[CONTENTS

First published in 2013 University of Greenwich School of Architecture, Design and Construction Mansion Site Avery Hill Campus Bexley Road London SE9 2PQ Copyright University of Greenwich All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage and retrieval system without permission in writing from the publisher. ISBN: 978-1-909155-03-9 A catalogue record of this book is available from the British Library Editorial: Mike Aling, Nic Clear, Corine Delage, Simon Herron and Neil Spiller Design and Layout: Mike Aling Set in Open Sans Printed in the UK by Astra Printing Group, Devon EX15 1AP

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Introduction to the Department of Architecture and Landscape by Nic Clear ARCHITECTURE Introduction by Simon Herron BA (HONS) ARCHITECTURE - ARB/RIBA Part I Year One Degree Unit 1 Degree Unit 2 Degree Unit 3 Degree Unit 4 Degree Unit 5 Degree Unit 6 Degree Unit 7 Degree Technology Degree History and Theory DIPLOMA IN ARCHITECTURE - ARB/RIBA Part II Diploma Unit 15 Diploma Unit 16 Diploma Unit 19 Design Realisation Open Technology lectures 2012-13 Diploma Histories/Theories/Futures Open Lectures 2012-13 GREen Project Office 183 Centre for Alternative Technologies PDAP - ARB/RIBA Part III Spaces for Architectural Education Conference Future Cities 2: Other Worlds Conference Imagine Exhibition, Bahrain London Festival of Architecture 2013 129 131 133 134 136 138 142 147 149 165 172 173 174 177 178 179 180 LANDSCAPE Introduction by Dr Corine Delage BA (HONS) LANDSCAPE ARCHITECTURE Year One Year Two Year Three CERTIFICATE IN LANDSCAPE DESIGN MA / DIPLOMA IN LANDSCAPE ARCHITECTURE Advanced Landscape Design Landscape Assessment and Design Theme Project Urban Development Project Living Wall Project Desert Restoration Conference Druk White Lotus School Project GIS+ Conference Lille Esquisse

009 011 013 014 022 028 034 040 046 052 058 064 068 073 074 080 086 092 094 100 108 114 116 118 120 122 124

185 186 188

MSc Architectural Design New School Building - Stockwell Street Index

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[INTRODUCTION

[NEW ARCHITECTURES: NEW LANDSCAPES

[NIC CLEAR

NIC CLEAR Head of Department Architecture and Landscape June 2013

elcome to the University of Greenwich Department of Architecture and Landscape. Over the past year we have been making major changes at all levels across the Department. This restructure has allowed us to reposition our programmes and refocus our values, transforming the aspirations and ambitions of staff and students. Through the changes to our programmes we not only support and nurture traditional skills, but encourage speculation and radical new approaches to design, technology and theory. Following this long overdue overhaul, the Department can now boast some of the best teachers in Architecture and Landscape anywhere in the country. Our students have responded by raising their commitment and engagement and we are all rightly proud of the quality of the work produced this year, only a fraction of which is contained in this catalogue and the exhibition. These changes were essential given the uncertainties in the professions of Architecture and Landscape Architecture. The Department can now be sure that its programmes are fit for purpose and that they are agile enough to respond with appropriate aesthetic, technical, cultural and political concepts, whilst educating students in the rich histories of our disciplines. Furthermore, our programmes address a range of outcomes, including actual, augmented and virtual possibilities, that is essential in the C21st. But academia is not the profession: while our courses need to address the relevant profes-

sional criteria that are part of the professional accreditation of our programmes, we should not simply emulate or pander to the profession. One of the roles of academia is to develop critical positions with respect to the narrow set of imperatives that the professions operate under. This is done through research and through the speculative use of design, technology and theory. Academia should be showing the profession alternative strategies for its development and the strength of our programmes is not simply measured on what happens inside the institution but on the ability of our students graduating from Greenwich with skills and attitudes that allow them to flourish beyond the University. Too much has been made of the distinctions between Architecture and Landscape. At Greenwich we see it as important that the disciplines represented by our programmes are part of a wider discourse of integrated spatial design. Going forward, it is our intention that there should be even greater synergy and collaboration across the Architecture and Landscape programmes to reinforce the strong overlap in the fields of urbanism, architecture, landscape, garden and interior design. We must not let ourselves be trapped by outmoded silo mentalities, but look to create genuinely multi- and interdisciplinary design. With our move to Stockwell Street in September 2014, the Department has one very simple aim: to be a world-class department of Architecture and Landscape where excellence in design is at the heart of what we do.

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[INTRODUCTION

[OBJECTIVITY OF THE UNKNOWN

[SIMON HERRON

SIMON HERRON Academic Leader in Architecture June 2013

he ancient forms appear again as in a dream mandalas, cabbalistic metaphors of a secret god, the cloud-chambers of infinite certitude granted to Chinese geomantic priests, and to the prophets of the precessional equinox, locked in the spiral rooms, descendants of an intrepid race elements in a dream of space and time continuous and infinitely delayed. The forces play among perfect forms as fire among the crucibles of Jove, wherein are distilled the base materials of separate worlds, moulded by thoughts relativity. - Lebbeus Woods, ORIGINS 1 Looking through my copy of ORIGINS by the late Lebbeus Woods, transfixed by the sheer craft of the drawings, the potency of writing, adrift someplace between science and the unconscious at the moment of pure creation. A conscious decision was made to reject the now tired strategies of the past and conformative rhetoric of the (then) present, to challenge preconceptions and the inevitability of things. In this discourse, Woods presents a delirious treatise to the unknown. Suggesting that architecture could define how we live, providing clues to unimagined possibilities, and embracing a sense of unparalleled strangeness. Woods asks us to first build buildings, then discover how to live, use and work in them - a conscious, back to front, inside-out way of working. Within this constructed model, Architecture provides a contingency for the unknown, a speculative imaginary vessel unlocking new uses and new meanings appropriate to the second decade of the 21st Century.

1 Woods, Lebbeus, MEGA II - ORIGINS, Architectural Association (London), 1985, p.55. This catalogue accompanied his first exhibition of drawings of ink on paper in London; earlier in September 1984, an opening article in AA Files No7, Architecture Consciousness and the Mythos of Time introduced Four Cities and Beyond

At the start of this academic year, the Architectural Programmes hosted a one-day conference titled Spaces For Architectural Education (see pages 118 > 119), in anticipation of our forthcoming move to the new building in Stockwell Street. The event provided a speculative programme-wide forum to critically debate current and emerging attitudes and trends in contemporary Architecture, with contributing speakers from within the school and the broader international architectural community and profession alike. The accompanying conference booklet and course guide mapped out the programme from Year One through to final year Diploma, across all of the interconnected courses of Design, Technology, Theory and Practice. The Architecture Programmes are presented as a unified whole, collectively seen through a single pedagogical lens. Architectural Technology and Theory were not arranged in convenient isolation, or held within their traditionally closely guarded tribal boundaries. Instead, the Architecture Programmes are presented as an intricately interwoven complex of interconnected fields. These parallel and complimentary strands of synergistic tissue run vertically throughout the school, providing a contextual framework directly linking with the Studio Design culture throughout the Architecture Programmes. The aim is to invent and service the needs, wants and mores of an unimagined near future. Andy Warhol famously asked, What can we do for art? - we should ask what could we do for Architecture?

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[ARCHITECTURE

[BA (HONS) ARCHITECTURE

he BA (Hons) Architecture programme is the first step in a professional career in architecture. Our programme offers students a range of approaches to design through studio-based tutorial groups. Each Design Unit explores diverse aspects of architecture, ranging from rapid technological changes, emerging social conditions and contemporary cultural contexts to more abstract aesthetic and theoretical concerns. Tutorial groups are supported by studies in the history of architecture, sustainability, practice, cultural context and technology, all of which are integrated with an understanding of the development of a design project. The design projects develop abilities and skills in creating and communicating architectural ideas. Students explore the visual and tactile world, learning visual and drawing skills and the use of computer software. The context for design work is set at the start of each term; critiques of student work are made at the middle and end of each term. Visits to art galleries, museums and important buildings and lectures by eminent speakers are vital to the programme. The aims of the programme are: To provide a broad and inspiring architectural education to a diverse group of students, within the structure of an ARB/RIBA accredited programme at Part I level. To prepare students for progression into

year out practice in the architectural profession leading to advanced level study in ARB/ RIBA Part II (Diploma) in Architecture. To develop skills and knowledge of architectural design, practice and technology; while stimulating critical analysis and speculative exploration of a range of methodologies and critical positions, through the unit system. To develop communication skills through drawn, visual, verbal and written representations of architectural propositions and their cultural, professional, and technical implications. To provide a forum for research, debate, and critical thinking.

YEAR ONE DESIGN CO-ORDINATOR: Susanne Isa YEAR TWO & THREE DESIGN CO-ORDINATOR: Max Dewdney YEAR ONE TECHNOLOGY CO-ORDINATOR: Dr Shaun Murray YEAR TWO & THREE TECHNOLOGY CO-ORDINATOR: Rahesh R. Ram UNDERGRADUATE THEORY CO-ORDINATOR: Dr Marko Jobst YEAR THREE DISSERTATION CO-ORDINATOR: Dr Corine Delage

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[BODY AND PLACE

[DEGREE YEAR ONE

[BODY AND PLACE

[SUSANNE ISA et al.

Izzad Khodabocus Suheb Miah Vlad Mone Darin Nikolov Thomas Norris Ishita Ruchchan Jennifer Scarfe (PT) Thomas Whipps Emeli Yakimova _ Evana Ahamed Georgi Arnaudov Sandra Asante

he Year One studio aims to prepare students for the changing world of architecture through innovation and experimentation, in order that they can meet the challenges of becoming creative designers and thinkers in the 21st century. Year One is taught across four design groups, each with differing agendas and scope, encouraging students to engage with a variety of ways of seeing. Initial projects explored the relationships between objects, text, place, the body and the city. Students developed forensic, documentary recordings and cartographic projections as a basis for creating wearable 1:1 architecture as both performance and choreography. The main project of this year was for the design of a complex building across the following four London sites and themes: Through the exploration and charting of the tidal powered landscape of Three Mills, Group 1 set out to discover phenomena - natural, artificial or fictional - and unveil these happenings or events through the articulated and misty lens of the Museum of Curiosity. Students in Group 2 examined innovative trends in earlier periods, spurred on through a history of migration and fabrication in Brick Lane. The projects proposed paper architectures that posit visceral visions of making as theatre.

Group 3 explored Public Assembly, consisting of new forms of micro-scale manufacturing within the former Bishopsgate Goods Yard. Students engaged with architectural notions of metamorphosis and designed live-work spaces for East Londons new creative producers such as photographers, designers, weavers, artists, filmmakers, metalworkers, carpenters and sculptors. Group 4s site was located within Deptford Creek, South East London. The project addressed the need to reinvent the sites industrial past to meet the needs of a 21st century hybrid city ecology, informed by the sites archeology and lost cultural landscapes. Students are presented throughout the year with a series of interactive and creative workshops that equip them with rigorous design tools for 2- and 3-dimensional spatial thinking and communication. From year one, Design is integrated with Cultural Context and Technology, which helps foster critical debate, innovation and collaboration within the design studio. Students work both individually and in groups, with the aim to continually strive for unforeseen consequences and new opportunities. For further information on Year One, please visit our blog at: greenwichyearoneblog.blogspot.co.uk

YEAR ONE STAFF: YEAR ONE DESIGN CO-ORDINATOR: Susanne Isa DESIGN TUTORS: Y1 UNIT 1: Tim Norman & Mark Hatter Y1 UNIT 2: Jonathan Hagos & Ben Masterton-Smith Y1 UNIT 3: Lawrence Lek & Mike Dean Y1 UNIT 4: Max Dewdney & Jen Wan YEAR ONE TECHNOLOGY CO-ORDINATOR: Dr Shaun Murray Luke Olsen (technical support) YEAR ONE HISTORY & THEORY: Dr Marko Jobst

Special thanks goes to: Dimitris Argyros (Arup Associates) Jo Dejardin (Herzog & De Meuron) Niall Gallacher (Combined Effects) David Gloster (Director RIBA Education) Simon Herron (Academic Leader, Greenwich) Manon Jenssens (Exhibitions and Archive Manager, Zaha Hadid Architects) Heather Macey (John McAslan and Partners) John Man (Make) Tim C Matthew (Architect) Liz May (A.P.T) David McClean (Robert Gorden University) John Norman (Mustard Architects) Pernilla Ohrstedt (Pernilla Ohrstedt Studio) Ricardo de Ostos (Naja de Ostos) Camila Sotomayor (Bartlett, UCL) Neil Spiller (Dean of School, Greenwich) Dr Ayman Wanas (Arab Academy for Science and Technology, Cairo) Elizabeth Anne Williams (Unit 19, Greenwich) Simon Withers (Unit 15, Greenwich) Emily Yeung (AHMM)

YEAR ONE 2012 > 13: Y1 UNITS 1 > 4: STUDENTS Sara Al Amandi Craig Alexander (PT) Dzjawglan Bud-Dzaw Ummuhan Calli Matthew Forbes-Yandi Jade Giannadrea Martin Hall Daryl Harvey Elbert Marzanganov Kieran Peart Parisa Shahnooshi Dovydas Talacka Saied Tahgahvi _ Nathan Abraham Peter Efe Beeza Habeeb Oscar Humnicki Anna Kakara

Chester Field Daniel Holloway Alistair Karim Haseeb Majeed Daniel Meredith (PT) Tiberiu Moise Hanan Perveen Radostina Stoyanova Vida Tankas Kim Lian Tee Charles Worman _ Aysum Ahmed Joseph Burgess Artur Edman Emma Frankel Kureys Gozubuyuk Cezara Maris Abdul Mujahid Oleg Pavlov Lisa Pigot Chase Prosser Fariz Serbest Tianchi Zhang

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[BODY AND PLACE

[DEGREE YEAR ONE

[BODY AND PLACE

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[BODY AND PLACE

[DEGREE UNIT 1

[THE X-FACTORY

[LUKE OLSEN & JAMES WIGNALL

UNIT 1 2012 > 13: YEAR THREE: Farzana Choudhury Galen Eker Emmanuel Fonkwen Sathien Ganesan Evangelia Iliopoulou Elena Liskova Kinga Matura Lyuba Pekyanska Sarala Perera Baboo Rughoo YEAR TWO PT: Ireneusz Lisiecki Ross Sadler YEAR TWO: James Ashenden Kamila Broniszewska Sinem Camur Nabil Ebrhimgeel Jessica Hlavackova Aysenur Macit Balraj Rai Mohammad Uddin

efore machines the only form of entertainment people had was relationships. - Douglas Coupland 1 This year we turned the traditional design process on its head; we began with the design detail and then moved out into the strategic systematic consequences generated from this simple beginning. Our brief was to propose an innovative architecture through the construction, assembly and siting of a series of components that form an autonomous system to engage, adapt and learn with the people, place and environment of the River Lea Delta. Our literary guide this year was Generation A by Douglas Coupland. Set in the near future, a group of individuals from random locations on earth are stung by honey bees, months after the bee population was thought to be extinct. This seemingly arbitrary event brings the individuals together to an IKEA-like room, to tell stories and to define a new way of living. The unit field trip was a bus trip to working factories across Great Britain, where we learnt directly from makers. These included the AA Hooke Park Workshop in Dorset; Petter Southalls I-Tre Workshop in Beaminster; the Whitechapel Bell Foundry - the oldest working bell factory in the world; the Portland Stone Quarry Trust in Portland; and the Morgan (Bespoke) Car Factory in Malvern. Unit 1 engaged in 3 progressive projects:

1.0 THE COMPONENT: Our journey began with a boat trip up the River Thames to the River Lea Delta. We registered, recorded and researched details; then designed, developed and made innovative components. 2.0 THE SYSTEM: Using these new components, students designed and made a system to engage with the Delta. Built at 1:1, this system was tested and evaluated by the people, environment and circumstances of the River Lea and its fringes. 3.0 THE X-FACTORY: The major building proposal was for an X-Factory for the near future. The architectural agendas born of the component and system guided the major building proposal sited in East London. Year Two students developed the program of a Factory, whereas Year Three students defined their own program according to their individual agendas developed through the year. Unit 1 is experimental. We mistrust drawings without knowledge and aim to equip students with the tools, techniques and awareness to be able to design and make innovative architectures using contemporary digital technologies alongside the traditional craftsmans gen. Unit 1 would like to thank David Morley Architects (practice support: Chris Roberts), along with our guest critics: Alexander Ball, James Brown, Simon Herron, Tereza Kacerova, Rauri McCance, Ho-Yin Ng, Ed Pearce, Enric Ruiz-Geli, Gabby Shawcross and Chloe Sheward.

