M ArchYear One

University of Edinburgh | ESALA

ROBERT HEBBLETHWAITE

ABOUT

03_POLITICAL THEATRE

24_MAKELAB

28_ESQUISSE CHALLENGE

29_BIO-CULTURAL HERITAGE CENTRE

30_HEALTHY LIVING CENTRE

34_SEAFOOD KITCHEN

35_PLACEMENT

38_DISSERTATION EXCERPTS

39_CURRICULUM VITAE

My passion is for context-responsive architecture, and the design possibilities afforded by material tectonics. Interests in graphical communication, industrial production, and physical making enrich my projects with wider 3D design.

As an Undergraduate, I experienced post-industrial renovation on a placement in Switzerland, and wrote a dissertation on Manchester canal warehouse conservation.

My M Arch thesis is investigating how architecture is influenced by digital culture, broadcasting and national identity.

Between degrees, participating in a design-and-build project in Borneo gave me tacit knowledge of how intent is translated into a real building.

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POLITICAL THEATRE

MEDIATED LANDSCAPEConference Venue and Recycling CentreM Arch 1 | 2013-2014

Political Theatre, a landscape constructed between quarry and sea04

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LEGEND

Klaksvk - Fmjin [Thread]Settlement Outlines [Vessels]Roads [Prosthetics]Ferry RoutesService StationsElectricity GridLighthousesTelephonyDigital Transmitters

0 10km

LEGEND

Klaksvk - Fmjin [Thread]Settlement Outlines [Vessels]Roads [Prosthetics]Ferry RoutesService StationsElectricity GridLighthousesTelephonyDigital Transmitters

0 10km

LEGEND

Klaksvk - Fmjin [Thread]Settlement Outlines [Vessels]Roads [Prosthetics]Ferry RoutesService StationsElectricity GridLighthousesTelephonyDigital Transmitters

PROSTHETIC INFRASTRUCTURE

Living in an island territory is not the solitary existence it once was. Whilst the Faroe Islands are physically isolated by the North Atlantic, they are globally connected by electronic communication and mass air travel. In recent years, many of the islands have been connected by causeways and sub-sea tunnels. The Faroese Network City is sustained through infrastructure. Road, electric, telephone and broadcasting installations are physically economical. They are slender armatures, fixed across dramatic fjords, connecting the valley vessels and settlements.

The Faroese Network City (With and without terrain)0 10km0 10km

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Klaksvk - Esturoy (Ferry Discontinued)

Klaksvk - Esturoy Sub-sea Tunnel (Established 2006-07)

Klaksvk - Syradalur Line 56

Leirvk

Klaksvk

Syradalur

CONNECTIONS PAST AND PRESENT

The studio focused on Klaksvk, second city in the Faroe Islands. Since 2006, Klaksvk has been connected by road tunnel to the capital, Trshavn. Only one ferry connection remains, symbolic of a vanishing past. A stop-motion film was made from the ferry as it entered Klaksvk harbour.

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Klaksvk - Syradalur Line 56

RadiatorEmerges through the screen as a system of rods and masts

Gesso Smudges and Sea SmudgesRazor thin edges, drawn in the direction of the smudge

Horizon Line LociCrossings of overlapping horizon lines.

Harbour WeaveAbstraction of interwoven lines around the harbour

Specific LinesLines that are observed being drawn in video stills

Gesso SheenVisible paint strokes in the gesso. Reminiscent of plane polarisation

Regulating GridApplied and fragmented, covering the area of the town. Like a regulating grid used to scale a drawing

Head, Drawing Hand, FeetPoint cloud and wires tracking different positions of the drawer whilst at work

REDISCOVERING THE HARBOUR

The stop-motion was transferred through projection and hand drawing to a gesso-covered screen in studio. Applying digital annotations coded the harbour through a series of elements. Interference is represented, from the drawer and imperfections in the screen. Ro

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Screen Plan

Screen Elevation

Section of screen and annotations at studio scale

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Drawers-eye Axonometric Robe

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Development by digital modelling and hand-sketching: One reciprocates the other Robe

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SCREEN MATRIX

Preliminary investigations. A section of the screen drawing is multiplied and arranged to define areas of programmatic enclosure. The seam cuts through auditorium, concourse, broadcasting tower, roof terrace, fly tower, recycling, archive and boat dock.; from quarry to sea. Shading and cross-hairs imply areas of density to be inhabited later by architectural elements. R

