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UUNESCO World Heritage
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Contents
Introduction 2
The London Public House 4
Graduate Diploma Architecture 8
Unit 1 10
Unit 2 14
Unit 3 18
Unit 4 22
Unit 5 26
Diploma Landscape Architecture and MA Landscape & Urbanism 30
Essay: Museum City, After All, Paul Theo 34
BA (Hons) Architecture 36
Studio 1.1 38
Studio 1.2 39
Studio 1.3 40
Studio 1.4 41
Studio 1.5 Landscape Architecture 42
Studio 1.6 & 1.7 Interior Design 43
Design Representation & Communication 44
Studio 2.1 46
Studio 2.2 50
Studio 2.3 54
Studio 2.4 58
Studio 2.5 Architecture & Interior Design 62
Studio 2.6 Interior Design 66
Studio 2.7 Landscape Architecture 70
Studio 3.1 74
Studio 3.2 78
Studio 3.3 82
Studio 3.4 86
Studio 3.5 Interior Design 90
Studio 3.6 Landscape Architecture 94
Portable Spire 98
Acknowledgements 100
ARCHITECTURE, LANDSCAPE AND INTERIOR DESIGN EXHIBITION 2013
UNESCO World Heritage
This catalogue is a record of the work at Kingston School of Architecture and Landscape, in our Architecture, Landscape and Interior Design courses.
This year the school began a research project, which will continue over the coming years into sites governed by UNESCO World Heritage. Projects range in scale from landscapes, to cities, buildings and rooms and consider the implications of heritage listing for the past, present and future of their sites.
A series of postcards from the UNESCO World Heritage sites studied in 2012-13
Kingston University School of Architecture and Landscape
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Earlier this year, in preparation for a successful visit by the Validation Panel of the Royal Institute of British Architects, we prepared a statement outlining our position as a School, with respect both to education and the practices in which we collectively engage. Recording a version of that statement here, in place of the usual introduction, seems an appropriate way to introduce this year’s Summer Show Catalogue; remembering that, as a document, it is not only a celebration of a successful years work and a record of achievement but also a statement of intent:
Daniel Rosbottom, Head of School
INTRODUCTION
It is an aspiration that is underpinned by the sustained consideration of who ‘we’ are. Our students encompass an enormous and welcome diversity of background and experience. Nonetheless they are defined collectively by the School’s understanding of them as developing practitioners and proto-professionals from the moment of their arrival, a critical and open relationship to practice that extends through the life of the School.
It is an approach made manifest in our collective commitment to design as an iterative, hands-on process, rather than an abstracted, conceptual one. Exemplified in the idea of ‘thinking through making’ this is a position that takes full advantage of the myriad facilities we have access to as part of an art and design faculty and one that places material thinking at the heart of the design process. At Postgraduate level this extends into specialist making options and a suite of modules that encourage students to interrogate their individual attitudes to making and technology. It culminates in our engagement with live projects, which range from structures, to interior spaces, to small buildings - another key point at which academia and practice meet.
The success of such a position is dependent on the ways that we support students in developing the skills and the confidence to effectively communicate and represent their work. We embed both traditional and contemporary drawing, modelling and making techniques at the core of what we do. From the outset, great emphasis is placed on a student’s ability to communicate their projects both visually and verbally, offering them the opportunity to construct a critical narrative that integrates work from across their studies and, at best, establishes an individual design research agenda.In these and other ways, our commitment to design excellence draws together, rather than precludes, the wider skills and knowledge that constitute the breadth of our professions and which underpin the day-to-day activities of contemporary practice.
Since 2008, the projects of individual teaching studios have been undertaken in response to propositions or themes established across the School. Over the last four years these were focused upon our own city, London, and undertaken in collaboration with Croydon Council, Design for London and the Olympic Legacy Company. Carefully chosen to elicit a breadth of response, the scope of these projects offered particular opportunities for students to develop designs in relation to strategic policy and complex urban conditions. This year the School has expanded its horizons, beginning an international project, which will continue into next year and which is working within the diverse contexts and conditions of UNESCO World Heritage.
In a parallel with the live projects, the establishment of this common ground offers an opportunity to extend individual, academic aspirations into a productive and potentially influential whole, which can reach into the World beyond the academy. This is exemplified in the international attention given to this year’s Vertical Project – a four-day, School wide, introductory exercise that instigated a bid to gain UNESCO status for the London public house - ‘the pub’. Such initiatives demonstrate how the School can play a role in generating social, political and urban debate, an opportunity for collective, applied research that we will seek to develop further in the future.
The annual Vertical Project is the first of a series of events, which collect the School together during the course of an academic year. At the end of the first semester, the School Assembly offers an opportunity for every studio and unit within the School to present their developing work and debate with one another. Alongside its accompanying catalogue, the Summer Exhibition concludes the academic year by bringing together the work of individual students, studios and units. Re-situating it within the context of the larger, School project, this offers everyone an opportunity to reconsider projects within that wider context.
In a period of educational upheaval and professional uncertainty, the School has to take profound and often difficult decisions but has also been fortunate in realising opportunities to build upon its profile and to consolidate its position. This positive direction has been supported by the facilities across our campus, including our own recently refurbished studios. In large measure though, it is a result of the balance between rigour and engagement that is embedded within the curriculum of each of our courses, underpinned by a commitment and an ability to deliver knowledge, skills and abilities, which we regard as fundamental to education. We are, nonetheless, very aware of the continuing need to develop and refine what we do if we are to keep pace with the challenges that all Schools are confronting - turning them, where we can, into opportunities. In 2013, as part of a University wide Review of its Academic Framework, we will revalidate our courses for the second time in four years, further embedding design studio within a suite of thematic modules. These will, we trust, build on the success of what we have achieved to date but will demand from students a level of integration that will concretise their understanding of design as a synthetic discipline. This is just one example of our belief that both the School and its courses represent an iterative process rather than a static entity. Through this on going critique of our own situation we see a direct correlation between academia and the practice of design.
Introducing a School
We are a School. Beyond its more usual embodiment as a convenient administrative entity, we consider a School as a place - in which to converse, to debate, to work and to learn. It also constitutes, for us, a developing and discursive position through which, as staff and students, we are collectively able to critique both our disciplines and their wider relationship with contemporary society and culture. In a city that hosts nine architecture schools, this focused engagement feels appropriate. Given that context, we do not attempt to explore every opportunity that the breadth of contemporary education offers, but what we do, we do with intent and a sense of purpose.
As a School, we collectively understand what we do as a social, ethical and material practice, addressing both how and why things are made and the often complex and ambivalent situations into which they are placed. These concerns are explored at scales that range from the room to the city, a breadth that reflects the School’s courses, which encompass the design of landscapes, buildings and their interiors.
We enjoy such continuities and extend them to include both the temporal and the philosophical. Our projects learn from and enjoy the creative richness of the past whilst being firmly placed within the complexities and opportunities of the present. We are sceptical of contemporary rhetoric, with its privileging of hermetic formalism and its obsession with invention and authorship. Instead our students make proposals that are robust and responsive; which seek satisfaction in reflecting upon and reinforcing their sites; which find expression through spatial and material means and which both enjoy and are enriched by appropriation and adaption, over time.
This commitment to making work that is both engaged and engaging is fundamental. It defines what we do, from our admissions policies to the structure of our courses; from the character of our modules to the ways in which they become integrated; from the projects we make to the research we undertake.
Raphael, The School of Athens, Stanza della Segnatura, The Vatican, Rome, 1510
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Location of pubs inCentral London in 1913
In conjunction with the school’s year focus on World Heritage Sites, a small group of Diploma students have undertaken the task of investigating the potential for applying for UNESCO World Heritage for the London Pub. Kingston University’s Interior Design, Architecture and Landscape architecture students initially conducted surveys and interviews at pubs of particular cultural and historical interest across London and as part of a live module option we are formulating this research.
We are not aiming to protect any one specific pub, but the London pub as a type, much like the listed serial sites of modernist housing estates in Berlin or the prehistoric caves in France. To this end, more than 400 students from Kingston University’s School of Architecture, Landscape and Interior Design have worked together to document more than 80 pubs across the capital. Our research captures extraordinary examples but it also aims to try and describe the typical, or generic qualities of the London pub which might influence policy.
Rather than concentrating solely on the fixtures and fittings, we are taking into account the significance of a pub within a community and what it means to the people who use it. UNESCO lists intangible heritage, which includes cultural traditions such as Cypriot poetic duelling, Croatian gingerbread craft and Spanish flamenco dancing and even the gastronomic meal of the French. To date the UK has not recognised any sites as having ‘intangible heritage’ and this project also aims to encourage focus on this agenda.
It is more than just a place for drinking that is under threat of being bought up by developers or supermarkets; pub function rooms often take on the role of the village hall whilst hosting receptions after weddings or funerals. An interesting precedent for the bid is the currently protected Viennese Coffee house culture. This classification focuses on urban buildings and the significance of the servicethey provide.
