NCL ARC Yearbook 2013

1. 2012 - 2013 NCL
ARC

2. 5
John Pendelbury
head of school
4
Introduction
When we embarked on restructuring our Part II offerings into an MArch course, our goal was to provide students a supportive environment to pursue their own self-initiated research and design agendas by combining a broad latitude for exploration with opportunities for frequent and personalized feedback. To this end, we consolidated the coverage of almost all RIBA criteria within design studios where matters such as arts, history, urban context, cultural heritage, technology, materials and construction, sustainability would be seen as integral parts of the design process rather than streamed in parallel modules. We structured the first two semesters as two mini-thesis projects where the students propose their own briefs within a well-defined thematic framework. Throughout the year, a range of lectures, study visits, readings, specially designed exercises, presentations, exhibitions, and symposia complement the learning process. The first of these thematic projects emphasizes the urban fabric and students investigate the socio-spatial dynamics of cities, the relationships between buildings and the spaces between them, and urban transformation processes (such as gentrification, ghettoization, regeneration etc). The second semester zooms down to the scale of the individual building, with a sharp focus on the significance of detail design, appreciation of technology and understanding of the spatial narratives embedded in every structure. These projects also offer students the chance to think about the design process as a method of developing critical responses to the pressing issues they have identified— that is, a thesis—from the outset.
This year our Master of Architecture Programme (Part II) will see its first students graduate. We could not have asked for better partners in the process—our first cohort of students have thrown themselves into the challenges with passion, worked with us as we dealt with the kinks of a new system, engaged us in discussions and made the school a buzzing hub of activity. Their work has been varied and engaging, they have, in addition to a range of interesting design projects, participated in linked research projects and produced dissertations that have enriched the school’s

3. 11
Graham Farmer
concrete values
10
One of the most unfortunate additions to the vocabulary of architectural education in recent years has been the term; unique selling point or USP. A recent RIBA visiting board to the school insisted that we establish and articulate (in a limited number of words) what the school stands for and what differentiates it from the growing number of architecture courses in the UK. This necessity to have a distinctive ‘offer’ also mirrors a wider concern within Higher Education for the marketing and marketability of courses and connects to an institutional context in which even the slightest annual fluctuations in application numbers, survey ratings or league table position can either verify or bring into question the value of your ‘product’. Fortunately, when viewed through these particular lenses the architecture programmes at Newcastle continue to go from strength to strength. We have seen significant increases in student satisfaction ratings and our application numbers have risen again this year - bucking the national trend. Recently published league tables cement our place within the top 5 of Architecture Schools and we are now the highest ranked school for graduate employment in the UK. Add to that the impressive and continued success of our students in local, national and international design competitions and we have much to celebrate.
However, it is also important to acknowledge that such recognition can be fleeting and if you focus too much on it you risk neglecting the deeper character and attributes that really do make the school unique and which provide the strong foundation for our continued success. These enduring qualities cannot be captured in a sentence or two and to understand them you certainly have to delve further into the background and culture of the school. Over the course of the past two years I have become much more conscious of the history of the school and in particular the important role it has played in the trajectory of modern architecture in the UK, both regionally and nationally. Architectural education at Newcastle dates back almost 100 years and developed out of Fine Art in the 1920s and expanding rapidly through the 1930s to establish itself as an academic discipline

4. 12 13
by its lack of a single identity or through its ability to resist being defined in any singular way. Pasmore once famously described the pavilion as a ‘free and anonymous’ monument, and by this he meant that it belonged to everyone and anyone who used it and they would in turn bring their own particular function, use or meaning. It could be argued that the very generosity of this gesture - of not wishing to narrowly define or impose a predefined meaning onto the structure is the aspect of the work that will both continue to provoke, but that will also sustain it into the future. Perhaps this is a lesson for every school of architecture.
in its own right. From its earliest foundations the pedagogical outlook of the School has always extended beyond a narrow focus on design and formal concerns to encompass an ethical outlook and a wider social concern for the conditions in which people live.
The city and region with its particular social, industrial and landscape context has always been fundamental to the work of the school and this remains the case to this day.
I recently had the opportunity to work on several research and teaching projects connected with Victor Pasmore’s Apollo pavilion, an iconic piece of brutalist public art located in the new town of Peterlee. In many ways the history of the pavilion mirrors that of the school and it encompasses a rich and fascinating story that includes (amongst many others), Peterlee’s first master planner; Berthold Lubetkin and numerous graduates of the school including Gordon Ryder, who went on to work with Lubetkin and later founded the practice Ryder and Yates. Ryder himself lodged with Peter Smithson as a student at the university and went on to teach Alison Gill, who later became Smithson’s wife. Together they coined the term brutalism in 1953, and set in motion an important but often misunderstood contribution to architecture that is still recognised internationally. A year later in 1954, Victor Pasmore joined the university as Master of Painting and together with Richard Hamilton contributed to fundamentally reshaping arts-based education in the UK through the establishment of Basic Design training that itself was rooted in the philosophy of the Bauhaus. During this period Newcastle University was at the very centre of pedagogical innovation in the Arts and Architecture, a legacy that still remains.
The pavilion itself is an innovative structure that blurs the boundaries between art and architecture and was the result of Pasmore’s involvement as a landscape consultant at Peterlee during the 1960s. Completed in 1970 the concrete pavilion has always been controversial, and has been under threat of demolition for much of its life. For a period it was vandalised, poorly maintained and became the setting for serious anti-social behaviour. However, it is recently restored and in December 2011 it was granted Grade II* listing, effectively securing its longterm future. The impetus for creating a positive future for the pavilion was generated locally and can be largely attributed to the successful campaign work carried out by local groups including the Apollo Pavilion Community Association who had the vision to recognise and celebrate the wider importance of the pavilion beyond the immediate and all too visible problems of its dirty and spalling concrete forms. Crucially, they understood the intangible values embodied in the pavilion both as a culmination of an ambitious collaboration between artist and architect and as a monument embodying progressive values, as part of the post-war period in which architects strove to create better living environments for all.
In a contemporary world fascinated by product and branding, perhaps the pavilion has much to teach those who seek to market Higher Education. It could be argued that the positive future of the pavilion has been secured

5. 14
15
Matthew Margettscharrettes
The charrettes will be run by variety of tutors including successful design practitioners from all over the U.K.
Each charrette will be made up of students from the BA, MArch, MAUD and DigiArch. Most charrettes will have approx. 40 students.
Students will be assigned groups automatically The week will end with an exhibition and celebratory drinks. All work will be collated for a published book and form a chapter in the year book
5
days
450
students
9
charrettes

6. 16
A democratic and collaborative exploration into
why people matter to architecture.
We will investigate the interstitial, examine the
undergarment of the city and listen to the walls
and doorways. Places reek with the living in
them and the traces of spent lives. We will find
a tool or device for listening to the stories that
soak the air like a history mist.
Once the device has been established the
team, like early Victorian detectives, will hunt
out and retell these stories; unfold a network,
a lattice, a pattern, a connected and collective
understanding of the city. The job then will
be to establish a game, a route or a telling, a
performance, a construct or a poetry.
Product It might be an Almanac, a collection,
a mapping or a bibliography. It will be rich and
enduring as an oral legacy and an invitation to
enjoy seeing and listening to the city today.
Key themes:
collaboration, the interstitial, narrative.
The History of Space squeezing blood
out of the
stone:
Tim Bailey (xsite architecture)
17

7. 18
The Charrette team will be given a large empty
space to create a mixed media machine/
installation that triggers a series of inventive
chain reactions to perform a simple outcome or
task.
This charrette aims to encourage all the aspects
of the design process that are crucial to a
successful project in a fun, stimulating, and
inclusive way.
The Charrette team would be split into 10
groups and each group given an allocated area
within a studio in which to create chain reactions
which would then form part of the large
‘machine’ installation. Careful consideration will
have to be given to the connecting elements
between each group.
This will be an intensive, stimulating and
rewarding project (if the machine works!) Social
is also to be included within the programme.
Product: Machine/ installation
Key themes:
machines, problem solving, mixed media
animate
space
Daniel Kerr (MawsonKerr Architects)
19