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Location at the Harbour Mouth 0 100m

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Site Plan 0 100m

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Church

Post Office

Visual Relationship to Klaksvk

Retirement Home

-13.900 Recycling Centre (Bottom)

-6.000 Recycling Centre (Top)

5.400 Concourse

8.350 Conference / Archive11.150 Media Library

17.350 Broadcasting Studios

2.700 Actors Changing

0.000 Auditorium FloorBrewery

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Transverse Section 1:500 0 25m

INHABITED SCREEN

The digital drawing is inhabited by a leviathan programme: political theatre, which investigates politics, drama and civic in the digital age. The undercroft contains recycling programmes, to supplement Klaksvks industrial waterfront. There is an honest translation of harbour elements from the digital model to the architecture of the concourse tower and deck. The spirit of Klaksviks waterfront as an inhabited screen successfully transfers. Both the unresolved drawing and the resolved theatre elements fuse in paper-space to make architecture

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Auditorium and Concourse Plan

LEGEND

1 Auditorium2 Public Viewing Gallery3 Caf4 Cloakroom5 Male WCs6 Female WCs7 Box Office8 Offices

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Car Recycling Logistics 1:200

Batteries removed and oil drained

Cars Unloaded and stripped of usable parts

Car body crushed for scrap metal

Spare parts soldEntry to recycling centre via theatre concourse

Working against gravity

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AUDITORIUM TO KLAKSVK

At Political Theatre, drama is inseparable from its production location. The global Faroese diaspora, watching remotely via simulcast, identify with the town and form a virtual viewing community. For locals, the theatre is a place of escape: somewhere to observe Klaksvk in a new light.

QUARRY FAADE

Concrete beams fold from the land to enclose the theatre concourse. The media library reading room is characterised by timber louvres, whilst the private viewing capsules are prefabricated timber elements, slotted between structural elements.

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PROMONTORY

Political decisions are often made outside the chambers of power. The promontory has varying degrees of enclosure: a large public walkway, with adjoining pockets for intimate conversations. Concrete ribs prop the structure from the landscape. The pier terminates in a view of the fjord mouth.

MEDIA LIBRARY

In the reading room and viewing capsules, the Faroese media archive can be enjoyed in its original format (such as cine-film). Shared screenings reinforce a sense of national identity.

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Boat Berths

Car Scrapyard 1:200 Entrance from Quarry

Specific Lines

Video of drawing

Scenery Workshop 1:200Fabric up-cycling, looking to scenery workshop and recycling centreRecycling Undercroft MawRadiator (Registry Bars)

Harbour Weave

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Regulating Grid

Roof Terrace and Broadcasting Level

Roof Terrace

Concourse to Media Library

Concourse to Theatre

Gesso Smudge andSea Smudge

Drawing: Hand / Head / Feet

EVALUATION BY TECHNIQUE

Similar representation techniques that distilled the screen have been used to evaluate the propositions success. The project was narrated through a wire frame animation of the whole structure, and key frames (perspectives). Political theatre demonstrates place-specific architecture can be derived by inhabiting cinematography and allowing heterotopic programme to interfere. Ro

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WOVEN FORMATIONS

AA MAKELABParametric Design and Make WorkshopAA Hooke Park | 2014

A week-long workshop combining parametric design with practical making. The woven wall was to frame a view vector to the sea, creating pockets of enclosure. Movement across a site impacted the growth of a small woven structure over several iterations. The process began by creating a curved component from timber lathes. Several parameters could be varied, including the aperture size, component length, direction of placement, and height of stacked components.

This was my first acquaintance with parametric design. The experience taught me that computation is yet another tool in the designers arsenal. Although some factors, such as a view direction, might be defined by parametric rules, artistic license is still an over-riding force. We continually influence and tune the system, until a functional and aesthetically pleasing result is obtained.

[Group work with other MakeLab 2014 participants]

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MATERIAL PARAMETERS

The direction to the sea is defined as a view vector. A web-camera tracks blue objects moving across the site. Grasshopper finds the point of most frequent movement. Our intervention is placed in the way, with a tendency to have wider-aperture components in the direction of the view. Further movement iterations are made, and the structure grows. As the intervention interferes with future movement, a feed-back loop emerges. Grasshopper suggests where the structure can grow vertically in height, according to the view vector.