Rather than treating planning and heritage as constraints, this project, on top of the school’s continuing interest in heritage has encouraged our cohort to see them as points from which interesting designs can be formulated.
Research topics currently being investigated include the pub’s physical features, its historic importance within the city, its economical attributes, its importance in local communities and how the pub could be potentially used in the future.
By compiling this large body of work, alongside creating a website and exhibitting at Ecobuild, we hope to gain attention from those comitted to the same ideal of gaining Heritage Status.
Diploma Option ModuleDavid KnightDaniel Rosbottom
The London Public House, UNESCO bid
Pubs in central London in 1913 Pubs in central London in 2013
Comparative pub plansPaxton’s Head, Knightsbridge
Cittie of York, Chancery Lane, section
The Wenlock Arms, Wenlock Road, section
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Oguz Akdas, Ali Al-Khateeb, Yusra Al-Nakeeb, James Barker, Aslihan Caroupapoulle, Samuel Darkins, Olugbenga Fagbewesa, Farida Farooqi, Mir Hosseini, Matias Kiialainen, John Laide, Jennifer Marshall, Siraaj Mitha, Katy Murray, Adam Powell, Lee Sawyer, Tanvinder Sehmi, Michael Smith, David Tenters, Steven Thorpe, Jonathan Woodward, Eleanor Wright
‘Conservation is Transformation’ Professor Bernhard Furrer, architect and former Preservation Officer for Bern
Bern, our chosen site for investigation this year, is the Capital of one of Europe’s richest countries, Switzerland. The baroque streets, which form the body of the city, are laid out within a highly structured and largely intact medieval plan, defined by the dramatic topography of the rocky promontory on which it sits, against the deeply carved valley of the River Aare. It is a privileged environment, but in the years since 1967, when the artist Christo announced his international career by wrapping its Kunsthalle, Bern’s cultural prominence has receded as the reputations of its competing neighbours, Basel, Zurich and Lausanne, have grown. With its historic centre increasingly understood as a tourist destination, new cultural monuments have begun to be built in its hinterlands, as ‘magnets’ for future urban expansion. In response Unit 1 proposes to restructure Casinoplatz, simultaneously an important space of infrastructure, forming the principal gateway to historic Bern, and an unresolved urban square that disrupts its distinct spatial and material character. Working with the Rupf Foundation, a substantial collection of Twentieth Century art currently archived in the city’s Kunstmuseum, students have proposed new art institutions as the focus of a larger urban ensemble within Casinoplatz. The Foundation acts as a cultural catalyst, offering opportunities to curate new urban relationships with its immediate neighbours that would simultaneously engage with the wider city and its landscape horizon. The projects do not deny the possibilities for more dispersed urban growth but, in their appreciation of the possibilities inherent within this singular context, they critique it.
With thanks toSuzanne Friedli, Rupf Foundation, BernAndreas Furrer, Frank Furrer and Shaun Young, Furrer Architekten, BernProfessor Bernhard Furrer, Architect and former Preservation Officer, BernDavid Howarth, DRDH ArchitectsAndy Sedgewick, Arup Associates
Curating the City
Unit 1Daniel RosbottomAndrew Houlton
JonathanWoodward, An Eaves to the River AareFacing: Eleanor Wright Art, Gallery Section
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Longitudinal section
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1.Michael Smith, City Section2.Eleanor Wright , Carved Model3.JonathanWoodward, Eaves to the River Aare4.Michael Smith Gallery Window5.Aslihan Caroupapoulle, Gallery Pavilion6.Eleanor Wright, Artists Studio Interior7.Siraaj Mitha, Gallery from Library Courtyard8. Lee Sawyer Embedded Tower from Bridge9.David Tenter, Building Model from Valley10.Siraaj Mitha, Art Gallery Archive11.James Barker, Art Gallery Exploded axonometric12. JonathanWoodward, RupfFoundation Gallery Entrance and tiled facade detail13. Olu’Fagbewesa, Curating the City Elevation to the River Aare14. Eleanor Wright, Art Gallery Interior
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Yasir Azami, Sam Bennett, Emilija Blinstrubyte, Tom Burton, Emma Byom, Venus Chan, Hamish Coyne, Khaled Gamgoum, Asim Hussain, William Jones-Berney, Dimitra Karampatsou, Eleni Koundouraki, Claudia Lengui, Weng Liu, Joseph Manuel, Mohammed Mughal, Matthew Parsons Brown, Hazim Ramadan, Sumet Ruamjai, Randeep Soha
What should be protected in a World Heritage site that continues to be a functioning city? In Porto, Portugal’s second city, today’s focus on the preservation of façades means that social structures present for 2000 years are erased overnight in the name of preservation and the tourist economy, resulting in a hollowed-out urbanism where heritage is no more than skin deep.We began the year by investigating the potential of a façade to offer more than just a heritage-friendly skin. Then, on the first of two trips to Porto, we documented a series of urban blocks within the city’s World Heritage site to understand their tangible and intangible qualities, whilst also making a comparative study of radical housing prototypes built in Porto’s mid-century suburbs.
Our proposals for new urban quarters work with Porto’s ancient and modern popular urbanism and use heritage, tourism & policymaking as tools rather than constraints. Students have produced urban proposals for three sites in Porto: one in the tourist heart of the city’s heritage site, one on its post-industrial periphery, and one just outside the city walls in an area ignored by the city’s heritage industry.
Tangible Heritage
Unit 2David KnightCristina Monteiro
Weng Liu, Facade StudyFacing: Weng Liu, Proposed and Existing Roofscapes
17161. Hamish Coyne, view of new urban block shoring up its site2. Hamish Coyne, view of internal courtyard3. Sam Bennett & Emilja Blinstrubyte, elevation study of Saint Paul’s studios4. Sumet Ruamjai and Harmish Coyne, study of communal staircase, guindais and portico5. Emilja Blinstrubyte, study of Bolhao Market6. Emilja Blinstrubyte, study of Porto’s cast iron shop front7. Emilja Blinstrubyte, urban proposal8, Matthew Parsons Brown, view of interior9. Sumet Ruamjai, fragment of handrail in the Roberto Ivens House10. Asim Hussain, view of proposed residential towers11. Weng Liu, view of communal roof terraces and the city beyond12. Emilja Blinstrubyte, study of the new housing in relation to existing13. Asim Hussain, proposal elevation study
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Sara Arif, Peter Bayley, Francesca Bianchi, Clementine Brentnall, Maria Ghislanzoni, Michael Ha, Elizabeth Hall, Matthew Hine, Nicholas Hui, Tommy Jay, Amandeep Kalra, Hala Kamand, Shapur Keshvari, Pei-Ying Liu, Caroline Lozynskyj, Shyam Makwana, Prabjyot Mankoo, Louise Mark, Francesca Minuti, Jack Mousley, Iaroslava Perederii, Mio Tokushima, Robert Whitten
The Flemish Beguinages are unique architectural ensembles protected through their Unesco World Heritage Listing. Houses, churches, communal buildings, squares and gardens make up these former semi-religious, enclosed communities of women, built from the 12th Century through to the 19th Century. Varying in configuration, yet always embedded as miniature cities within cities, they were originally surrounded by walls or ditches and opened their gates to the outside world only during the day.
Since the late Twentieth Century our site, the Grand Beguinage of Leuven, has been occupied by Leuven University and used for staff and student accommodation. In common with the unit’s precedent studies, both original and current uses can be defined as semi-private communities set within a wider urban setting requiring communal and private spaces.
The year’s design project is a University complex containing a range of spaces specific to their uses; study bedroom, common room, shared kitchen, public corridor and stairs, communal dining room, library or place of worship or congregation. Each proposal forms both a complete world within its own confines and is also a part of the larger body that is the University, which is part of the larger body that is the city; projects aim to make space for differing degrees of public and private occupations and connections.
Beguinage
Unit 3Cathy HawleyHugh Strange
Amandeep Kalra, Oxburgh Hall ElevationFacing: Hala Kamand & Arne Jacobsen, St. Catherines College and Ground Conditions
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1. Sara Arif, university hall gallery space2. Tommy Jay, proposal section3. Michael Ha, housing and library model4. Site Model5. Nicholas Hui, university residence view 6. Sara Arif and Shyam makwana, William Butterfields All Saints elevations7. Francesca Minuti, university hall interior8, Michael Ha and Matthew Hines, Royal Chelsea Hospital internal elevation9. Nicholas Hui, interior model
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Lisa Ames, Anish Bhatt, Rachel Bristow, Tzu-Hsuan Chuang, George Hodgson, Emma Hyett, William Law, Paul Newsome, Marina Polykarpou, Tala Safavi, Michael Schrepfer, Cecil Schuepbach, Seyedehbahareh Seyedtabatabaei, Hannah Shaw, John Smith, Samantha Swallow, Azar Talibov, Ioannis Timagenis, Ekta Vekaria, Christopher Veloso, Karman Wan, Colleen Whyte
UNESCO has acknowleged The Derwent Valley as the crucible of the first modern factory system. This year Unit 4 focused on the consequences of man’s capacity for invention and its effect on land, people and architecture in the context of the Derwent Valley Mills.