1 Coupland, Douglas, Generation A, Random House Canada (Canada), 2009.

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[THE X-FACTORY

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[GRIMM ARCHITECTURES 2112

[DEGREE UNIT 2

[GRIMM ARCHITECTURES 2112

[CAROLINE RABOURDIN & PASCAL BRONNER

UNIT 2 2012 > 13: YEAR THREE: Humma Akram Gunes Bagdali Razna Begum Thomas Brown Dominic Davis Natalie Hawkins YEAR TWO PT: Maria Georgakaki Kirsty Phipps YEAR TWO: Abbas Akbarally James Crocker-White Bilal Hasan Rafael de la Hoz Tsvetlina Todorova

he boy set out with his letter but lost his way, and at night he came to a great forest. When he saw a small light in the darkness, he began walking towards it and soon reached a little cottage. Upon entering, he discovered an old woman sitting by the fire. She was startled by the sight of him and asked Where did you come from and where are you going? - Jacob Ludwig Karl Grimm 1 200 years ago the Brothers Grimm published their first edition of the Household Stories. As part of aural tradition, tales have shaped society whilst also offering a reflection of it. But who invented them? Despite being edited by the Brothers Grimm, the authorship and responsibility of these tales remain collective; tales are common property. Stripped of any temporal or geographical references, the tales are de-contextualised stories, which stand the test of time and seem as relevant today as ever, often outlining the causes and consequences of inherent human traits such as greed, jealousy and megalomania, whilst often featuring magical interventions. Over the last 200 years the world around us has shaped itself into an electronic and digital landscape via industrial and technological revolutions. A constantly changing topography of knowledge and object has resulted in our unquenchable thirst for the new and seemingly better, leaving behind a trail of information and artefact of unprecedented scale.

The new is never new enough and the old is rarely too old to terminate or too well built to destruct, leaving us sitting on mountains of cultural leftovers that need to be processed, stored or disposed of. Unit 2 have looked a further 100 years ahead into a potential post-digital age, to speculate on what may become. Berlin, the destination of our unit field trip and site for the projects, has been a hub of cultural, political and social change over the last 2 centuries and will no doubt be a centre of change and innovation in the century to come. The Grimms Household Stories, an anthology of German tales, is an archive in its own right, documenting over 200 folk tales. Starting the year with a week-long intensive workshop, students have familiarised themselves with the tales in order to collage and manipulate its fundamentals into a future scenario. The enduring nature of these tales allows them to be re-contextualised and projected into the future; Unit 2 have used the tales as a catalyst of conversation for a future Berlin archive, which aims to accommodate the remnants of a culture of greed and envy, but also of fantasy and innovation. Unit 2 would like to thank David Morley Architects (practice support: Mark Davies), along with our guest critics: Mike Aling, Diana Cochrane, Kate Davies, Lorene Faure, Simon Herron, Tom Hillier, Susanne Isa, CJ Lim, Peter Sharpe, Bob Sheil and Martin Tang.

1 Jacob and Wilhelm Grimm, Devil with the Three Golden Hairs, 1812, in The Complete Fairy Tales (Trans. Jack Zipes), Vintage (London), 2007, p136.

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[GRIMM ARCHITECTURES 2112

[DEGREE UNIT 2

[GRIMM ARCHITECTURES 2112

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[GRIMM ARCHITECTURES 2112

[DEGREE UNIT 2

[GRIMM ARCHITECTURES 2112

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[ARCHITECTURES OF VARYING SPEED

[DEGREE UNIT 3

[ARCHITECTURES OF VARYING SPEED

[MEL CLINCH & HARRY BUCKNALL

UNIT 3 2012 > 13: YEAR THREE: George Aboagye Williams Sahar Allahverdi Bianca Baciu Joshua Browning Thomas Farquhar Surajpal Gadar Thomas Phillips Danielle Purcell Christopher Singh Murat Surucu Sharis Valdez YEAR TWO: Kyriakos Eliades Evgeny Korchevstev Patrick Mawson David McAlpin Pow Siyana Petrova Ainsley Pretlove Alexander Varvantankis

he future still isnt here! 100 years on and the levers of Marinettis algorithm are still jammed on and set to faster, leaner and more efficient; the subsequent evolution of design-life shifting the status of new-architectures role in the city from permanent to temporary. From Londons tallest building to the Grand White Mosque in the Middle East - waiting for new buildings is no longer acceptable. The architect has accepted marginalisation, protectively clinging onto The Sketch and conceding that his value is in flicking the planning switches with shapes and pictures, while scientists in the factories take over to add the bones and remove the fat. Unit 3 acknowledges the potential of computational design as a common language to re-engage with the process of fabrication and embrace the social potential for high-speed assembly. We recognise the spatial, social and political value of design beyond form and material and will adapt our methodologies to remain connected to the process. We hypothesise that there is opportunity for fast/digital architecture to be surprising, enabling, liberating and theatrical. We propose that while fabrication is speeding up, the processes of architecture are incremental and continue to effect influence at varying speed. We focused our research in Peckham, an area with a large multi-faith / multi-ethnicity immigrant majority teetering on the edge of gentrification. We considered the role that a new high-speed, guerrilla architecture

is beginning to play as an instrument of demographic transition. Through both instinctive and deliberate observations and recordings, Peckham is imagined as a microcosm of the city over time. The proposals establish a considered and critical response to the question of technology; its inherent propensity for error and accident, and its capacity to modify existing traditions of behaviour. A series of short experimental projects served as theoretical and technological catalysts to inform a final brief focused on the rhythm and ritual of regular and organised public assembly. Year Two students, also in Peckham, focused on the subject of health in the post NHS landscape of 2026, re-imagining Scott-Williams and Pearces 1926-1936 experimental model for community healthcare: The Peckham Experiment. In contrast to our high-speed operations in Peckham, the unit explored Andaluca and witnessed the more enduring architecture of the Islamic Empire and the Kingdom of Castile, witnessing buildings asserting transformation in cultural identity and architecture re-appropriated to align with shifting political and religious motivation. Unit 3 would like to thank Wilkinson Eyre Architects (practice support: Robert Haworth, James Barrington and Marwan Abdo), along with our guest critics: Mike Aling, Toby Car, Rut Cuenca, Mike Dean, Simon Herron, Giles Martin, Nick Masterton, Toby Neilson, Vidhya Pushpanathan, Phil Watson, Vincent Westbrook, Chris Wilkinson and Maria Zunica.

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[ARCHITECTURES OF VARYING SPEED

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[DEGREE UNIT 4

[IN EVERY DREAM HOME A HEARTACHE

[ADAM COLE & GEORGE THOMSON

UNIT 4 2012 > 13: YEAR FOUR PT: Matthew Oliver YEAR THREE: Muhammad Abd Rahman Hasan Chattun Sandra Ebuzoeme Dunya Hatem Arshad Mahmood Siobhan Odjevwedje Anthony Pyke Rohan Siddiqui Amar Vara Dawid Wojcik YEAR THREE PT: Sam Guidotti YEAR TWO: Martin Aberson Tosin Kale Hristiana Kirova Timothy Ng Steven Roe Ioana Tamas Iulian Vifor

nit 4 is interested in architectures ability to be complex and ambiguous, to be strange and to tell stories. We think architecture is first and foremost a cultural practice, capable of representing more than its own silent self. Like songs and monasteries, architecture can be a repository for the fragile stories and conditions that would otherwise be lost. Our version of architecture is not dependent on technology, or site, or brief, but it does require students to take full authorship of their work. We prioritise the formation of design strategies and creative narratives prior to engagement with the site. The friction caused ensures the resultant architecture is not a slick splicing of brief and site - it is a fractious and spiky affair, an imperfect artwork. The year was structured through a series of connected projects, each brief building on the previous one. For the first project, we imagined extensions to the houses of famous architects. Our designs were both material and conceptual. Hybrid strategies were applied as we merged ideas inherent in the existing work with new ones, found through the interrogation of artefacts from the British Museum. These emerging architectural ideas were then distilled and taken with us to Rome, to be played out on a new site. After 3 days of being inspired by everything from the high baroque to fascist follies, we headed to Villa Adriana, the sprawling second-century

home of the Emperor Hadrian. Individual ruins were strategically chosen (we knew they would later inform a component of our main projects) and re-imagined through the lens of our evolving architectural strategies. The Square Mile inside Londons medieval walls is the financial centre of the world. 3trillion flows through it daily. It exerts an influence across the globe out of all proportion to its physical size. It manages to do this anonymously, its actions can trigger tumultuous events around the world but leave no physical trace on site. If it has an architectural face it is mostly, incongruously, a variation of the modernism originally developed to a socialist agenda. The site for our main project was its southern boundary, the liminal zone where the ossified architectural apparatus of high-finance fractures and, in the tidal flows and shifting sediment, gives way to something altogether more temporal. The brief was to design a house for a banker. They wont be retreating in anonymity to the countryside, their house will be in The City. Through architectural storytelling we endeavoured to make real what was virtual, to manifest the invisible, to bring to light all that should have remained hidden. Unit 4 would like to thank Make Architects (practice support: Jonathan Mitchell), along with Jordan Waid for his assistance in tutoring during Term 1.

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[IN EVERY DREAM HOME A HEARTACHE

[DEGREE UNIT 4

[IN EVERY DREAM HOME A HEARTACHE

[042 > 043

[DEGREE UNIT 5

[USE, CLASS AND ORDER

[PHILIP TURNER & BEN GIBSON / AHMM

UNIT 5 2012 > 13: YEAR THREE: Megan Ellis Aimilia Fragkedaki Michaela Hammond Natacha Hutchison-Fuat Alexandra Okoh Christopher Parker Eleni Triantafyllidou YEAR THREE PT: Mustafa Raee YEAR TWO: Dogus Akin Elise Alden Aisha Bashir Martha Carini Theodoros Constandinou Stephanie Finch Parisa Ghorani Serhat Gok Waqas Javed Malgorzata Malus Mohammad Nejad

nit 5 have explored the role of the architect as the idealistic and pragmatic polymath: artist, historian, technologist, sociologist, economist, bon viveur and above all as the proponent of change. We have engaged with England in general and with the City of London in particular. From Wren to Rem, the walled city of the 16th century has evolved into a mono-cultural financial capital, synonymous with the riches and predicaments of recent times. How might the City be re-invented as a culturally richer place, where we live and play as well as work? Led by Philip Turner and Ben Gibson of Allford Hall Monaghan Morris Architects (AHMM), Unit 5 aims to establish a conversation between education and practice. A series of short briefs have explained a set of real constraints and opportunities re-imagined in an academic context. We have explored the City of London: its buildings, streets and activities in a series of short projects: PLAN, SECTION and ELEVATION have encouraged the proposition of flexibility and change. From Pepys to the present day, the City of London provides us with a contained account of the cultural and commercial history of the country, how it has evolved and how it continues to change. Unit 5 also visited Venice to observe a once-rich city that failed to cope with change.

The major project, EXCHANGE, explores a future addition to the daily life of the City of London by proposing a modern EXCHANGE: a building to house a business or social process, with a functional programme and a physical form that confirms a view on how the daily activity of the City might transform and adapt. What type of EXCHANGE is pertinent to the current or future life of the City? The EXCHANGE will be accommodated on a site central to the City, at King William Street, currently occupied by a 1990s office building, soon to be demolished. The site is an AHMM live project, and the subject of real constraints and drivers of redevelopment. The Unit has engaged with these constraints to formalise a theoretical position. The City of London has always evolved to accommodate the needs and ambitions of its inhabitants - buildings come and go. The Unit has proposed the next layers of physical and functional EXCHANGE. Unit 5 has had a series of encounters with London players throughout the year and we would like to thank the following people: Mike Gosling, Scott Grady and Timo Haedrich (Haptic Architects), Suria Ismail, Michael Jack, Murray Kerr (Denizen Works), Lee Mallet (Urbik), Ben Moss and Gethin Rees (ARUP), Andrew Stafford, Matt Ward (Goldsmiths). We would also like to thank Simon Allford, Will Lee, Paul Monaghan, Andrew ODonnell and Matt Thornley of AHMM for practice support.

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[USE, CLASS AND ORDER

[USE, CLASS AND ORDER

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[A WORKING SPECTACLE AT THE EDGE OF TOWN

[DEGREE UNIT 6

[A WORKING SPECTACLE AT THE EDGE OF TOWN

[RAHESH R. RAM & MELISSA APPLETON

UNIT 6 2012 > 13: YEAR THREE: Salwa Al Waili Jack Baron Jake Brockwell Andrew Brown Sarah Dowdall Inese Kalnberza Dean Kirby Petya Nikolova Zaheer Varyawa Matt Wells YEAR THREE PT: Michael O Donnell YEAR TWO: Larisa Dobie Simona Fratila Ed Grace Vlad Ion Nick Shackleton Dimittrios Sifakis Dan Trenholme

wish you to see the monster LONDON in the varied phases of its outer and inner life, at every hour of the day-season and the night-season; I wish you to consider with me the giant sleeping and the giant waking; to watch him in his mad noonday rages, and in his sparse moments of unquiet repose. You must travel TWICE ROUND THE CLOCK with me; and together we will explore this London mystery to its remotest recesses - its innermost arcana. To others the downy couch, the tasselled nightcap, the cushioned sofa, the luxurious ease of nightand-day rest. Ours be the staff and the sandalled shoon, the cord to gird up the lions, the palmers wallet and cockle-shells. For, believe me, the pilgrimage will repay fatigue, and the shrine is rich in relics. George Augustus Sala 1 This year Unit 6 asked students to reinvent and propose new possibilities for Londons Billingsgate Fish Market. The citys most ancient market has formed a crucial part of Londons trade culture since the 11th Century and shaped the fabric of London itself. From its original site on Lower Thames Street (formally established in 1850 by an Act of Parliament), it now sits adjacent to Canary Wharf, the financial heart of London, stranded on a bleak outpost between busy motorways and the glittering towers of Canary Wharf. Today the market survives through adaption and specialisation, providing more unusual fishes to Londons immigrant population that London supermarkets do not offer.

Despite this, the market is still subsidised by the City of London and, in turn, Londons booming financial markets. It needs to find new ways to survive and adapt as a place of exchange and trade in the 21st Century. A Working Spectacle at the Edge of Town asked students to explore contemporary and historical notions of trade and exchange. The unit explored hybrid programmatic solutions and explored the market of the future as a place of exchange, not only of material commodities but of ideas and experiences. Students interrogated the potential thresholds, boundaries and collisions of different programmatic elements and their resultant timescales and rhythms. Students were encouraged to draw on the unexpected architectural delights that the hybrid can produce. The response to the brief was diverse, reflexive and inventive. Projects include a fish market and ballroom hybrid; a Benedictine monastery in two parts; a Chinese embassy and trade exposition; a memorial to the dead at sea; a modern luddite community; a fishermans university; a new pier for Billingsgate; and a pearl factory and integrated pearl exchange. Unit 6 would like to thank Grimshaw Architects (practice support: Joe Laslett), along with our guest critics: Edwin Burdis, Max Dewdney, Simon Herron, William Higham of The Next Big Thing, Dr Jonathan Hill, Adam Shapland and Neil Spiller.

1 Sala, George Augustus, Twice Round the Clock, or, The Hours of the Day and Night in London, Houlston and Wright (London), 1859.

[052 > 053

[A WORKING SPECTACLE AT THE EDGE OF TOWN

[SITE CONSTRAINTS AND MOBILE HORIZONS

[DEGREE UNIT 7

[SITE CONSTRAINTS AND MOBILE HORIZONS

[DR SHAUN MURRAY, YORGOS LOIZOS & ED HOLLOWAY]

UNIT 7 2012 > 13: YEAR FOUR PT: Kevin Baker Romana Bellinger YEAR THREE: Margarita Andreeva Jordaan Clarke Timothy Evans Duaine Gayle Amanuel Ghebrehiwt Armand Layne Hannah Theodorou Billy Valencia Deyi Zhang YEAR TWO: Oliver Cannon Bozhidar Georgiev Jelena Malyseva Malesela Molekoa Marie Nihonyanagi Tran Mai Tran

magine our colossal landfills in the UK as sensible resource sheds to build our future urban spaces, where eventually the future of architecture and design can make no distinction between waste and supply. The global issue of urban compression in the future of our cities has led Unit 7 to investigate new interventions that operate through intuitionism and novel methodologies of practicing architectural design in our built environment. Cities are the absence of physical space between people and technology, they enable us to work and play together, and their success depends on the demand for physical connection. We propose an extended city reconstituted from its own ground materials, a remaking of the city by utilizing all the materials entombed in the ungrounding process of construction. Proposals were crafted from materials exhumed from the ground to construct different material combinations to serve different purposes in the design. What if architectural design was no longer legitimated through a promised structure or even an imagined one, but was instead to reach absolute continuity, in which construction constructed itself? Unit 7 designed an environmental testing centre for Dartford marshes, England. All projects went through three clear stages: STAGE 1: UNPACKING the complexities of Dartford marshes through communicating the geological, technological and environmental constraints. Sets of drawings were produced at various scales to explore different

architectural potentials. The objectives were to reveal an ecological set of relationships from satellite imagery, GPS tracking, tidal flows, topology, bathymetry, precipitation, temperature and chemistry. STAGE 2: POSSIBILITIES enabled the development of a building design from initial findings. Students produced a three-dimensional ecological assemblage of nine components (stair, wall, roof, etc.), where building is continuous with the way that it might be occupied, attrited and even abandoned. STAGE 3: IMPLEMENTATION of the design project through technological and environmental techniques. A series of workshops were set up at All Design to develop each project and focus their amazing potential. The projects are embedded into a complex ecological field of shifting relationships that far exceed the territories of the site. Nothing has, any longer, ever been finished. The built world vaporizes in soft apocalypse. It was a delight to observe a group of students who indulged their imagination and wit with such responsibility on a piece of the neglected earths surface which requires love. - Professor Will Alsop RA OBE Unit 7 would like to thank All Design (practice support: Professor Will Alsop RA OBE and George Wade), along with our guest critics: Nic Clear, Adam Cole, Bastian Glaessner, Kevin Green, Simon Herron, Diony Kypraiou, Juan Ignacio Oyarbide and Simon Winters.

