and greentechnologies at community level werepractised in a preliminary project basedin Bethnal Green.

    In summer 2008 and continuingthroughout the following year, a livestudent project will start to improveeducational and health facilities in aseries of 10 quarries, Mumbai.

    4. Se Duipsum DoloreConsequametperos autet,secte magnim aliquis

    5. Quipis Nosto Et LaFeugait El Utat. OboremDit Pratperos autet, sectemagnim aliquis

    6. Wisl Ullaor Sit UtatumZzrit Adio CommoloreetIureperos autet, sectemagnim aliquis

    7. Moluptat Vullan Velessectet Augait Velesed Delesseniat Volor Sisi.

    8. Obore Feu Feuis DoloreMing Et Ulputpat Accum

     Velendiam Quisci9. Ulputpat Accum VelendiamQuisci Inibh eseddolorperos autet, sectemagnim

    4

    6

    7

    8

    95

    41 Studio 840

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    Studio 8A Palace of Projects

    Tutors:Daniel SerafimovskiAdam Khan

    Contributors:Nada PrljaThomas Goodey

    Consultants and Critics:In LondonPhil ChristouAlan ConisbeePierre D’AvoineMax FordhamDavid GrandorgeIoana MarinescuRose NagAndy StoneTyron ZallIn Split Igor CaljkusicCarlo Grenz(Carlo Grenz Foundation),Ana Grgic,Ivica Mitrovic,Mirko Petric

    Snjezana Perojevic(Research Center for MediterraneanArchitectural Heritage)

    One House, One City

    Studio 8 continued this year with itsresearch and proposals for the DiocletianPalace in Split, Croatia. Tis complex urbancontext, configured by the dense medievalcity that evolved over time within the wallsof a fortified Roman Palace, remains theheart of modern day Split. A lively dialogueof coexistence – of layers of history and ofmodern life – provides the potential forcontinuous change and for contemporaryspatial interventions to contribute towardsa strategy for the future evolution of the

    palace / city. Tis i s currently a topic ofmuch debate and social dispute amongstits citizens and policy-makers. Te studiohas been developing proposals for a ‘Palaceof Projects’, a growing archive / museum ofarchitectural projects for Split – both ‘Built,Unbuilt and Unbuildable’.*Tis publicbuilding for the display, study and storageof drawings, models, books, documents,photographs and films related to thehistory and architecture of the city itself –aims to create a dialogue between its past,present and future. It arises from the needto house and make publicly accessible, thecontents of several existing archives thatcurrently are in ‘private’ hands.

    * Te title of a book by architectural historian

    Robert Harbison.

    wo Journeys

    Te programme illustrates the studio’sunderlying interest in the enigmaticqualities of museums, archival spacesand reading rooms; the qualities of‘internalised’ spaces. We started bystudying the hybrid world of Soane’sMuseum in London, developing modelsand detailed drawings of selectedspaces.* Our theme for an ‘architecturalarchive’ is inspired by the spirit of Soane’smuseum, as well as by Brodsky andUtkin’s nostalgic project for a ‘Museum

    of Vanished Houses’, and Ilya Kabakov’sutopian ‘Te Palace of Projects’. During our trip to Split, visits to twoarchives, the contents of which weredocumented, together with surveys ofa series of sites within the DiocletianPalace, formed the foundation for thedevelopment of students’ projects. We alsocollaborated with architects, designers,sociologists and members of staff andstudents from the Architecture Schooland Fine Art Academy in Split. A series ofdinners, walks and seminars served as anintroduction to the complexities of thiscity and its contemporary issues.

    * Drawings adopted the representationaltechnique described by Robin Evans as ‘Te

    Developed Surface’, in his essay of the same title.

    Tirteen Ways *

     While design ing new spaces for t hiscity, we referred to Nolli’s map of Rome,Robert Adam’s survey of the DiocletianPalace from the 1760’s, and to AldoRossi’s observations about Split in‘Te Architecture of the City’.** Tesereferences, and various other precedentstudies, formed the basis for researchabout the relation between exterior andinterior space, public and private space,old and new, and the temporary versusthe permanent. Students have developed

    proposals with an infrastructuralapproach, offering new / appropriatedpublic spaces and buildings characterizedby a civic quality, urban generosity andan inherent adaptability to the changesof use over time. Each project responds tothe ‘as-found’ properties of the individualsites; their spatial, material and figurativequalities. Each project reflects a personalinterpretation of what a ‘Palace of Projects’might be. A selection of the students’ work will become the basis for a publicationand an exhibition in Split in autumn, 2008.

    * ‘Tirteen Ways’– another book by RobertHarbison, that borrows it’s title from the poem‘Tirteen Ways of Looking at a Blackbird’.** Aldo Rossi: ‘Split discovers, in its typological

    form, an entire city. From here it follows that thesingle building can be designed by analogy withthe city’.

    1. Viktoria Kovalevskaya,‘ower house’, charcoaldrawing

    2. A view of Split and a modelof Split in a painting byGirolamo De Santacroce

    3. Studio 8's 'Archive' of Architect ural Models

    4 & 6. Valerio Fornasini,‘Void space’ project, 1:50site model showing theproposals’ vertical andhorizontal ‘infill’ volumes

    5. Valerio Fornasini, ‘Voidspace’ project, 1:25 interiormodel showing the archive/ study spaces below thehanging gallery space

    1 6

    4

    53

    2

    42 Running Head 43 Running Head

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    Studio 9Interior ArchitecturePrivate Exhibition – Public Living

    Tutors:Nerma CridgeTania Lopez-Winkler Sophie Ungerer 

    Studio 9 encourages a constantquestioning of pre-existing definitionsof Interior Architecture. Our students’projects aim to demonstrate that thisdiscipline has the potential of containingthe most creative aspects of several otherrelated disciplines such as product design,scenography, art and architecture. Tus, we believe t hat the focus of the designenquiry has to continuously shift inbetween the intimate space of the interiorand the public space of a city.

    raditionally, the architectural objectsdealing with living and monuments are,respectively, ‘houses’ and ‘exhibition inpublic spaces.’ Tis year Studio 9 workexplores and challenges the boundarybetween the living/house as interior-private and monument/exhibition aspublic-exterior. Te projects aim toquestion apparent opposites: fragment/ whole, inside/outside, public/private,temporary/permanent with the notion ofboundary  as the initial basis.