Our studies engaged with the Derwent Valley Mills World Heritage Site in terms of its location, history and influence. During the period of industrialisation from mid 1800s to mid 1900s the Derwent Valley was developed with new worker settlements including housing, schools, chapels and markets and provided with new transport infrastructure - railways, roads and canals. The region has experienced a long slow decline and Studio 04 was interested in what happens to place and community after the post-industrial. The studio programme was an invitation for students to develop propositions for sites within and along the Derwent Valley that critiqued the notion of heritage and explored the potential for new initiatives and strategies to reactivate once thriving communities.
Manufacture
Unit 4Pierre d’AvoinePereen d’Avoine
Marina Polykarpou and Karman Wan, Belper East Mill, CHP building, rapeseed fields and allotments Facing: Hannah Shaw, Derwent Valley Apple Industry orchard map
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1. Paul Newsome, The Rock and Roll Circus section through train2. Sectional Perspective3. Perspective through plunge pool4. Marina Polykarpou and Karman Wan, aerial of proposals for Belper East Mill, CHP building, rapeseed fields and allotments5. Matthew Borret, axonometric studies6. Karman Wan, model of proposal with view7. Lisa Ames, model of proposal
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Michael Anderson, Andrea Assad Alvarez, Dean Beattie, Emma Croyle, Luke Curnow, Sayam Dulyapach, Nyamoi Fall Taylor, Eleanor Farrant, Tika GilbertLisa Gould, Sina Hovaisi, Stephen IllingworthDimitrios Karaiskakis, Aikaterini Karyopouli, Sara Krunic, Alice Lindsay, Christopher Makariou, Craig Mitchell, Vaida Morkunaite, Christopher Octive, Paul Theo, Iasonas Tzannes
“Like a piece of writing that constructs an elastic and flexible plot with its punctuation and ellipses, Venice cannot be readily reduced to the linearity of a mannerist account, and hence not even to the myth of the anti-modern city by definition. From this point of view, it lays down a challenge to architecture, expecting it to be a kind of measure rather than an act. Architecture is asked to exercise its skill in the art of detachment, identifying limits, establishing heights and configuring thicknesses; to gauge the built body by making it look like a comment on the question of the city’s changeable form.”- Fulvio Irace
Semester one required the making of physical artefact. The brief situated the student within a personally selected intimate space (identified from either a found photograph or painting) whose broader context was studied. This was then abstracted into a hand made object representing both detail and context. The interests that surfaced from this were taken into Semester two, evolving into individual buildings and spaces. Whilst each project explores its own discreet theme, they unite around a resistance to the continued touristic incursions on Venice’s normalcy as a place to live and as such are a provocation to the commerce controlling heritage policy.
Venice Building
Unit 5Jonathan WoolfMatthew Dalziel
Luke Curnow, Casted facade study Facing: Elleanor Farrant, Courtyard model of proposal
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1. Elleanor Farrant, artefact2. Elleanor Farrant, artefact3. Paul Theo, massing in context4. Katarina Karyopouli, elevations 5. Michael Anderson, visual of proposal6. Luke Curnow, Facade Study7. Lisa Gould, courtyard perspective8. Sara Krunic, workshop interior
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Yang Hui, John Markwell, Emily Smith, Dima Attar, Alexandru Malaescu, Marjan Masoudi, Ambika Mathur, Marianne Medeiros Gomes Paul Mitache, Vivienne Shaolong Li, Colum Sheanon, Stran Star, Mohamad Zeaiter, Isabella Yi Zhang
Postgraduate Diploma Landscape Architecture and MA Landscape & UrbanismPat BrownEd WallChristoph Lueder
A design collaboration across landscape and urbanism based at Kingston University.Liverpool, New York compares distant cities, relationships, mobility, connectivity, and the agency and capacity of landscape urbanism practice, in designing cities for the future . Projects are strategic, extending beyond site boundaries, and place specific. All define ideas for ‘change through time’ with themes of adaptation, resilience, production and social inclusion in the public realm. Qualities of experience are measured and mapped providing an evidence base for design proposition.
Liverpool With colleagues from Liverpool University, we explored the Liverpool Maritime Mercantile City awarded UNESCO World Heritage Status in 2004. Now pressure for commercial development threatens this status. Taking a wider view including the River Mersey and Birkenhead, there is extended scope for ‘future heritage’.
New YorkOur focus in New York Harbour is Red Hook Brooklyn, hit by Hurricane Sandy and working to recover from significant flood and hurricane damage. The Van Alen Institute hosted our Liverpool, New York design workshop. With colleagues from Columbia, Cooper Union and NYIT, we debated design roles in relation to flood risk, the functioning future harbour and urban continuity. In Hull, we identified test bed sites for UK resilience in the context of water city territory, in the UK city at greatest risk of flooding.
Liverpool, New York
All Students, liverpool site modelFacing: Alexandru Malaescu, view of Birkenhead Priory New Square, Liverpool
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1. Isabella Yi Zhang, waterways analysis2. Alexandru Malaescu, Productive Landscape, Aquaculture Park3. Marianne Medeiros Gomes, diagram of public spaces typologies4. John Markwell, Red Hook Dunes Masterplan5. Alexandru Malaescu, river Hull edge analysis6. Isabella Yi Zhang, Section
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The current UNESCO World Heritage mission statement is broad and lengthy but at its most fundamental ‘The United Nations Educational, Scientific and Cultural Organization (UNESCO) seeks to encourage the identification, protection and preservation of cultural and natural heritage around the world considered to be of outstanding value to humanity.’
This understands heritage as our legacy from the past, what we live with today, and what we ourselves will pass on to future generations. Our cultural and natural heritages are equally irreplaceable sources of life and inspiration.
It is an important and universal endeavor to protect the heritage of the world. However, it is also crucial to consider the repercussions of a presumption that nations, cities, towns and people do not have the critical values and sensibility to allow this heritage to be protected in more intrinsic and local ways.
My studio project this year is situated in Venice, once the most vibrant and diverse city in the world. Its unique position and trading focus made it a commercial city of world importance, which flourished in that form from the 1400s until the early 19th century. An inventive solution to a harsh way of life, coupled with incredible wealth, resulted in a place of extraordinary quality. The cultural value consequently placed on it as an urban artefact, allied to the imminent destructive capacity of the lagoon in which Venice sits, called for a plan to protect the city and its many ornate and beautiful buildings.
However, immortalizing such places of historical value by preserving them stifles their natural progression in time. It freezes them, in the state at which this value was recognised. Such processes of ossification detach them from their cultural trajectory, making it harder for their communities to relate to them. Thus, over time, a once intrinsic subconscious connection is lost. Careful management of a culture’s heritage should respect therefore that places are inextricably bound to people and vice versa. Such protection of a people or a culture is referred to, in UNESCO terms, as ‘intangible heritage’. Unfortunately, this is something that has been neglected over the years in Venice, perhaps because of the more pressing problem of flood damage and the more lucrative possibilities of mass tourism.
The now commonplace critique of Venice as a ‘Museum City’, devoid of any real life, is undoubtedly a real one. The high costs of living, driven by the inexorable rise of house prices due to tourism has caused a mass exodus of the local population, ‘a population which peaked at 164,000 in 1931 an is now hovering at around 60,000.’ Shockingly, this is paralleled by an equivalent number of 60,000 tourists, who statistically visit the city every day.
The ‘Museum City’ is a consequence of the city’s popularity. Its perfectly preserved buildings and public areas are the embodiment of the city’s illustrious past and the importance of preserving them in their current frozen state has become so central to its economy that it consistently takes precedence over and above the well being of the local inhabitants. Paradoxically, the very thing that keeps the city alive, tourism, is also killing it.
Museum City, After All
Venice, Canal Grande from Ponte di Rialto
Paul Theo, Diploma Unit 5
The latest plan to revitalise its local economy is to put in place a tax on one-day visitors, with the money raised being put towards the provision of more affordable housing and the modernization of some of the local infrastructure. Thus tourism might be used for the benefit of the people. However it may also be too late to rescue Venice from its touristic paralysis. The watery city is perhaps too unique and difficult to adapt to modern day life as we know it, and stopping both the inundation of salty water and sweaty tourists seems impossible.
However, further investigation into the distinctive character of Venice reveals that the term ‘Museum City’ is not necessarily a condemnation after all. The idea of ‘city as museum’ can be extended to the analogy of ‘city as a building’, which is an intriguing notion. Understanding Venice as a metaphorical building made up of rooms is perhaps a way of beginning to understand it as a living city. Each city room in Venice, whether it is a campo or a courtyard, is a new experience that has its own distinctive material character and a rich history. As in a museum, the city guides you with visual and atmospheric clues that define an elaborate hierarchy of spaces. This layering of experiences is particularly Venetian, where buildings are rarely experienced in their entirety, rather as fragments. These fragments combine to make the whole through a journey, in which each spatial fragment offers a sense of anticipation for the next.