[058 > 059

[SITE CONSTRAINTS AND MOBILE HORIZONS

[060 > 061

[062 > 063

[YEAR ONE > YEAR THREE TECHNOLOGY

[DEGREE TECHNOLOGY

[YEAR ONE > YEAR THREE TECHNOLOGY

[RAHESH R. RAM

RAHESH R. RAM Year Two & Three Technology Co-ordinator June 2013 PRACTICES INVOLVED WITH YEAR TWO OFFICE VISITS: Barr Gazetas Battle McCarthy BPTW David Morley Architects Gruff Ltd Hutchinson Kivotos March Design Associates ORMS RcKA Robin Partington Architects Sheppard Robson Stanton Williams Architects Stephen Davey Peter Smith YEAR THREE PRACTICE SUPPORT & CONSULTANTS: AHMM All Design David Morley Architects Grimshaw Architects Make Architects Max Fordham Wilkinson Eyre Architects

here is a recurring question of how to educate students on architectural technology. Behind the pedagogic delivery of the course there must be a clear understanding of how a students knowledge of technology should evolve throughout their architectural education - the gradient of technical learning for a student from the first to the third year of their course must be carefully mapped out. The direction for teaching and learning must stem from the question about what kind of students we want to nurture. Inquisitiveness is a hard trait to teach but the take of the department is to inspire, and open the door to possibilities. In the face of the ever-changing trajectory of technology, its teaching becomes complex and intricate. Students are keen to deal with current issues, current technologies and possible futures. This is something that the University of Greenwich savours. To encourage this youthful enthusiasm, the university strives to provide the bedrock of basic understanding, and the tools with which students can then tackle current technological challenges with confidence. Year One of technological learning is a year of introductions - introductions to structures, constructions and the environment, as well as an introduction to CAD and 3D Laser Printing. Year Two is a year of experimentation and building an understanding of the profession in a wider context. In Year Three, students apply their accumulative knowledge to deliver a comprehensive professional technical report.

The department understands the needs of the profession and the reciprocal role it plays. As part of a RIBA initiative, Year Two students visit prominent architectural practices, where they are taken through live projects by senior members of staff. For Year Three students, the University of Greenwich employ six practices to become consultants to help the students deliver their final projects. In the second term, Year Three students visit their practices on a weekly basis, the result of which can be seen in their impressive Integrated Technology and Professional Practice Report submissions. This relationship with professional practice continued with the Open Technology Lecture Series. Carefully chosen practices and other related professionals lectured on specific projects that threw light onto different aspects of technology and practice. The outcome of the technical submissions shows that the students rose to the challenge of revealing their technological understanding with enthusiasm and creative originality. 2012 > 13 was a very good year for the undergraduate technology courses. Sincerest thanks to our practice lecturers: AHMM, Amanda Levete Architects, Arup Associates, The Concrete Centre, Knight Architects, Max Fordham, Price & Myers, Renzo Piano Building Workshop, Rogers Stirk Harbour + Partners, Enric Ruiz-Geli, Stanton Williams Architects and Wilkinson Eyre Architects.

[064 > 065

[YEAR ONE > YEAR THREE HISTORY AND THEORY

[DEGREE THEORY

[YEAR ONE > YEAR THREE HISTORY AND THEORY

[DR MARKO JOBST

DR MARKO JOBST Undergraduate Theory Co-ordinator June 2013

he degree History and Theory courses help students develop a thorough understanding of architecture, its contexts and histories, and perfect the research skills needed to critically appraise the discipline and its current production. Students are taught how to do in-depth research and write in a number of formats that are relevant both to the academic context and beyond. The courses are designed to form an organic whole across the three years, with the theoretical knowledge and skills integrated with design thinking, culminating in the production of a dissertation at the end of Year Three. In Year One we start with the Cultural Contexts of Architecture course, in which the students of Architecture and Landscape Architecture study the social, political and economic forces that shape the built environment. We test research techniques and academic writing through a series of individual exercises and group workshops. This years focus was on architectures overlap with the arts and the study of Bankside, its urban character and recent construction projects. The course includes site visits and first-hand experience of architecture and contemporary art, and culminates in the production of an individual essay. This is followed by a sustained focus on architectural history in History of Architecture and Landscape, which provides a global and multicultural overview of the discipline up until the 18th century. Students are individually supervised and develop clearly articulated research

questions based on the themes covered in the lectures. In Year Two the historical survey continues with Architecture and Landscape 1750-1970, which traces the emergence of modernism in architecture. This traditional view of architectural history is then expanded and critically questioned in Contemporary Theories of Architecture, which covers the rise of architectural theory and investigates its relation to history, as well as architectural practice. Group work is encouraged throughout Year Two in the form of small, thematically related research clusters. This serves as the testing ground for the Architectural Dissertation, which takes place in Year Three and leads to the production of an individual essay, 5000-7000 words in length. Students are offered a choice of distinct research themes, each supported by a dissertation tutor, and focus on the study of architectural precedents, historical studies and theoretical ideas. Students are challenged to consider their dissertation topics in conjunction with the design work. This year the themes on offer included questions on public space, contemporary art, the city, research as curatorial practice, architectural representation and a critical look at architectural theory. Dissertation Co-ordinator: Dr Corine Delage Dissertation tutors 2012 >13: Melissa Appleton, Nicholas Boyarsky, Dr Corine Delage, Mark Garcia, Dr Marko Jobst, Caroline Rabourdin.

[068 > 069

[YEAR THREE DISSERTATION

[DEGREE THEORY

[YEAR THREE DISSERTATION

MICHAEL ODONNELL Lighting Public Space Tutor: Dr Corine Delage This dissertation discusses the key attributes of public lighting installations. Even though it is an essential component of the experience of architecture, urban lighting is still routinely overlooked and considered as an afterthought to design. The work of artist James Turrell is examined here alongside Frank Lloyd Wrights vision for ideal urban lighting, in particular the way in which Turrell heightens sensory experiences. The work of Olafur Eliasson and Dan Flavin is called upon in support of the notion of civic illumination of a kind that exceeds that of mere utility (J.C.Bell). The River Of Lights project in the city of Valladolid and the Barbican complex serve as case studies, in order to argue that a review of the work of Turrell and others ultimately leads to an appreciation of the work of bodies and institutions such as the Congress for New Urbanism and the Luci Charter on Urban Lighting, all of which reinforce the simple proposition that the aesthetic illumination of public spaces is an essential component of urban design but that this needs to be understood in the context of the design of sensory experiences. The dissertation concludes with an illuminating interview with Dr Cliff Lauson, the curator of the Hayward Gallery exhibition Light Show.

EVANGELIA ILIOPOULOU Decoding the City with Urban Exploration Tutor: Nicholas Boyarsky

PETYA NIKOLOVA A Tryptich of the Notion of Informe in Literature, Art and Architecture Tutor: Dr Marko Jobst

TIMOTHY EVANS Nano-Technologies and the Future of Architectural Design Tutor: Mark Garcia With the ever-increasing demand on new building developments, how can emerging nano-technologies such as molecular assemblers, Nano-scale robotics and self-replicating machines allow for an evolving architecture? Over the last few years, major developments have been made through the bottom up approach to Nano-design in both mechanical and organic systems, and it is suggested that future proposals of architecture look into a unison of cellular based assemblers and mechanical constructs. In advancing our understanding of the nano-world, could we develop new possibilities in terms of architectural concepts, design and the construction of buildings? This essay connects the physics of new possibilities with the world of architecture to combine form and function as we converge on the singularity. It investigates the impact of nano-technology in each field of design, exploring the advantages and disadvantages of a nano-system. Will these new technologies allow our buildings to grow and evolve, as we do automatically, or will it lead to the Grey-Goo principle, devouring the planet as depicted in many science fiction stories?

Go behind locked doors, step over ropes, live the experience. Urban explorers enjoy what the built environment has to offer, disregarding the constraints of the city. They reclaim the right to an authentic experience. The activity of entering disused or inaccessible urban areas and their infrastructure is practiced by those whose aims and tactics might differ, but all of whom document their explorations, mainly through photography. They celebrate the beauty of dissolution in a way not unlike that of artists since the 18th century. Akin to the avant-garde urban theorists, to the Dadaists and Surrealists, modern explorers redefine the urban environment and develop new modes of art and architecture. The unique aesthetics of these derelict places is perceived to be outside the realm of history and the charming feature of Urban Exploration is the insight it offers into hidden urban spaces. Yet this is not ruin porn, a fetishisation of dereliction; it is a critical and agentive practice. The explorer of the abandoned space, the infiltrator, forms new norms and values exploration as a viable, alternative way of decoding and exposing the masked realms of the city, a tactic to produce space and assign new value to that which is perceived to be mundane or abandoned.

The aim of this dissertation is to investigate Georges Batailles notion of informe, and to study the way it unfolds and extends influence over the fields of art and architecture. This essay is also motivated by the desire to reveal the terms revolutionary dimensions. Bataille, Bacon and Tschumi are seen here to be united by the common methodology in their works, which stems from the questioning of past conventions. So, in terms of what could be perceived of it, informe has many functions but is, first of all, an operation of resistance and opposition. Bataille, Bacon and Tschumi are understood to have worked within the realms of the undefined, undecided and unstructured, which allows their literature, art and architecture to be freed from the power structures of conservatism and tradition. And perhaps, the very idea of living in the uncertainty of an undefined world may be the only way through which creativity in literature, art and architecture can be released. Some of the pieces of work discussed here were borne out of the same preoccupations and obsessions which we saw in Bataille, the creator of informe, and the dissertation aims to reveal that the power of informe is still in its very Bataillean definition: a slippery, yet productive tool for revolutionary projections.

[070 > 071

[ARCHITECTURE

[DIPLOMA IN ARCHITECTURE

he Diploma in Architecture programme is for graduates of architecture with ARB/RIBA Part 1 who wish to gain exemption from ARB/RIBA Part 2. Our aim is to combine academic and practice teaching to support the students. The programme regularly attracts prize winners, and many of our graduates go on to receive awards and prizes for their research work. Year One Diploma design work is about developing representational and urban tactics that can be applied to a building project through a professionally tutored Design Realisation report. The advanced Year Two design work takes the work to a higher practice and academic level. The part-time students develop this thesis design over their final two years. The part-time mode is intended for students working in a supportive architectural practice and requires attendance one day and occasionally two days a week over three years. We have had remarkable success with our part-time students. Students may change from full-time to part-time or vice versa by arrangement with the School. All students choose a design unit in which to undertake their design work, each group having a different emphasis across the themes of landscape, technology, digital and biological, movement, film, fabrication and culture. Students also have the option of pursuing an MA in Advanced Architectural Design, a 60-credit part-time top-up after graduating from the Diploma programme.

DIPLOMA DESIGN CO-ORDINATOR: Mike Aling DIPLOMA TECHNOLOGY CO-ORDINATOR: Luke Olsen DIPLOMA THEORY CO-ORDINATOR: Mark Garcia

[072 > 073

[DIPLOMA UNIT 15

[TIME MACHINES

[NIC CLEAR, MIKE ALING & SIMON WITHERS

UNIT 15 2012 > 13: MA: Vimbai Caroline Gwata YEAR THREE PT: Fizaa Esmail Carolyn Garden Adam Leatherbarrow YEAR TWO: Charlie Barnard Tommy Clarke Vipin Dhunnoo Laura Edwards Madonna Florides Ross Galtress Chris Kelly Constantina Makridou Kieron Peaty Neil St John Panagiota Tzivani Prince Yemoh YEAR ONE: Hafiz Ali Salima Benjelloul Alvin Chu Sofia Kanarelli Kate Lynham Nikolajs Maksimenko Olutomi Owolabi Seung Jong Park Malgorzata Starzynska YEAR ONE PT: Natasha Clarke

magine that you are on a rock that is rotating at 652mph and travelling through space at 67,000mph. Imagine that this rock is 4.54 million years old, has a mass of 5.9 x 1018 tonnes and is home to 8.7 billion different species. Imagine that you are located somewhere on that rock within an area of 610 sq miles that is home to 13 million of the rocks most advanced species. Imagine that your specific location enables you to move freely for over 21 miles at a maximum speed of 50mph and potentially brings you into contact with 192,000 of these advanced life forms every day of every month of every year. Imagine that you are asked to analyse and record that location with respect to movement, space, and time. Imagine that you can slow time down or speed it up, or even stop it completely: that you can travel forwards or backwards in time, or create endless loops of time. Imagine that you select a specific part of that location and propose an intervention that constitutes a Time Machine. Imagine that within your Time Machine you have the capacity to construct spatial narratives that inherently communicate your values as a designer.

Welcome to Unit 15. This year Unit 15 developed Time Machines; from the outset students were advised not to simply consider time as something fixed and quantifiable, but as something dynamic, mutable and speculative. Time was approached not as ordinary but extraordinary time. These Time Machines, developed throughout the year, are located in and around the vicinity of the London Docklands Light Railway. Students drew, modeled and animated with time to create their spatial and temporal proposals; fantastic architectural propositions that move in and out of time, through and along time. Unit 15 specialises in using film, animation and motion graphics to generate, develop and represent architectural and spatial concepts and interventions. For further information on Unit 15, and for links to all of the student blogs, please visit: unitfifteen.blogspot.co.uk Unit 15 would like to thank Waugh Thistleton Architects (practice support: Marie Abela, Rachel Cozier, Angela Hopcraft, Alastair Ogle, Kieran Walker, Andrew Waugh and Tom Westwood), along with our guest critics: Aaron Betsky, Jono Gales, Mark Garcia, Jim Hobbs, Chris Lees, Shaun Murray, Kim Quazi, Kibwe Tavares, George Thomson, Lucas Tizard, Neil Spiller and David Watson.

[074 > 075

[TIME MACHINES

[DIPLOMA UNIT 16

[RESTORATION

[SIMON HERRON, SUSANNE ISA & JONATHAN HAGOS]

UNIT 16 2012 > 13: YEAR THREE PT: Joseph Edwards Adam McLatchie YEAR TWO: Rosa Couloute Matthew Gaster Ryan Holland Carl Pike Will Tsan Nick Varey Alex Winter YEAR TWO PT: Adam Bell Hayley Poynter Sarah Primarolo YEAR ONE: Shaun Corey Harry Day Sarah Dubouni Nick Gibbs Barbara Kowalska Alex Nikjoo Simon Phung Henry Puryer Alex Tarr Laurence York YEAR ONE PT: Jamie Alston James Furzer

he Marble Monuments & Memories of well deserving Men, wherewith the very high wayes [in antiquity] were strewed on each side was not... or onely a gentle deception of Time... But also had a secret and strong Influence, even into the advancement of the Monarchie, by con-tinuall representation of vertuous examples; so as in that point Art became a piece of State. - Henry Wotton, The Elements of Architecture [1624] Unitsixteen continues to explore the myths of the near future. Returning to the heart of the metropolis, we have interrogated the boundaries between wealth and power at the center of the Common-Wealth, reflecting on both the physical and immaterial fabric of state. Trafalgar Square has been the focus of our study, previously imagined as a public space by John Nash, Sir Charles Barry and most recently re-modeled by Sir Norman Foster. A complex paradoxical landscape surrounded by the symbols of lost tribes, failed ideologies and faded power. Restoration was a collective call to challenge and re-imagine the utility and function of the institutions of state, to reject traditions and propose new futures for social change, democracy and protest. Unburdened by rhetoric, liberated from conventional modes of practice and forgetting any received meaning or function, we abandoned the merely rational, re-visited the familiar, unraveled complex histories, constructing in their place new

readings and in turn creating New thoughts for the empire, New thoughts for state. As agents of change we undertook a critical survey of this lost territory, looking below the surface to develop new cartographies and projections in order to develop independent trajectories of thought and enquiry whilst contributing to a collaborative resource for interpretation as the New Common-Wealth. First year students used their findings to inform and develop an alternative proposal for the National Gallery extension site as their major building project for the year. This project formed the basis for the Design Realisation technical and professional study. Final year students further developed initial critical interpretations at the heart of Empire to act as a catalytic generator to drive the principle thesis project for the year. Our field study trip this year was to Berlin, where we explored the hidden traces of cold war paranoia and the state-engineered fun of the Spree Park, an abandoned former East German amusement park from the post-war era. unitsixteen.blogspot.co.uk Unit 16 would like to thank Hopkins Architects (practice support: Tom Jenkins and Adam Swain-Fossey), along with all of our guest critics who very kindly donated their time.