A web-cam is used to plot movement across the site Grasshopper finds the most moved-through point Grasshopper defines component aperture, length and growth direction Next iteration

New component apertures and lengths are defined Location of element stacking Final iteration Growth towards final point

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CONSTRUCTION

The choice of materials made construction simple. Thin lathes of green timber (5mm) had incredible bending properties. To begin, simple arched elements were produced, kept in tension with string. At points of inflexion, S-shaped elements were devised. Using nuts and bolts mean the structure could grow by fitting ever-more lathes onto one connection. The woven formation compliments the woodland context well.

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LIVING ON THE EDGE

ESQUISSE CHALLENGEHousing that responds to Coastal ErosionRCHAMS Esquisse (2nd Prize) | 2014

Climatic extremes and the encroaching sea mean living on Scotlands coastline in the late Twenty-First Century is a risky pursuit. Taking advantage of the tidal range for micro-electricity generation, these coastal long-houses are conceived as impermanent dwellings, which can be easily relocated inland. Every 10-20 years, the dwelling moves, and it chassis is left behind as an additional layer of sea defence. Living on the coast remains as rewarding as it is today.

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BIO-CULTURAL HERITAGE CENTRE

BUYAN, SABAH

Project as of September 2013, the end of the group phase. Prominent are the roof-wall trusses, which give the building a distinctive form Innovative material use: bamboo-earthbag staircase; bamboo screens and angled chill-wall

Summer design-and build project in Buyan, Sabah, Borneo. The biocultural heritage centre will showcase sustainable community forestry resource use.

Two splayed wings reference the view out to the tourist Salt Trail and back to the village. The roof truss merges with an angled wall, designed for passive ventilation and sitting against to chill-out. Following the traditional vernacular, spaces are demarcated by subtle level changes.

Group work was present at all stages: from collective design sessions, sourcing materials and teaching each-other building techniques. It was an amazing experience that progressed ones architectural education rapidly.

[Group stage finished September 2013. Final completion in February 2014]

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30 year flood

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200 year flood +9.3m

Master plan for flooding wetland

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Two faades were developed: a Civic front and stepped faade facing a wetland beyond

Tectonic Resolution: Civic amenities housed in brick-clad volumes and aggregated around a gathering hall

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Dalmarnock in Glasgows East End has long suffered from decline. However, the 2014 Commonwealth Games present the opportunity for intelligent renewal. The River Clyde is a psychological civic anchor. A new wetland connects the transport hub at Dalmarnock Cross with the river. Flooding problems are alleviated, grey water is remediated, and there is opportunity for recreation.

A healthy living centre integrates a GP service with adult education and commuter cycle facilities. Civic is recognised as moving water: as guttering in the central hall, exit via the flood retention pond, or views out over the wetland. Formation of Sea Ice in the Turku Archipelago... (Yann Arthus Bertrand, 2003) inspired the tectonic.

DALMARNOCK WETLAND

HEALTHY LIVING CENTREDalmarnock, GlasgowFourth Year | 2013

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Moving fragment studies inspired by the aerial photograph: Formation of Sea Ice in the Turku ArchipelagoFinland (60 27N, 22 00E), Yann Arthus Bertrand, 2003

Masterplan creates a sustainable urban drainage system in an area prone to flooding.Greywater is phyto-remediated and returned to the River Clyde via the wetland

Retention Pond

Tributaries

Remediated water outlet to Clyde

Phytoremediation ponds between tenements and channel

Water from North Dalmarnock bypasses the Healthy Living Centre

Masterplan Section: From the healthy living centre to the River Clyde Robe

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Section A-A through multi-purpose hall, caf terrace and GP room. Note the rainwater guttering system

Section B-B through adult education college and GP surgery Post-consultation, patients leave the surgery via the wetland. Nature provides an emotional boost

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Multi-purpose gathering hall, with view onto wetland

Technical Resolution of GP Room; An antique-Rose brick-clad volumeFirst Floor 1:500

Ground Floor 1:500

Lower Ground Floor 1:500

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1. Sustrans Offices2. Changing Rooms3. Cafe4. Gathering hall5. Trade School Workshop6. Classrooms7. Seminar Room8. GP/Nurses Offices9. GP/Nurses Rooms10. Therapy Room11. Reception/Waiting Room12. Start-up offices13. Lecture theatre

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Tectonic Resolution: Heating stacks structure smoking, curing,preparation, cooking and eating of prawns

Cast models showing the visual relationship between (clockwise from top) fisherman dwellings, seafood kitchen, wave-breaks and boat repair

Transverse section through the bay 0 20m

A prawn-fishing community aiding seasonal occupation of the remote Scottish Island of Kerrera. The masterplan is comprised of fisherman dwellings, wave-breaks, boat repair and a seafood kitchen.