Buildings outlast the people that live with them. The time scale for a building can be hundreds or even thousands of years and places with distinctive character can retain this even when their function or usage changes. The recalibrating of values, for the purpose of sustaining a viable working population in Venice, could be centred on the preservation of an ‘idea’ or ‘mode’ of city, alongside or even instead of its actual stones. This academic year started with the School’s attempt at applying for world heritage status for the London Pub; the school discovered that it was an effort to preserve and document the ‘idea’ of a pub rather than the pub itself. This intangible heritage is more like a memory than an object. Perhaps the ‘idea’ of Venice is the experience of a journey from a public room to a private one in an ever-extending threshold.
It is possible, through literature and paintings, to revisit Venice, prior to its industrialisation and the flood of tourism This is a creative act that requires appropriate translation but it could allow those historical nuances that once made Venice a thriving, working city to be interrogated, in order to design a piece of Venice that works as a modern city and for the benefit of the Venetians. If architecture is the physical representation and embodiment of culture then it must have both the ability to uphold its lasting principles but also adapt and progress. This includes even the architecture of the ‘museum city’.
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Derick Agyemang, Hazel Alderson, Helena Anthony, Wajeeh-Ur-Rehman Bashir, Danny Bush, Hong Chang, Danielle Cook, Jacob Deyoul, Madoka Ellis, Damilola Fapohunda, Miranda-Alix Forsyth, Floriane Gonsalves, William Himpe, Isabella Hughes, Ane Jakobsen, Davis Kapambwe, Ziyang Li, Ioannis Liargkovas, Ivan Markovic, Sonali Mistry, Anderson Morales Ramon, Stefan Necula, Alfred Osei, Kwame Rennalls, Varun Sharma, Bradley Sumner, Lindsay Wheatley, Dimitri Xitas
Studio 1.1Christoph LuederLara Rettondini
This year we engaged with issues of urban and cultural heritage by exploring how a cultural program can manifest itself at a small scale; an intimate library in a residential context. Our site is located in Strand on the Green, between Thames Road and a public promenade along the Thames in Kew, which is intermittently flooded at high tide. The program comprises a library and a small studio flat to accommodate overnight stays of the owner or guest. The library holds and displays a collection of books and media related to an area of study which individual students explored in their first semester. The library is opened to the public for readings or exhibitions.
Isabella Hughes, The Botanist’s Library
Brad Sumner, The Botanical Artist’s Library
Wing Chang, The Entomologist’s Library
Luciana A Mameri Barros, Koorosh Ameri, Olivia Bailey, Lene Bjerkeli, Egle Bytautaite, Nila Choudhury, James Cura, Ashley Dunford, Pablo Feito Boirac, Ayesha Gajraj, Miles Greenaway, Marie Hogevold, Fatimah Ishmael, Katarzyna Janos, Mohammed Khashoggi, Areeb Khan, Undraa Khurtsbilegt, Shaun Lilley, Joseph Marshall, Alice Moden, Laith Nada-Ali, Damilola Nezianya, Robert Overton, Natalie Roberts, Yiannakis Spyrou, Tara Tamang, Berit Vold, Michael Woods
Studio 1.2Joanna BaileyZoe Jones(with thanks to St Mary’s Secret Garden)
Studio 1.2 began with detailed building studies of the Marianne North and Shirley Sherwood Galleries, and continued working in and around the Royal Botanic Gardens at Kew for the academic year. A design brief for two rooms for a scholar at Kew culminated in a proposition for a new building, situated adjacent to Kew Gardens railway station. We explored ways of engaging the local community and the public with the work of Kew by creating a public building, an outpost, which could provide an exhibition space & bookshop and a temporary residence/workplace for a scholar. The site allowed us to connect with pedestrian routes including the existing route to the Gardens and also with a local plant shop, scout hall and the street. Having already formed an understanding of their particular scholars specialism, students were then able to develop spaces to both nurture and reveal the work of botanists, botanical artists, collectors, photographers and archivists. Our site allowed areas for cultivating, trading and exhibiting plants in collaboration with the Kew Gardener shop and for students to analyse and make decisions about the nature of public space, private space, heritage and the community.
Pablo Feito Boirac, Exterior Perspective
Elle Bytautaite, Exterior Perspective Berit Vold, Gallery Interior
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Sarah Abulhasan, Hind Alkaabi, Ziad Bakr, Zere Bedenova, Viktoriya Boykivska, Brandon Clemenson, Lisa Danquah, Sarah Dinnoo, Ideal Ferizi, Konstantinos Gkikas, Asia Hama, Serina Harb, Kesiena Idebe, Sutthinee Jaroonsote, Farisa Khan, Hyun Kim, Karolina Kobus, Emma-Jo Lodge, Dellan Meho, Sofie Molnes Sovik, Bradlee Mulroe, Grzegorz Oleniacz, Chantelle Pantelides, Ozan Sahin, Vibecke Stabell Solli, Russell Torkamani, Nathalie Wathne
Studio 1.3Mario PillaLauna Davies
Alongside the work undertaken at Kew Gardens during the first semester, we considered the work of Kew’s sister site at Wakehurst Place to introduce semester two. There the Millennium Seed bank collects, stores and safeguards seeds from around the world. The important work undertaken in seed conservation prompted us to design a house in a Herbarium for a scholar, overlooking Kew Green. The preoccupations of the studio were twofold. Firstly, with reference to both orthographic projection and botanical illustrations, five plants leaves, flowers, seedpods or seeds were selected and measured and then drawn in plan, section and elevation. The chosen samples could either be native to Kew Green or chosen to reflect the student’s home town, village or city. This facilitated a conversation regarding scale and context to begin.Secondly, in response to the immediate site context within an existing residential terrace and a garden wall at the threshold to the site, the Herbarium would house the scholar’s workspace which mediates between the public exhibition and their dwelling, comprising the private space of the proposal.
Bradlee Mulroe, charcoal drawing
Vibecke Stabell Solli, charcoal drawing Sophie Molnes Sovik, watercolour Hyun Kim, interior collage
Sanaz Alavi, Charlie Alvarez, Buchard Bakundukize, Emre Bulmus, Zainab Camara, Grant Codrai, Ebba Daun, Charles Duzdabanian, Yasmine Faress, James Fish, Emily Galliers, Mays Hamad, Tsz Hsu, Dorothy Jackson, Jieun Jun, Dalia Kharoufeh, Violet Lawrence, Christiana Mark-Ogunyadi, Anna Milovanova, Shymah Monir, Sindre Narvestad, Alexandra Olsen, Georgios Perdikakis, Shpetim Serani, Benrico Stripe, Danai Tsiouri, Kerensa Wellesley-Elliott, Ashley Worrell, Irem Yilmaz
Studio 1.4David LawrenceGrant Sheperd
This year we have been designing a ‘House for a Scholar’ situated close to Kew Royal Botanic Gardens – the UNESCO World Heritage site. Focusing on a site facing Kew Green, we worked in the tradition of eighteenth century scientists, creating houses as cabinets of curiosities. We began the project with a intuitive clay work, exploring iterations in shape and form. Selecting the most successful of these forms, we developed them to scaled card building volume models. Our houses have been designed for botanists, entomologists, arboriculturalists and other professionals related to the activities of the Royal Botanic Gardens. Our brief also included a space for the public to view the work of the specialists, and most importantly the cabinets in which the works were displayed and celebrated. Circulation models were used to investigate the mediation between public and private spaces. Finally, we developed our circulation and block models into building proposals, introducing space, materiality and activity, and atmospheres. Through this process we have created a wide range of intriguing potential schemes which embody the idea of a house for a scholar, rooted in the materiality and context of the collector.
Street perspective with proposal
Section through proposal Ebba Daun, section through proposal
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First year students were introduced to Kew Gardens through an extended drawing project, whichaimed to transform casual interest in the extraordinary variety of plants and buildings within thesite into observant understanding of particular details. They were asked to compare the site as itis today with the original plan of William Chambers and to appraise the intended relationshipsbetween footpaths, landmarks and vistas and the visitor experience. For their first design project,students were asked for a bold but sensitive move, involving a new path and three interventions to improve the site choreography.
In semester two, by taking on the challenge of rethinking the landscape setting of the Tower ofLondon, we explored the question: What should I do? Not particularly a landscape question, but ageneral question, the first and most open question of the design process. Students were introduced to some of the theories of ‚psycho-geography‘ to help them engage with the complex site. Some compelling answers to the brief, whether converting the Tower of London into an internment camp for illegally detained terrorists, rebuilding parts of the the roman wall or moving Fenchurch Street Station one hundred yards east, stimulated thought-provoking debate about what one should or shouldn‘t do with a World Heritage Site.