[080 > 081

[RESTORATION

[082 > 083

[A HOMAGE TO THE GOLDEN AGE OF APPEARANCES]

[DIPLOMA UNIT 19

[A HOMAGE TO THE GOLDEN AGE OF APPEARANCES]

[PROFESSOR NEIL SPILLER, PHIL WATSON, ELIZABETH ANNE WILLIAMS & DR RACHEL ARMSTRONG ]

UNIT 19 2012 > 13: YEAR THREE PT: Derick Ansong-Nimo Asif Khan YEAR TWO: Robin Bennet Eleana Beruka Oriana Koumbarou Dorine Huei-Ping Kuok William Lamburn Chandni Modha Abraham Oppong Benjamin Strangeways Niels Wergin-Cheek YEAR TWO PT: Rosica Kirkova YEAR ONE: James Eagle Maryam Gomary Nassos Hadjipapas Ching Long Ho Christopher Mccurtin Konstantinos Mouzakitis Mervyn Tasker YEAR ONE PT: Donna Staples

his year we were interested in how things look. How we represent that look, how we communicate that look and how we build that look. We are interested in the art of architectural drawings. We are particularly interested in how the virtual and biotechnological world will impinge on the architectural drawing in the twenty first century. We look at architecture as functional yet semiotically readable experiences. Our work is not mute but mutable, surfing cyborgian geographies and cartographies. Our architectures are themselves yet dovetail into their sites with the seamlessness and lack of friction of a watch part contributing to ambient conversations and symbolic echoes. Students who undertook Design Realisation this year designed a new home for the RIBA/ V&A Architectural Drawings collection at the crescendo of Nashs plan for Regents Street, Portland Place in Regents Crescent. Final year students were free to fly in all manner of strange terrains as they explored their own preoccupations, fetishes and delectations. The year has produced some extremely important work in the twenty year history of Unit 19. We pick out two students in particular that have really pushed the envelope, although many others have far exceeded expectations and produced some exquisite work. William Lamburns work explores the construction of a sublunary architecture, an architecture of the night, of wax and wane, death and rebirth on a near monthly cycle, engagingly titled A Piece For Assorted Lunatics.

The project revels in the light and darkness of the phases of the moon. Resultant architectural compositions are the sum of the interplay of these dark and light realities. The moon tells a fundamental story of birth, growth, fullness, decay, death and rebirth. Symbolic references of mortality are linked to lunar phases: New Moon, Waxing Crescent, the Waning Crescent and the rebirth of the New Moon. These realms are the basis for a theory of Sublunary Architecture and its drawn representations. The drawings illustrate the architectures extraordinary materiality and quality as optical machinery with attendant semiotics and deep connection to the changing angles of the moon over time. Chris McCurtins work is based on the philosophical insights provided by Rene Daumals great, unfinished, surrealist novel Mount Analogue. The novel, architecture and drawings are an allegorical tale of an uphill journey to find oneself. The project is conceived as a series of architectural encrustations of myths, psychologies and semiotics. Its architectural materials are asphalt, bronze, leather, wind, water and entropy. There is much still to do. By limiting our thoughts, we limit architecture and its ability to respond to the trials and tribulations of an ill-defined and dangerous future. The drawing is a magic wand with which to conjure this future. Nothing is impossible. Unit 19 would like to thank Arup Associates (practice support: Kim Quazi), and Aaron Betsky.

[086 > 087

[A HOMAGE TO THE GOLDEN AGE OF APPEARANCES]

[090 > 091

[DESIGN REALISATION

[DIPLOMA TECHNOLOGY ]

[DESIGN REALISATION

[LUKE OLSEN

LUKE OLSEN Diploma Technology Co-ordinator June 2013

esign is a funny word. Some people think design means how it looks. But of course, if you dig deeper, its really how it works. The design of the Mac wasnt about what it looked like, although that was part of it. Primarily, it was how it worked. To design something really well, you have to get it. - Steve Jobs, Wired, Feb 1996 Design Realisation [DR] allows Year One Diploma in Architecture students to thoroughly describe innovative building proposals. DR asks students to develop an original architectural idea in a site context and to then follow it through to its (sometimes il)logical conclusions. DR asks students to consider their projects from a broad perspective, to speculate on the detailed questions and to validate answers of significantly selected lines of inquiry. DR calls for a passionate commitment to understanding, the ability to identify key technical issues, navigation through complexity, leading a design team, managing risk, embracing diversity, accepting reality, determining iteratively and resolving advanced building proposals. DR is taught through lectures, seminars, crits and tutorials. Students are asked to write a report about their major building project in Year one of Diploma. DR is taught through the Design Units with the support of leading professional practices, structural engineers, service engineers and specialist consultants assigned directly to each student.

As is the reality of the design process, each student gains the opportunity to work with their own design team. The specific investigation and development of research of the DR report is determined by the unique design scheme. The coherent understanding, management and design of materials, energy, environment, construction, economy, urban and social systems have far reaching consequences for which architects are to assume responsibility. DR acts as a bridge for students arriving from a year or more working in professional practice to venture deeper into the experimental and creative thinking undertaken in Diploma. The DR lecture series runs over the first two semesters. Lectures are given by world renowned architects and engineers who have recently completed highly imaginative buildings. Please refer to the Open Technology lecture posters on pages 103 > 107 for the full list of speakers. Lectures are open to all students and run in tandem with the Year Three Technology lecture series. We would like to sincerely thank the 2012 > 13 DR Lecturers: Tim Lucas, William Matthews, Paul Monaghan, Chris Neighbour, Ho-Yin Ng, Hareth Pochee and Enric Ruiz-Geli; our Practice support from Hopkins Architects, Waugh Thistleton Architects and Arup Associates, and the engineers from Arup, Max Fordham and Price & Myers for their erudite, urbane and enlightening influence.

[092 > 093

[PRACTICE SUPPORT / OPEN TECHNOLOGY LECTURES]

[OPEN TECHNOLOGY LECTURES 2012 > 13

[HISTORIES/THEORIES/FUTURES

[DIPLOMA THEORY

[HISTORIES/THEORIES/FUTURES

[MARK GARCIA

MARK GARCIA Diploma Theory Co-ordinator June 2013 THESIS TUTORS: Mike Aling Dr Rachel Armstrong Nic Clear Mark Garcia Jonathan Hagos Simon Herron Susanne Isa Luke Olsen Professor Neil Spiller Phil Watson Elizabeth Anne Williams Simon Withers

iploma Histories/Theories/Futures consists of two taught courses on the central philosophies and theories of architecture. Topics address the historical and contemporary concepts and contexts of the critical media, processes, structures, organizations, products and questions of spatial design to provide students with advanced skills and knowledge of key architectural texts and discourses. Teaching and learning activities range from Diploma-wide weekly lectures and Design Unitbased workshops, reading groups and seminars to student-led presentations and individual written assignments. The courses begin with a Conference introducing students to current controversies and debates across architectural theory, design and technology. The weekly Histories/Theories/Futures lecture series is delivered by academic faculty from the School of Architecture, Design and Construction and is supplemented by guest-lecturers from international academia, professional practice, publishing, media and the arts. The Design Units also run a parallel program of weekly seminars and tutorials that explore the readings, precedents and critical approaches of their specific agendas. The courses integrate mainstream and international histories and theories of architecture and space with a mix of alternative, speculative, prospective and emerging criticism. Whilst a focus on interior, architectural, urban, landscape and other spatial design disciplines forms the core of this program, this is augmented with ideas from the sciences and technology, cultural and visual studies, digital and interaction design, fine art, humanities, critical theory and social sciences.

The courses explore a holistic range of innovative and state-of-the-art positions and projects spanning the fundamental concepts and paradigms of knowledge, methods and methodologies as well as more forensic case-studies, practices and designers. Students interpret and test a variety of significant, radical and avant-garde histories, theories and futures and are required to anticipate, predict and pre-empt other possible spatial ideas, designs and conditions. In the first-term Diploma Year One course, students complete two written assignments, a critical analysis reviewing the beginning-of-year Conference and a longer Essay based on the research within their Design Units. For students in their final year, the Thesis focuses on Technology, Theory or a mix of both. The written component of the Thesis comprises a Research Methods and Methodology Statement and a 6000-8000 word text (supplemented with a variety of multimedia artefacts) based on an individually chosen research project. Developed with a specialist Thesis Tutor and supported by a team of Unit tutors and Technical and/or History and Theory Co-ordinators, students develop their thesis in synergy with their final Major Design project. The more evidence-based Technical Thesis can take a number of forms e.g. programming and scripting; interactive media; installations and other types of experimental and self-reflective inquiry. In all Thesis options students learn to interrogate, apply and verify their own and others histories, theories and futures and to imaginatively and creatively critique and evolve their work as personally, professionally, socially empowering and ameliorative research.

[100 > 101

[THESIS TITLES 2012 > 13

[DIPLOMA THEORY / TECH]

[THESIS

UNIT 15: Charlie Barnard, I Shop Therefore I am: Alternative Choices to HyperConsumerism Tommy Clarke, Nanotechnology to Nanoarchitecture Vipin Dhunnoo, Future Game Space Laura Edwards, Irrational Architecture Fizza Esmail, - Bank - Beckton - A Journey Through the Subjective Experience within the Third Space Capsule Madonna Florides, Down the Rabbit Hole in Bullet Time: A Spatial Analysis of The Matrix Ross Galtress, Interface Architectures: Spatial Narratives in Augmented Realities Carolyn Garden, Indexing the Cinematic City: Kino-Collage Techniques in the Urban Environments of Digital Cinema Chris Kelly, Time and Relative Dimensions in Space [TARDIS]: The Possibilities of Utilising Virtual[ly Impossible] Environments in Architecture Adam Leatherbarrow, Are We Architecture? Constantina Makridou, Nicosia: The Dead Zone Kieron Peaty, Memoirs of a 21st Century Cyborg Neil St John, The Augmented Carnival: Geo-Locatable Augmented Reality, the Body and Time Prince Yemoh, After Earth: A Technical and Illustrative Guide on How to Build an Orbital Space Settlement with Technologies at the forefront of Scientific Research UNIT 16: Rosa Couloute, How Do Women of Postcolonial Nations Recolonise Their New Spaces? Joseph Edwards, Digital Wilderness Green Paper: Tangible-Data-Access, Through a New Government Architecture Matt Gaster, Fire and Architecture Ryan Holland, The Expo: An Opportunity Missed Adam McLatchie, CC: The Values of Architecture in the Age of Digital Reproduction Carl Pike, Pervasive Advertising and Robotics in the Public Realm Will Tsan, 3D Printing: Augmenting the Design Paradigm Nick Varey, Adapted Approaches to Funerary Architecture in Western Europe Alex Winter, Architectural and Digital Spaces of Government 2.0 UNIT 19: Derick Ansong-Nimo, The Architect And The Rioter In the Manner of Lebbeus Woods Eleana Beruka, Setting the Ground for a Restless Terrain: Geomorphic Conditions in Architectural Design Asif Khan, The Third Principle: A Critique of Lebbeus Woods Oriana Koumbarou, The Sense of Poetry and Time in the Creation of a Potent Architecture in the 21st Century Doreen Kuok, The New Romantics Will Lamburn, Sublunary Architecture Chandni Modha, Jane Bennetts Vibrant Matter as a Contemporary Technology in the Production of Architecture in the 21st Century Niels Wergin-Cheek, The Future of the Past: 20th and 21st Century Monuments

[THESIS

[DIPLOMA THEORY / TECH]

[THESIS

CHANDNI MODHA, Unit 19 Jane Bennetts Vibrant Matter as a Contemporary Technology in the Production of Architecture in the 21st Century Tutors: Dr Rachel Armstrong, Phil Watson, Elizabeth Anne Williams Vibrant matter is a philosophy explored by political scientist Jane Bennett that seeks to empower non-human bodies. Bennett recognises the qualities possessed by agency that emerge in an assemblage of human and non-human bodies to suggest three key principles: slowness, porosity and strange attraction (Jane Bennett, 2011). This underpins an ecological agenda and provokes new ideas for addressing sustainability. Vibrancy harnesses properties of living systems and is viewed not only as a philosophy but also investigated in a context where its principles can be realised as a material or technological practice for architectural experiences. These qualities are tested in practices such as Biodesign, where ecological principles are worked with on a human scale. These practices engage lifelike chemistries, multi-cellular organisms and biological structures as model systems for design. While aspects of biology appear in the projects and are inherently vibrant, the interest here is with matter that is not technically alive. Biological matter itself has many disadvantages in an urban context, for example it possesses of a mind or will of its own and is not yet a developed design practice, and the rate of growth must be taken into consideration, along with its need to be gardened and nurtured. Dynamic chemistries are explored as they are able to work with an ecology of agents, which reside in a new form of computing where matter and information are entangled. This can be used to cultivate life-like materials, for example the synthetic soil structures of Phillip Beesleys Hylozoic Ground, where ecologies of organic and inorganic matter work together. The thesis creates a system that considers a spectrum of scales from micro, including both architectural and landscape practices, to develop a radical material complexity that speculates on future architectures. Design principles can be extracted from Vibrant Matter to propose bespoke architectures that embrace ecological approaches, resulting in the production of synthetic ecologies.

NIELS WERGIN-CHEEK, Unit 19 The Future of the Past: 20th and 21st Century Monuments Tutor: Mark Garcia This thesis investigates monuments since 1900 and speculates about their futures. In the first half of the 20th century, there was strong criticism of the practice of monument building. More recently there has been a revival, a veritable boom of monuments and memorials. In opposition to traditional monuments, most recent examples are not celebratory in character but memorialise events such as genocides or the casualties of war. Monuments are an interesting topic of study in contemporary spatial design because they are repositories of civic and/or national memory (Benton-Sort, 2008) and as such they form a link between the past and the future (Lger et al. 1943). They are interesting from both a socio-political and an architectural point of view as indicators of political hegemony (what gets memorialised?), and can be a test bed for new trends in architecture and design (how is the monumentalised represented and realised?). This thesis focuses on Holocaust memorials, a relatively new type of monument, different from most traditional monuments because they are not celebratory in nature. This is interesting, as admonishing designs tend to be very different from celebratory designs and they question the notion of monumentality itself. Through a diagrammatic taxonomy and classification of monuments (based on eleven charac-teristics) the thesis analyses the evolution of the monument. These characteristics are divided into two groups three relating to the genesis of monuments (how they are conceived), and eight related to the design of monuments. Based on this, 34 categories of modern monument are proposed. The thesis concludes with a discussion on the nature of future monuments, taking into account new technologies such as 3D-printing and new materials such as biosynthetics. It speculates on possible changes in the monumentalised and examines five possible drivers for the design of future monuments: new topics, new materials, new technologies, new locations, and new approaches to memorialisation through design.

ROSA COULOUTE, Unit 16 How Do Women of Postcolonial Nations Recolonise Their New Spaces? Tutors: Mark Garcia, Jonathan Hagos Despite Western Architectures belief that it continues to challenge the environments that we inhabit, the topic of female postcolonial spatial design has remained under-researched. These spaces are at best trivialised as internal domestic habitats, or at worse, ignored as having little relevance in postmodern times. By applying postcolonial feminist theory alongside fine-art, and architectural discourses around postcolonial aesthetics, this study seeks to investigate how women of postcolonial nations re-colonise their spaces. This thesis applies three distinct research methods; the analysis of a range of theoretical texts through practitioner-researcher-grounded theory methods, the use of semi-structured interviews where my Grandmothers Best Room becomes the primary site and focus of research, and detailed case studies of design precedents from around the world. The results appear to suggest that existing postcolonial feminist spaces emanate from the most unlikely of places, and contain a rich source of design that is vehemently defiant. This thesis is an attempt to bring such a discourse to the attention of current architectural ideology and praxis.

CHRIS KELLY, Unit 15 Time and Relative Dimensions in Space [TARDIS]: The Possibilities of Utilising Virtual[ly Impossible] Environments in Architecture Tutors: Mike Aling, Luke Olsen Our understanding of space is not a direct function of the sensory input received from our sense organs but a perceptual undertaking in the brain where we are constantly making subconscious judgements that accept or reject possibilities supplied to us from our sensory receptors. This process can lead to illusions or manipulations of space that the brain perceives to be reality. Much of the recent research in this field utilises virtual reality (VR) immersive environments to create spaces that would be impossible in the physical world. Neuroscientists and psychologists are using these spaces to conduct further research into how far our perception can differ from the measured reality of our senses. This ability to manipulate the illusion and perception of presence and space within an environment provides interesting opportunities in the field of architecture. This thesis brings together current and past research in the fields of neuroscience, psychology, physiology and philosophy. It examines the current and developing technology for the creation of immersive virtual environments (VEs) and their subsequent overlapping with the physical world, and applies these findings to an architectural context, speculating on the possible opportunities for a virtuallyaugmented built environment.