    1

    6

    7

    9

    10

    8

    2

    1. Jolita Prusaityte,construction sequence of‘Beehive structure’

    2. Jolita Prusaityte, ‘Doll’shouse – living withinminiature square’ , Nelson’sCloset Collage, bringingrafalgar Square elementsinto proposed student livingunits

    6. Briony Clarke, ‘Ghost house’project. Conceptual andsectional sketch; conceptualmodel showing descent intoarchive space.

    7. Briony Clarke, ‘Ghost house’project. Section throughcourtyard showing thesubterranean archiveand stiletto shoe-shapedstructure providing a spaceat roof level.

    8. Briony Clarke, ‘Ghost house’

    project. Site model showinginsertion of rooftop viewingplatform.

    9. Agata Podgayna, ‘Redpallazzo’, cast model studyfor red concrete facade anda 1:50 model of volume/interior

    10. Agata Podgayna, ‘Redpallazzo’, sketch models ofstaircase and archive spaces

    11. Agata Podgayna, ‘Redpallazzo’, contextual

    sectional drawings

    11

    45 Studio 944 Studio 9

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    1. Point of View – any where in London

    Tis project deals with relationshipsbetween the viewer and the view — andhow the framed view creates a fluidboundary between an exterior andinterior. Te main elements and principlesidentified in the framing process wereintroduced into the ‘Inhabited Forest’project, taking them as starting point forthe creation of an inhabitable structure.

    2. Inhabited Forest – Larrasoaña,

    Spain / Hampstead Heath

    Located in a series of specific sites inSan Sebastian, Spain and HampsteadHeath, London this project worked withreal clients, the artists Federica avianand Gonzalo Laborra, and their briefto design an ‘inhabitable sculpture’.Te project sets up the idea of living in/ with a monument and ex plore issuesof verticality/horizontality, fragment/ whole, individual/society, inside/outside,materiality and sustainability. Te point ofdeparture in questioning these apparentopposites is the domestic space as a seriesof dispersed, temporary, fragmentedelements and activities instead of asingular complete object.

    3. Private exhibition, Public living –rafalgar Square, London

    Te projects required proposals to createexhibition and living spaces in rafalgarSquare. Some of the questions beingexplored in the design proposals includethe very definition of a public square, thestatus of the citizens as opposed to thetourists, the relationship between theco-existing public exhibition and privateliving space, and even the consequencesof consumerism and globalization. Tisis how the boundary of the inside/outsideand private/public becomes traced,altered, blurred and ultimately erased.

    3. Rebecka Haymoz, portablestudent housing units,collage

    4. Antonio Maggi, ‘IN-OUproject’, layered section/elevation

    5. Antonio Maggi, ‘IN-OUproject’, elevation westGeorgian theme facade

    7. Sophie McDonagh,‘rafalgar Square: a bird’slife’, conceptual collage

    6. Malgorzata Roczniak,panoramic perspective

    8. Golnaz Alavi abatabai, water exhibit ion perspective

    5

    3

    8

    4

    6

    7

    47 Studio 1046

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    Studio 10[Title]

    Tutors:Catrina Beevor Nicola Murphy

    1. Maria Lundstrom, WallaceCollection, record of spatialsequence

    2. Adela Stasova, public room,Barbican, part of imaginedsequence of spaces

    3. Nadine Schuy, publicroom, Barbican, imaginedsequence of spaces

    4. Maria Lundstrom, publicroom, Barbican, model

    Studio 10 has concentrated on thefundamental discipline of Interior Architecture a nd thus has e xplored howto make internal environments thatsupport and provoke everyday life in richand compassionate ways. Our site for the year’s work has been Chamberlain, Powelland Bon’s heroic Barbican Estate.

     After an initial project for an outdoorkiosk there, the students identified andrecorded sequences of internal spaces intwo very different buildings – the Wallace

    Collection in Manchester Square andErno Goldfinger’s house on Willow Road– and examined how linked rooms cansustain alternate uses and atmospheres. We looked at threshold, detail, decoration,construction and furniture.

    Tese recordings of sequences of once-domestic spaces were then plunderedand re-interpreted first as proposals fordesigns of cabinets for the storage of life’snecessities and then as propositions forone-room living in a given location withinthe Barbican Estate.

    Te second semester countered ourerstwhile concern with the nature

    of private space by consideration ofcivic amenity. With further ideas andinspiration from a visit to Le Corbusier’sUnite d’Habitation in Marseilles, wereturned to consider what a public roommight be, particularly in the context of theBarbican megastructure? By suggestingthat it is to the Barbican as a whole whata drawing or living room would be to asingle house, our final project projectbuilt on the studio’s previous work onthe sequencing of domestic space andits ceremonies. Te public room(s) thestudents have proposed are sited in theairspace above the Barbican’s BrandonMews (currently disfigured by a 1970’sbrown polycarbuncle). Tis space links

    easily to the main podium level of theBarbican and is also within the principalpublic courtyard of the Barbican, adramatic ‘amphitheatre’ which makesthe site a natural focus point and a greatplace for the collective social life of theBarbican residents to take place.

    4

    32

    1

    49 Running Head48 Studio 10

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    The Box- Sections

    A A

    B B

    C

    C

    Section B-B Section C-C

    EntranceTwo

    MovebleUnit

    Moveblewall/Storage

    Open Cupboard/ Storage under Dance Studio

    EntranceOne

    MovebleWallBookStorage

    PeopleusingtheWindowseat

    DeskandStorage

    Scsle 1:50

    Section A-A

    DanceStudio/StageWindowSeat

    Desk

    SofaTable

    EntranceOne/ Exhibition

    StorageunderDanceStudio

    8

    9

    10

    8. Nyasha Woodley, publicroom, Barbican; aerial viewof Brandon Mews

    9. Christian Litz, public room,Barbican; floor plan

    10. Maria Lundstrom, publicroom, Barbican; sectionsshowing proposed sequenceof spaces

    51 Unit 150

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     Within sites of this h istorical and cultura limportance, the design proposal is formedby the way one draws both the naturaland cultural topography and the ancientstructures. Te way one visualises the siteis an important initial part of the designprocess.