Studio 1.5 LandscapeJames FoxAlice FoxleyGrania Loughnan
Fatima Bamujally, Rob Beckett, Arushi Bhatnagar, Ethan Chong, Yidhen Dorji, Fleur Fairhall, Toby France, Hao Huan, Stuart Jones, Eileen Khounsombath, Jordan Ling, Georgi Manchev, Edyta Obrzut, Toya Peal, Jo Pineda, Paul Rendle, Maylen Skofterud, Tim Taiwo, Adam Tamuzadde, Derya Yilmaz, Li Zhang
Toya Peal, concept drawing
Toya Peal, perspective drawing
Edyta Obrzut, detail drawing Studio 1.6Jonathan Craven, Charlotte French, Yixiang Jiang, Sarah Lailey, Rebekah Manfield, Kai Martin, Anam Mehmood, Roxana Murgu, Pranatkasuda Parelai, Atousa Pirouzi, Ruth Potts, Atefeh Sadri Tabar, Manal Saeed, Greta Tunkunaite, Katie Wilk, Yongqiang Zhang, Huiping Zhong
Studio 1.7Oluwafemi Adedoyin, Zoe Baker, Zeferino Do Rosario Ng, Zsoka Erdelyi, Anna Georgiadou, Christine Huynh, Rosie Luck, Serpil Marasli, Pouya Motallebzadeh,Fatemeh Narimani, Nuray Pinarbasi, Joana Popova, Yasmin Ruiterman, Line Skogsrud, Madeleine Wells, Abert Wijaya, Mariane Xueref, Shimeng Zhang
This year, Interior Design Studios 1.6 and 1.7 focused its studies on two sites in London. The first semester site was the Temperate House at the Kew Royal Botanic Garden, a UNESCO World Heritage site. The second semester site was an existing restaurant within a Victorian terrace in Kew. We visited Berlin and London for our study trips.
The studio began with the careful observation and representation of existing conditions by surveying, drawing and making models of the Temperate House. This developed an understanding of the forms, conditions of materials, scales and habitation of its interior.
In the second semester, we worked on the design of a restaurant in Kew. We began with a series of collaborative projects exploring the environment of eating. We tested various construction techniques to understand the concept of form and structure by designing and making a cardboard chair. The chairs were used to create an eating event to examine the anthropometric relationship between furniture and space.
The final project was informed and developed by this research. Each student proposed a restaurant that explored the nature of dining and the spatial qualities of natural and artificial lighting, colour, materiality and texture, smell, sound and temporality.
Studio 1.6 & 1.7 Interior DesignMichel SchranzKeita TajimaMo Woonyin WongCham Yeong
Derek Zhang, chair design
Derek Zhang, section through restaurant
Survey of table top
Charlotte French, seminarium
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Design RepresentationJane Houghton
Facing: Oliver Lam Watson, Copped Hall Elevation2.Sabreen Bucheeri, Chiswick House3.Daniel Bulgen, Temple Drawing4. Robin Sondergaard, Stain Drawing
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Nathaniel Amissah, Kofi Appiah-Menkah, Radhesh Bhatt, Louise Cooke, Lukas Drotar, Jose Ferreira, Arta Garanca, Vasiliki Gkika, Prabhat Gurung, George Hester, Denis Ismaili, Mahshad Khairani Sharahi, Ahreum Kim, Salah Krichen, Eleftheria Loupasaki, Sebastian Lundberg, Michael Morgan, Daniel Rooke, Shadia Tajamal, Benjamin Yeates
Studio 2.1Ioana MarinescuNaomi ShawThomas Goodey
Studio 2.1 travelled to Bosnia and Herzogovina to study the impact of the UNESCO World Heritage status given to the Old Town and Old Bridge (Stari Most) in Mostar. After its destruction in the wars of the early 1990s, The Old Bridge was meticulously re-built as an iconic image of unification in this ethnically divided part of the world.
Studio 2.1 was interested in how to rebuild in the buffer zone of the UNESCO World Heritage site, where local residents continue to live outside of the now tourist-led economy of the Old Town. In stark contrast to the UNESCO site, which has been rebuilt brick for brick and is now closed to further development, the partially war-damaged buffer zone remains alive with opportunities.
We sought to build on existing and well established situations – events, activities and buildings – within the buffer zone and chose to work in a neighbourhood situated on the river’s edge known as ‘mejdan’, meaning a small public urban space. The students were asked to work in pairs to propose new facilities and a small hostel for the thriving Kayak club, and an exhibition space for the Bosnia and Herzogovina state archive with artists studios. Key to their individual proposals is a strong approach to the existing derelict buildings, whilst their joint proposition re-instates a public space.
Urban Memory / Common Ground
Nathaniel Amissah, section through proposalFacing: Arta Garanca, kayak workshop
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1. Prabhat Gurung, Mostar section through gallery2. Site collage3. Benjamin Yeates, South Bank reading room4. Daniel Rooke, reading object5. Michael Morgan, gallery staircase6. Mostar site model7. Elia Loupasaki, section through gallery8. Prabhat Gurung, South Bank reading room9. Arta Garanca, kayak club
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Tareq Arafat, Mohammed AzamArne Bassoee-Eriks, en, Clare Brincat, Michelle Choi, Samuel Colmer, Jaime De Linares Florido, Mona D’Souza, Helen Galletti Di Cadilhac, Petter Habostad, Christina Ihekwoaba, Sophie Ihua-Maduenyi, Fatemeh Kazeminajafabadi, Julia Kubisty, Tongai Moyo, Amandin Richard, Vincent Ruocco, Christopher Scaplehorn, Mau Tam, Sara Tehrani, Christopher Thompson, Khuong Vo
Studio 2.2Eleanor SuessWill Burges
Studio 2.2 has a long standing interest in the relationship between cities and water. This year the studio has continued those themes by looking at the architecture of water-borne transportation, and considering the role of water in supporting the back-of-house activities of particular UNESCO World Heritage sites.The semester 1 project made a connection between the World Heritage site of Greenwich and the Isle of Dogs, separated by the official UNESCO ‘buffer zone’ – a threshold as wide as the river itself. The studio proposed re-opening the Isle of Dogs to Greenwich ferry, to encourage that perilous journey from north to south London and vice versa; to remake for our own times the Ferry House that stood for centuries overlooking Greenwich from the north bank. In Semester 2 we worked on another watery World Heritage site: Venice. It has become commonplace to condemn Venice as some kind of enormous open air museum, a condition that its status as a World Heritage Site merely, and tragically, confirms.A squero is where new Gondolas and other kinds of watercraft (some of them as uniquely Venetian as the Gondola) are made. In the second semester Studio 2.2 designed new, expanded squeri on two sites in Venice, incorporating a traditional industry, as well as housing for a squerarolo and their family. We considered how to build in a city where nothing new is allowed, and how to relate to the practices associated with this traditional industry and the buildings which house what UNESCO describes as “intangible cultural heritage”.
Water / Crossings
Vince Ruocco, Venice window studyFacing: Julia Kubisty, San Trovaso
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1. Chris Scaplehorn, model in site2. Arne Bassoee-Eriksen, squero workshop3. Julia Kubisty, model4. Julia Kubisty, canal elevation5. Amandin Richard, courtyard6. Arne Bassoee-Eriksen, photomontage7. Chris Scaplehorn, window testing
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Rima Akter, Raman Baban, Sebastian Barrett, Qendrim Berisha, Jessica Causey, Simon Dean, Rosie Ellis, Paul Johnson, Rohullah Kazemi, Nael Kazma, Alicja Kowalska, Camille Lacoste, Kimberly Martinez, Mufaddal Nagree, Imeshka Ranatunga, Jamie Simon, Arjun Singh, Pavel Stankov, Esra Tekagac, Slawomir Turek, Tomas Watson, Chung Yu
Studio 2.3Aoife DonnellyKristin Trommler
Following on from last years exploits in the grimy depths of London’s sewers, this year Studio 2.3 have continued to make proposals in seemingly suspended, half-abandoned places. Our work this year was concerned with the reality of living and working in UNESCO World Heritage sites, asking how the process of making and production might manifest in these places. These contexts raise questions about how to balance the continuing real life of such a place with the pressures of conservation and the promise, or threat, of affluent cultural tourism.
We focused on two such places, both with a long history in making and significantly shaped by it: the Derwent Valley in Derbyshire and Gjirokastra in Southern Albania.
We catalogued the industrial heritage and infrastructure of the Derwent Valley Textile Mills, where the mechanically-powered factory system that underpinned the Industrial Revolution was first developed. We designed and constructed a 1:1 scale timber waterwheel, temporarily installed in the Hogsmill River, then after walking the protected stretch of Valley, proposed a water-powered sawmill as a new model for small-scale, local, sustainable industry.
Semester two took us to Gjirokastra, known as ‘The City of Stone’, an old Ottoman town in Southern Albania. After the collapse of Enver Hoxa’s regime, under which the Ottoman skills of making and craft blossomed, the town experienced the loss of its skilled craftsmen and it’s built heritage gradually went into decline. Our proposals for a School of Master Crafts, aligned with the aspirations of the locally active N.G.O., Cultural Heritage Without Borders, sought to protect these skills and knowledge from the peril of dying out. We gathered a collection of remnants from site, taking them away as catalysts for a series of contextually sensitive insertions.