8. 22
The university has a world class reputation
has a place of learning and research. Visiting
the university campus, it is difficult to see,
appreciate or even believe the wealth of
amazing discoveries, inventions and learned
academic activity.
You are asked to conceive and develop a
piece of full scale work that will be viewed and
experienced as a monument/ folly to one or
more of the discoveries, inventions or significant
developments made at the university during it’s
history.
It will be a temporary addition to the built
environment, it may be usable, have
more than one function, encourage certain
activities or be intended to be merely
viewed.
Product: Full scale interventions
Key themes:
uncelebrated, forgotten, lost….ideas,
discoveries and inventions.
temporary
monument
Colin Ross
23

9. 30
The Charrette will commence a year-long
programme of activity in which the school will
be working with Kielder Art & Architecture on a
design and construction project that will aim to
increase public engagement, participation, and
understanding of contemporary architectural
practice.
‘Testing Ground’ will allow a wide range
of mutually beneficial opportunities to be
explored, including connections between
education and research, thinking and making,
and public outreach and engagement.
These interconnected aspects of the project
have the potential to lead to significant and
influential architectural outcomes that will be
demonstrated through the ‘live’ construction of
a pavilion and related programme of events at
Kielder during 2013.
The design challenge of the Testing Ground
Charette is to generate a range of initial ideas
that will respond to the existing built structures
of Kielder as well as its landscape qualities
and ecological context. Students will work in
mixed-stage groups to propose an appropriate
architectural, tectonic and material response to
the Kielder context and to generate a resource
base of design, construction and material
ideas that can be taken forward to subsequent
phases of the project.
Product:
Design proposals
Key themes:
education, engagement, construction
testing ground Graham Farmer (Director of Architecture)
31

10. 32
The city lives and works in the eyes of
cameras. It sleeps under the watchful gaze
of closed-circuit television. You live in a city of
surveillance. It’s time to turn the cameras back
on themselves and turn eyes back to you. You
live in the city. You live here.
How does twenty-four hours pass in this
urban environment? What stories, what acts,
what loves and hates, what crimes, fears,
excitements and boredoms are played out
around one rotation of the earth on its axis?
You’ll find out. You’ll record: a series of stories
composed of life in the city. An opera of
opportunities, disappointments, meetings,
chance encounters.
Eat.Shop.Drink.Dance.Drive.Write.Think.Draw.
Sleep.Love.Smile.Cry.Laugh.Walk.Run.Record.
We’ll take precedent from the ground-breaking
24hrs Berlin, produced for German television
channel Arte, and we’ll grow the idea from
there. You’ll live your lives, and you’ll record
the events of your twenty-four hours in this
city new, city old, city lived and city yet to be
experienced.
Product:
Recordings
Key themes:
time, record, film
24 hours
newcastle
Ed Wainwright (Publish Architecture)
33

11. 34
35
As we chart the relatively unknown waters of the new (or at least different) higher educational world in which we find ourselves, the good ship BA Architecture appears to have enjoyed a year of stability - the number of new students joining the programme has increased slightly, the performance of students throughout the programme remains high, our students have enjoyed success in a number of high-profile awards and competitions, and the number of graduates gaining placements in both work and educational contexts has been encouraging.
It would be tempting to suggest that the continuity of our “outputs” simply reflects the continuity and stability of the “inputs”; of staff, tutors, project themes, module content and the like. Whilst this is undoubtedly true to an extent - and this is the ideal point to express my thanks to everyone involved in making the BA so successful - there are many areas and avenues within Architecture and within our programme where risk and uncertainty, far from simply existing, must always be encouraged.
Regardless of the extent of the change that the on-going BA Review ultimately brings about, I hope that the BA Architecture Programme will keep one eye firmly fixed on the prize of stability and continuity, but in doing so, never shrink back from testing, innovating, and from a healthy dose of risk-taking and uncertainty – all of which, I trust, are in evidence on the following pages.
Simon Hacker
Degree Programme DirectorBA degree
Looking up Dog Leap Stairs - Photograph by Chris Perriman

12. 36
37
Martin Beattie stage 1
Stage one is a varied introduction to architecture, characterised by numerous workshops, visits and hands-on activities and students respond to it with great energy. In the first week of term students begin by taking part in a number of intense design charettes with all students from across the School. Their first designs were for small spaces of refuge and shelter in rural settings, where scale, function, materiality and the construction of space were explored primarily through modelmaking. Additional hands-on projects developed structural understanding and measured drawing skills and made use of buildings – historic and contemporary - in Newcastle and its surroundings, with visits to Holy Island, Escomb and to Durham. Theory, history and technology are taught through lectures, seminars and group work and are also integrated into the design teaching.
In semester two students move to the city to embark upon a longer design project that demands more complex three dimensional manipulation and emphasises the experience and qualities of space. Artist-led workshops allow the testing of alternative ways of exploring form, drawing and space - and introduce a process-driven approach to design. A final semester two project for a piece of set design primes students in the use of digital tools, before students bring together the great range of work they have undertaken for the portfolio.
Drawing on the Dog Leap Steps

13. 38 39
Kati Blom
exercise
city
drawing
As part of induction week new students accom-panied
by artists and design tutors visit parts of
the city with their sketchbooks to experiment with
the use of various drawing media including pen-cils,
pastels, charcoal and graphite.
After wandering and drawing in different loca-tions,
students finally find a destination in town
-churches, markets, galleries, old city walls- and
start to draw using A1 paper and a drawing
board. The idea is to get a taste of the way ar-chitects
look at the environment, but also to get
students to do something they have never done
before; use A1 paper on a drawing board and
sketch with charcoal or graphite. It is meant to be
a pleasant and memorable occasion and gives
them opportunity to familiarise themselves with
the city and each other, as well as the way the
first year is run in collaboration with artists.
This city sketching exercise is part of a profes-sional
studies module, which introduces them
to different visual media. Later on during the
autumn semester students visited Lindisfarne
island and castle making a presentation using
analogical media.
Ruta Bertaunskyte
Yee Ching Chew

14. 44 45
The first project is a simple one roomed single-storey
beach hut. This is a place to make day vis-its
to the beach, a room of one’s own with a view
of the sea. Students were asked to pose creative
and conceptual ways of living, which were re-flected
in their beach hut designs. The beach hut
is a place for daydreams and this project hope-fully
captures some of the dreams that first year
students may have had about architecture.
The site is on the North East coast of England,
next to a long strip of golden sand which runs
north-south. The hut’s internal dimensions are
2.5 x 3 metres, and it forms part of a row. Natural-ly,
it will have a floor, walls, and roof to give shel-ter
from the elements, a door to get into the hut,
and openings in the walls and/or roof, to let light
in and see out. Students were asked to develop
their schemes largely in model form. The final re-view
was student led, with students choosing the
best schemes for a final selected exhibition.
shelter
for
daydreams
Martin Beattie
project 01
Ban Xzaoxu
Robert Douglas
Philippa Skingsley

15. 46 47
for
place
refuge
The second project is a small summer cabin
plus artists’ studio of 40 m². It is a place for one
person to stay for short intervals throughout the
year. Basic provision is made for sleeping, cook-ing,
relaxing, studying, and creating art. There is
no electricity and vehicular access to the building
is not possible. The experience is one of living
simply in nature and in isolation and it might be a
chance to question conventional modes of living.
The site is located on the southern edge of a
promontory of land, forested with Scots Pine,
called the Belling, in Kielder Forest. It is a site
where the sound of wind in the trees and water
lapping on the beach are prominent. Sunlight,
wind, proximity to shelter, trees, ground condi-tions,
topography, paths, aspect, outlook and
surveillance were crucial aspects which students
were asked to consider. However we were also
looking for a more conceptual and poetic re-sponse
to both site and programme. Students
were asked to develop their schemes through
sketchbooks, models and weekly theory read-ings.
Martin Beattie
project 02
BryonyM Saitmthceowx Wreglesworth
Matthew Wreglesworth