    Te most successful projects make anarchitectural proposal that reinforce orintensify an already existing topographicalfeature (such as a ridge, or a valley) toform the basis of a new city structure. It

    is important to realise that city structuresare not determined by programme or use.Tey can accommodate many differentactivities, functions, or programmes.City structures can accommodate futurechanges that were not yet known when theurban landscape design plan was made.

    FB / PC May 2008

    Florian Beigel and Philip Christou are workingon design research projects in the A rchitectureResearch Unit within the school.http://aru.londonmet.ac.uk 

    * “Landscape as City” is a book of city originstudies by Diploma Unit 1 students at LondonMetropolitan University. Edited by AlexanderGore, Paul Rawson, Nicola Read, Matt Whittaker.

    Introduction by Florian Beigel and PhilipChristou. Published by Architecture ResearchUnit, London, Jan. 2008, 142 pages, 14 colourpages, 296mm x 240mm, ISBN 798-0-9544484-5-5. (A limited number of copies are availableto purchase at: http://www.waterstones.com/waterstonesweb/displayProductDetails.do?sku=6258668

    Tis project is intended to offer a criticalproposal for a new city-landscape, anew urban form, by designing for anextended community with a broad socialmix on sites where new buildings areusually forbidden. It is intended to be anexemplary exercise to demonstrate viablealternatives to current planning practicesthat encourage building only withinexisting local population centres. Teintention of the landscape as city projectis to imagine a dispersed densification ofthe land, providing for a greater number of

    people to live and work on the land.

     We are working wit h concepts of space,doing design as research. In particular we are caring for the ideas and quality ofspaces in the city. We are asking ourselves: What can buildi ngs do to give quality topublic space? How can the intervention bean improvement and a compliment to thecharacter of the historical setting?

     We have tried to remi nd ourselves of thenotion of the memory of landscape in cityspaces. Tis has provided a useful supportin the designs of students who could seethis memory of landscape, and have beenable to make excursions into pre-city time.

    Land cultivation patterns that have turnedin time into human settlements have beenstudied. Tis could be regarded as theorigin of a city.

     Working inside or in t he vicinit y of anarchitectural archaeology, such as aruin of an ancient abbey, students havedesigned a city catalyst. Students beganby carefully studying a number of placesof this kind.* Tey then examined thepotential of these architectural witnessesof time for generating new spaces and newuses. Some imagined this to be a farm,or a new town in the grounds of a formercountry estate, or a partial inhabitation ofa historic ruin.

     After v isiting Hadria n’s Villa near ivoli i nItaly last November, students chose one ofthe following sites to work with:– Fountains Abbey, North Yorkshire– Wimpole Hall, Cambridgeshire, with

    farm buildings designed by John Soane– Hadrian’s Villa, near ivoli, Italy – Te north bank of the Tames River

    (facing towards the ate Modern)between the Tames and St. Paul’sCathedral

    Unit 1Landscape As City– Land Rooms And City Rooms

    Tutors:Florian BeigelPhilip Christou(Architecture Research Unit)

    1. Robert Mc Cluskey,Fountains Abbey. Making aruin datum at the river edge.

    2. om Bates, Fountains Abbey,south courtyard elevation

    3. Fountains Abbey, A newpaved terrace along the footof the cliff face provides aninfrastructure for futurebuildings

    4. Alex Gore, extension ofpublic space at Fountains

     Abbey, Yorkshire

    5. Alex Gore, extension ofpublic space at Fountains

     Abbey, Yorkshire6. Awot Kibrom, a view from

    the ruin of Fountains Abbeyto one of the new buildings

    7. Awot Kibrom, first stepstowards the densificationof the grounds and ruinedbuildings at Fountains

     Abbey, Yorkshire

    1

    2

    3 6 7

    4

    5

    5352 Unit 1

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    Unit 2The Space Withinand Between

    Tutors:Rik Nys andRU2 Cuba projects

    “ Te Locus is a relationship between acertain specific location and the buildingsthat are in it. It is at once singular anduniversal.” — Aldo Rossi, L’architetturadella Città, 1966

     As in previous years, the u nit is interes tedin what we call ‘the geology’ of citiesand ancient sites. Departing fromhistoric stratification, we adhere tocultural sustainability while adaptationto current needs and modern briefsremains at the core. We continue our

    research on specific materials andrespond to particular environments withaffordable ‘low-tech’ solutions. Socialpreoccupations, environmental concernsand technological constraints underpindecision making, while both light andatmospheric conditions aid with formmaking.

     All th ree sites are in the cit y of SanctiSpíritus, in the province with the samename. We have been collaborating closely with our Cuban counterpar ts, whichinclude students of the architecturaldepartment of the neighbouring provinceof Santa Clara and professors of the futurearchitectural school in Sancti Spíritus.

    Te projects – a vocational school forconstruction, a pre-university school,and a conference centre for sustainableresearch for the university – have beenestablished with the University José MartíPerez, the local heritage commission, thecity of Sancti Spíritus and the ministriesof Education. All programmes are to beconstructed in the foreseeable future andthe briefs and proposals will be furtherdeveloped with the mayor stakeholders.

    2 3

    1. Ian Smales, light, space andstructure

    2. Charlotte Mockridge,montage, shade and shadow 

    3. Site meeting with Cubanrepresentatives andstudents

    1

    12

    8

    8. Anna Page, Hadrianís Villa.Plan of land room in the‘Vale of empe’.

    9. Dingle Price, sketch.Reconstruction ofHadrianís Villa according toarchaeological research.

    10. Dingle Price, Hadrianís Villa, i voli. Te new cityfigure, ancient and newstructures drawn together.

    9

    11

    10

    12. Dingle Price, Hadrianís Villa. Vie w from ivoli of t henew city with Rome on thehorizon.

    11. Hadrianís Villa. In thefoothills of ivoli, gardenand urban building facadesaddress the ‘hortus’ landroom in the ‘Vale of empe’.