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[THESIS

[DIPLOMA THEORY / TECH]

[THESIS

CARL PIKE, Unit 16 Pervasive Advertising and Robotics in the Public Realm Tutors: Mark Garcia, Jonathan Hagos At present, advertising fights for our attention across the urban street-scape. 5.1% of all advertising consumed in the UK is outdoor (Internet Advertising Bureau, 2009). Unlike advertising on the internet, this is mostly passive and can be ignored, just as we can choose not to notice a billboard advertising perfume. In the very near future, accepting progress in the fields of robotics and computing, these adverts are likely to come to life and potentially interrupt our own. Through the use of facial recognition and social media, the advert will no longer offer perfume to the broader public, it will instruct individuals to buy more of their preferred shoes. At present, brands are experimenting with these technologies within the street-scape. One such example is the Ray Ban Virtual Mirror. Ray Ban, the American sunglasses company, have introduced a touch screen and camera to their Covent Garden store in London. The sunglasses brand has recently integrated AR technology (Augmented Reality) in its prominent London store, as a strategy to win the attention of passers-by and enhance the usual shopping experience (Saatchi & Saatchi X London, 2013). Augmented reality is implemented, detecting the face on approaching the mirror, applying a pair of Ray Ban sunglasses to the reflection. These applications of Augmented Reality are the first step in the creation of a sentient city with targeted, intelligent advertisements. As robotic Unmanned Aerial Vehicles (UAVs) become ubiquitous, instead of a static field of signs, adverts will fly towards and interact with individuals in the public realm. It is possible, however, that the ubiquity of these new forms of technological advertisements could create a landscape of unwanted harassing advertisements. This thesis examines new forms of advertising media and investigates the effects of the UAV on the advertising industry and the design and experience of the urban environment.

JOSEPH EDWARDS, Unit 16 Digital Wilderness Green Paper: Tangible-DataAccess, Through a New Government Architecture Tutors: Mark Garcia, Simon Herron, Susanne Isa Following an amendment of the Freedom of Information Act, a new statutory duty was issued in May 2010 in which the British Government set out its commitment to formally establish an enhanced right to data. This new statutory duty was set out stating public authorities must publish datasets for public distribution. The act states that individuals have an enhanced right to this information and that it should be accessible and useable to all this is not yet commonplace: the government is failing us in this. With our data now taking the form of an invisible cloud, the physicality and digestibility of much of this big, linked data appears to be lost. The Internet is becoming a digital wilderness. Big data is just that, big the pure volume of files is [digitally] huge and these numbers exceed the processing capacity of conventional analysis. By linking big-data we can create a detailed digital portrait of not only an individual/corporation/groups habits and how they fit into a larger ecosystem, but also highlight the toxicity of the data to hand to help us understand its effects. Toxic data is usually formed when rogue data, or a part of an incomplete dataset, becomes available - the missing links in an otherwise bigger scheme can cause damaging results. This thesis theorises a new User Interface [UI] that can be fed with any big and linked data and could offer a solution for users in understanding not only how their data impacts on their lives, but reveal which decisions have produced publicly toxic data specific to them. By investigating the intangible space in which that data is stored, we have an opportunity to create live-architecture; Augmented Reality spaces that combine a physical representation of data that can be explored, understood, altered and controlled by the user, to take back control of what rightly belongs to us. The Data exchange needs to be multi-directional and controlled from an architecturally designed space that safely facilitates the exercising of new data-rights.

ROSS GALTRESS, Unit 15 Interface Architectures: Spatial Narratives in Augmented Realities Tutor: Mark Garcia This thesis is intended as a critique of the interface as the narrative format of the 21st century and of its relevance to the architectural profession. It examines the interface as the imminent projection of our cultural narrative arc using theory on new media by Lev Manovich and Aaron Koblin. The thesis speculates on the development of technologies that will allow those interfaces to become both fully interactive and fully immersive, thus creating spatial environments that bring interface design within the remit of architecture, or vice versa, allowing the creation of a new field: Interface Architecture. Considered in conjunction with Preston Scott Cohens theory on the use of cinema as an architectural paradigm, this thesis examines whether the interface will, in a similar manner, provide typologies for future architectures. It questions whether the narrative structures of the interface stand to benefit from spatial parameters explored in architecture but not yet realised in literature or cinema. Ultimately, the thesis seeks simply to engender discussion about the convergence of architecture and the interface, its design and who should be responsible forthat design.

WILLIAM LAMBURN, Unit 19 Sublunary Architecture Tutor: Professor Neil Spiller This thesis presents the question What is a Sublunary Architecture? Sublunary, meaning below or under the Moon, offers an architecture that is epitomised by transformation, an architecture of change that waxes and wanes. The thesis explores and proposes an architecture that exploits the characteristic nature of the Moon. Two key research areas are identified; the story of Lunar and the Moon as an object. The thesis presents the argument that these are irrevocably intertwined. Chapter One: The Story of Lunar presents a lexicon that is characterised by change, the essential theme in the story of Lunar. This lexicon is analysed in terms of its syntax and semantics. Chapter Two: Moon, the Object discusses how the Moon as a physical entity represents transformation, exploring and analysing the Moons lunation, otherwise known as its phase-cycle. Chapter Three: A Sublunary Architecture speculates that any design under the Moon can qualify as an Un-decidable Architectural Dis-order. An un-decidable object is principally an optical illusion that is unsettled, that flips in and out of shape, constantly in the throes of change from one form to another. Sublunary forms change quickly and like the Moon and Earth are constantly pulling on one another, continually fluctuating under a deceptive half-light.

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[OPEN LECTURES 2012 > 13

[CONFERENCE

[SPACES FOR ARCHITECTURAL EDUCATION

[PROFESSOR NEIL SPILLER et al.

PROFESSOR NEIL SPILLER Dean, School of Architecture, Design and Construction September 2012

he education of architects and designers is a source of much discussion and debate. This debate always focuses on seeking a compromise between two cultures that of science and that of art. In effect this continuum ranges from the quantifiable to the poetic. However, there is a third culture, one that is both open to pragmatism but is also open to the nuances of poetics and semiotics. The new spaces of creative education must respond to our contemporary world. A world that needs maverick creativity but equally a familiarity with the established ways of doing things so that we, as designers, may be critical yet also propositional. Our world is caught within an interplay of the virtual and the actual and it is within these interstitial spaces that new architectures can be constructed, whether it is an augmented reality terrain, or a convenient app or a biotechnical convergence between fauna, flora and wetware. The School of Architecture, Design and Construction and the University of Greenwich will be working in this new cyborgian geography to create worlds that bask in the new sublimity of the twenty first century, with no Luddite pretension but a view to ecological sensitivity. The world is out there held in genetics, politics, biology protocols and computers lets make it beautiful and make it touch the earth lightly.

o mark the beginning of the 20122013 Academic Year, the Architectural Programmes hosted a one-day conference titled of Spaces For Architectural Education, principally developed in anticipation of our forthcoming move to the new building in Stockwell Street. The conference comprised of presentations around Theory, Technology and Design, they were introduced by School staff and invited speakers, introducing students to the range of intellectual positions held within the world of Architecture.

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[CONFERENCE

[FUTURE CITIES 2: OTHER WORLDS

[DR RACHEL ARMSTRONG et al.

DR RACHEL ARMSTRONG Senior Lecturer Research & Enterprise April 2013 FUTURE CITIES 2: OTHER WORLDS ADDITIONAL SPEAKERS DAY 2 12.04.13: Mike Aling Peter Fotheringham Arne Hendricks Nathan Morrison Rob Swinney Phil Watson Elizabeth Anne Williams

he Future Cities 2 conference explored Other Worlds, building on the foundations of the 2011 Future Cities conference that discussed issues facing 21st century cities. Other Worlds challenged our expectations of the way we live, our environment and even the fundamental laws that govern our planet. In short, it asked us to look at the world anew and confront our assumptions about our reality in order to go forwards, to design and dwell in the 21st century. Other Worlds is a brand new space where nothing is pre-fabricated and everything is unexpected, or exceptional. These unfamiliar territories may be navigated using Reflexive Urbanism, which is an iterative, exploratory design method that requires us to make propositions, speculate on possibilities and create Design Fictions. Reflexive Urbanism also understands that our tools and technologies change along with us and proposes that advanced, combined, emerging technologies (both virtual and actual) may also help navigate shifting, uncharted terrains. Yet these provocations are not empty ideas, or reckless conjectures they are projections that are carefully placed like instruments, to reveal truths about Other Worlds, which we may not be able to imagine or even perceive. Other Worlds enables us to escape the trap of empty aesthetics, shiny green rhetoric and canonical dogmas that reassure us of what we think we already know. Instead, we

find ourselves free to explore an uncharted space of great uncertainty in which no one is an expert. Other Worlds is an experiment that sets out to establish the conditions in which we may reclaim the 21st century design from industrial logic. It is a journey of (re)discovery that forges contextual urban strategies and theories of urbanism in which lively, multi-scalar, future cities may be imagined. Other Worlds urges us to propose, (re)connect and collaborate through speculative representations which become the avatars of unfamiliar spaces, deal with unexpected obstacles, create communities and build new, yet testable ideas about the different worlds we dwell in. The Future Cities 2 programme is an exploratory bridge to Other Worlds, where a series of international pan disciplinary experts introduced us to many strange environments ranging from the Deep, to mutant urban landscapes, Science Fiction cities, Communicating Vessels, exquisite dirt, Next Natures and extra-terrestrial landscapes - all challenged our sense of scale and reality! Indeed they did this repeatedly, to confuse our senses and suspend belief in those disciplines, habits and preconceptions that make us feel secure. This wilful condition of perceptual turmoil provokes the conditions for new conversations, partnerships, syntheses and ways of seeing. Other Worlds prepared us to consider brand new perspectives that may be applied to all aspects of our existence - long after the conference was over.

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[EXHIBITION, BAHRAIN

[IMAGINE

[SIMON HERRON & SUSANNE ISA

IMAGINE: Fictional Architecture and The Liberation of Ideas SELECTED EXHIBITORS [Tutored by Nic Clear, Simon Herron, Susanne Isa, Neil Spiller & Phil Watson] Meor Haris Kamarul Bahrin [2011 Herron & Isa U16] Luke Chandresinghe [2004 Herron & Isa U16] Mike Dean [2011 Herron & Isa U16, Teaches Year One Greenwich] Adis Dobardzic [2012 Herron+ Isa U16] Mark Hatter [2005 Herron & Isa U16, Teaches Year One Greenwich] Sun W Hwang [2010 Herron & Isa U16] Jinhyuk Ko [2010 Herron & Isa U16] Gillian Lambert [2006 Herron & Isa DS14] Christopher Leung [1994 Herron & Isa U4] Jorg Majer [2006 Herron & Isa U16] Tim Norman [2009 Spiller & Watson U19, Teaches Year One Greenwich] Pernilla Ohrstedt [2009 Herron & Isa U16]

Tanya Simeonova Okpa [2011 Isa DS14] Yumi Saito [2004 Herron & Isa U16] Tom Smith [2011 Herron & Isa U16] Nicholas Szczepaniak [2009 Isa DS14] Yinfang Wang [2010 Clear AVATAR] Matthew Wilkinson [2008 Herron & Isa U16] EXHIBITION CREATED BY: Melissa Enders-Bhatia [Head of Art & Exhibitions, Shaikh Ebrahim Bin Mohammed Centre for Culture and Research] Elke Frotscher and Florian Frotscher [Curatorial and Exhibition Design] Simon Herron and Susanne Isa provided curatorial guidance and support [University of Greenwich] EXHIBITING SCHOOLS OF ARCHITECTURE: University of Greenwich Oxford Brookes UCL Bartlett University of Westminster

s part of the annual spring festival of culture in Bahrain, the Shaikh Ebrahim Centre, Bin Matar House, continue their programme of exhibitions examining the world architecture and design, which started in 2010 with the first exhibition in the Gulf of Zaha Hadids paintings and objects. This latest exhibition, IMAGINE: Fictional Architecture and The Liberation of Ideas, extends this creative dialogue between Art and Architecture, with a collection of highly experimental drawings and objects produced by a group of graduates from four leading architectural schools in England. Traditionally, drawing is a skill architects acquire in school and develop through practice in order to communicate with those who commission works and those who engineer and build them. These drawings are quite distinct in character; there is long history to the making of these kinds of marks on paper with a clearly defined and established set of protocols. From the Clients perspective, these drawings enable them to understand and appreciate how their needs and aspirations are to be formalized and met; for the Engineer and Builder, they allow for a dialogue of translation from proposal to realization, a transformative process to understand in technical terms how the built form is to be achieved and what standard and finish is required. The drawings presented in this exhibition have a third reader in mind. Less under-

stood, these drawings are essentially private, intended primarily for the authors own consumption. They are drawings without translation, raw, incredibly personal works that are not pictured or imagined illustrations of fully formed ideas or projects; instead they present the first speculative glimpses at a moment of epiphany. The exhibition set out to explore these primal marks, to consider the emergence of new thoughts and new meanings: Towards A New Architecture for the 21 Century. This group of young architects collectively discarded the rigid formal tribal boundaries of the past: they cannot be neatly repackaged into a convenient ism. In all instances there is a conscious and necessary gravitational distance maintained between the work produced and any formally recognizable building. These drawings are constructions in themselves; physical entities in time and space, existing independently within their own imagined spatial syntactic systems. Drawn by hand and/or machine, the exhibition is a mash-up of medium and content, deploying an array of haptic technical tools both physical and virtual; splice, cut, copy, fold, duplicate and merge. Drawings presented are active dynamic fields, illusive, transitory, snapshots or frozen filmic vistas, collective glimpses into an imagined near future. SHAIKH EBRAHIM CENTRE, BIN MATAR HOUSE, BAHRAIN, 7th April 30th June 2013.

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[LONDON FESTIVAL OF ARCHITECTURE 2013

[QUEENS PAPER HOUSE ]

[LONDON FESTIVAL OF ARCHITECTURE 2013

[DEPARTMENT OF ARCHITECTURE AND LANDSCAPE]

QUEENS PAPER HOUSE TEAM: DESIGN & CURATION: University of Greenwich (Max Dewdney, Mark Hatter, Simon Herron, Luke Olsen, James Wignall) STRUCTURAL ENGINEER: Arup (Chris Neighbour) ENVIRONMENTAL ENGINEER: Max Fordham (Hareth Pochee, Katie Clemence) QUANTITY SURVEYOR: PT Projects (Peter Turvey) VISUALISATIONS: Charlie Trevorrow SPECIAL THANKS: Arup Max Fordham Peter Fotheringham (Greenwich University Estates) Jo Hall (ORNC) Joseph Kasprowicz (Greenwich University Estates) Isabel Keim (ORNC) Brendan McCarthy (ORNC) Mobile Studio Architects Portland Quarry and Sculpture Trust Peter Turvey

he University of Greenwich Department of Architecture and Landscape are delighted to have been invited to be one of the key London Festival of Architecture 2013 partners. We have worked closely with an internationally acclaimed design team including engineers Arup and Max Fordham in the design of the Queens Paper House. QUEENS PAPER HOUSE Fri 7th - Sun 9th June 2013 [11.00am - 4.00pm] It is often said that there are architects who build and there are paper architects. Queens Paper House is both, it is a paper landscape of real and fictitious structures constructed from paper and air - a giant inflatable paper structure in the form of a temporary annex to the Queens house within the UNESCO Heritage site of Greenwich Maritime campus. Augmented around the paper house will be an array of interactive drawing and modelling workshops, talks and events, including: PAPER CITY WORKSHOP Sat 8th - Sun 9th June 2013 [11.00am - 4.00pm, Rm QA063] Paper City is a hands-on event, where visitors are invited to participate in the delirious pursuit of construction. Join in a two-day architecture interactive workshop run by staff from the University of Greenwich School of Architecture, Design and Construction to develop your spatial and architectural skills.