16. 48 49
Armelle Tarvideau
urban
delight
Urban Delights is about Drawing, Cooking, Casting, Eating, Mapping, Film screening, Modelling, Photographing (01_Photography workshop) and Drawing again.
The Urban Delights project aims to engage students with 1:1 scale by first designing and delivering a feast in which both food and cast dishes (02_Curry group cast), vessels or food stand are staged for palatal and visual enjoyment and where the spatial and lighting environment related to each food group is carefully considered. The food groups included Tapas, Wrap, Couscous, Noodles, Bakery, Pastry, Sushi and Curry (03_Noodles group feast).
The second part of the project focused on the urban fabric of the Quay Side area of Newcastle. Students mapped food related spaces and venues (from pubs to fashionable cafés/ restaurants and temporary food kitchens) and recorded unexpected (04_Unexpected urban space) and potential urban spaces for the now well established EAT Festival of Newcastle Gateshead to take place at the end of summer. They also drew inspiration from various films where food was at the core of the plot (05_Film scene).
The final part of the project is dedicated to the design of a cookery school located on a topographically challenging site adjacent to Black Gate. Particularly emphasis is drawn to the sequences of spaces, the cooking and eating spaces are often drawn from the feast experience, whether nesting, stacking or spreading across the site (06_ Model).
Guest lecturers: Tim Townshend, Jane Midgley, Simon Hacker, Simon Preston and Carol Bell (Eat Festival). Artists supporting drawing, casting and photography: Andrea Toth, Charlotte Powell, Keri Townsend, Tracey Tofield, Damien Wootten and Tara Stewart. Design tutors: Katie Lloyd Thomas, Di Leitch, Bill Tavernor, Tony Watson, Sophia Banou, Ed Wainright, Montse Ferres and Louise Squires, James Longfield Stage 6 students support: John Beattie, Janice Chen, Suzanne Croft, Nikoletta Karastathi, Imogen Lees, Matt Lippiatt, April Murray, Stuart Taylor and Annabel Ward.
project 03
Noodles Group Feast

17. 50 51
Preena Mistry John Harvey
Sarah Topley
Photography workshop
Curry Group

18. 52 53
As part of induction week new students
accompanied by artists and design tutors
visit parts of the city with their sketchbooks to
experiment with the use of various drawing media
including pencils, pastels, charcoal and graphite.
After wandering and drawing in different
locations, students finally find a destination
in town -churches, markets, galleries, old city
walls- and start to draw using A1 paper and a
drawing board. The idea is to get a taste of the
way architects look at the environment, but also
to get students to do something they have never
done before; use A1 paper on a drawing board
and sketch with charcoal or graphite. It is meant
to be a pleasant and memorable occasion and
gives them opportunity to familiarise themselves
with the city and each other, as well as the way
the first year is run in collaboration with artists.
This city sketching exercise is part of a
professional studies module, which introduces
them to different visual media.
Martyn Dade-Robertson digital
comunication
project 04
Alexander Minney

19. 54 55
Richard Dunn
Ole Petter Steen
Bernita Tao Wan Zhen

20. 56
57
Simon Hacker
Stage 2 Coordinatorstage 2
Teaching in Stage 2 is something of a treat.
It’s analogous to watching trees come into leaf – admittedly for much of the time you don’t notice anything that spectacular, but then there are rare days when, if you look closely enough, you can witness individual students and their designs growing in front of your eyes.
Of course, some students become frustrated with what they consider to be a lack of architectural growth and development, but at this time of year, when they revisit their entire year’s work and curate it for their portfolios, for most, the cumulative change and development that has taken place across the year is undeniable.
Of course (hopefully) the analogy falls down when we consider the role of those who lecture and teach. A tree will tend to leaf regardless of the care and attention lavished on it, and whilst some students will inevitably progress with relatively little direct input from the staff, for some the right lecture or tutorial can certainly contribute to the tree coming into leaf a little quicker. Perhaps, ultimately, even to it growing a little stronger.
So, thanks to all the teaching staff (keep tending), and thanks to all the trees (keep growing). I hope you enjoy the following, very edited, collection of leaves…
Darren Harmon

21. 50
51
project 01
placed
displaced
The project, envisaged as a primer for the
subsequent ‘Simplicity, Economy, Home’ project
later in the Semester, focuses on the spatial
and volumetric planning and design of small
row house. Students are asked to generate,
test and declare a range of possible alterna-tives
within a given, fixed volume. The very tight
physical parameters of the project brief prevents
students from resorting to the lazy solution of
simply making the design a little bigger – rather,
in order to ‘place’ one requirement of the brief, it
necessitates ‘displacing’ another.
The primary focus of the project is on the
understanding of the principles of ergonom-ics,
although the project also asks students to
consider the varying degrees of privacy required
in a home and the thresholds that might define
these, together with an appreciation of natural
daylight and sunlight within small scale spaces.
The overall aim of the project is to familiarise
students with the creation of good, liveable
homes within relatively modest means.
Project Tutors: James Craig, Simon Hacker, Dan
Kerr, Di Leitch, Astrid Lund, Tony Watson, Jenny
Webb, Kate Wilson
Simon Hacker Ningxin Ye

22. 52
53
William Whiteaway
Richard Morrison
Annabel MacLeod
Katie-Rose Hay
Shaobo Wu

23. 54
Bill Tavernor
project 02
Building on the previous project, ‘Simplicity,
Economy, Home’ asks students to expand the
realm of the private beyond the single cellular
home to include aspects of shared and col-lective
living. A small Foyer scheme, to house
eight vulnerable youngsters forms the core of
the brief, with a workshop and training provision
alongside.
Besides immediately requiring the students to
translate themselves into the particular and often
‘different’ needs of others, of their clients, the
project necessitates them analysing and choos-ing
between two very different sites. Throughout
the project the boundaries between what is
rightfully private and the public realm are exam-ined,
determined and re-assessed. This takes
place within two over-arching requirements of
the brief; one highly pragmatic – to employ a
simple, affordable constructional solution; and
the second almost impossibly idealistic – to
provide something that many of the clients will
never have had, a home.
Project Tutors: James Craig, Simon Hacker, Dan
Kerr, Di Leitch, Astrid Lund, Bill Tavernor, Tony
Watson, Jenny Webb
home
simplicity
economy
55
Gabriel Niculcea

24. 56 57
Emilia Kalyvides
Mariya Lapteva
Gabriel Niculcea
Mariya Lapteva

25. 58
The settlement of Tynemouth, characterised by
its wide and largely intact medieval Front Street,
provides the location for the major Semester 2
project. Students choose one of three medium-scale
public building typologies – a Moot (small
Town) Hall, an Outward Bound Centre or a
Literary Co-op – and mix and match these with
four suggested sites. Whilst the emphasis inevi-tably
changes from that of the private and the
personal, to that of the public and the collective,
students encounter many of the same themes
introduced in the earlier projects.
Associated lectures and tutorials concentrate
initially on what makes public space ‘public’,
and what the implications for architects and
designers are in this regard. They go on develop
thoughts around urban movement and routes -
how buildings and spaces announce them-selves
and the role they play in the townscape
- and then develop this to consider the way in
which individual buildings can be structured in
similar ways. In addition, there is a conversa-tion
throughout the project concerning various
environmental and technological issues – with
a view to integrating elements of the on-going
technology lecture module and assessment with
the project.
Project Tutors: Simon Hacker, Dan Kerr, Di
Leitch, Astrid Lund, Bill Tavernor, Tony Watson,
Jenny Webb, Kate Wilson
civic
centred
Simon Hacker
project 03
59
Mariya Lapteva

26. 60 61
Cynthia Wong
Dominic Bareham
Joseph Dent
Sebastian Bowler
Ningxin Ye
Deimante Bazyte

27. 62
Simon Hacker section-alley
The Section-Alley project was formulated in an
attempt to challenge the dominance of plan
drawing and thinking amongst architectural
scholars and practitioners. The blunt but highly
effective teaching approach is to simply ban
plan drawings for the duration of the project.
Newcastle’s medieval quayside Chares, or
alleys, provide the physical context for the
project. Each has it’s own qualities and unique
characteristics, but all share the same essential
quality – that of being interesting and complex
sectionally – their form borne out of the essen-tial
function of linking the low-level quayside to
the high-level city centre.
Working in groups, students choose and then
survey a Chare and produce drawn, modelled
and video-based presentations. Employing
lightweight and demountable timber construc-tion
techniques, they are then asked to design
one or more performance-based interventions
within their chosen Chare, to help facilitate
“Musical Chares” - a hypothetical annual busk-ing
festival. Finally, each group was tasked with
publicising and promoting their Chares and
interventions prior to a final exhibition of the
project work.
The project combines collaborative working
methods with an insistence on the production
of exhibition-standard material throughout its
duration.
Project Tutors:
Dan Kerr, Di Leitch, Astrid Lund, Tony Watson,
Jenny Webb, Kate Wilson
project 04
Group 2
Group 3
63