    55 Unit 254 Unit 2

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    4. Giuseppe Messina, siteobservation, vocationalschool

    5. Francesca Giannuzzi,section, conference centre

    6. Alessandro Milani,conceptual and comparativemodels of the ‘Casa delFaun’ in Pompeii and theproposed conference centre

    7. Alec Borill, model ofinternal space, vocationalschool

    8. Julian Merill, casting thelight

    6

    7 8

    4

    10

    11

    95

      9. Ilgi Karaaslan, light study,resin model

     10. Developing printson site in Cuba

     11. View of Sancti Spíritus 12. Nick Bristow, model,  pre-university school

    12

    Collaboration between t he Universities of SanctiSpìritus and Santa Clara in Cuba and the LondonMetropolitan University:Dr. Ing Osvaldo Romero Romero, CUJM, Vicerector ; MsC. Arq. Eugenio Domìnguez Prez; MsC.Lic. Elba Ferrer Lorenzo; MsC. Lic, Osmani PèrezFardales; MsC. Lic. MarÌa A ntonieta JimènezMargolles, City Historian;Arq.Vivian DortaRodriguez ; Arq. Mayra Pèrez Martin, Planning  Ing. Manuel Marrero, Soil Investigations; Arq.

     Abdel Mar tÌnez Cas tro; Ing. O lga Lidia BernalMayea, Provincial President of the National Unionof Architects and Structural Engineers.

    Contributors: Alessa ndro Penna; Matthew Philips ; Alex A restis; Anne Mar key, Dir. ASD Projects office ; Rik Nys,

    Director Research Unit RU2 ; Max Fordham OBE,Environmental Engineer ; Alan Conisbee, StructuralEngineer ; Carsten Vellguth; Tomas Goodey;Matthew Barton; imothy Smith; Marc Raymond;Holy Westley; Robin Monotti; Charles Barclay 

     With the support of :Dr. Rodolfo Alarcon Ortiz, First Deputy Minister

     for Higher Education ; Brian Roper, ChancellorLondon Metropolitan University ; DrC. ManuelGuillermo Valle Fasco, Rector CUSS (CUJM); H.E.Rene Mujica Catelar,  Amabassador to the UK ; Mrs.Silvia Blanca Nogales, First Secretary for Scientificand Cultural affairs; Steve Dove, PrincipalPolicy Adviser, London Metropolitan University ;Prof. Robert Mull, Head of the departmentof Architecture and Spatial Design, LondonMetropolitan University 

    57 Unit 356

    U 3

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    If you go down to the woods today…

    Bostall Woods in South East Londonis surrounded by stretches of terracedhousing and a suite of high street centresthat serves its inhabitants poorly. Tismetropolitan open land covers an area ofground larger than Regents Park.

     Almost nothing happens here. Te myriadof terraced streets of housing set aroundits edges offers no interaction in terms ofuse or even views. And yet the condition

    that results is strangely generous,being open and loose in structure, anda compelling alternative to the denseurbanism fixated on town centre livingand artificially mixed uses.

    Te unit has employed documentary,research, discussion, speculation andimagination to understand the natureof these locations, and how to work withthe place. We have worked with artist Ashley McCormick to research act ivities,uses, preferences and wants. An interestin the edges of places has led us on ourunit trip to Rome, to see the Via Appiaand the Olympic Village. A seminar withFred Manson, Ken Worpole and RobertMull has helped to understand the roleof the woods in a London wide context.

    Generating a focused and productiveconversation has been a key part of the year’s work.

    In the second semester, each student hasset their own objectives for proposals which involve local re-structu ring toenhance the place without erasing valuable qualities. Ex isting constel lationsof use, and the buildings and spacesaccommodating them have been closelyexamined, imaginatively understood, andadded to.

    Unit 3Big surprise

    Tutors:Judith LösingJulian LewisDann Jessen

    Consultats:Ashley McCormickAndy Greig

    1. Peter Hall. Trough takingphotographs of Bostall

     Woods and following thepicturesque landscapehunters method ofpositioning and editing outpeople, cars or anythingelse that might spoil thepicture, an alternative viewof these metropolitan woods

     was obtained.

    2. Aya Okada. Sketch exploringrelationship betweenShooter’s Hill, Abbey Woods,Tamesmead and RiverTames, and a possible greencycle route.

    3. Seminar in the HaywardGallery with Ken Worpole,Fred Manson and RobertMull.

    4. Peter Hall. Before and after watercolour studies of acollege building as a figure onthe horizon of Bostall Woods.

    1 2 4

    3

    5958 Unit 3

    T P i Mi i t tl dU it 45 Johnny Lung Lesnes

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    Te Prime Minister recently announcedthat annual UK housing targets wouldrise from 200,000 to 240,000 new homes a year. However, a primary concern is t hatmany of the new market homes are builton brownfield sights that are typicallylocated in floodplains. A study by theDepartment of rade and Industry (DI)and the Foresight Future Flooding reportprovide an analysis of flood risk in the UKand claim that the cost of future damagecould total from £1bn and increase to£20bn a year by the year 2080. Ratherthan work with real design changes toour iconic dwellings in these potentiallyhazardous zones, according to the LGFand the Stern Report, we continuallyover-invest in long-lived, high-carboninfrastructure & mitigation systems. Asarchitects and design researchers faced with these flooded environments weshould be investigating locally-driven,design changes that enable, challenge andfundamentally adapt the structures weinhabit.

    Unit 4Urban Ecologies II:ParametricMorphologies

    Tutors:Steve HardyJonas LundbergEduardo De Oliveira Barata(Urban Future Organization)

    7 8

    5

    6

    5. Johnny Lung, Lesnes Abbey Farm. o create ne wspatial relationships, landis reconfigured into plots of

     various si zes in accordanceto their related use. Somespaces are more generous,e.g. the grazing paddocks,

     where others are muchsmaller and intimate, e.g.courtyards. Te plots havebeen given names thatderive from the history ofthe abbey as well as othersthat are more farm related.