The workshop will focus on temporary and festival architecture. Participants will develop drawing and model-making skills contributing to a temporary Paper City within the Greenwich Maritime site. DESIGN PORTFOLIO WORKSHOP Sat 8th June 2013 [11.00am - 4.00pm, Rm QA063] Bring your current work along to learn how to make a portfolio - a free and informal drop-in workshop to help prepare for university design-based interviews. This interactive and practical workshop will cover portfolio layout, format, organisation, sketchbooks and general presentation techniques. PAPER ARCHITECTURE TALKS & PANEL Q+A Sat 8th - Sun 9th June 2013 [Time / details tbc] A special open lecture will take place that explores the role of visionary paper architecture both within education and within the profession. The talk will be followed by a panel Q+A with leading academics and professionals open to the public and students of Art, Design and Architecture. UNIVERSITY OF GREENWICH ARCHITECTURE SUMMER SHOW 2013 TOURS Sat 8th - Sun 9th June 2013 [12.00pm, 2.00pm, 3.00pm] The University of Greenwich Architecture Summer Show opens on Friday 7th June [>]

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[LONDON FESTIVAL OF ARCHITECTURE 2013

[QUEENS PAPER HOUSE ]

[LONDON FESTIVAL OF ARCHITECTURE 2013

[DEPARTMENT OF ARCHITECTURE AND LANDSCAPE]

(6.00pm) with work from Degree and Diploma students displayed until Friday 14th June. For the LFA weekend (Sat 8th - Sun 9th) there will be special guided tours of the end-of-year show by Dean of School Neil Spiller, Academic Leader Simon Herron and Head of Department Nic Clear for an in-depth understanding of the concerns informing this years work. UNIVERSITY OF GREENWICH LANDSCAPE ARCHITECTURE SHOW OPENING Mon 17th June 2013 [6.00pm, Queen Anne Building] Join us for the opening night of the Landscape Architecture and Garden Design BA, MA and Certificate programmes. The exhibition is open until Friday 21st June 2013. TOUR OF NEW ARCHITECTURE SCHOOL BUILDING ON STOCKWELL STREET Sat 8th June [9.00am, 10.00am, 11.00am + 12.00noon] [NB: Booking is essential as places are limited to 10x per group. RSVP: adc@gre.ac.uk] A rare chance to visit the purpose-built new University of Greenwich School of Architecture, Design and Construction, due for completion in early 2014. Join a tour of the building currently in construction, designed by the award-winning Heneghan Peng Architects: The building has the dual role of having to both embed itself as a piece of urban fabric to the south, while making itself recognizable as a civic entity to the north. Its expression shifts in response to its context, appearing from Nevada Street as a series of tightly packed volumes which blend into the streetscape; as one rounds the corner this fabric begins begin to pull apart, revealing the activity within. - Heneghan Peng Architects ARCHITECTURAL TOUR: GREENWICH MARITIME UNESCO WORLD HERITAGE SITE Sat 8th - Sun 9th June 2013 [Times, details tbc] Join a unique guided tour that explores the history of the Greenwich Campus located within the Old Royal Naval College, which is part of the Greenwich Maritime Unesco World Heritage Site. The tour will include buildings designed by celebrated British architects Sir Christopher Wren, Nicholas Hawksmoor, Sir John Vanbrugh and Inigo Jones.

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[INTRODUCTION

[FUTURE LANDSCAPES: EXPLORING ECOLOGIES

[DR CORINE DELAGE

DR CORINE DELAGE Acting Academic Leader in Landscape June 2013

1 Turner, Tom, City as Landscape: A Post-Postmodern view of Design and Planning, Chapman & Hall (London), 1995. 2 Turner, Tom, Garden History: Philosophy and Design 2000BC to 2000AD, Spon (Oxon), 2005. 3 Jellicoe, Geoffrey & Susan, The Landscape of Man: Shaping the Environment from PreHistory to the Present Day, Thames & Hudson (London), 1975.

rchitecture and Landscape Architecture are brought together in this catalogue. What is the difference between architecture & landscape architecture? applicants often ask me at Open Days, to which I usually answer: Basically, architecture is about spaces that have a roof and in landscape architecture we design spaces open to the sky...! Of course its more complex as testified by the work of our students. Landscape architecture is a young profession, the first course began at Harvard in 1900. But it has very ancient roots in garden design, city planning and the design of public spaces. Our colleague Tom Turner has written about the development of the discipline in books such as City as Landscape 1 and Garden History: Philosophy and Design 2000 BC to 2000 AD. 2 Sir Geoffrey Jellicoe wrote in The Landscape of Man: It is only in the present century that the collective landscape has emerged as a social necessity and we are promoting a landscape art on a scale never conceived of in history. 3 Student projects at Greenwich show many approaches to the design of landscapes and gardens, responding to the challenges of the 21st century in imaginative and competent ways. In London they include major development sites, like Battersea Power Station, and famous public open spaces, like the South Bank. Outside of the UK, projects include a design for a petrified forest in Germany, a waterfront in Ho Chi Minh City and an open space corridor in France. Students design with an appreciation of the meanings of time and how landscapes evolve with the seasons

and the years. Also embedded in our ethos is the recognition that designing landscapes is fundamentally a process involving people. A deep understanding of context as defined by the social, cultural, environmental, geological, ecological conditions and processes is required. The projects demonstrate the ability to zoom in on an exciting planting detail and to zoom out to the scale of a region, imagining wider networks of relationships. It is this intellectual agility that we seek to develop across our courses. This year has been busy for the landscape team with research conferences on Desert Landscape and on GIS + BIM, an international workshop with the Ecole Nationale Suprieure dArchitecture et du Paysage in Lille, a trip to the Centre for Alternative Technologies in Wales and other events. We are also involved in the design and implementation of a landscape project for the Druk White Lotus School in Ladakh, India. Three landscape students are going to work there in 2013. We are grateful to Robert Holden for his contribution over many years to the education of landscape architects. I was handed over the baton after his departure. I thank my colleagues for all their work in keeping the show running. We are pleased to welcome Ed Wall, who will start as Academic Leader Landscape in July 2013. I salute and congratulate our students. The exhibition is a window onto their dedication and passion.

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[LANDSCAPE

[BA (HONS) LANDSCAPE ARCHITECTURE

UNDERGRADUATE COURSE CO-ORDINATOR: Jamie Liversedge UNDERGRADUATE TECHNOLOGY CO-ORDINATOR: Duncan Goodwin YEAR ONE TUTORS: Annie Evans James Fox Caroline Halfpenny Nick Harper Jim Hobbs Robert Holden Caroline Jackson Marko Jobst Elise Liversedge Jamie Liversedge Sarah Morgan Lisa Peachy Wendy Smith Tom Turner YEAR TWO TUTORS: David Carey Rebecca Cotton Duncan Drinkwater Annie Evans Paula Garvey Duncan Goodwin Lynn Harkess Robert Holden Caroline Jackson Jeremy Linden Jamie Liversedge Sarah Morgan Paul Shaw YEAR THREE TUTORS: Mark Bentley Corine Delage Julia Fogg Paula Garvey Robert Holden Benz Kotzen Jamie Liversedge Sarah Morgan Shelley Mosco Finlay Ross Tom Turner Armelle Varcin Peter Wilder YEAR THREE BA (Hons) GARDEN DESIGN TUTORS: Marion Boswell Ivan Clark Tony Clelford Julia Fogg Paula Garvey Robert Holden Benz Kotzen Jamie Liversedge Sarah Morgan Shelley Mosco Finlay Ross Tom Turner Armelle Varcin Andrew Wilson

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[BA (HONS) LANDSCAPE ARCHITECTURE

[YEAR ONE

[BA (HONS) LANDSCAPE ARCHITECTURE

[JAMIE LIVERSEDGE

YEAR ONE 2012 > 13: Cesare Cardia Joe Ennis Eugene Kaitell Mohanraj Kanagaratnam Christina Karantani Ruby Lee Gwen Macheka Ewa Carvajal Quiroga Andrew Tan Zoe Walker Maria Xenofontos

andscape Architecture at Greenwich has a structure which is 50% design, 25% technical (such as horticulture or construction) and 25% theoretical (such as landscape and cultural history). Year one is a combination of design and visual studies studio teaching, lecture courses that are focussed on Cultural Context, Landscape and Garden Design History and Theory, amenity horticulture (with regular plant instruction and testing) , and landscape construction techniques. This explores the relationship between the landscape architect and the wider concept of landscape, the natural processes that contribute to it, and how these can be reinforced and reconfigured by the designer. The design studio teaching in term 1 is focussed around a floodplain site at Greenhithe on the Thames. The site is tidal, just downstream of the Dartford Bridge, with a seventeenth century chalk quarry that became an eighteenth century landscape garden recently, filled with commuter housing in an unconvincing neo-vernacular style, beyond tidal areas and old industrial wasteland and with views across the river to industrial Thurrock. It is the marshland landscape of Abel Magwitch in Dickens Great Expectations, two centuries on. This windswept, post-industrial redevelopment site is an introduction to what landscape can mean in a wider context, and explores both the environmental and sensory aspects of its identity through a series of linked projects. The projects are organised around the role of the observer, passing through the site; recording, collecting, and intervening, and the developing tools for exploration and explanation. It is a place of change; daily tidal change,

atmospheric change and seasonal change. Students look at landscape design as a four dimensional discipline, relating concepts of Distance, Time, Space and Memory to the actualities of the site. In terms 2 & 3 the teaching switches its focus to Urban Space and Identity. A group survey project explores a transect through central London (a half valley section), from the top of Primrose Hill to Horse Guards Parade, investigating the multi-layered, multi-functional order and complexity of the city. Studio projects explore the nature of transformation and social interaction in the public realm, using 3D physical models, film, assemblages, drawings and other methods of communication. The Design and Visual Studies studios are taught by fine artists and are experimental in nature. They require a documented process that allows for the development of manual and digital skills, and an understanding of both visual and critical awareness. This sketchbook approach reinforces the teaching and begins to define the way students use inspiration and precedent to develop their design intentions. It is important that every student can sketch and draw with facility and thereby observe; it is important that every student understand and use colour theory, light, shade and composition. Horticultural and construction teaching is delivered at Hadlow College throughout the year, with practicals, workshops, plant idents and lectures. These introduce the concepts of materiality, sustainability and longevity for planting and hard material selection. Looking at planting and maintenance operations, plant identification and the principles of right plant right place selection.

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[BA (HONS) LANDSCAPE ARCHITECTURE

[YEAR TWO

[BA (HONS) LANDSCAPE ARCHITECTURE

[JAMIE LIVERSEDGE

YEAR TWO 2012 > 13: Danny Beever Hristo Chilov Owen Gooden Alex Ioannou Theo Kidman Nicholas Lie Sofia Stoyanova Agnieszka Szyszka

ear two continues the exploration of the designers relationship with nature with courses in Planting Design, Ecology & Conservation, and the related Design with Nature, as well as the development of technical skills in Landscape, Science and Techniques. Design and representation are investigated with Digital Landscapes and Landscape of Ideas. The timetable is sequential allowing the development of habitat identification and ecological survey techniques in term 1, and the application of these skills in Design with Nature in term 2. In 2013, Chislehurst Common was the chosen site for the students interventions, including the creation of four distinct habitat types including establishment and management objectives and long term maintenance regimes. This method of investigation, use of sustainable ecological practices and biodiversity implementation has been one of the core tenets of landscape architectural practice for the last fifty years and provides a fundamental understanding of how designers shape landscape. The teaching across all courses continues to expand both conventional and contemporary digital skills and methods of collaborative working. Landscape of Ideas allows students to develop an entry for live competitions. This years entry was for the 2013 Grande Mtis Garden Festival in Quebec, Canada. These entries enabled students to focus on the presentational voice of their work for a tight compartmentalised show garden in a real-life design competition.

Digital Landscapes focuses on workflow techniques using ACAD, SketchUp and Photoshop, while in Landscape, Science and Techniques, land modelling and earthworks calculations are worked through, both manually and digitally, in Key Terra Firma.

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[YEAR THREE

[BA (HONS) LANDSCAPE ARCHITECTURE/GARDEN DESIGN]

[JAMIE LIVERSEDGE

BA (HONS) LANDSCAPE ARCHITECTURE YEAR THREE 2012 > 13: Matt Cairns Newcome Edwards Ivelina Fukarova Timothy Kamanyire Tim-Ole Michel Murtaza Nasiri Hemendra Phul Imogen Stephens Pierre Vedovato BA (HONS) GARDEN DESIGN YEAR THREE 2012 > 13: Basil Anthony Dominic Baggot Philip Bristow Alexandra Buckley Sam Daly Karin Hawkes Heidi Joyce Caroline Knight Elena Maguire Tania Oddi Molan Park Dan Ridge Katie Thomas

he final year students in BA (Hons) Landscape Architecture and BA (Hons) Garden Design are together in a joint design studio, this year working on 6-10ha urban park sites in Shoreditch, London and Tunbridge Wells, Kent. The studio explores the important of place and culture and investigates the multi-layered interconnectedness of context. Landscape designers must be able to develop fully resolved and detailed design proposals which develop out of masterplans, concepts and strategies. These detailed designs form the basis for the working drawings that are necessary for project realisation and implementation. The sequence of linked studio projects explores both the scale of intervention and the public interaction with the design, different skills are required throughout this managed process, the group survey and information gathering of Place and Culture, multi-layered strategic development in the Masterplan, crafted well reasoned design in Design Development, and finally developed detailed working drawings as part of Technical Landscapes and Garden Design Detail. Feeding into the design studio are lectures on the History and Theory of Garden Design, Sustainable concepts of Green Engineering, the principles of Historic Garden Conservation, the approaches of Advanced Representation, and the influence of the Dissertation subjects. This years Dissertation subjects ranged from Green Infrastructure

and Ecological Urbanism, to Modern Golf Course Design and Urban Microclimate. This years site choices allowed the students to choose between Shoreditch Park; a relatively flat inner city park, isolated by roads and disconnected from other public open spaces, with high intensity of use, and Calverley Grounds in Tunbridge Wells; an undulating valley focussed park, hidden and under-utilised, disconnected from the commercial centre and train station. Both sites lend themselves to responsive masterplans with imaginative and creative approaches, and require distinctive yet appropriate and workable contextual designs.

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[140 > 141

[CERTIFICATE IN LANDSCAPE DESIGN

[LANDSCAPE

[CERTIFICATE IN LANDSCAPE DESIGN

[JAMIE LIVERSEDGE

CERTIFICATE STUDENTS 2012 > 13: Olga Aliyeva Struan Brown Kit Bullas Olga Connolly Blanch Crossley Christoph Fischer Giacomo Guzzon Julia Halasz Elizabeth Heath Jeremy Hemingray Bertha Mwenewanda Hannah Oakden Myles Ogilvie Ellen Orchard Giedre Paliukaityte Annina Salo Anna Tolfree Dimitris Tsimouris Sam Williams Qige Xu

he Certificate is an intensive conversion year that leads to the MA in Landscape Architecture. Together the two programmes form a conversion route for graduates from other professions to landscape architecture. The content of the Certificate is a strategic mix of design and technical undergraduate courses that provide an understanding of Landscape Architecture as a profession; its broad scope and its relationship with its two clients: the landowner and society. The courses investigate how the landscape designer explores composition with landform, water, plants, vertical and horizontal structures. There is a balance between development of creative skills and design process, and the scientific basis of landscape design. Design and visual studies studios are taught collaboratively with the undergraduates and explore methods of design, techniques in representation and ways of communication. Landscape Architecture is a complex discipline that is based on a knowledge of the Arts, Science and Management, and the understanding of the multi-layered interrelated contextual systems that make up the natural world we live in. It is a four dimensional design profession that works with real people, real places, and real experiences and this is reinforced through the content and teaching of Ecology and Conservation, Design with Nature and the two design studio courses. This years sites; the tidal floodplain at Greenhithe the urban fabric of the City of Westminster, Chislehurst Common, and the Kent countryside at Hadlow, have allowed the students

to be introduced to a diverse mix of habitats and environmental conditions that broaden the understanding of what current landscapes represent, and how we work within them as designers. The horticultural and construction elements of the programme are taught through an intensive lecture programme at Hadlow College, and have been reinforced by the Paris field trip and the Lille Esquisse (another live project set by the Ville de Lille Directeur dUrbanisme), along with London materials walks, site visits, and plant identification guided walks and tests, providing a base knowledge to be developed in the MA programme. CERTIFICATE IN LANDSCAPE DESIGN TUTORS: David Carey Rebecca Cotton Duncan Drinkwater Annie Evans Duncan Goodwin Caroline Halfpenny Nick Harper Jim Hobbs Robert Holden Caroline Jackson Jeremy Linden Elise Liversedge Jamie Liversedge Sarah Morgan Shelley Mosco Lisa Peachy Wendy Smith Richard Tilley David Watson

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[CERTIFICATE IN LANDSCAPE DESIGN

CERTIFICATE PARIS FIELD TRIP NOVEMBER 2012 In France there is a strong political commitment to planning, landscape, public works and the physical appearance of towns and cities. The Paris Field Trip enables students to understand the concept of landscape as a cultural and political asset, and how it shapes spatial identity and reinforces a sense of place. The visit to the exhibition of planning, urbanism and landscape at the Pavillon de lArsenal revealed how landscape in Paris underpins the strategic planning direction and can often be the core generator in the development of urban form, as can be seen in the planning ZACs (zones damnagement concerts) from the 1970s onwards. The 5-day walking tour via public transport begins with the le de la Cit and the le Saint-Louis, leading to the view for the whole of historic Paris from the rooftop of Jean Nouvels Institut du Monde Arabe which allows students to understand Paris in relation to its geology and topography. This is then reinforced by the visit to the Pavillon de lArsenale. The tour of the Monument de la Dportation also provides an emotional and political amplification. Subsequently the walk takes in the wider city, the parks of La Villette, Bercy, Citron Cvennes and Diderot, the public realm of the Bibliothque Nationale de France, La Dfense, the Avenue des Plantes, the Muse du Quai du Branly and the Boulevard Richard Lenoir, and the horticultural challenges of living walls, roof gardens, soil reinforcement and intensive horticultural regimes.