28. 64
65
Group 16
Group 4
Group 2
Group 3
Group 12
Group 16

29. 66
67
Daniel Malo
Following the fast paced, high- energy, design charette across all stages and design programs at APL, students first engaged in a short competition project focusing on the relationships between architecture and ecology.
The design of a small structure, located in one of Newcastle’s wildlife corridors, was intended to provide a haven for biodiversity. The project was carried out in collaboration with the Natural History Society of Northumbria with the support of TRADA and the winning schemes will be built for the 2013 British Science Festival hosted in Newcastle.
The second part of the first semester concentrated on the strategic master plan of an abandoned textile estate in Barcelona and the addition of a programmatic provision to one of the buildings addressing reuse and refurbishment at the micro scale. The module culminated with a choice of five studios offering a wide variety of graduation projects.
Win-win ecologies project, a haven for biodiversity in Heaton Park, by Emma Irene Hall, Wing Laam Sze and Fatima Tayyeb Afzalstage 3

30. 68 69
Barcelona
Field Trip
At the end of October 2012, stage 3 took part
to a three day-field trip to Barcelona. Described
as the City of Marvels by Catalan writer Eduardo
Mendoza, Barcelona has reinvented itself over
the years. Mendoza’s highly atmospheric novel
takes us through the development of the city be-tween
the World Fairs hosted in 1888 and 1929,
two key moments in history that generated large
scale urban transformations. This ambition of
constant improvement of the built environment
has never ceased and has intensified over the
years. From the design of public spaces in the
1980s, to the metropolitan plans for the Olympic
development in the 1990s through to the re-gional
scale strategic plans of the 2000s, Barce-lona’s
history of urban renewal demonstrates an
exemplary determination to become one of the
best European cities in terms of quality of public
space and urban life.
The project was supported by James Craig,
Montse Ferrés, David McKenna, Tim Mosedale,
Matt Ozga-Lawn and Michael Simpson.
Acknowledgements:
This field trip would not have been possible
without the invaluable input and effort of Montse
Ferrés who identified the site and provided links
with the local authorities and professionals. Our
thanks go to Marc Aureli Santos (architect in
charge of ‘fabriques de creacio’) and Rosina
Vinyes (architect and urban designer).
Daniel Mallo and Colin Ross
Turo-de-la-Rovira
Santa-Caterina-Market

31. 70 71
Group photo
talks and the environment of the
‘Hangar’ set the tone and the
context for the project.
On the last day of our visit, we
embarked on a wider perspec-tive
of the city. A coach drove us
to the edges of the city, marked
by the mountain, the Besós and
Llobregat rivers and the sea. The
abandoned military bunker at
the top of the Turó de la Rovira
Park provided a memorable
view across the city and the
geographic context in which it is
located. The coach allowed us to
hop from the works of wHerzog
& de Meuron (Forum building),
Josep Lluis Sert (Miró Founda-tion)
to the unavoidable Mies van
der Rohe’s pavilion for the 1929
World Fair, the ideal setting for a
farewell to the City of Marvels.
Our field trip started with a day
walk through the historic core
of Barcelona crossing from the
Raval and Gothic districts to the
newly revived and creative Born
area. This short walk enabled a
journey through history rang-ing
from the medieval times (Pi
square) to the period of growth
and prosperity of the 12th- 14th
century (church of Santa Maria
del Mar), which was followed by
a slow process of decadence
and densification that can still be
perceived through the labyrinth
of narrow streets. It was only in
the 19th century when the city
walls were eventually demolished
that Barcelona radically changed
its image thanks to the city
extension designed by Ildefonso
Cerdà in 1859.
We were taken through squares,
markets, museums and religious
landmarks. Two distinct markets
punctuated our walk: la ‘Bo-queria’,
the holy place for both
locals and world known chefs,
awakened all the senses needed
to enjoy the city while ‘Santa Ca-terina’
provided a breath taking
architectural experience with its
levitating wavy roof designed by
the late Catalan architect Enric
Miralles. After a long day and
little energy left, we walked down
the streets of the Born area to
reach the beach and the incred-ibly
calm Mediterranean sea. For
some, it was hard to resist its
magnetic attraction. Even though
the early autumn evening was
not particularly hot; it was simply
impossible not to take shoes and
shirts off.
The following day unfolded under
the auspices of heavy rain and
public transport strike, which set
a challenge for the visit to the
project site in the neighbourhood
of Poblenou. Nonetheless all the
students made it and, in contrast
to the first day, we discovered a
part of the city without tourists
or historic landmarks, but a
built environment of abandoned
industrial factories intertwined
with residential areas and newly
built regeneration schemes. The
site, known as ‘Can Ricart’, has
a long history dating back to the
heydays of the textile industry in
the 19th century and has been
abandoned in recent years. This
derelict environment has attract-ed
meanwhile uses, in particular
artists’ initiatives that flourished
thanks to the low-rents associ-ated
with the dilapidated condi-tion
of ex-industrial buildings.
The ‘Hangar’ studio, adjacent to
our site, is one of such initiatives,
which is now supported by the
city council. The ‘Hangar’ was
our base for the day where Marc
Aureli Santos talked to us about
the reuse of industry heritage in
Barcelona and Rosina Vinyes
on the wide master plan vision
for the neighbourhood. Both the
La Oliva abandoned factory
Can Ricart site visit
Mies van der Rohe Barcelona pavilion

32. 73
72
‘Can Ricart’ is a 19th century industrial estate of textile factories located in a large urban site of the Poblenou neighbourhood, Barcelona. The site offers the opportunity to rethink abandoned industrial buildings and to create synergies with the emerging productive, cultural industry of Poblenou. Following a field trip to Barcelona, students focused first on site strategies and landscape design; the project then zoomed into the micro scale with a detailed proposal for the refurbishment or extension of one of the buildings developed in conjunction with the Architectural Technology module.
of synergies
can ricart: factory
Daniel Mallo
Rania Francis
Agata Murasko
Agata Murasko

33. 74
75
Nedelina Atanasova
Michael Pybus
Nedelina Atanasova
Oleg Sevelkov

34. Portia Malik
76 77
Portia Malik
Ruta Austrina
Alexander Hart
Stavri Rousounidou
Stavri Rousounidou

35. 78 79
play me, i’m
yours
The “Play Me” studio takes its inspiration from
the ‘Play me, I’m Yours’ festival. This artistic pro-ject
by British artist Luke Jerram started in 2008
and has been touring across 30 cities in the
world. A series of pianos located in the city are
available for any member of the public to play
and enjoy (see http://www.streetpianos.com).
The studio echoes the vision and values behind
this city festival with the activation of urban
spaces through improvisation and participation.
The project was set with the assumption that
the “Play me, I’m yours” festival would come to
Grainger Town, the historic core of Newcastle
upon Tyne, whose dense urban morphology and
vibrant city life offers a wealth of urban spaces
that can provide venues for both public and
intimate performances. Three main themes have
driven the narrative of the studio: interstices,
atmosphere and envelope.
In Phase 1, the project explored the realm of
Grainger Town: students were asked to produce
a ‘townscript’, a descriptive and interpretative
drawing that mapped perceptions, geometrical
patterns as well as traces of every day life. As
well as including 5 locations for the pianos,
this drawing became a palimpsest of interstitial
spaces including the quietest, the most intimate
and unexpected urban spaces and revealed
the hidden and the historical layers of Grainger
Town. The 5 chosen locations informed the de-sign
of a prototype for a stool to accompany the
pianos, both enabling the festival and activating
the spaces identified.
Learning from Phase 1, Phase 2 of the project
invited students to embrace the design of a
music hub, drawing from the atmospheres
recorded on their ‘townscript’. This facility
encompasses a series of rehearsal rooms, all
of different size, volume, character, atmosphere
and acoustic quality intended as a community
resource as well as cater for local musicians and
bands in need of rehearsal space. The hub also
acts as a base for the festival and future, similar
initiatives and is complemented with a music
library and a provision to financially support
it, such as café, music lessons, second hand
instruments shop, repair workshop, etc.
Phase 3 of the project engaged with a material
study focusing on the concept of structure-envelope
providing an opportunity for the
structure to define column-less
volumes. Students were asked
to investigate and celebrate the
space in-between these volumes
and to consider these interstices
in terms of their programmatic
potential, for instance, the ‘Play
me’ pianos could be safely
stored until the next call for an
improvised tune…
Daniel Mallo and Michael Simpson Seray Sutcuoglu