    6. Johnny Lung, axonometricdrawing of new farm around

    Lesnes Abbey.7. Michael Na, Abbey Wood

    Community Library sits onthe edge of the woods andbetween the high street andthe flyover, mediating thespace between these threeconditions.

    8. Christopher Storie, sketchesof folly and its relation toLesnes Abbey ruins andthe existing ornamentalgardens.

    2

    1

    1. Chris Robeller, intellishade2. Lizzie Ruinard, beehive

    61 Unit 460 Unit 4

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    Tis year Unit 4 examined the singlefamily terrace house and the atypicalityof a typical floodplain development inthe UK. Te unit accepted the need fora radical typological and morphologicalchange in how these buildings meet theground and hence interface with thefloodplain. Alleviating direct groundcontact with living space could potentially

    save billions of pounds in future damagesand fundamentally readdress the spatialand typological configurations of thedwellings. Working between the masterplan and the individual housing unit, we investigated a rrays of homes alonga proposed street and the associatedpotential of parametric modulation within t his series. We considered thequalitative effects and sociological affectsof these serial modulations and exploredthe internal differentiation and spatialindividuality that can be grown, or bred,through the differentiation of the serialparameters.

    Unit 4 continues to experiment withdigital design tools and techniques thatallow multiple iterations of a conceptto be examined within given social,political, urban and economic contexts.Tey look specifically at generative,associative and parametric modellingtechniques which aim to develop andformalise the relationships between

    multiple constraints and variables within t he complex patterns of urbanecologies. In contrast to the dominant useof computers as a type of digital pencil where preconceived ideas are enteredinto a computer program, renderedand detailed, Unit 4 embraces a morecyborgian design process. Tese processesaim to reveal design potentials found within s ystemic and rule-based logics ofdigital design techniques.

    Steve Hardy, Jonas Lundberg andEduardo Barata are all membersof Urban Future Organization, aninternational architecture office anddesign research collaborative. Tey

     were awarded the RI BA Part II utorPrise in 2003. Tey have lectured andtaught extensively internationally. UrbanFuture Organization has won a numberof international competitions and hasexhibited its work at the Venice Beijing &Beijing Biennales.

    7

    4

    5 6

    83

    3. Chris Robeller, interiormaterial system

    4. Chihming Huang, array 5. Yin Ho, river view 

    6. Yin Ho, typology 7. Marcos Z Lopez, roofscape8. Marcos Z Lopez, landscape

    63 Unit 562

    Mentors and friendsDesignUnit 5

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    Mentors and friends

    During the design process the unit hasbeen assisted by Wolf Mangelsdorf,Jim Fleming and a group of graduateengineers at Buro Happold, and equallyby Mark Gillingham, an Associate atlandscape architects Gustafson Porter. We are greatly i ndebted to them for thei rhelp and support. We would also like toexpress our thanks to those who agreed tobe our ‘Mentors’ and who each delivered atalk on participatory design or the publicrealm and later attended a design crit:

    David Barrie, Channel 4 V producer andregeneration consultant  Dr. Paul Brickell, Urban/CommunityRegeneration Expert, Director, LeasideRegeneration

    Clare Cumberlidge, Cultural Planner,Director, General Public Agency 

    Jim Fleming, Engineer, Buro Happold Mark Gillingham, Landscape Architect, Associate, Gustafson Porter 

    Manu Luksch, Artist, Ambient V  Wolf Mangelsdorf, Structural engineer,Group Director, Buro Happold

    Lucy Musgrave, Community Regeneration,Director, General Public Agency 

    Martin Orton, Media and Engagement,Director, Bold Creative Stephen Take, Policy/CommunityRegeneration/Reader in Social Policy. LMU 

    Prof Jeremy ill, Architect /Author/eacher,Head of Architecture, Sheffield University 

    Greg Villalobos, Media and Engagement,Director, Bold Creative 

    Design 

    Tis year the unit pursued threeinterwoven projects, each evaluating andextending architecture’s intrinsic publicand social dimensions. Te first project -Building a public - explored ways in whichdesigners, users and stakeholders couldshape a dynamic that would properlyinform design intentions and build‘ownership’ as a basic generator of thecivic, social and spatial values associated with public space. Tis was anchored by alive project for the design of a playgroundon the Isle of Dogs.

    Te second project – Building in public– called for the detailed design of aplayground for the imber Wharves estatein the Isle of Dogs in close collaboration with residents, ch ildren and variousstakeholders. Te design was approachedthrough four competitive groups ofstudents, who each elaborated a projectthrough participatory processes anddesign values defined through the firstproject. Te client, users, stakeholders andmentors selected what they consideredto be the best design scheme through aseries of events in mid November in which

     just under 800 local people were i nvolved.Te selected design was subsequentlydeveloped further by 4th year students, who also pursued detail design refinementthrough the AA ‘Prototyping’ Module.Te project secured planning permissionin February 2008.

    Te third project – A public building –asked the fifth year and MA students tooutline, programme and design clear‘public realm’ projects for the Isle of Dogsdrawing on their intense understandingof the area’s particular and curioussituation, and first hand experience of thedifficulties associated with contemporarypublic space. Te propositions could

    meld architecture, landscaping and civilengineering to define these new territories.Fourth year students were asked to pursuesimilar objectives, but only to conceptdesign stage, having spent further timedeveloping the playground project.

    Unit 5Fluid

    Tutors:Steve McAdamChristina NortonAngelika LienhartNatalia Alonso

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    4

    5

    1. Kat Davis, ‘Youthtalk’.Local youths fess up ongangland culture (laterplotted and mapped)

    2. abitha Pope, ‘Ballooning’,Balloons fitted with poweredLED’s were distributedthrough letterboxes withan invitation to meet the

    students and talk about theplayground insitu. Balloons

     were inflated with heliu m atthe event as an enticementappealing equally to kidsand ‘vicious teenagers’. (withKat Davis, James Nichols,Fungling-Ngan, Vicky Lohand Sadiqa Jabbar).