The Seafood Kitchen attracts gastro-tourists, interested in prawn fishing, cooking and dining. The restaurant is structured as three heat stacks and a heat spiral. The culinary promenade ends at the dining table, reflecting the journey from sea to plate.

FISHING COMMUNITY

SEAFOOD KITCHENKerrera, ScotlandThird Year | 2011

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Do not scale this drawing - use only written dimensions where indicated. All heights, levels,sizes and dimensions are to be checked on site before any work is put to hand. Anydiscrepancies must be raised with O'Neil Associates Limited before order, manufacture &installation. Where O'Neil Associates Ltd are not acting as contract administrator, it is thejoint responsibility of the client and contractors working for them to ensure that the drawings,details and specifications meet the client's requirements.

This drawing has been produced for the client for this specific project / application and is notintended for use by any other person or for any other purpose. This work is copyrightprotected, remains the property of the author and may not be reproduced without the expressconsent of O'Neil Associates Limited.

Do not scale this drawing - use only written dimensions where indicated. All heights, levels,sizes and dimensions are to be checked on site before any work is put to hand. Anydiscrepancies must be raised with O'Neil Associates Limited before order, manufacture &installation. Where O'Neil Associates Ltd are not acting as contract administrator, it is thejoint responsibility of the client and contractors working for them to ensure that the drawings,details and specifications meet the client's requirements.

This drawing has been produced for the client for this specific project / application and is notintended for use by any other person or for any other purpose. This work is copyrightprotected, remains the property of the author and may not be reproduced without the expressconsent of O'Neil Associates Limited.

North Elevation West Elevation

Transverse SectionEast Elevation 0 5m

BANK-BARN CONVERSION

ONEIL ASSOCIATES

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Feasibility studies for the conversion of old silos at Rietschiareal (left), and Warteck Braurei (right)

POST-INDUSTRIAL RENOVATION

BAUBRO INSITU

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First Floor: Shower Room

First Floor: Section Through Shower Room

Ground Floor

Work at Baubro Insitu, Swiss architects specialised in post-industrial renovation, and ONeil Associates, an award-winning Lakeland practice. Residential conversion of a bank-barn taught me the degree of resolution required for a planning application. At Bauburo Insitu, my work included a feasibility study to transform an old bottling plant (left), and the conversion of a restaurant to communal living (right).

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RESIDENTIAL REFURBISHMENT

BAUBRO INSITUExcepts from placement2012

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MANAGED CHANGE and INFORMED CONSERVATIONManaged change is described in Heritage Works as [allowing] a listed building to change and adapt to new uses and circumstances in a way that keeps its heritage value intact This recognises historical buildings require practical reuse, to ensure their economic viability and continued maintenance.

Informed conservation is promoted, as a logical, documented decision-making process. However, its rationality can be questioned. Since design is a critical act, and engagement with heritage is strongly emotional, professional values will always influence a project. Own its own, reliance on intervention supported by scientific archaeology, can never achieve the unity in composition that creative design re-establishes. On the other hand, the system does require decisions to be justified in writing, and documents evidence for the future. Protective legislation has become the test establishing a minimum quality threshold. This trend represents the evolution of conservation to a design philosophy.

Furthermore, adopting a common philosophy ensures the renovation team are brought together. Developers are

ultimately concerned by economic viability. Conservation professionals, are custodians of cultural value, but may have little interest in the practicalities of modern use. Architects synthesise competing cultural and economic demands through creative design, simultaneously employed by the client and with a professional duty to represent community interest. Giles and Hawkins (2004) argue conservation is only successful because it is joined with public appreciation.

The sustainability of conservation-led regeneration is well represented by the term urban stewardship: a sort of management by incremental change, coupled with selective strategic interventions to effect wider progress and improvement. Interest in conservation increased in the 1970s, contemporaneous with the increase in environmental consciousness. Managed change ensures the built environment, as a resource, is sustained and enhanced for future generations.

FINDINGS: COMPARING SCALESInterventions that claim to be physically and visually minimalist actually have a great impact on cultural value, requiring careful design consideration. Minimal intervention does not preserve historical identity. Instead, conservation should judge where interventions can be radical or subtle.