36. 81
<No intersecting link>
80
<No intersecting link>
Adam Hampton-Matthews
Nedelina Atanasova Ian Campbell
Ewan Thomson

37. 82 83
Playme_09-Alanah Honey.jpg
Playme_01-David Tam.jpg
Anna Cumberland
Alanah Honey
David Tam
Fatima Afzal
Muyan Liu

38. 84
city of bridges
If the morphology of the city of Newcastle is
characterized by anything, it is surely that of the
remarkable density of extraordinary bridges that
span the Tyne. Normally bridges are singular
“pinch points” in a city, but something else
seems to be at work in Newcastle – an almost
irrational compulsion to span the river and to
make a “city of bridges”. The aim of this studio
is to develop and push this logic to an extreme
condition by designing 12 new inhabited
bridges to be situated in the zone between the
Swing Bridge (to the west) and the new Millen-nium
bridge (to the east). The studio was set up
in such a way that, although each student could
work independently, all the bridges could be
brought together at the end to form a collec-tive
urban project, a “city of bridges”. Through
studies of the existing context of the river and
its architectural relations with the city, and of
cinematic media, we developed proposals for a
new architecture that connects the two sides of
the river but that also introduces new program-matic
elements to it. Each student was asked
to elaborate a design for an inhabited bridge
that contains a variety of functional elements.
However, these were to be anchored around
a key programmatic condition: a cinematic
screening facility together with adjunct func-tions.
The cinematic focus of the project was not
arbitrarily given, for there is something uncan-nily
filmic about bridges. Internally they are to
do with passage, movement and framing, and
as massive infrastructural elements they give
rhythm to the cityscape, partitioning it in mobile
and contingent ways.
Taken together, the work of the studio produced
a “city of bridges” that was at the same time a
“cine-città”. In the initial stage of the project,
students were asked to use video to construct
short films of a visual and acoustic architec-tural
passage, using montage and other filmic
techniques. The films were then transformed
into notational drawings as a way of opening an
architectural speculation regarding the constitu-tion
of the bridge itself. The aim of the notational
drawing was to graphically spatialise, in a single
drawing, the film, and as such to work as a kind
of architectural translation of it. The cinematic
construct and notational drawing then led on
directly on to the major project.
Aikaterini Antonopoulou & Mark Dorrian

39. 86
87
Tahmineh Emami
Tahmineh Emami
Tahmineh Emami
Shuo Yang
Shuo Yang

40. 88 89
Alexander Hart
Erandi Helamini Amarasinghe
Alexander Hart
Caspar Thorp

41. 90
91
Rosalia Kateryna Samus
Rosalia Kateryna Samus
Malcolm Greer Pritchard
Malcolm Greer Pritchard

42. 92 93
Gergana Popova
Gergana Popova
Gergana Popova
Charles Lambert
Emily Clay
Thomas Day

43. 95
94
Kati Blom and David McKenna
This project is based on a hypothetical move of The Finnish Institute in London to Newcastle.
The mission of the Institute is to act as a catalyst to promote collaboration between cultural agents in Finland and their counterparts in UK or Ireland. Students were initially asked to familiarise themselves with a local practitioner who could work with the Institute to inform what a permanent base for the organisation might be.
The Incubator
The starting point was a period of research into the local cultural climate. Each developed a small scale proposal for a possible local collaborator who might give some insight into the activities of the Institute. Interview techniques were used in the early stage of project to gain information and get inspired.
This phase, the “Incubator”, could be thought of as a stage set that locates a specific activity of the agent at a site somewhere in the city centre. There were no environmental constrains and ideally the Incubator would augment the existing fabric of a found site with a strategically placed intervention without the need for any major construction.
The incubator became a prototype from which would develop, firstly, a more detailed brief in response to the particular interests of the collaborator and secondly, a focus for the design by establishing the spatial and tectonic strategies that would be explored in the architectural proposal for the institute.
The Institute
In the second phase, each student chose a site according to their emerging brief. The choice was between three possible city centre locations.
The most popular was Broadchare which replaced a missing tooth in the urban fabric of the quayside, connecting the river and street front newcastlethe finnish institute in
with the back courts and historic chares. The Black Gate site tested the students ability to resolve the programme within a small footprint and to understand the complex sectional relationship between the steeply sloping road, the castle and viaduct. The third site was in Gateshead; the former Brett Oils Ltd Refinery at Pipewell Gate which required negotiation between the height of the adjacent High Level Bridge and the horizontal expanse of the disused refinery and the Tyne.
The educational emphasis was partly on brief making as a method to promote abstract cultural or social aims and in parallel to develop and refine an architectural language. Most revisited the incubator to establish clearly defined areas exploration in the design of the Institute. During the tutorials, specific emphasis was afforded to the translation of the individual briefs into a coherent spatial and diagrammatic strategy with a focus on model making and refinement of an architectural proposal.
Generic fields of interest varied between sustainability, research fields like synthetic biology, visual arts like photography, textile design, and glass design, and performance arts like poetry, dance, and theatre. Collaborative organisations included the Textile Hub, Institute of Aging and Health, Northern Stage, Homelessness and Arts, Newton’s Ladder, Institute of Social Renewal, and Sentient Cities.
Richard Glover

44. 96 97
Styliani Michael
Stella Michael
Stavri Rousounidou
Stella Michael Stavri Rousounidou

45. 98 99
Ruta Austrina
Ruta Austrina
Daniel Celaya Miranda
Daniel Celaya Miranda

46. 100 101
Mohammad Abdul Bari
Mohammad Abdul Bari
Rebecca Miller
Rebecca Miller

47. 102 103
Joe Wilson
Joe Wilson
Matheus Simon dos Santos
Stephen Ringrose

48. 104 105
Ella Cain
Jack Scaffardi
Katie Rowe
Matt Jackson

49. 106 107
Matthew Wilcox
Matthew Wilcox
Rumen Dimov
Rumen Dimov
Rumen Dimov

50. 108
Graham Farmer, Adam Sharr
Concrete is, simultaneously, the most solid and the most elusive of materials. A liquid which becomes solid, concrete is usually given its shape by the formwork into which it’s poured, regularly displaying the impress of the shuttering material. Yet it also has its own material properties which determine how it flows, sets and how it acts when dry. Seemingly self-reliant, it is really only liberated in association with other materials. This studio explores concrete; its material properties, its cultural consequences and its contemporary meanings. Students are expected to evolve a design position through a combination of direct experience, inquisitive intuition, critical imagination and material experimentation.
The studio worked with the former site of the Bank of England building in Newcastle. Designed by Fitzroy Robinson and built in concrete in 1971 (although faced in Portland Stone) it was partly demolished in 2012, although the vaults, constructed of thick concrete walls remain as a buried remnant of the site’s former use. The site addresses Newcastle’s most heroic modernist space – the roundabout at the foot of Pilgrim Street – oversailed by a footbridge and by Swan House (now known as 55 Degrees North) and undercut by the Central Motorway. It sits directly on the north-south axis of the Tyne Bridge and forms a gateway to the city for those travelling by car or rail, who view it at speed. The site is also a key point on the proposed urban link between city and Quayside (The ‘Geordie Ramblas’) which could potentially solve the current disconnection between them.
The project encouraged students to adopt a position on the threatened ‘Brutalist’ heritage of the city. The Bank is the latest in a sequence of demolitions of concrete buildings of that period. This part of the city was developed as part of T. Dan Smith’s ambitious vision of Newcastle as the ‘Brasilia of the North’. It was a vision of slab and point blocks, representing a new future after the privations of the wartime past and symbolizing a new Newcastle imagined for the computer age. This placed cars below and people above on new high-level ‘pedways’. A truncated ‘pedway’ adjoins the site, as do various subways and the tunnel housing the Central Motorway. Students were asked to find their own programme around that could promote and support social innovation. The wide diversity of projects produced each propose interesting ideas for an urban, programmatic and material focal point for social change within the city.
ideagora
the
concrete
109
James Houston