    3. ‘Te urban theatre’Concept design by LindaGustafson, Michael arring,Phoebe Braidwood andCaroline Khoo. Planningapplication drawings andrisk assessments by alldip 5 members. Furtherdevelopment and detaileddesign by all 4th yearstudents. Te rig supportsplay and props and offers thepossibility of impromptouconfigurations andinter-agency curation ofevents (drawing by Michaelarring).

    4 . Linda Gustafson, ‘Circusschool’, site plan. Te circusschool is contained in alarge, floating structureanchored to a new riverbus landing. It will inject anew dimension of life ontothe tired streets of the Isleof Dogs, and some badlyneeded humour.

    5. Linda Gustafson, ‘CircusSchool’, elevation

    6564 Unit 5

    By engaging communities of occupants inUnit 6

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    y g g g peveryday conversations in space and timeso as to evoke in contemporary discoursetheir changing physical and culturallandscapes the studio enables peopleprovoked projects by design.

    Tis academic year, during a field trip inNovember, the studio investigated illegalsettlements in the Kalyanpurri and JilmilIndustrial areas of East Delhi as well asanother contrasting site surrounded bycrumbling Havellis (closely packed urbancourtyard town houses) in Old Delhi.

    Te illegal settlements were mostlyspaces left over from earlier resettlementschemes which were filled with theoverflow from these schemes. Builtdefensively around the time of the Sikhriots in 1984 these mostly single storey,brick, back to back rooms straddling winding pedest rian lanes a re hometo desperately poor workers, lackingsanitation, adequate clean water, healthand education facilities.

    Unit 6Architecture ofRapid Change andScarce Resources

    Tutors:Maurice MitchellSumita SinhaFrancesca Pont

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    6 7

    8

    9 2

    1. Nicolas Maari, Kalyanpurisite survey. Tis survey wascarried out by 12 studentsover two weeks as part oftheir Delhi field trip.

    2. Amelia Rule, KalyanpuriBazaar street plan. Tis busystreet is the only throughroad. Te narrow street isdominated by the active

     women of the settlement, washing clothes , chatting with neighbours wh ilst watching the ev erydayactivities around them.

    6. Michael arring, ‘Bridgingthe gap’. Te scarcely used

    expanse of the MillwallDocks are brought backto life with layered bridgeconnections and floatingislands sporting sportfacilities, landscaped decksand the odd cafe.

    7. Niko Lutener, ‘Intensifiedpark’, park masterplan.Te Mudchute park‘offer’ is both intensifiedand protected throughinstalling a ring of facilitiesaround the park. Teserespond to the high densitydevelopments proposedfurther north and makeuse of existing institutions,infrastructure andtopographical features.

    8. James Nichols, ‘Lido 2.0’. An array of servers, t hoseinvisible agents of today’son-line public realm,provide a suitable degreeof irony and the necessaryheat to keep the lido watersusable all year. Te lido fillsan old lock space beside theTames.

    9. Kat Davis, ‘Carnival HQcollage’. Te new HQ,a battery to charge thestreets, is located on thesite of Price’s Fun Palacein a kind of pier structurereminiscent of Klimt andthe constructivists.

    67 Unit 666 Unit 6

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    Tese new ‘organic’ settlements are acounterpoint to the other site which isa gap in the tumbledown Mughal OldCity, layered with history, picked overby goats and hovered over by doves andstringed kites with its brick and stone walls frami ng dusty v iews reminiscentof an orientalised 19th Century colonialpainting. Tis site, alongside the main

    bazaar street connecting Delhi Gate withthe Jama Masjid is home to two of the fifth year schemes.

    Each of the settlements studied aredistinct in character, culture, history, andurban grain. By surveying the physicallandscape and consciously interacting with local people students built a physicaland cultural picture of each settlement.Student proposals have grown out of theseinvestigations. In the illegal settlementspriority has been given to upgradingrather than resettlement and thus themethod of decanting the local populationgradually during the process has beenparamount.

    Prior to the November field trip,techniques of investigation together with designi ng with loose fit and greentechnologies at community level werepractised in a preliminary project basedin Bethnal Green.

    Starting in summer 2007 and continuingthroughout the year a live student projectto improve sanitation in Kuchpurra, a village in Agra, provided material for anexhibition of work to inform the RIBA visitin October 2007 and precedent for futurelive projects planned in the area for thecoming year.

    3. Yougesh Bhanote, sketch ofthe mat maker

    4. Shamoon Patwari, existingelevation of old Mughalpavilion in its setting

    5. Azedah Mosavi, elevationof proposed communalcourtyard

    6. Nisha Kurian, sectionshowing biogas cookingsystem in Sarita’s Kitchenand Kalyanpuri Women’sribunal Meeting House.

    7. Bo ang, ‘Te k ite field’.Flying kites and exercisingpigeons are rooftopoccupation in Chitli QabarChowk.

    8. Bo ang, proposed longelevation of Haveli Campus

    9. Amelia Rule, KalyanpurriCommunity Centre, detailedsection. Tis shows theconstruction of the domeover one of the two mainspaces in the CommunityCentre. You can see thedifference in the quality ofthe daylight in the domeand the courtyard. Tehousing behind has directaccess to the roof space,making every aspect of theCentre communal.

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    69 Unit 768

    Unit 7 “She drifted into the body of the flat, theh k h Sh l d

     Architecture must adjust to a changingd h h T

    Students have re-assessed and interpretedd h l f d k

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    Timber / Building / City

    Tutors:David GrandorgePeter Karl Becher Matthew Barnett-HowlandStefano Ciurlo-Walker 

    Consultants:PlanningDuncan BowieStructure

    Alan ConisbeeTimber Construction & Environment Liam DewarServicing & EnvironmentMax FordhamStructure, Sustainabilty & Transport Ramboll Whitby Bird

    Critics:Geir BrendelandTrevor BrownAlex ElyTom EmersonAndrew Jackson

     Viktor JakAdam KhanOlav Kristoffersen

    Robert MullDaniel RosbottomRowan Seaford

    sitting-room, the kitchen. She placedthe silver tray on the wooden draining-board. She made another cup of coffeeand smoked another cigarette and readime magazine… Tis week’s coverstory was about the weather. As usual.It was hard to believe that the weatherhad until quite recently been a synonymfor small talk. Because nowadays the weather was big t alk. Te weather madeheadlines all over the world. Every day.On V a full reversal had taken place: thehandsomest newscasters and the brainiest

    pundits were all weathermen now; andthe whimsical tweed-suited eunuchs, who used to point rulers at charts andapologize about the rain, came on at theend to give the other news, or what wasleft of it. Meteorologists were the new war-correspondents…”— Martin Amis, London Fields, London:Penguin Books, 1989, pp. 331–332

    condition – the new weather. Tisadjustment is necessary not only to addressthe challenges posed by the new weather(adaptation), but also in an attempt toameliorate any further changes to the weather (mitigation). It sometimes feels animpossible task, but we can but try.