Weaving Place and Memory
Simon Dean, Masson Mills machineFacing: Simon Dean, carding machine
55541. Camille Lacoste, Gjirokastra2. Sebastian Barrett, crafts school3. Simon Dean, saw mill model4. Rosie Ellis, craft school prints5. Michael Yu, craft school sketch section6. Nael Kazma, craft school model7. Water wheel detail8. Sebastian Barrett, sawmill interior9. Mufaddal Nagree, saw mill structure10. Simon Dean, crafts school cast model
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Nalja Almutairi, Miral Ama, Sadiki Bailey, Mustafa Baskal, Richard Baylis, Daniel Bulgen, Lea Daniel, Amy Ford, Farah Hassan, Oliver Lam-Watson, Evgeniya Makalenko, Evgeni Medarov, Any Medina Romero, Liz Muchatat, Michelle Mujakachi, Ellen Peirce, Fatima Salman, Michail Sarafidis, David Schwitzke, Marian Twenefoo, Yutong Wang
Studio 2.4Timothy SmithJonathan Taylor
Classical architecture and urbanism is very often UNESCO accredited and the link between UNESCO and built heritage is self-evident. Classicism is not a straightforward set of rules, but at it does take as it’s starting point the application of the 5 orders of architecture as its decorative elements. This definition is rather skin deep; a more elusive definition must recognise the demonstrative harmony of parts towards which Classical architecture aims.Copped Hall in Essex is a ruined Palladian mansion from 1759 which we surveyed in Semester 1 and which then formed the site of the first project, an aedicule, or ‘little house’, in which guests could stay for a night or two to experience the elegant arrangement of generous spaces in their raw semi-ruined condition.We studied the Palladian Revival in England of the Eighteenth century when rules of design were set out in pattern-books, and then in January we visited Palladio’s villas in the Veneto. We learnt from the buildings themselves, and to studied the translation which took place between Palladio’s architecture and that of Eighteenth century England. These studies informed the design of a hotel in the classical idiom in the immediate vicinity of one of the world’s most famous houses, the Villa Almerico Capra, or La Rotunda. This building is a designated UNESCO World Heritage Site, along with Vicenza and Palladio’s other villas; we find the question of how to build a genuinely complimentary neighbour compelling.
Palladian Revival
Oliver Lam Watson, Villa La Rotunda PlanFacing: Michail Sarafidis, Hotel Pool Model
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1.Oliver Lam Watson, Entrance Hall Interior Model2.David Schwitzke, Photo Montage3. Michail Sarafidis, Pool Interior Model4.Oliver Lam Watson, Lightwell Sketch5.Oliver Lam Watson, Atmospheric Section6. Michail Sarafidis, Plan in Context7.Daniel Bulgen, Interior Sketche8.Daniel Bulgen, Measured Drawing9.Studio 2.4, Copped Hall Model10.Oliver Lam Watson, Photo Montage
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Hiba Alobaydi, Sarah Al-Radhi, , Michael Asante, Rima Boz, Georgina Campbell, Christina Fotiadou, Robin Sondergaard, Nima Taghizoghi, Jeannette Woanya, Liam Crockett, Georgia Davis, Amani Alharbi, Dalal Ameen Christina Bailan, Sabreen Bucheeri, Emily Budden, Chelsey Carter, Amira Eldahan, Hannah Field, Martyna Maziarz, Alexandra Nicolaescu, Esra Tekdal, Kelly Tooze, Magdalena Zawadzka
The studio continues its research into rooms for gathering, this year within the context of an incomplete and largely unrestored Palladian villa – Villa Trissino at Meledo in northern Italy. Continuing with an interest in designing through making the studio comprised of both interior design students and architecture students with an ambition to explore projects at a detailed level and to encourage a discourse between the two disciplines within the school.
Inscribed by UNESCO on the World Heritage List, Villa Trissino sits in a state of neglect and disrepair. The addition of later buildings and the adjustment and reordering of the site over centuries has brought about a disconnect between the villa, the landscape and the hamlet in which it sits. Through proposals for an agritourismo (a working farm with accommodation for tourists) on the site we attempted to challenge the programmatic norm of world heritage sites as museum pieces and to explore the art of intervening within, and the craft of making alterations to, historic buildings.
Prior to beginning our studies in Italy we sought to understand the idea of the villa through the neo-Palladian architecture of Chiswick House. We used Chiswick as a site to obsessively observe and record characteristics of rooms both interior and exterior. This lead to design proposals for a Casino (a small house with a gathering room) in Chiswick’s grounds which examined the composition of an interior room with William Kent’s landscape.
For our field trip we undertook a Grand Tour of Italian villa complexes – from Villa Adriana at Tivoli to Palladio’s villas in Vicenza – studying how their interiors were conceived and mediated in relation to the landscape. Here, as in Chiswick, we explored the idea of the landscape room as a mechanism for structuring exterior space, fields and gardens, and explored the potential for interior rooms conceived in relation to this.
Villa Complexes: Interior Rooms to Landscape Rooms
Studio 2.5Nicola ReadMatthew Phillips
Georgia Davis, exploded axometric Facing: Sabreen Bucheeri, Model with view from window
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1. Emily Budden, Detail of Moulding2. Komadee Appasamy, Casting Study3. Kelly Tooze, Interior Model4. Michael Asante, Interior Model5. Model of Hallway 6. Kelly Tooze, Section7. Robin Sondergaard, Interior Model
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Eirini Alexakou, Cristina Ballesteros Colomina, Hannah Davies, Emilie Diomande, Aiva Dunauskaite, Lee Fifer, Jack Head-ford, Kit Hung, Katerina Kapetaniou, Anum Khan, Sofiia Khliabych, Simon Krapf, Mari Kukushkina, Iris Le Jannou, Charlotte Li-berto, Eileen Maracha, Diana Njoki, Thongtipaya Pinitpouvado, Daniel Prendeville, Luke Salvi, Vatcharayut Sasit, Rachel Stott
Tea drinking has been a significant part of British social culture since Queen Catherine made it de-rigour among the aristocracy in the 17th century. Permeating many aspect of British society, tea drinking has prompted the development of both social rituals and cultural artefacts. These range from precise patterns of behaviour or etiquette to utensils as varied and elaborate as silver tea services and the quilted tea cosy, different spaces at different scales and new kinds of foods. Tea has had a similarly broad influence on other cultures, perhaps none more so than Japan where the appreciation of tea and tea gathering has been distilled through Zen to become a highly refined tea practice.
This year in Studio 2.6 we employed tea preparation and drinking as a thematic activity through which to study and create spaces for informal and formal social gatherings. As a part of our tea journey, we visited two World Heritage sites: Bath and Kyoto, Japan, where we looked at both traditional and contemporary spaces for tea.
The studio focussed on the development of an understanding of scale and human comfort through the interweaving of three strands: detailed precedent study; development of design proposals and making at different scales. We created our vision for a contemporary tea gathering space through a series of linked briefs which culminated in the design and construction of a carefully considered space situated within a larger existing context. The installation was designed and constructed by the studio as a whole and equipped with the furniture and utensils required to serve tea.
Cuppa Kissa
Studio 2.6Carol ManckeGrant Shepherd
Interior ModelFacing: Pot design
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Mathew Adebayo, Hibba Alhaydari, Gurinder Bansal, Davon Bree, Ceyda Ceylan, Rie Chimura, Amal Choaie, Shoeba Chowdhury, Rachael Cox, Simon Dessent, Flora Eshagzadeh, Joashua Gray, Bill Groth, Hadassah Hodari, Jiang Ziyang, Libby Kim, Tom Mcconnell, Ina Mula, Steven Nguyen, Jakir Noor, Mafalda Ornelas Vanlente, Sam Perry, Suzie Samut Tagliaferro, Luke Szokalski, Sidonie Travers, Lorena Vaccarini Avila, Tom Wan
Studio 2.7Jamie Dean Helen GoodwinDavid RichardsAlice Foxley
The coast of the British Isles can be seen as a transition and a coming together of ancient tracks, coastal routes and sea paths that have criss-crossed the British landscape and its waters. Over time these ancient pathways have become inscribed with narratives of place - folklore, legend and ritual.
The inhabitation of some of the richest of these – Poole Harbour South - has been the subject of level 5 Landscape Studio. Conflicting and competing demands for occupation have been the subject of negotiation and the development of sophisticated landscape strategies at a range of scales.
From the unearthing of the ghosts and voices that haunt old paths, to the rigorous analysis of the multiple layers of environmental, economic and social data - the studio objective has been the realisation of the long sought after National Trail, to circulate Poole Harbour and enhance access to its foreshores. A route that must pass through an array of varied and sensitive landscapes and ecologies, where activity to promote access and recreation, nature conservation co-exist with the infrastructure of oil extraction. This exercise is fore-grounded by the consideration of a future application to UNESCO to extend the Jurassic Coast World Heritage Site designation into Poole Harbour itself.