51. 110 111
Anna Holsgrove
Sarah Rozelaar
Matthew Pratt
Matthew Pratt
Matthew Pratt

52. Jess Riddell
112 113
Claire Peerless
Claire Peerless
Myrto Barbaris
Sophie Mclean

53. 114 115
Andrea Sze
Nur Zaminudin
Luke Lupton
Luke Lupton
Andrea Sze
Nur Zaminudin

54. 116 117
Greta Varpucianskyte
Greta Varpucianskyte
Greta Varpucianskyte
Nguyen Xuan Man
Richard Spilsbury
Nguyen Xuan Man
Richard Spilsbury

55. 118 119
Tarek Abida
Pheobe Burnett
Kristina Kupstaite
Ellen Creaser.jpg

56. Richard Everett
120 121
Richard Everett
Anastasia Ananyeva
Anna Melson
Anna Melson
Anastasia Ananyeva

57. 122
Matt Ozga-Lawn, James Craig
testing
ground
This is a project about testing.
Testing is central to the scientific method. Its role, in the form of experiments of near-limitless variety, is to demonstrate the relationship between two events: a cause, and an effect. This project invited students to produce a design for a new building that was derived through this process, from initial tests of the body and its relationship to its surroundings, to the iterative development of test institutes and their corresponding test sites.
The institute was to be situated on the site of the former Steetley Magnesite Works in Hartlepool. The works was among the largest of its kind in the world, and together with other, massive- scale industrial landscapes in the region, constituted a significant part of the late 20th century industrial history of the North East. This legacy is now largely erased or in ruins as factories close their doors and jobs and expertise disappear, and we are left to interpret their remains. Often, we read the post-industrial landscapes they leave behind alongside representations that hold them in perpetuity, such as the famous opening scene of Ridley Scott’s 1982 science fiction film Blade Runner, in which nearby Wilton industrial works is merged with Los Angeles to create a dense, nightmarish urban environment. Films such as this immortalise the industrial structures of the 20th century through their reinterpretation as something else, taking their characteristics and utilizing them to generate something new, and this was the ambition of the studio.
The project challenged students to find a new use for the unique terrain in Hartlepool that lives up to its generative qualities. To do this, students were encouraged to act as both testers and explorers. The first site of exploration was the body, and altering its relationship with the world. Through these tests, students arrived at starting points for specific and individual treatments of the site, onto which their tests and apparatuses were translated at a large scale and programmed accordingly.
Through studies of the body, its surroundings, and the apparatuses, drawings and techniques arrived at through the development of the project, proposals were arrived at for a series of unique testing grounds and institutes in Hartlepool. These included a cloud generating and colouring institute, an institute for the experience of falling, and a nightclub utilising resonant sounds generated by the landscape, to name a few of the diverse and extraordinary projects depicted here.
Rebecca Dillon-Robinson

58. James Morton
James Morton
Rania Francis
Natasha Carfrae
Natasha Carfrae
Natasha Carfrae

59. 127
Clare Thomas
Edward Watkiss
Oleg Sevelkov
Marta Zembinskyte
Marta Zembinskyte

60. 128
<No intersecting link>
Michael Pybus
Robert Evans
Emma Hall

61. Hazem Halasa
Hazem Halasa
Agata Murasko
Agata Murasko
Agata Murasko

62. Alex Blanchard
David Boyd
Ibrahim Muasher
James Humber

63. 134 135
James Humber
James Humber
Theodora Kyrtata
Josh Smith Theodora Kyrtata

64. 136 137
Lam Nguyen
Afterimage Hadrian Award
Part I
It was a great honour to receive the Hadrian
Award. The award represents a recognition of
achievement that has been built up over two
years of my education at Newcastle. I’d like to
take this opportunity to pay tribute to the many
contributions others have made to my success.
First of all is my greatest appreciation to my
parents’ support for my study in the UK. Having
the chance to study in the UK has opened up a
lot of opportunities that have brought me closer
to a deep and personal understanding of de-signing
and making. Among those, the chance
to meet and work under the advice and tuition
of Matt Ozga-Lawn and Aikaterini Antonopolou
in my graduation project was a great opportu-nity
for me, and their inspiration opened up a
new horizon in the way I approach design that I
have continued to develop through my Masters
studies, which began with another collaboration
with Matt. Finally I’d like to show my apprecia-tion
to the department’s support staff and the
facilities they operate – the 24h access and the
workshop in particular – with special thanks to
Sean Mallen and Bill Softley for their help with
many models. All these figures and their support
play a very important part in my achievement of
winning the Hadrian Award and it wouldn’t have
been possible without them.
I was really honoured to be selected as the
student to bring the Hadrian Award 2012 to the
School. It was the third award granted to the
Architecture Department since 2010 and it is
proof of the high standard in quality in architec-tural
education that Newcastle staff have been
providing.

65. 138 139
time it was altered it was more
exciting, something new revealed
itself, and looking back I can see
that every step was connected
coherently from beginning to end.
I used different patterns where
different urban grids met,
overlaying them, rotating them,
aligning them, finding the
geometrical similarity between
them, connecting them and
rotating and aligning them
again… little bit by little bit, the
fragmented details of the layered
urban condition, the layered
car park and layer of structure
exposed when the excavator
demolished the building became
involved in my sequences of
transformation. What came up
in the end was exciting for both
my tutors and me. My proposal
was in some ways a more
imposing structure than even
the previous Brutalist structure.
But unlike the car park, my
building is a living, breathing,
growing vertical neighbourhood.
The scheme divided opinion
and sparked discussion at the
Hadrian jury panel – is it too
brutal, impersonal, even cold?
‘Either way, it does what all
good projects should – it asks
questions, challenges and
engages you…’ – the panellists.
The Hadrian Award 2012 was
an achievement in my study
and its impact will echo into my
future career, but more than that,
what I have learned through
this exceptional experience
really opens up a new horizon
on the way I see design, the
way I approach it and process
it. I want to express my sincere
thankfulness to my tutors and
Matt Ozga-Lawn in particular, for
this priceless experience at the
School.
My project, named ‘Afterimage’,
addresses the recently
demolished iconic Trinity
Square car park in Gateshead,
commonly known as the ‘Get
Carter Car Park’. The studio
was also named Afterimage,
led by Matt and Katerina, with a
brief written by Professor Mark
Dorrian, who writes in the studio
brief: ‘Through studies of the
volumetrics and morphology of
the previous building, and its
architectural relations with the
city, we will develop proposals
for a new architecture that works
through a kind of oscillation or
reflection between past and
present’. The term Afterimage, in
science, refers to the phenomena
of a visual image that persists
after the visual stimulus causing
it has ceased to act. In the first
stage of the project, we were
asked to express our personal
remembrance of the car park; this
expression would be presented
through a range of visual media
as a kind of ghost image. The
result among the studio was full
of fun and sparkling imagination.
I expressed my fascination in the
layering structural relationship
between the concrete,
monumental car park and the
surrounding industrial collaged
cityscape of Gateshead. Sited
within 500m from the river bank,
near the top of a deep slope,
the building is surrounded by
infrastructural connections
where railway bridges overlap
road bridges, where one
urban grid meets another, and
historical buildings, church sites
and low rise council housing
come together. These layers of
infrastructure and architecture set
up the particular urban character
of Gateshead which fascinated
me. It seemed that the car park
held everything together, and I
wanted to provide something to
the urban condition to recreate
this purpose. I produced an
analytic model of the city where
information was separated into
different layers piled up on top of
each other, geography, transport
and infrastructure, building
facilities, and so on. This layering
proved very influential to my final
design.
In the second phase of the
project we were encouraged to
use the ‘afterimage of the car
park’ that we had produced
and transform it into a new form
of architecture that carries a
significant relationship to the
original building. This way of
designing was really new and
challenging for me, and so it
raised questions for the way I
operated in my design process.
The aim moved from being
about designing something
‘new’ after doing research
to gain understanding about
a subject and applying it to
the site, to transforming the
initial subject, the initial forms
and ideas, literally, right from
the beginning of the design
process through many iterative
developments, many times over
so that an understanding of the
subject is gained gradually and
incrementally, and these steps are
repeated until we reach a point of
satisfaction.
This design method created a
lot of challenges, confusions,
uncertainty and sometimes
lack of confidence in me at the
time. I remember asking Matt
about this way of design later
on in my Masters studies: ‘are
you not scared of designing
without knowing where it leads
to?’ and he answered, ‘that’s
the exciting thing about design’.
Although a new methodology
for me, transforming my analytic
‘afterimage’ model into a new
structure was in some ways
a straightforward task. The
transformation wasn’t done
once but many times, and every