    Tis year Unit 7 have explored the use oftimber as a structural element because ofthe benefits of trapped carbon within it.Tis has been tested in low-metabolismhousing proposals of medium to high

    density for Dalston Junction and in apavilion built at Ecobuild in February of2008. Te housing proposals have beenaugmented by designs for a significantsingle-space building – a ‘hall’ for the city.

    dense housing typologies from deckaccess to the medium-rise perimeterblock, but also looked at how densitymight be achieved in more traditionalterraced configurations and (presentlyoutlawed) back-to-back housing.

    Due attention has been given to themyriad of regulations and codes that nowimpact on the development of housingincluding density targets, planning policy,section 106 agreements, fire regulations,the Codes for Sustainable Homes,

    Lifetime Homes and Secured by Designand the provision of ‘affordable’ homes.

     We acknowledge that architectu re mustnot be defined by these regulations andcodes. We hope that it may still transcendthem in order to provide a dignifiedbackdrop to our lives and remain a thingof beauty.

    1. 4th year students of Unit 7,Finnforest pavilion, built atEcobuild in February

    2. Colin Wharry, housing,sectional study

    3. David De La Mere, housing,interior model study 

    4. Colin Wharry, urban plan:model study

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    3

    7170 Unit 7

    5. Colin Wharry, housing,interior model study 

    Unit 8 Te Unit has continued its researchinto the increasing urbanisation of the

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    y6. Patrick Quinn, urban plan,

    model study 7. Mayuko Kanasugi and

     Alex sangerides, t imberinterpretation, model studyof the Unité d’Habitation

    8. Mayuko Kanasugi, singlespace, model study of watertower

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    7 8

    6

    Thames Gateway:Climate Change Incubator

    Tutors:Raoul BunschotenJorge GodoyMarco Poletto

    into the increasing urbanisation of theTames Gateway and the need to relatethis to the natural environment of theTames Gateway and the larger issue ofarchitecture and energy.

    Climate Change is affecting society tosuch a degree that all construction andurban planning is changing. But exactly where this cha nge is leading nobodyknows yet. How much energy are weusing in cities and how much will besoon available? Can cities become energy

    producers? Tis question leads to thecontinued efforts of the unit to work withincubators of pilot projects, both in theChina and the Tames Gateway.

    1. Eva Diu, agriculturalresearch centre. Studies ofthe cybernetic machine,three cirles intersect andcreate micro climates thatchange over time and in sizeto develop various scientificexperiemnts.

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    2. Dan Pedley, wind belt. Asmall belt that vibratesin the wind and createselectricity. Tis belt canbe incoprporated intothe surfaces of scientificcolonies throughout theTames Gateway.

    3. Ben Fallows, actualprototype for an expandingobject for the Cross RiverPark area, next to the hames

     Water water treatmentplant. It filters and puriefies

     water and contributes to thesoil clean up and general

     water treatment of L ondon.

    73 Unit 872 Unit 8

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    11 12

    4. Charles Wu, complete cycleof an urban prototype in theCliamte Change Incubtaor

    5. Charles Wu, site plan in theTames Gateway, pods andbiodiesel automotive factory 

    6. Charles Wu, flowting podsnear industrial sites duringhigh tide

    7. Ben Fallows, water and soilpurification landscape

    8. Ben Fallows, water and soilpurification landscape

    9. Ben Fallows, maps for theTames Gateway Atlas,hydrographic negotiations

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    Te Tames Gateway is a naturalincubator and therefore the right place,politically, socially, culturally and eveneconomically, to develop test projectsthat in some way address energy andother environmental issues. Each studentis working on one prototype projectsomewhere in the Tames Gateway withthe aim to proliferate it throughout the

    Tames Gateway.

    Tis is part of an ongoing programme toboth map basic environmental conditionsin the Gateway as well as effectivelystarting to design elements of the Gatewayas Climate Change Incubator. Tere is abeauty in innovation; and an aestheticpower in the newly developed prototype. We aim to continue to develop t hisbeauty. Parallel to that we have beenresearching the early cybernetic textsand linked the concepts of cybernetics tothe organisation of prototypes. Cities arecomplex organisms and the developmentof prototypes connecting energy issuesto urban complexity leads to a renewedsearch for the potential of cyberneticthinking.

    10. Dan, Pedley windfunneling for the windbelt energy mechanism,buildings for a scientificcolony 

    11. George Morgan, energystorage mountain system

    12. George Morgan, viewto the energy storagemountain

    75 Unit 974

    Tese pieces of research established theground for the major project of the year,

     We have spent the yea r working withthis problematic in the East End of

    In Unit 9 we have been consideringaspects of housing as the body from which

    Unit 9Ci d

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    ground for the major project of the year, working withi n the context of Hackney Wick, an industria l area where t hepotential for transformation – throughdevelopment pressure and the particularcatalyst of the Olympic project – is real.In order to discuss wide-ranging issues ofdiversity, density and delivery, students were asked to work collectively to developurban scenarios that considered how toreconcile the difficult bits of cities thatoften make uncomfortable bedfellows.Tese form the context for the final

    building proposals – individual projects with self-defined programmatic scenarios– a place to live a place to work.