Carvers Warehouse: Conversion to speculative offices Truss mounted hoist preserved and made a feature New glazed atrium, a pragmatic response to circulation

PRESTIGEIntellectual productivity is enhanced by being accommodated where a strong genius loci already exists. Speculative office conversion has relied on minimal physical interventions, like service routing of power and data, recalling a process of reoccupation through fixtures and fittings. As a speculative office, Carvers Warehouse reflects Zukins assertion that conservation makes unique historic buildings conform to world market trends. Footloose-tenants, such as TechHub, benefit from the prestige of historic identity, associating this with their own identity. This combination, forward-looking and referencing past success, is evidenced in the master plan wording, Marketing Manchesters promotion of Original-Modern, and selective new interventions, such as the glass atrium.

PHYSICAL-RHETORICALUrban renaissance is both physical and rhetorical, with rhetoric arriving before the reality. Without place-marketing, the economic resources for conservation-led regeneration would be scarce, despite the enthusiasm of strongly motivated individuals and communities. Having a strong vision, whether on the master plan scale or (as with Stockleys vision for Carvers Warehouse) individual buildings, encourages confidence and investment. It also gives the design team direction, and ensures actors on the urban scale, work towards a common aim. Vidler suggests the resistance of the

city to change is both physical and mental, implying managed change is as much about symbolising the reinvented identity of an urban landscape, as physical change. The renovation of Carvers Warehouse, the earliest surviving canal warehouse in Manchester, performs this role.

AUTHENTICITYAuthenticity is not just a concern for documentary evidential value, but recognising the significance of a building component, structure, or city-quarter and preserving its essence. The critical act of design synthesises new programme with existing cultural and economic value. Glazing the boat holes, and reusing the loading doors for access, were physically minimal interventions that greatly reinterpreted their significance. However, managed change recognises preserving heritage assets in a fixed historic era prevents new occupants ascribing their own meanings, through interpretation and reuse. This particular conversion has a poetic quality, since speculative office space, like the storing of goods, is largely transient in nature.

CONCLUSIONManaging identity is about securing confidence in new development rather than explicitly preserving the old. Although conversion at Carvers Warehouse has secured its physical future, the project has far greater symbolic value, showcasing Manchesters adeptness at reinvention and revival.

Carvers Warehouse (courtesy GMAAS)

CARVERS WAREHOUSE

DISSERTATION EXCERPTSA multi-scalar analysis of conservation-led regenerationFourth Year | 2013

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VISUAL RELATIONSHIP TO KLAKSVK

Superstores Ferry LandingLocal Government

Church

Retirement Home

-13.900 Recycling Centre (Bottom)

-45.750 Boat Landing

-6.000 Recycling Centre (Top)

5.400 Concourse

8.350 Conference / Archive

11.150 Media Library

17.350 Broadcasting Studios

2.700 Actors Changing

0.000 Auditorium Floor

Post Office

Brewery

ROBERT HEBBLETHWAITE

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Edinburgh University Student Architecture Society (EUSAS) | SecretaryEdinburgh (2014 - Present): Event organisation, public speaking, minuting, correspondence- Co-organising and publicising the Autumn lecture series (Architecture and...)- Arranging travel and accommodation for speakers (Rachel Armstrong, Neil Spiller)- Introducing lectures. Chairing Conservation and Participation debates- Front of house. Minuting at committee meetings. Answering email correspondence

Hypostyle Architects | Architectural Assistant (Part I)Edinburgh (Apr - Aug 2014): Surveying, detailed and technical design, digital modelling- Detailed and technical design for a higher education (informatics) refurbishment- Producing room data sheets, construction details, fixtures and fittings drawings- Understanding how cost saving mechanisms operate in an architectural project- Obtaining a building warrant for modular offices (technical details for fire officer) - Residential kitchen and bathroom drawings. Housing for varying needs.- Detailed digital model of a disused school (Neoclassical Style, survey in Imperial)

Building in Borneo | Design-and-Build Team MemberBorneo (Jul - Sep 2013): Detailed design, sourcing materials, construction skills- Collaborative design, allowing everyone an active involvement- Practical knowledge of creating pad foundations, raised timber frames, and trusses- Interesting material combinations: For example. bamboo and earthbags- Passive climatic design in a tropical region- Sourcing materials from local villagers and considering cost implications

RECENT EXPERIENCE

My passion is for architecture that is strongly imbued with a sense of place, is finely crafted, and rich in material tectonics. At Masters level, my work has been influenced by interests in digital culture, cinema and visual perception. Projects have included a simulcast theatre in the Faroe Islands, and a data centre for marine renewables in Orkney. As an Undergraduate, I experienced post-industrial renovation in Switzerland, and wrote a dissertation on the conservation of Manchesters canal warehouses. Between degrees, a Summer design-and-build project in Borneo gave me practical knowledge of how design intent is translated into a real building.