66. 140 141
Richard Breen
A Cyclotel Created from Perspectives RIBA bronze
medal
runner Up
The RIBA President’s Medal Student Award is a
truly iconic and highly respected award and cel-ebration
of student work, recognised throughout
the world. Taking entrants from around the Com-monwealth,
the award is highly accredited and
receives a hugely diverse range of work.
It was a great honour for my project to be
nominated by the school as one of two projects
chosen to represent the School of Architecture,
Planning and Landscape at the awards. The
process quickly spiralled far beyond my expec-tations;
from being nominated to short-listed
from 110 entries to 14 to it being announced
that I was to collect a Bronze Medal Commen-dation
from 66 Portland Place on 5th December
2012.
A truly overwhelming achievement, not only for
myself but for the School, my tutors: Matt-
Ozga-Lawn, Aikaterini Antonopoulou and
James Craig, and my fellow Afterimage studio
participants. Receiving the award at the RIBA
Headquarters in London was an indelible hon-our.
Discussing my work with and collecting my
award from the RIBA President Angela Brady,
while my project was presented and critiqued to
a room of 300 people was a truly special experi-ence.
The evening provided a great opportunity
to discuss the nominated projects with their
authors, bringing together students from New-castle,
Sheffield, Leeds Met, University College
London and the Architectural Association. It was
a wonderful evening of conversation, celebration
and the promise of a bright architectural future!
As an award winner my work will be exhibited
around the world in the Awards Tour, from Aus-tralia
to Chile to Bulgaria – a testament to the
universal communicative qualities of architecture

67. 142 143
development of a building at this
stage; the focus was purely on
process, on finding a methodol-ogy
on which to base our archi-tectural
intervention in the vast
Gateshead site. It was amazing
to see the array of widely differ-ent
approaches to the project
discussed an early Crit. It was so
exciting to be involved in such
a uniquedesign pedagogy but it
presented us with a shock when
seeing our early work alongside
the work of other studios as the
approach I was taking was so
different to many of my contem-poraries
in the School.
I personally became interested
in how the car park’s existence
survives in the subjective
memories of people, and more
tangibly in photography and film.
I was interested in exploring how
photography and its qualities of
framing, composition, lighting,
focus and colour, can attribute to
people’s continuing memory of
the car park. The photography
as well as great exposure for the
School.
The project I chose, entitled
Afterimage, run by Matt and
Kat and based on a brief by
Professor Mark Dorrian, provided
a far too intriguing and interest-ing
challenge to ignore when it
was presented to the year. Their
presentation stood out for many
reasons, chiefly in its experimen-tal
nature and its dedication to
challenge the boundaries of the
design process, architectural
output and idea generation. The
choice, though very daunting at
the time, was an obvious one –
this was the project for me.
Afterimage presented a very
different challenge to the other
offered projects as well as all
the previous projects I had
engaged with during my time at
the School. The idea of taking
on a project in which the rules
of architectural design were to
be tested to the limits as the last
project of my Part I degree was
very exciting.
The project tasked us with
exploring the physical, emotional
and psychological void left in
Gateshead by the demolition of
the brutalist and monumental
‘Get Carter’ Car Park designed
by Owen Luder, with the aim of
developing a new architecture
that acted as an afterimage or
ghost of the old structure. The
brief for a Cyclotel (a hotel for cy-clists),
became the architectural
and contextual vehicle to explore
our independent interpretation
of the car park and its impact,
morphology, construction,
destruction and function. While
it provided a loose guide as to
what the Cyclotel should accom-modate,
the brief was thoroughly
open to interpretation.
The beginning of the project was
dedicated to idea generation,
theoretical exploration and physi-cal
experimentation. Little, if any
time was afforded to the actual
The architecture I was creating
was almost at the mercy of my
process and the experimenta-tion
I had embarked upon. The
Cyclotel brief was accommo-dated
and the design developed,
but the result was one that I
could not have foreseen at the
beginning of the project. I believe
therefore, that the quality and
merit of the project existed in
the results being honest to my
thorough and sometimes uncom-promising
design process.
Gaining recognition at the RIBA
President’s Medal Awards
provided a massive boost to my
confidence and was a wonderful
acknowledgement of my hard
work and dedication during mt
time at the School as well as a
brilliant signifier of my devel-opment
from an uncertain art stu-of
Sally Ann Norman presented
a locally uncharacteristic ap-preciation
of the architecture.
By focusing on her capturing of
the car park’s dramatic forms,
lines, verticality and shadows I
selected four appropriate images
to digitally manipulate under a
set of fairly arbitrary rules, to test
and distil the qualities of the car
park, in an attempt to forge a
new perception.
Each manipulation was then
produced as an acetate layer,
allowing -with the use of an
old-fashioned overhead projec-tor
- the physical creation and
manipulation of new imagery
on a large and dynamic scale.
Through assigning architectural
qualities to each layer, a potential
formal, spatial and architectural
language began to emerge when
projected back onto site.
dent to a devoted architectural
designer. As well as boosting
my CV, my Commendation
provides a great talking point
with prospective employers and
a presentation of my project be-came
my first ever professional
CPD, given at xsite Architecture
LLP in January 2013.
I firmly believe that the project
brief, my tutors and my peer
group provided the perfect
platform and atmosphere for me
pursue a design process and ex-ploration
that ultimately resulted
in mine and the School’s suc-cess
during the Bronze Medal
Awards. Therefore I would like to
extend my sincere gratitude to
everyone involved.

68. 144 145
Nick Bastow, Ewan Thomson, Sophie McLean ARCHIgrad
summer
school
Set up by Northern Architecture and plus
3 Architects, the six week summer school
was hosted by FaulknerBrowns Architects in
Killingworth, Newcastle. The summer school
team included Nick Bastow (who is currently on
placement at FaulknerBrowns), Ewan Thomson
and Sophie McLean, who are both graduating
their part 1 this year.
Our project was to propose design ideas to
regenerate a Grade II brick neo-gothic church
in Blyth, for our Client, Headway Arts. Headway
arts which is a charity, offers unique resources,
specialising in participatory arts across multiple
art forms. They offer people that may tradition-ally
be regarded as “hard to reach” the chance
to take part in highly inclusive projects.
We were given our own work space in Faulkner-
Browns’ office as well as access to their print
room and model workshop. In addition to this,
we were mentored twice weekly by a Partner
Architect. This provided us with valuable experi-ence
in areas we hadn’t encountered at uni-versity,
such as working with a real client, legal
issues and liaising with a conservation officer.