Pathways and Ecologies
Libby Kim, Technical sectionFacing: Tom Mcconnell, Proposed route
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Michelle Adora, Kim Assemat, Jessica Baah, Nana Biamah-Ofosu, Daniel Borg, Kalliopi Bouzounieraki, Sherice Brown, Alexander Buck, Julie Chadwick, Laura Clamp, Brian Koo, Jolene Lao, Kai Li, Tanaka Mazivanhanga, Ioannis Nikiforidis, Wemboloke Onokoko, Oscar Plastow, Janaina Castelo Rodrigues, Liang Sun, Emily Theodore, Jordan Whitaker, Busra Yavu
Studio 3.1Jane HoughtonStephen Baty
“ We must discover things and let them unfold their own forms”Hugo Haring. ‘Approaches to Form’ 1925. Architectural Association Quarterly. Vol. 10.1978.
This year the studio has been looking at architecture as a built landscape, to site-responsive structures and local building craft. Our Unesco world heritage sites are Pompeii and the Amalfi coastal resorts of Sorrento and Capri.
We have researched indigenous building techniques, craft and materials and issues relating to conservation, restoration and preservation in this extraordinary historical context. The hotel programme evolved as a clear response to the touristic nature and activities of the area alongside the archaeological make-up, topography and the volcanic geology of the region.
The studio has sought to understand what has made the landscape and its structures the way that they are, and to uncover the essence of this place.
Essence
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Yukari Benedetti Aibe, Rana Alsarami, Ali Alshenkiti, Omar Bakr, Amanpreet Bhullar, Peter Canelle-Dance, Lewis Denson, Phillip Forde, Maryam Gbum, Rachel Greenwood, Ameer Hussain, Sofia Katsarou, Christopher Kelly, John Kemp, Mark Mcglynn, Asrina Miah, Mahdi Mongabadi, Stylianos Politis, Clare Salter, Alexander Trainor, Line Youn
Studio 3.2Tim GoughTakeshi Hayatsu
The bluestones forming the inner circle of Stonehenge were brought from South Wales, 240 miles away from their current location on Salisbury Plain, Wiltshire. Larger sarsen stones for the outer circle were quarried from Marlborough Dawns near Avebury, 20 miles due north. The ancient landscape was measured by the movement of stones and the distant places were connected by these means.
The movement of these large stones was the inspiration for the Studio’s work this year. In order to understand the pain and joy of constructing such a landmark, we built a 9m tall timber spire with our hands - a 1:5 scale replica of Salisbury Cathedral octagonal spire built in the 13th century. We spent 5 days in Wiltshire, analysing topography, ground textures and distant views around the ancient monuments. The spire was then used in projects as a marker on the ground, in order to establish a new settlement in the contemporary landscape, where visitors and local communities are currently separated and fragmented.
The studio’s building propositions speculate new settlements and their impact on the existing ecology of the sites around Stonehenge and Avebury. A new hostel for visitors and a community hall for local people aim to connect the fragmented landscape, and a concern for the interplay of humans and animals was made a theme of the projects. Traditional barn and agricultural building typologies were adapted to suit to modern materials and an economy of means. Rather than treating the sites’ heritage as frozen archaeology, the proposals seek alternative ways for it to continue and evolve.
Ian Pirie James Jones & Sons Timber supplyDavid Derby Mike Davies Price & Myers Structural EngineerDavid Leviatin Oak frame specialist/ Carpenters FellowshipRoger Partridge at 3D Workshop for spire and stone joinery projectsJo Mayer Robert Creber United Business Media for Ecobuild
Landmark
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Sandra Adamczyk, Seyedeh Alaei Yazdi, Liam Andrews, Neethu Babu Raj, Hoda Chizari, Peter Folland, Gulcan Gaygusuz, Minghui Ke, Gina Kerridge, Monika Konieczna, Oscar Martinez, Camila Morbini, Maria Moschou, Regina Ortega Barbedillo, Ketan Pithadia, Camila Barbato Radici, Elisa Azevedo Ribeiro, Sura Saeed, Keyura Samson, Sofia Teriaki, Katrin Wahdat
Studio 3.3Alfredo CaraballoKarin TemplinBruno Marcelino
“Architecture begins in construction and ends in town planning…” Sigfried Gideon - Space, Time and Architecture
THE BEHAVIOUR OF BUILDINGS
As urban architects, we are concerned with the behaviour and responsibility of the buildings that form the public realm. What is the role of a single building within the structure of the city? How do groups of buildings “behave” to form urban space?
URBAN DECORUM
Each urban building has a responsibility to the city as a whole, a sense of urban decorum. The number and type of front doors, ground floor uses, the articulation of the ground floor, permeability, scale and facades as “faces” express this decorum.
SANTA CHIARA – PISA, ITALY
With the transfer of the Santa Chiara hospital from its original 13th century location bordering the Piazza dei Miracoli, an UNESCO World Heritage Site, to its new home in Cisanello on the outskirts of Pisa, an unprecedented redevelopment opportunity has emerged and with it many questions are raised. How can this ancient hospital site be reconnected with the city; how should new architecture address the historic monuments for which Pisa is famously known; and how do new buildings converse with existing structures to transform the urban structure?
Urban Decorum
Katrin Wahdat, conceptual PieceFacing: Minghui Ke, Courtyard study
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1.Santa Chiara, Facade study2.Monika Konieczna, North Facing Perspective.3.Santa Chiara, Courtyard view4.Liam Andrews, Library Building Bay Study5.Santa Chiara, View from street6.Liam Andrews, Loggia Studies7.East Elevation8.Merve Gaygusuz, proposal conceptual model9.Liam Andrews, Design Proposal West Site Elevation.jpg10.Monika Konieczna, Contempory Design Model
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Laura Aldridge, Taissa Santos Araujo, Solaf Balisany, Shahrier Chowdhury, Elliot Dunn, Alaric Garratt, Edward Heritage, Deeqa Kabadeh, Aikaterini Kachramani, Luke Kane, Jaemyoung Kim, Michal Krol, Sonny Medcalf, Mohammad-Annas Mojaddidi, Dhinesh Srinesa, Anthony Tran, Tsz Tsang, George Tsouhnikas, Can Unal, Cephas Williams
Studio 3.4Michael LeeDavid Owen
The nomenclature of the UNESCO listed White City in Tel Aviv refers to a collection of over 4,000 International Style buildings. They were constructed within a garden city plan by Patrick Geddes by German Jewish graduates of the Bauhaus, who were immigrated to the British Mandate of Palestine after the rise of the Nazi Party. Between 1932-1936 the displaced architects sought to address the dichotomy of creating a new home and identity on land they believed to be their ancient and spiritual home through the contextual adaptation of Modernism.Israel exists within defined boundaries, albeit boundaries that prove more ‘flexible’ than most. These borders contain thriving industries that support and depend on a highly educated population that fluctuates at an unpredictable rate - the Law of Return grants anyone of Jewish ancestry the right of return to live in Israel and gain citizenship. The alliance between religion and state that so often defines Israel complicates the relationship between Israel and its neighbours. Israel is becoming increasingly convinced of the need to be self sufficient in terms of resources, placing even greater value on land for the production of food for consumption and export. As a result cities are required to accommodate the increasing population within their existing boundaries.The city has begun to implement its 2025 Plan - a master plan comprising the strategic placement of clusters of residential and commercial towers of between 28 and 44 storeys. Each student has been allocated a site within this area of the 2025 Plan and been asked to develop a contemporary response to building meaningfully within the influence of the protected White City.
The Modernist City - Residential Towers
Michal Krol, Residential Tower Street ViewFacing: Laura Aldridge, Residential Tower, View to the Mediterranean
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1. Sonny Medcalf, Residential Tower Apartment Interior2. Laura Aldridge, Residential Tower Base3.Alaric Garratt, Residential Tower Context Model4. Elliot Dunn, The White City Tel Aviv6.Can Unal, Residnetial Tower Outdoor Cinema7. Can Unal, Three Religons8.Solaf Balisany, Ze’ev Haller Mazeh Street9.Deeqa Kabadeh, Tel Aviv10.Can Unal, Wailing Wall Cinema
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Amie Bosson, Robyn Charlton, Timothy Cole, Nikita Cosier, Imogen Dorrell-King, Noemi Fele, India Galton Van Winden, Vasilia-Alexandra Ganotakis, James Halliday, Zara Harradine, Catherine Hughes, Ju Hwang, Karolina Januskaite, Alexia Karakasi, Nelo Katodriti, Shamsi Kazaure, Suju Kim, Lora Kirova, Adriana Kudelova, Liene Linke, Billie May, Polly Methley, Wendy Miao, Laura Nagy, Carlie Ng, Patricia Parayno, Sonali Patel, Pooja Ramavrat, Charlotte Rushforth, Konstantinos Sedaridis, Remi Shrestha, Christine Spidsberg, Danina Stefanova, Harry Twigg, Mustafa Yuksel
The third year Interior Design studio has investigated the nature of the interior by designing public and private spaces for a hotel. The proposals are for the transformation of the existing General Surgery building on the old Santa Chiara hospital site in Pisa: a grand 1897 ‘villa’ strategically located adjacent to the UNESCO World Heritage site of the Piazza dei Miracoli with the Duomo, Baptistery and Leaning Tower, close to the city wall, at a proposed future point of arrival for tourists. Notions of comfort were investigated in two kinds of interiors: the hotel room with the traveller’s private needs, and the public interiors of the restaurant, bar and foyer. Research was made into the characteristics and enrichments which sustain public interior and exterior urban life in the cultural contexts of London and Pisa or Florence, with their transitions between the street and the interior. We analysed the qualities of Pisa’s urban spaces, drawing from the materials of their fabrication. Designs which addressed the transformation of experience through the totality of the interior, were developed with their constituents of linings, integral furniture, lighting and their fabrication. Detailed sections, full scale maquettes and real materials explored the aura of space and its inhabitation, the relationship of interior to building envelope, and the allure of the powerful location.