    In developing strategies for scalesand forms of ‘mix’ at both urban andarchitectural levels, we have sought toframe strategic decisions in relation to thepotential of spatial and physical qualities.Tese studies have worked towards thedesign of a piece of city that is at onceseen as part of the general urban form, whilst at t he same time possessing aspecificity of particular relationships thatmay be unseen other than by its dwellers.

    this problematic in the East End ofLondon, studying the positioningand configuration of housing, and itsrelationship to places of work. Projectshave asked students to tackle this mix ofuses and to consider its implications –density and proximity – not as a problemper se but rather as an opportunity for thecreation of a vital urban environment.

     We have studied historical precedents where the relationship be tween housingand industry has shaped the built

    environment. A study trip to Lyon focusedon analysing and documenting theCroix Rousse neighbourhood, recordingnot only the impact its topographicalcondition places upon the urban form,but also how the social and economiccircumstances of Lyon’s eighteenthcentury silk trade influenced therelationship between its spaces for livingand working.

     An init ial design ex ploration requiredstudents to be immediately propositionalat the small scale, developing proposalsfor mixing family housing and industrial workspace for a site in Bethnal Greenthat forms part of an existing urbanensemble – high street to back land.Trough maximising density and theintensity of adjacencies, students wereasked to develop attitudes towards tacticsof mediation, from spatial configurationsto the making of windows in walls.

    4

    aspects of housing as the body from whichour cities are made; not just containingprivate existences but also being the veryfabric which shapes our public spacesand structures our communal lives. Tedesign of new housing is therefore at oncea profoundly urban as well as an intenselyarchitectural challenge.

    Te economics and geography of London’sgrowth offer a fertile ground for anexploration of the contemporary roleof housing within urban regeneration;

    London’s housing s tock must grow rapidlyto support its population growth, butdisplacing the city’s industrial activitiesbeyond its borders to make space for newhousing does not seem sustainable as anurban action.

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    City seen and unseen

    Tutor:Stephen Taylor Pepijn NoletNathan Jones

    1. Edward Ridge, perspective view

    2. Edward Ridge, elevationfragment

    3. Alex Baulch, physical model(1:200)

    4. Emily Barnes, physicalmodel (1:200)

    7776 Unit 9

    Te Free studio assists students indeveloping and realising their own

    Te projects are varied and closely linkedto their authors values and history:

    Free Unit

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    1BED/ 2BEDTYPE

    01: Courtyard02: Bedroom

    03: Bathroom

    04: Living/ Kitchen

    05: Balcony

    1BEDROOMUNIT

    40sqm

    2BEDROOMUNIT

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    2BEDROOMUNIT

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    2 / 3 3 BEDROOM UNIT

    60sqm

    2BED/ 3BEDTYPE

    01: Courtyard

    02: Bedroom

    03: Bathroom04: Living/ Kitchen

    05: Roof garden

    3BEDROOMUNIT

    60sqm

    3 / 4 4 BEDROOM UNIT

    100sqm

    2BED/ 3BEDTYPE

    01: Courtyard

    02: Bedroom

    03: Bathroom

    04: Living/ Kitchen05: Roof garden

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    TYPICALLONG SECTION

    Groundooraccess togallery

    TYPOLOGYFLOORPLANS . 1:100

    5. Alex Baulch, flat typologies6. Emily Barnes, perspective

    studies

    p g gprojects. Each student prepares a detailedcontract describing how he or she willstructure and conclude their project. Eachstudent also chooses ten “friends” to helpthem and judge their projects at the end ofthe year. Te unit places an emphasis onthe professional role the project impliesand to whom or what each student owestheir duty of care.

    y

    Je Ahn and Maria Smith have been working with a parental campaign groupin South Camden to identify and developsites for a much needed secondary school.Teir project proposes a string of sevenschool buildings close to Kings Cross thatoperate as a federation of small schools,offering intimate learning communities while sharing specialist faci lities.(image 1, 3)

    Fran Balaam has been working withthe elderly in Bethnal Green. Shehas proposed a new infrastructure ofseemingly ruined walls, orchards andfields, which weave through the existingestates to provide a gentle focus to adispersed and often forgotten community.(image 2, 4)

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    Tutors:Robert MullCeline Condorellwith ‘friends’ chosenby the students

    79 Free Unit78 Free Unit

    Matthew Halsall is from Liverpool.Liverpool is European city of culture but it

    Stef Rhodes has been working in Brusselsa city, which is surprisingly fragmented

     

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    is in the grip of a property slum. Matthewexploits this tension to propose a way ofturning half finished and barely starteddevelopments into a new civic landscapeof use to local communities until thedevelopers build again. (image 7, 8)

    Cristina Monteiro is from Porto and hasbeen working to protect and reinforcethe communities who live on the steepslopes of the river in Fontainhas famousfor its subtle layers of mist. Cristina

    stitches together the physical and socialinfrastructures to re-establish parish witha new parish hall at its heart. (image 5, 6)

    and troubled. Her proposal is for a newbuilding in the desolate acres of slackpublic space adjacent to the station.Te building provides a responsive basefor the many dynamic art and agitpropgroups that work in the city. (image 9, 10)

    James Stopps is from Egham and hissite is the commute from Egham into Waterloo. In an act of generosity to h isfellow commuters James has redesignedthe vacant Eurostar terminal at Waterloo

    as a vast green waiting room forEghamites. A toehold in the city and aspace so engaging that they may never want to leave. (image 11, 12, 13)

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    81 Running Head

    MA AdvancedArchitecture

    Te MA AID is a design-based andresearch-orientated course that allowsstudents to focus on both individual skills

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    Architectureand Interior Design

    Tutor:Rik Nys

    students to focus on both individual skillsand achieve excellence within a particularfield.

    Te course addresses the needs ofgraduates from architectural and spatialbackgrounds where traditional roles areincreasingly blurred and design skillsmay be needed in a variety of guises. Itemphasises generic and transferable skillsin design of the built environment, andlocates the subject in this broader context

    to encourage its graduates to seek andcreate opportunities for the practice oftheir discipline.

    Te course is one of a suite of design-based MA programmes, which focuseson specialist approaches within the widerdiscipline of design. It is a combinationof design-based research and taughtspecialist modules. Design projects areundertaken in a choice of postgraduatestudios, a h