There is a visit to the edge of historic Paris to the Porte dItalie to see the Avenue dItalie (how a post Haussman boulevard is undated and repaved as a city boulevard (compare the Old Kent Road) and to tour open space in social housing (HLM) and the small neighbourhood parks of Jardin de Moulin de la Pointe, Jardin Juan Mir and the Jardin Gandon and then to circumnavigate Paris using the new (opened 2006) Tramway 3, which has grassed tracks and good interchange connections. Use of metro, and tram shows how modern city transport planning operates in France. The theme of the visits and the itinerary is about experiencing landscape architecture in the real world, making the connections between academic theories, design studio concepts and the eventful practicalities of project realisation. Paris offers students the chance to explore contemporary urban and landscape design, to investigate new construction materials and techniques, to see different i.e. non British approaches to planting (e.g. monospecific block planting) and to be introduced to the frailties of poor design and specification, and the importance of planning for long-term maintenance and management strategies. One of the core disciplines of landscape architecture is the skill of the Placemaker. Paris is an easily navigable city where the concepts of function, animation (people) and place (space) are easily observed, and the skill of the placemakers can be understood both politically and culturally, from the work of Andre Le Notre in the C17th to the collected works of Gilles Clment, Allain Provost, Bernard Tschumi, Bernard Huet, Michel Corajoud and the living walls of botanist Patrick Blanc.

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[LANDSCAPE

[MA/DIP LANDSCAPE ARCHITECTURE

he MA Landscape Architecture programme is designed for students in disciplines related to design, such as architecture, design, geography, town planning or fine art, or from the environmental sciences, such as horticulture, botany, biology or forestry. Direct entry to the Masters programme requires completion of the Certificate in Landscape Design but is also open to students who have a British or US-style BA (Hons) Landscape Architecture degree and who choose not to undertake the Diploma in Landscape Architecture. There is a strong element of digital design using industry standard software. The dissertation is completed in the last term by flexible learning.

he Diploma in Landscape Architecture programme is professionally based and encourages independence of mind and personal specialisation. As an accredited programme, it forms, with BA (Hons) Landscape Architecture or BA (Hons) Garden Design, part of an intercalated set of awards leading to membership of the chartered professional body, the Landscape Institute. The programme is for students who have completed one or more years in landscape practice and who intend to become members of the Landscape Institute. The programme is well known both nationally and internationally, and is one of the longer established British programmes. It is structured on a studio/tutorial basis with lecture/seminar courses. Teaching is shared with MA Landscape Architecture.

POSTGRADUATE COURSE CO-ORDINATOR: Benz Kotzen MA/DIP LANDSCAPE ARCHITECTURE TUTORS: Nic Clear David Ellis James Fox Duncan Goodwin Benz Kotzen Tom Turner

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[MA LANDSCAPE ARCHITECTURE

[LANDSCAPE

[MA/DIP LANDSCAPE ARCHITECTURE

[BENZ KOTZEN

MA LANDSCAPE ARCHITECTURE STUDENTS 2013 > 13: Cristina Amico Zoi Antonaki Valentinos Antoniou Janelle Berkley Rowan Case Paddy Clarke Matthew Dalby Tamasin Dale Marine Deimerly Jessica De Saint Paul Arlene Decker Caroline Druon Norbert Engst Dumitru Furnea Ed Gant Eirini Giannopoulou Francesco Giraldo Kevin Heydenrych Elena Ilieva Dimitrios Lantzas Duan Juan Li Marcelle Loizou Yixing Luo David McCollum Karolina Moch Leire Ochoa Muoz David Parfitt Hien Phan Sharon Pilbeam Julian Richardson Ross Roberts Paul Ruse Michaela Stevens

MA CONT. > Stuart Taylor Sarah Tolley Tom Utting Anna-Sophia Werther Amy Whittingham Susan Willmott Slawomira Ewa Wojtas Haopu Xu DIPLOMA IN LANDSCAPE ARCHITECTURE STUDENTS 2013 > 13: Elizabeth Ann Dickie Joey Donovan Robert Park

he Masters and Diploma Programmes in Landscape Architecture are the pinnacle of landscape design education at the University of Greenwich. Whilst we offer PhD studies in various aspects of landscape, Design is the key focus for the MA and Diploma Post Graduate studies. So what is landscape design/landscape architecture? In simple terms, landscape architecture may be defined as the art of composing landform, water, vegetation, buildings, paving and climate to make good outdoor space. This rather straightforward definition masks the complexity of the design process, requiring the combination of good and relevant ideas, sharp intellect, ambition, artistry in concept and in making, as well as in the delivery of projects. Landscape design in essence is about two things; people and nature - providing high quality environments that benefit the public as well as improving, enhancing and realizing the potentials of the natural environment, be it terrestrial or aquatic, at ground level or, for example, elevated on green roofs or living walls on buildings. Designing for people needs to marry function and aesthetics, nature and culture and it needs to be sustainable, considering the impacts from cradle to grave. The United Nations Brundtland Commission released the Brundtland Report, known as Our Common Future in 1987, raising awareness that sustainability needs to be a key component of any new development as well as in

rectifying mistakes of the past. Landscape design and planning has been (and will continue to be) a leading light in this quest for sustainable development. The scope and relevance of landscape design is growing especially in urban centres, where the Green Cities Agenda is the hottest of topics. We can see this particularly in the emergence of Landscape Urbanism in the latter years of the last century and its concretion in current times. There are numerous, obfuscating ideas of what landscape urbanism is, but landscape architects know that it centres on what they have always known and done - that the design of any of our environments, urban or otherwise, needs to be holistic, inclusive, balanced and landscape driven. The recent emergence of Ecological Urbanism further supports the heterogeneous approach of landscape architects where all organisms are considered important, including the landscape design package of urban agriculture in America. The planning for and design for food growing in our cities is another string to the bow of landscape architecture and it is an opportunity for the educational and professional realms. Students are encouraged to design innovative sustainable solutions for a changing world. Their design education will allow them not only to fully participate in the landscape profession, but also to become leading lights in the art, science, theory and practice of landscape design.

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[ADVANCED LANDSCAPE DESIGN

[MA/DIP LANDSCAPE ARCH]

[ADVANCED LANDSCAPE DESIGN

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[MA/DIP LANDSCAPE ARCH]

[ADVANCED LANDSCAPE DESIGN

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[ADVANCED LANDSCAPE DESIGN

[156 > 157

[ADVANCED LANDSCAPE DESIGN

[MA/DIP LANDSCAPE ARCH]

[ADVANCED LANDSCAPE DESIGN

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[ADVANCED LANDSCAPE DESIGN

[MA/DIP LANDSCAPE ARCH]

[ADVANCED LANDSCAPE DESIGN

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[ADVANCED LANDSCAPE DESIGN

[MA/DIP LANDSCAPE ARCH]

[ADVANCED LANDSCAPE DESIGN

[162 > 163

[ADVANCED LANDSCAPE DESIGN

[MA/DIP LANDSCAPE ARCH]

[LANDSCAPE ASSESSMENT AND DESIGN

[164 > 165

[LANDSCAPE ASSESSMENT AND DESIGN

[166 > 167

[LANDSCAPE ASSESSMENT AND DESIGN

[MA/DIP LANDSCAPE ARCH]

[LANDSCAPE ASSESSMENT AND DESIGN

[168 > 169

[LANDSCAPE ASSESSMENT AND DESIGN

[MA/DIP LANDSCAPE ARCH]

[170 > 171

[THEME PROJECT

[MA/DIP DESIGN PROJECTS]

[URBAN DEVELOPMENT GROUP PROJECT

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[LIVING WALL

[SUSTAINABLE LANDSCAPE RESEARCH GROUP

[INPUT > CERTIFICATE IN LANDSCAPE DESIGN STUDENTS]

[174 > 175

[CONFERENCE

[DESERT RESTORATION BITES

[BENZ KOTZEN et al.

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[BUDDHIST GARDENS / DRUK WHITE LOTUS SCHOOL]

[TOM TURNER / SIMON DRURY-BROWN

he Sustainable Landscape Research Group held a talk by Tom Turner on Buddhist Gardens and a talk by Simon Drury-Brown on the Druk White Lotus School in Ladakh, in India. Tom is a world authority on landscape and garden history and he reviewed gardens and landscapes designed under the influence of Buddhism, as the world faith that has had the most influence on garden and landscape design. Siddhrtha Gautama Buddha, who founded the faith, was born in a garden, became enlightened in a garden, gave his first sermon in a garden, spent each monsoon in a garden and died in a garden. His followers built monasteries in gardens and, at a later date, made gardens that symbolise the nature of the cosmos.

In 2012 Simon Drury-Brown graduated from the University of Greenwich, after which he spent three months in Ladakh working on the Druk White Lotus School (DWLS see Wikipedia article). Simon discussed the work undertaken, to create a beautiful, sustainable and productive landscape in an extreme environment at the school. The children will learn amid fruit, flowers, greenery and native plants. The school buildings were designed by Arup Associates and have won many awards. The project is funded by the Drukpa Trust, a charity that counts the Dalai Lama, Joanna Lumley and Richard Gere among its patrons. Three landscape students are going to work on the project in 2013.

[LILLE ESQUISSE

[WORKSHOP

[LILLE ESQUISSE

[JAMIE LIVERSEDGE et al.

LILLE ESQUISSE 2012 > 13: GREENWICH PARTICIPANTS: Olga Aliyeva Zoi Antonaki Marine Deimerly Caroline Druon Christoph Fischer Ivelina Fukarova Kevin Heydenrych Heidi Joyce Mohanraj Karangaratnam Duan Juan Li Yixing Luo David McCollum Tim-ole Michel Tania Oddi Myles Ogilvie Giedre Paliukaityte Molan Park Ross Roberts Michaela Stevens Andrew Tan Haopu (Hope) Xu Qige Xu FACILITATORS: Robert Holden Jamie Liversedge Finlay Ross Armelle Varcin

his year saw the 4th Esquisse Internationale in Lille. Twenty two Greenwich final year BA, Certificate and Masters students joined fourteen final year French students from the Ecole National Superieure dArchitecture et de Paysage de Lille in combined design teams to produce four development visions for the Hellemmes district of the City. The brief was a live project set by Mathieu Goetzke, Directeur de lUrbanisme de la Ville de Lille. This years brief was to prepare a community plan that reinstated a strong coherent identity to the disjointed and disrupted community of Hellemmes. The site is a collection of derelict post-industrial, mixed residential, agricultural, active industrial sites, separated by transportation corridors, and lacks any form of community focus or identity. The Esquisse is a five day process-based masterplanning exercise, starting with eight mixed cohort collaborative creative teams on day one, quickly being reduced on the second day to four combined teams pursuing clearly different conceptual visions for development. This method gives the students a real insight into the challenges of how multi-national creative teams work, of working on large-scale projects (Hellemmes is over 100ha), and introducing students to the full scope and possibilities of strategic landscape architecture.

Throughout the week ideas were developed and presented in both large-scale physical models and storyboard form at a fast pace, allowing for the exploration of multi-layered themes and the development of a clear strategic vision. On day five the teams presented their visions for the future of Hellemmes to City Planners, local councillors and politicians in a very impressive manner, with strong concepts and clear visions supported by great models, panels and well crafted oral presentations. The four final presentations, Living in a Garden Chain, The Catalyst, Illumination and Cultivating Hellemmes returned to the town hall in Hellemmes in the following week to be presented by the Mayor to the Council and the public. This began the next stage of the discussion of how to move forward in recreating a community identity. Being a Landscape Architect is often about developing methods of collaborative working, contextual investigation, community presentation, and exploring the opportunities for landscape to be the catalyst for creative development. The Esquisse allows for both the exploration and understanding of how the concepts of contextual spatial design, urban ecology, sustainability and community identity act as design generators for responsive development masterplans.

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[VISIT

[CENTRE FOR ALTERNATIVE TECHNOLOGIES

[BENZ KOTZEN et al.

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[STOCKWELL STREET

[NEW BUILDING: SCHOOL OF ARCHITECTURE, DESIGN AND CONSTRUCTION ]

[http://www.gre.ac.uk/stockwell-street

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[STAFF / STUDENTS / THANKS TO

[INDEX

[STAFF / STUDENTS / THANKS TO

Abdo, Marwan Abd Rahman, Muhammad Abela, Marie Aberson, Martin Aboagye Williams, George Abraham, Nathan Adlington, Susan Ahamed, Evana Ahmed, Aysum AHMM Akbarally, Abbas Akin, Dogus Akram, Humma Al Amandi, Sara Alden, Elise Alexander, Craig Ali, Hafiz Aling, Mike Aliyeva, Olga Allahverdi, Sahar All Design Allen, Mike Allford, Simon Alsop, Will Alston, Jamie Al Waili, Salwa Amanda Levete Architects Ambius Amico, Cristina Andreeva, Margarita Ansong-Nimo, Derick Anthony, Basil Antonaki, Zoi Antoniou, Valentinos Appleton, Melissa Argyros, Dimitris Armstrong, Rachel Arnaudov, Georgi Arup Associates Asante, Sandra Ashenden, James Astra Printing Group Baciu, Bianca Bagdali, Gunes Baggot, Dominic Baker, Kevin Ball, Alexander Bali, Moronke Barnard, Charlie Baron, Jack Barr Gazetas Barrie, Lucy Barrington, James Bashir, Aisha

035 040, 041, 045 075 041, 043 035, 036 014 192 015 014, 015, 018 047, 065, 094, 095, 098 029, 031 047 029 014, 017, 018 047, 051 014 075 004, 029, 035, 073, 075, 101, 105, 110, 113, 118, 121 143, 181 035 059, 065, 094 115 047 059 081 053, 056, 115 065, 095, 099 115 148, 150 059, 060 087, 102 139 148, 165, 181 148, 150 053, 069 014 087, 108, 101, 104, 120, 121, 185 015, 020, 066 065, 087, 093, 094, 095, 096, 125, 126 015 023

Battle McCarthy Beever, Danny Begum, Razna Bell, Adam Bellinger, Romana Benjelloul, Salima Bennet, Robin Bentley, Mark Berkley, Janelle Beruka, Eleana Betsky, Aaron Big Little Projects Bold, John Boswell, Marion Boyarsky, Nicholas BPTW Bragg, Richard Brewer, Anthony Bristow, Philip British Interplanetary Society Brockwell, Jake Broniszewska, Kamila Bronner, Pascal Brooks, Adele Brown, Andrew Brown, James Brown, Stephen Brown, Struan Brown, Thomas Browning, Joshua Buckley, Alexandra Bucknall, Harry Bud-Dzaw, Dzjawglan Bullas, Kit Burdis, Edwin Burgess, Joseph Cairns, Matt Calli, Ummuhan Camur, Sinem Cannon, Oliver Car, Toby Cardia, Cesare Carey, David Carini, Martha Case, Rowan

065, 094, 115 137 029, 032, 033 081, 080 059, 062 075 087 133 148, 165 087, 102 cover, 075, 087, 113 112 133 069, 070 065 115 115 139 053, 057 023, 024 029

Clear, Nic Clelford, Tony Clemence, Katie Clinch, Mel Cloud 9

004, 007, 059, 075, 101, 110, 118, 120, 122, 147 117, 133 125 035 095, 099 029 041, 059 192 065, 095, 097 143 047 115 081 133, 143 081, 082, 100, 102, 104 075 029, 031 143 035 148, 151 148, 152, 172 139 029 029 029, 030 081 014, 035 148, 167 148, 152, 181 014 004, 013, 069, 070, 131, 133 192 148, 166 013, 014, 053, 125 075, 077, 102, 103 149, 171 053, 054 149, 164 053, 055, 115 133, 143 148, 167, 181 178 081

Egashira, Shin Eker, Galen Eliades, Kyriakos Ellis, David Ellis, Megan Ellis, Scott Engst, Norbert Ennis, Joe Esmail, Fizaa Evans, Annie Evans, Timothy Eyres, Patrick Farquhar, Thomas Faure, Lorene Field, Chester Finch, Stephanie Fischer, Christoph Florides, Madonna Fogg, Julia Fonkwen, Emmanuel Forbes-Yandi, Matthew Fotheringham, Peter Fox, James Foxley, Alice Fragkedaki, Aimilia Frankel, Emma Fratila, Simona Fukarova, Ivelina Furnea, Dumitru Furzer, James Gadar, Surajpal Gales, Jono Gallacher, Niall Galtress, Ross Ganesan, Sathien Gant, Ed Garcia, Mark

118 023, 027 035 147 047, 049 116 148, 153 135 075, 079, 102 133, 143 058, 059, 063, 071

Gooden, Owen Goodwin, Duncan Gosling, Mike Gozubuyuk, Kureys Grace, Ed Grady, Scott Green, Kevin Greene, David Grimshaw Architects GroWell Gruff Ltd Guidotti, Sam Guzzon, Giacomo

137 115, 133, 143, 147, 175 047 015 053, 054 047 059 118 053, 065, 094 115 065 041 143 075, 076 014 087 047 081, 101, 104, 107 143 133, 143 125 014 047, 049 133 133, 143 192 014 029, 115 041, 044 112 014, 122, 125 139 029, 030, 031 035 143 143 095, 098 121 118 126, 186, 187 004, 011, 014, 023, 029, 118, 120, 122, 123, 125