Common Senses
Studio 3.5Fenella GriffinHelen GoodwinJohn LonsdaleAlice Foxley
Charlotte RushforthFacing: Polly Methley
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1. Charlotte Rushforth, Flooring design2. Carlie Ng, Bookcase design3. Carlie Ng, Bookcase design in context4. Laura Nagy, Interior proposal5. Liene Linke, watercolour sketch series6. James Halliday, Interior with view from window7. Polly Methley, Axometric 8. Lily Ganotaki, Interior model
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Nora Alankari, Rachael Antonition, Yasemin Auer, Rob Baffour-Awuah, Tom Brantschen, Stavros Charitos, Grant Clement, Chris Daniells, Alex du Preez, Mitra Hassan Bigi, Martin House, Rawan Jaber, Ji Kim, Vicky Mills, Magda Pelka, Johanna Rogers, Armin Sharifi, Periklis Tsoukalas, Memo Vithana Pathirannehelage, Mengdan Zhai, Haya Aldaghaiter, Badriyya Mu‘Azu
Studio 3.6 Landscape ArchitectureFenella GriffinHelen GoodwinJohn LonsdaleAlice Foxley
Mengdan Zhai, PerspectiveFacing:Rob Baffour Awauh, Site Plan
UNESCO’s World Heritage status has framed the enquiry across two distinct sites: the former island of Schokland, surrounded by a constructed ‘sea of land,’ of the agrarian Noordoostpolder, NL; and the town of Poole in Dorset, UK, in one of the largest natural harbours of the world. Both are at risk of inundation through predicted climate change scenarios, both are in need of a viable future. Working with tipping points, students developed 100 year strategies for the regional adaptation of the polder, re-contextualising Schokland by re-qualifying the water management system. De-poldering enabled the land to ‘re-member’ its underlying pleistocene form, initiating ideas for transformation and building resilience through increased water storage capacity. Creating new natural climate buffers to catalyse the restorative function of land as sponge and carbon sink suggested secondary development of agri/aquacultures with programmes for wetland reserves and their attendant economic, recreational and biodiversity benefits.
Working with the archetypes of street, square and park, students developed public realm scheme designs for Poole’s urban landscape at the historic Quay and an adjacent post-industrial site. Collective investigation through measured drawing enabled a close examination of spatial character as a springboard for change, leading to proposals for the enhancement of the Quay as both route and destination and a stronger sense of connection and identity for Poole itself. At the former power station site of Hamworthy, students considered how to mediate the various scales of infrastructure with existing and proposed neighbourhoods; how the reuse of a former tile factory could be brought back into play to suggest new active uses and develop a sense of place for a brownfield site which straddles town, port, and the salt marshes beyond to create an extension of the waterside public realm - a new strand for Poole.
Students have embraced a significant breadth of landscape architectural practice -from environmental planning to urban design, as well as the more familiar skills of site design and resolution in pursuit of their projects. Their key challenge has been to develop a maturity of approach that is inclusive of complexity, and the ability to see the ‘big picture’ – physically, legislatively and temporally, and its relationship with how space and ‘things’ might manifest authentically, now, and over time.
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1. Mengdan Zhai, Plan2. Rob Baffour Awauh, Proposed Plan3. Magda Pelka, Model series4. Grant Clement, Detail section5. Grant Clement, Bench model6. Yasemin Auer, Sections7. Rob Baffour Awauh, Site Photo8.Chris Daniells, Concept9. Chris Daniells, Elevation
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School of Architecture and Landscape Faculty of Art, Design & ArchitectureKingston University, Knights Park CampusKingston KT1 2QJ
SCALe
GUESTS:Alex AbbeySamson AdjeiIsabel AllenMelissa AppletonIan AppletonThierry BalSherry BatesTom BatesPeter Karl BecherGabriele BertiGraham BizleyNicola BlustinShumi BoseMark BrearleyOscar BritoRobert CamlinKatie CampbellGiulia CarabelliMassimo CarmassiKate Chappell Peter Christian Jonathan CookTessa CoxAlan CoxAlison CrawshawRobert CreberMike DaviesSenada DemirovicDavid DerbyBiba DowGemma DrakeLorraine FarrellyDiasy FroudZoe FudgeGabor GallovSophie GilesJohn GlewAlex GoreAndrew GowingKevin HaleyEd HarbottleSteven HarpJohn HarringtonGiles HeapEdwin HeathcoteEleanor HedleyAiden HodgkinsonDavid HowarthAndy HumphreysKarsten HuneckJoanne HunterKayleigh HuttonAntonia InfangerMark JobSimon JonesLewis JonesSimon Jones
Dwyer JuliaClara Maria KraftClara KraftClara KraftJasper KuipersMaria LardiBrian LeungDavid LeviatinMark Macintosh-WatsonJo MayerSam McDemottSamuel MerrillJulie MiddletonManuel Montenegro Sarah MooreTom MuirheadHelen NeveOlimpia NiglioDonncha O’SheaZeilschip ObanJames PayneBen PearceRichard PeckhamIan PirieTom RaymontMax RengifoRichard ReynoldsGuido RobazzaShrimplin RogerVanessa RossGregory RossGregg RossStephen RyanWill SandyAnna SchabelBernd SchmutzAlexander SchrammAndy Sedgewick, ArupDaniel SerafimovskiSumita SinhaCraig Smith Tom Smith George Saumarez Smith James SoaneDavid StorringHugh StrangeSteven TaylorMarc ThomasHonore van RijswijkArtus ViveirosDonna WallkerTess WarburtonDavid WhiteheadFinn WilliamsBrendan WoodsJan Wouter BruggenkampAlex ZambelliStamatis Zografos
EXTERNAL EXAMINERS:Jamie FobertDean HawkesPaul JonesDavid KohnJulian Lewis
LECTURE SERIES GIVEN BY:Pierre d’AvoineWilliam MannDavid KohnJamie FobertFlorian Beigel and Philip Christou/ARUMarie-Jose van HeeTony FrettonFred ScottTodd Longstaffe-Gowan
TEACHING STAFF:Joanna BaileyStephen BatyNikki BlustinPatricia BrownAndrew BuddWilliam BurgesKatie CampbellAlfredo CaraballoPierre d’AvoinePereen d’AvoineMatthew DalzielLorna DaviesJamie DeanRosamund DiamondAoife DonnellyJudi Farren BradleyAngela FordJames FoxAlice FoxleyChristian FrostThomas GoodeyHelen GoodwinTim GoughAndrew GreigFenella GriffinCathy HawleyTakeshi HayatsuJane HoughtonAndrew HoultonZoe JonesDavid KnightJustine LangfordDavid LawrenceMichael LeeJohn LonsdaleGrania LoughnanChristoph LuederCarol Mancke
Bruno MarcelinoIoana MarinescuDonald MathesonCristina MonteiroDavid OwenRoger PartridgeMatthew PhilippsMario PillaStephen PretloveNicola ReadDavid RichardsDaniel RosbottomMichel SchranzNaomi ShawGrant ShepherdTimothy SmithSteve SmithChris SnowAlexandra StaraHugh StrangeEleanor SuessKeita TajimaLucy TauberJonathan TaylorKarin TemplinNik ThompsonRichard TruppEd WallTess WarburtonMo Woonyin WongJonathan WoolfCham Yeong
A very special thanks to Dennise Yue, the Academic Support Manager for the School of Architecture & Landscape, and School Administrators Dorinda Carter-Rowe, Gloria Bassoli, Anne Dykes & Doreen Harrison for all their hard work and patience over the last year.
KLASSKingston Landscape and Architecture School SocietyOliver Lam-Watson, Nael Kazma, Farah Hassan, David Schwitzke, Julia Kubisty, Jaime de Linares, Michael Morgan
Catalogue designed by Oliver Lam-Watson, Daniel Bulgen & Timothy Smith
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