Architecture is a social art: I am an effective team-worker, and communicate well with colleagues, clients and contractors. My personality balances self-direction and the ability to listen and learn. Engaging Architecture academically has been tremendous. However, I relish the challenge of real practice.

Date of Birth: 15th May 1991Nationality: BritishMarital Status: Single

PERSONAL STATEMENT

PRACTICE ACADEMIA

Hypostyle Architects | Assistant (Part I)Edinburgh (Jun - Aug 2014)

ECA Esquisse | CompetitionSecond Prize (Jan 2014)

ONeil Associates | AssistantKendal (Oct - Dec 2012)

Baubro Insitu | InternshipBasel (Apr - Sep 2012)

PRP Architects | Work ExperienceManchester (Jan - Feb 2012)

NPS Group | Work ExperienceKendal (Jul - Sep 2010)

Data Centre | Mediated LandscapeOrkney Islands (2014 - Present)

MakeLabAA Summer School, Hooke Park (2014)

Political Theatre | Mediated LandscapeKlaksvk, Faroe Islands (2013 - 2014)

Dalmarnock Wetland | Healthy living centreDalmarnock, Glasgow (2013)-Shown: Shrinking Cities, Expanding Landscapes

Fishing Community | Seafood KitchenKerrera, Western Isles (2011)-Entered for InNature Competition-Published in Edinburgh Architectural Research

MA (Hons) Architecture (1st class)University of Edinburgh, ESALA(2009-2013)

Arkwright ScholarshipAward from the Institute of Engineering and Technology for sixth-form studies.

Master of ArchitectureUniversity of Edinburgh, ESALA(2013-Present)

A-Levels (A grade)English Language, Maths, Physics, Graphics(2007-2009) Kirkbie Kendal School

EDUCATION AND AWARDS

Professor Remo PedreschiPersonal Tutor, ESALAt: +44 (0)131 650 2301e: r.pedreschi@ed.ac.uk

Alan RobertsonSenior Associate, Hypostyle Architectst: +44 (0)131 555 0688e: alan@hypostyle.co.uk

Bob ONeilPrinciple, ONeil Associatest: +44 (0)1539 738899e: admin@oneil-associates.co.uk

REFERENCES

Robert Hebblethwaite59/5 Forrest Road EdinburghEH1 2QPScotland

m: +44 (0)7876 638363e: rob.hebblethwaite@virgin.netw: robhebblethwaite.co.uk

Scan QR Codefor website

CONTACT DETAILS

Architectural Design- Hand-sketching ability- CAD drawings with intricate lineaments- Strong physical modelling: for idea development and presentation- Digital modelling and visualisation- Media: Photography, sound, video and web!

Personal- Conscientious, and a quick-learner- Can motivate others in a team- Time management and ability to self-direct- Excellent communication and humour

Computer Literacy- Dwg: AutoCAD / Vectorworks / PowerCadd- Modelling: SketchUp / Rhino / Grasshopper - Visualising: V-Ray / 3Ds Max- Presenting: Adobe Creative Suite- Web Design: Dreamweaver - Microsoft Office

- Functional German (5 mths living)- Intermediate French (GCSE Level)- Basic Italian- Full driving licence

SKILLS

Active Lifestyle- Regular swimming for fitness- Passionate cyclist commuter- My best ideas arrive while exercising- Completion of the Great North Swim 2013, a one-mile open water event in Windermere.

Music- Grade 7 Piano in Classical examinations.- Guitar is a source of relaxation

Travel- Travelling has taught me cultural awareness, language skills and self-reliance- Volunteering in Morocco 2010; touring India 2011- Work placement, Switzerland 2012- Borneo 2013: Student-led design-and-build

Bay Trust Radio- Volunteering while in sixth-form- Weekly broadcasts have helped me present with confidence in critiques

INTERESTS AND ACHIEVEMENTS

Robert HebblethwaiteUniversity of Edinburgh | ESALA