Hoz, Rafael de la Hudson, Phil Humko Humnicki, Oscar Hutchison-Fuat, Natacha Hutchison Kivotos HydroGarden Icarus Interstellar Ilieva, Elena Iliopoulou, Evangelia Ioannou, Alex Ion, Vlad Isa, Susanne

029 192 115 014 047, 050, 115 065 115

Cochrane, Diana Cole, Adam Collins, Susan Concrete Centre Connolly, Olga Constandinou, Theodoros Cordek Corey, Shaun Cotton, Rebecca Couloute, Rosa Courtauld, Henrietta Cozier, Rachel Crocker-White, James Cross, Chris Crossley, Blanch Cuenca, Rut Dalby, Matthew

148, 156 023, 024, 025, 070 136, 137 053, 055 013, 014, 029, 081, 101, 106, 122, 123

035 029 015 047 143, 181 075, 078, 102 133 023, 027 014, 021 121, 125 133, 147 047, 049 015 053, 054 139, 141, 181 148, 153 081 035 075 014 075, 076, 102, 106 023 148, 154

Gwata, Vimbai Caroline Habeeb, Beeza Hadjipapas, Nassos Haedrich, Timo Hagos, Jonathan Halasz, Julia Halfpenny, Caroline Hall, Jo Hall, Martin Hammond, Michaela Harkess, Lynn Harper, Nick Harrington, Marion Harvey, Daryl Hasan, Bilal Hatem, Dunya Hatherley, Owen Hatter, Mark Hawkes, Karin Hawkins, Natalie Haworth, Robert Heath, Elizabeth Hemingray, Jeremy Henderson, Gavin Hendricks, Arne Heneghan, Roisin Heneghan Peng Architects Herron, Simon

Ismail, Suria 047 Jack, Michael Jackson, Caroline Jagpal, Mandeep Jaluzot, Ann Javed, Waqas Jenkins, Tom Jenssens, Manon Jobst, Marko Johnson, Mitch Joyce, Heidi Kacerova, Tereza Kaitell, Eugene Kakara, Anna Kale, Tosin Kalnberza, Inese Kamanyire, Timothy Kanagaratnam, Mohanraj Kanarelli, Sofia Karantani, Christina Karim, Alistair Kasprowicz, Joseph Keim, Isabel Kelly, Chris Kerr, Murray Khan, Asif Khodabocus, Izzad Kidman, Theo Kirby, Dean Kirkova, Rosica Kirova, Hristiana Knight Architects Knight, Caroline Korchevstev, Evgeny Kotzen, Benz Koumbarou, Oriana Kowalska, Barbara Krolikowski, Dirk Kuok, Dorine Huei-Ping Kypraiou, Diony 047 081 014 013, 014, 069, 071, 133 115 139, 181 023 135 014, 018 041 053, 054 139 134, 135, 181 075 135 015 125 125 075, 078, 102, 104, 105 047 087, 102 015 137 053, 055 087 041 065, 095, 099 139 035 115, 133, 147, 149, 175, 177, 183 087, 102 081 095, 099 087, 089, 102 059 047 133, 143 192

053, 055 023 115 143, 145 028, 029, 030 035, 037, 039 139 035 014 143, 145 053 015 139, 140 014 023, 026 059, 060, 061 035 135 133, 143 047, 049 148, 166 118 115 041 136, 137

Dale, Tamasin Daly, Sam Davies, Kate Davies, Mark Davis, Dominic Day, Harry Dean, Mike Decker, Arlene Deimerly, Marine Dejardin, Jo Delage, Corine Denning, Eric De Saint Paul, Jessica Dewdney, Max Dhunnoo, Vipin Dickie, Elizabeth Ann Dobie, Larisa Donovan, Joey Dowdall, Sarah Drinkwater, Duncan Druon, Caroline Drury-Brown, Simon Dubouni, Sarah Du Mond, Joshua Eagle, James

David Morley Architects 023, 029, 065, 094

069, 071, 073, 075, 101, 104, 075, 077, 102, 103 133 081, 083, 102 059 029 059 059 047, 049 014 148, 154 081 047 115 148, 155 059 014 047, 049 087

105, 106, 107, 108, 109, 110, 112, 118, 120 Garden, Carolyn Garvey, Paula Gaster, Matthew Gayle, Duaine Georgakaki, Maria Georgiev, Bozhidar Ghebrehiwt, Amanuel Ghorani, Parisa Giannadrea, Jade Giannopoulou, Eirini

035, 053, 059, 081, 095, 096, 101, 106, 109, Heydenrych, Kevin Higham, William Hill, Jonathan Hillier, Tom Hlavackova, Jessica Ho, Ching Long Hobbs, Jim Hodges, Mark Holden, Robert Holland, Ryan Holloway, Daniel Holloway, Ed Hopcraft, Angela Hopkins Architects 148, 155, 181 053 053 029 023, 024 087, 089 075, 133, 143 115 131, 133, 143, 181 081, 102 015, 019 059 075 081, 093, 094

035, 037 029 138, 139 059 023 192 075, 077, 102, 103 053, 055 065 192 035 047

Castle, Helen Chapman, Drew Chattun, Hasan Chilov, Hristo Chism, Rod Choudhury, Farzana Chu, Alvin Clark, Ivan Clarke, Jordaan Clarke, Natasha Clarke, Paddy Clarke, Tommy

087 023 041, 115 015, 017 081, 085, 102, 106 075, 076, 102 139 014, 021

Gibbs, Nick Gibson, Ben Gilby, Howard Giraldo, Francesco Glaessner, Bastian Gloster, David Gok, Serhat Gomary, Maryam

023 075 133 059, 062 075 148, 151 075, 102

Ebrhimgeel, Nabil Ebuzoeme, Sandra Edman, Artur Edwards, Joseph Edwards, Laura Edwards, Newcome Efe, Peter

[188 > 189

[STAFF / STUDENTS / THANKS TO

[INDEX

[STAFF / STUDENTS / THANKS TO

Lambert, David Lamburn, William 086, 087, 088, 091, 102, 107 Lantzas, Dimitrios Laslett, Joe Layne, Armand Leatherbarrow, Adam Lee, Ruby Lee, Will Lees, Chris Lek, Lawrence Li, Duan Juan Lie, Nicholas Lim, CJ Linden, Jeremy Lisiecki, Ireneusz Liskova, Elena Liversedge, Elise Liversedge, Jamie Loizos, Yorgos Loizou, Marcelle Lomax, Tom Longstaffe-Gowa, Todd Lucas, Tim Luo, Yixing Lyall, John Lynham, Kate Lynn, Greg MacDonald, Sarah Macey, Heather Macheka, Gwen Macit, Aysenur Maguire, Elena Mahmood, Arshad Majeed, Haseeb Make Architects Makridou, Constantina Maksimenko, Nikolajs Malecha, Karolina Mallet, Lee Malus, Malgorzata Malyseva, Jelena Man, John March Design Associates Maris, Cezara Martin, Giles Martinez, Danny Marzanganov, Elbert Masterton, Nick Masterton-Smith, Ben Matsuda, Keiichi Matthew, Tim C Matthews, William Matura, Kinga Mawson, Patrick Max Fordham 014 135 023 139 041 015 041, 065, 094 075, 077, 102 075 115 047 046, 047, 050 059, 060 014 065 015, 018 035 115 014 035 014 110 014 093, 095, 097 023, 024 035, 036, 038 065, 093, 094, 095, 097, 098, 125 075 cover, 120 093, 095, 097 148, 169, 181 148, 156 053 059 075, 076, 102 135 047 075 014 148, 168, 181 137 029 133, 143 023, 024 023 133, 143 133, 135, 137, 139, 143, 181 059 148, 168

May, Liz McAlpin Pow, David McCance, Rauri McCarthy, Brendan McCarthy, Chris McClean, David McCollum, David Mccurtin, Christopher McLatchie, Adam Mendizabal Perello, Blanca Meredith, Daniel Miah, Suheb Michel, Tim-ole MicrOlife Milliken, Sarah Mitchell, Jonathan Mobilane Mobile Studio Architects Moch, Karolina Modha, Chandni Moise, Tiberiu Molekoa, Malesela Monaghan, Paul Mone, Vlad Morgan, Sarah Morris, Mark Morrison, Nathan Mosco, Shelley Moss, Ben Mouzakitis, Konstantinos Mujahid, Abdul Muoz, Leire Ochoa Murray, Shaun Mwenewanda, Bertha Nasiri, Murtaza Neighbour, Chris Neilson, Toby Nejad, Mohammad Ng, Ho-Yin Ng, Timothy Nicholson, Ben Nihonyanagi, Marie Nikjoo, Alex Nikolov, Darin Nikolova, Petya Norman, John Norman, Tim Norris, Thomas Oakden, Hannah Oakley, Bryn Oddi, Tania OConnor, Helen Oddi, Tania Odjevwedje, Siobhan ODonnell, Andrew O Donnell, Michael

014 035, 039 023 125 115 014 148, 157, 181 087, 089, 090, 091 081, 102 115 015, 021, 066 015 139, 181 115 115, 175 041 115 125 148, 169 087, 102, 104 015 059 047, 093, 095, 098 015 133, 143 120 121 115, 133, 143, 175 047 087, 088 015, 019 148, 157 013, 014, 059, 075, 111 143 139 093, 095, 096, 125 035 047, 049 023, 093, 095, 099 041, 043 118 059, 061 081 015 052, 053, 067, 068, 071, 115 014 014, 122 015, 017 143 181 139 041 047 053, 054, 070

Ogilvie, Myles Ogle, Alastair Ohrstedt, Pernilla Okoh, Alexandra Oliver, Matthew Oliver, Vaughan Olsen, Luke

143, 181 075 014 047, 048 041 109 014, 023, 073, 093, 101, 105, 118, 125 087, 089 143 065 125 095, 099 014 075 059 143, 181 148, 170 139, 181 149, 171, 172 075 047, 048 115 015 133, 143 023 014 075, 102 023, 025 120 022, 023, 064 015 035 148, 158 035, 036, 037 029 139 081 015 081, 083, 102, 103, 107 148, 158 115 125 081, 082 035 065, 093, 094, 095, 097 081, 084 015, 016, 019 125 035, 036, 038 081 035 041 093, 095, 097, 098, 125

Quazi, Kim Quiroga, Ewa Carvajal Rabourdin, Caroline Raee, Mustafa Rai, Balraj Ram, Rahesh R. Ramirez, Alfredo RcKA Rees, Gethin Richardson, Julian Ridge, Dan Roberts, Chris Roberts, Ross Robin Partington Architects Roe, Steven Ross, Finlay Ruchchan, Ishita Rughoo, Baboo Ruiz-Geli, Enric Ruse, Paul Sadler, Ross Salo, Annina Scarfe, Jennifer Schumann, Nick Schumann Consult Seaton, Alexander Serbest, Fariz Shackleton, Nick Shahnooshi, Parisa Shapland, Adam Sharpe, Peter Shaw, Paul Shawcross, Gabby Sheil, Bob Sheppard Robson Sheward, Chloe Siddiqui, Rohan Sifakis, Dimittrios Simkova, Simona Singh, Christopher Smith, Wendy Smith, Zoe Sotomayor, Camila Spiller, Neil Skene Catking, Charlotte

075, 087 135 029, 069 047 023 013, 053, 065 112 065 047

St John, Neil Stoyanova, Radostina Stoyanova, Sofia Strangeways, Benjamin Surucu, Murat Sutherland, Charlie Swain-Fossey, Adam Swinney, Rob Szyszka, Agnieszka Tahgahvi, Saied Talacka, Dovydas Tamas, Ioana Tamarra, Gurvir Tan, Andrew Tang, Martin Tang, Sherman Tankas, Vida Tarr, Alex Tasker, Mervyn Tavares, Kibwe Taylor, Stuart Tee, Kim Lian Theodorou, Hannah Thirlwell, Fiona Thomas, Katie Thomson, George Thornley, Matt Tilley, Richard Tizard, Lucas Todorova, Tsvetlina Tolfree, Anna Tolley, Sarah Toogood, Elaine Tran, Tran Mai Treebox Trenholme, Dan Trevorrow, Charlie Triantafyllidou, Eleni Tsan, Will Tsang, Justina Tsimouris, Dimitris Tubridy, Lauren Turner, Philip Turner, Tom Turvey, Peter

075, 078, 102, 103 015, 019 137 087 035

Varvantankis, Alexander Varyawa, Zaheer Vedovato, Pierre Vifor, Iulian Wade, George

035, 037 053, 054 139, 141 041 059 041 075 135 131 192 014 014 047 075, 133, 143

081 121 137 014, 019 014 041, 043 115 135, 181 029 116 015 081 087, 089 075 149, 160 015, 019 059, 060 192 139 041, 075 047 133, 143 075 029, 030 143 149, 161 095, 097 059 115 053, 056, 067 115, 125 047 081, 083, 102 116 143 192 047 131, 133, 147, 178 125 075 022, 023, 026 125 149, 161 035 059 120 041, 043, 068 133, 181 081, 083, 102

Waid, Jordan Walker, Kieran Walker, Zoe Wall, Ed Wall, Phillipa Wan, Jen Wanas, Ayman Ward, Matt Watson, David Watson, Phil Waugh, Andrew Waugh Thistleton Architects Wells, Matt Wergin-Cheek, Niels Werther, Anna-Sophia Westbrook, Vincent Westwood, Tom Whipps, Thomas Whittingham, Amy Wignall, James Wilder, Peter Wilkinson, Chris Wilkinson Eyre Architects Williams, Elizabeth Anne Williams, Gareth Williams, Sam Willmott, Susan Wilson, Andrew Wilson, Jane Winter, Alex Winters, Simon Withers, Simon Wojcik, Dawid Wojtas, Slawomira Ewa Worman, Charles WT Partnership Xenofontos, Maria Xu, Haopu Xu, Qige

Oppong, Abraham Orchard, Ellen ORMS ORNC Osborne, Michelle Osborne, Tom Ostos, Ricardo de Owolabi, Olutomi Oyarbide, Juan Ignacio Paliukaityte, Giedre Parfitt, David Park, Molan Park, Robert Park, Seung Jong Parker, Christopher Pattison, Chris Pavlov, Oleg Peachey, Lisa Pearce, Ed Peart, Kieran Peaty, Kieron Pekyanska, Lyuba Pell, Sarah Jane Perera, Sarala Perveen, Hanan Petrova, Siyana Phan, Hien Phillips, Thomas Phipps, Kirsty Phul, Hemendra Phung, Simon Piggott, Jan Pigot, Lisa Pike, Carl Pilbeam, Sharon Plymouth Marine Laboratory Pochee, Hareth Post-Works Poynter, Hayley Pretlove, Ainsley Price & Myers Primarolo, Sarah Prosser, Chase PT Projects Purcell, Danielle Puryer, Henry Pushpanathan, Vidhya Pyke, Anthony Portland Quarry and Sculpture Trust

Renzo Piano Building Workshop 065, 095, 097 148, 159 139 023 148, 159, 181 065 041 133, 181 015, 018 023 023, 065, 093, 095, 099 148, 160 023 143 015, 018, 019 115 115 115 015, 016 053, 055 014 053 029 133 023 029 065 023 041 053, 055 192 034, 035, 037, 068, 115 133, 143 014

035, 087, 101, 104, 122, 185 075 075, 093, 094 053, 057 087, 102, 105 149, 162 035 075 015 149, 162 023, 125 133 035, 095, 098 035, 065, 094, 095, 098 014, 087, 101, 104, 111, 121, 185 111 142, 143, 145 149, 163 133 081, 102 059 014, 075, 101 041, 042, 043 149, 163 015 115 135 149, 164, 181 143, 181 015, 016 074, 075, 102 014 111 081, 092 059 015 035

Rogers Stirk Harbour + Partners 065, 095, 099

Tzivani, Panagiota cover, 004, 014, 053, 075, 087, 101, 107, 109, 118, 119, 120, 122 047 065, 095, 098 087 075, 092 065 139 148, 170, 181 Valdez, Sharis Valencia, Billy Van Mensvoort, Koert Vara, Amar Varcin, Armelle Varey, Nick Uddin, Mohammad Utting, Tom

University of Greenwich Estates

Yakimova, Emeli Yemoh, Prince Yeung, Emily Young, Liam York, Laurence Zhang, Deyi Zhang, Tianchi Zunica, Maria

Stafford, Andrew Stanton Williams Architects Staples, Donna Starzynska, Malgorzata Stephen Davey Peter Smith Stephens, Imogen Stevens, Michaela Stewart, Elinor

[190 > 191

WITH THANKS TO THE A&L SUPPORT STAFF: Susan Adlington [Administrator] Moronke Bali [Finance Administrator] Lucy Barrie [Senior Administrator] Susan Collins [Admin Assistant] Eric Denning [Senior Administrator] Marion Harrington [Admin Assistant] Phil Hudson [Digital Facilities Manager] Mandeep Jagpal [Admin Assistant] Simona Simkova [Administrator] Fiona Thirlwell [Administration Manager] Lauren Tubridy [Admin Assistant] Phillipa Wall [Administrator]