69. 147
146
Comments from the public consultation session included:
“Wonderful ideas for this lovely church, so pleased it is being used so well.”
“Great to see the building regenerated with such a bold and exciting vision”
“Congratulations - local craft group would like to use the space to display”
“The extension is very fitting”
“Fantastic potential - feels like there’s a very positive vibe already”
“Welcoming, a place people can come to, a hub, beautiful”
Finally we would like to thank FaulknerBrowns and ArchiGRAD for their time and support during this six week programme. We learnt many new skills during this time and it was a fantastic opportunity. point. From this, a new sensory connection and theatrical format between the performers and the audience would be established.
Our proposal and feasibility work was then displayed and discussed at a public exhibition inside the church. We gave a verbal presentation to accompany the 1:50 model, plans, visualisations and a 1:1 partial model of our theatrical curtain, which we projected onto. This enabled members of the local community and the Conservation Officers we had been working with, the chance to view our work and leave their feedback. We were left very positive comments, praising the sensitive, rational and creative way we had dealt with the church. Frances Castle, Chief Executive of Headway Arts commented: “It has been an excellent project for Headway Arts to be involved in and the ideas and designs produced will be a valuable resource for the company.”
From our site analysis we discovered that Blyth was undergoing a major regeneration and that we had an opportunity to make the church an integral part of this, returning the building to its historical position as a social hub for the town. Access by visitors was a key concern due to the nature of the clients’ work. To address this, we proposed a new, accessible entrance and a clearer circulation route to make the building instantly understandable. We incorporated sustainable ideas, using a vertical louvre system that not only regulated the heat gain but visually complemented and connected linear elements of the church, such as the tower and spire, back into the new atrium space. We also spent time designing a digital theatre and production space that offered the client a permeable 360° cinematic projection screen. This screen would act as an ever changeable scenery set, offering the ability to pass through at any

70. 149
148
Annabel Ward & Matt Lippiatt
wider mbara project
The Wider Mbarara Project is a student led construction initiative working in south west Uganda. Founded in 2004, the project relies on 12 volunteers raising £12000, designing a building and travelling to Uganda to assist local labourers with the construction.
2009 – 2013: House of Love Orphanage, Uganda. The House of Love provides a home for the most deprived orphans in the Kichwamba area. On land donated by a local family, WMP has created a central living building, eating area, learning centre and dormitory block as part of a 5 year plan to expand the capacity of the orphanage. This year sees the construction of a second dormitory and completion of this master plan.
As a celebration of completing this project we are holding an exhibition to show the achievements of our current students, and to involve new students in 2014 and beyond. Join us on:
Tuesday 15th October at 6pm, in crit 2 of the Architecture Building.
The project is organised annually by students in APL and CEG. The students undertake design work, through a dialogue with local people. The money students raise through fund-raising pays for materials and local labour. This is an excellent opportunity for students to gain hands on construction skills, while living within the local community.
Students have the opportunity to travel within East Africa, and experience a variety of cultures, people and places while making a positive contribution.
To find out more visit:
w: http://www.widermbararaproject.btck.co.uk
e: wmp.annabel@hotmail.co.uk

71. 151
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150
Students coming into the MArch
Programme at Newcastle
take the ARC8053 Studio, a
yearlong module. As a graduate
design studio, ARC 8053
integrates research, seminars,
and workshops. The goal is to
get students to think critically
about the wider context within
which they will be practicing
architecture, to develop their own
critical responses in relation to
the social, cultural, political and
economic factors that shape the
built environment, and to hone
their craft at different spatial
scales. With two projects that
focus on the urban and individual
building scale over the course
of two semesters, the students
prepare for the demands of the
individual thesis project in their
last year.
stage 5
Zeynep Kezer

72. New York at Buffalo), who also
served as a panelist during a
day of presentations by the four
groups.
In addition, Dr Thomas organized
a series of movie nights over
several weeks with films shot
in Berlin revealing facets of
experiences and memories
pertaining to the variegated
populations that inhabit the city.
The selection, which included,
among others Goodbye Lenin,
Run Lola Run, Lola and Bilidikit,
and Wings of Desire, also
opened up opportunities for
extended conversations, since,
in many cases, the project sites
were featured in the films shown.
Students proposed an
astounding variety of
interventions in response to the
issues they identified in each site,
which made for very interesting
discussions. Guest reviewers
at the final review (December
13-14) included Graham Farmer,
Adam Sharr, James Craig, and
Tim Bailey (Excite Architects).
152 Matthew Margetts & Jo McCafferty
project 01
Zeynep Kezer berlin:
the urban fabric
The first semester design studio in the New-castle
MArch programme is about the urban
fabric. This year, we visited Berlin again, but
with a larger group and had four sites and four
projects to choose from:
Crossings : Nord/Süd
(tutor: Dr Ed Wainwright)
North and South Berlin are now connected
directly by tunnels and over ground rail lines.
They have been separated by politics, culture
and economics, and continue to have dra-matically
differing, yet interrelated conditions.
Today, the patched and repaired infrastructure
of the city is subject to significant economic
challenges and political pressures, and Berlin
is still considered a near-bankrupt city-state
in Germany. Physical divisions between the
west and east have been largely repaired, but
social, cultural and economic divides still prevail
across the German capital and these crossing
points have significant challenges facing their
spatial situation. In this studio, students were
sked to analyse and determine what these chal-lenges
are, through a close contextual reading
of the sites, and to propose a method of urban-infrastructural
change to address a question
they determined in their investigations. The
goal was to produce an emergent spatial-led
strategy to address a range of issues ranging
from a proposal to address unemployment, to
a method to encourage re-housing, presented
through a variety of means from manifestoes to
drawings to models.
Fields of Flight : Tempelhof
(tutor: Dr Sam Austin)
This project used the now abandoned site of
Berlin’s Tempelhof Airport—once regarded
as a symbol of the city’s modernity and Nazi
Germany’s technological achievements—
to explore what happens to the sites left
behind and ‘liberated’ by the processes of
modernization and the expansion of global
capitalism, what happens to their outdated
infrastructures and to the places, activities and
networks that have formed around them, and
what issues are raised by their sudden ‘return’
to the locality? Students were asked to consider
Tempelhof in context: as part of ever-changing
interrelations, systems and flows that constitute
the city and extend beyond it, relations that
are infrastructural, political, socio-cultural,
environmental, historical and economic.
After critically investigating
the questions posed by the
site’s past separation and its
proposed reintegration into the
urban fabric, the students were
asked to develop develop urban
strategies and interventions
that respond to the issues,
rhythms,relations and distinctions
you identify.
Cultural Encounters / Spatial
Fluidities: Kreuzberg
(tutor: Dr Zeynep Kezer)
This project focused on Berlin’s
Kreuzberg district, which was
marginalized during the Cold War
due to its physical proximity to
the and became a predominantly
immigrant district with low rents
that was also favored by young
artists, activists and squatters.
With the removal of the wall
Kreuzberg is once again near the
city’s centre, and has become
a desirable residential area that
is undergoing gentrification.
The social and physical
transformation of the area and
the tensions between its diverse
inhabitants set the scene for
student proposed interventions
this semester. This year, the
site selected within Kreuzberg
was larger and included areas
adjacent to the wall to the North
and the banks of the canal to
the South. This allowed students
to pursue a broader range
of projects from waterfront
development to memorials.
Curating Museum Island
(tutor: Matt Ozga-Lawn)
Berlin’s Museumsinsel has
become, since the Reunification,
the site of a contentious
construction and ‘reconstruction’
projects through the city
authorities have sought to
replicate the city’s pre-1939
urban structure and rebuild neo-classical
landmarks. The process
has progressively erased traces
of GDR modernism in order to
restore a sense of continuity
with the pre-war city, editing
the recent past out, in favour of
a selective image of an older
past, thereby unapologetically
promoting one distinctive set
of values over others. In this
project, the students were asked
to re-imagine the Museumsinsel,
making new proposals about
its future, interpreting its past
and considering its unusual and
symbolic role as an epicentre
of what might be described as
the ‘museumification’ of the
European historic city centre.
Although very different in scale
and character, all four project
choices required students
to consider very carefully
questions of memory/history,
urban transformation (especially
ghettoization and gentrification),
urban infrastructure, rights to
the city, public good and public
space, land use and rents.
These issues were continually
discussed frequently, throughout
the semester, during both the
stages of investigation and of
proposal development
After a week of intensive
preparatory readings and
lectures by Prof Sharr, Patrick
Devlin (Pollard Thomas Edwards
Architects, London), Professor
Peter Blundell Jones (Sheffield
University) and Dr Katie Lloyd
Thomas, we embarked on our
trip to Berlin (October 15-19).
The first half of the semester was
dedicated to intense research on
each one of the sites, followed,
on November 8, by a symposium
in which students focusing on
the three sites made multi-media
presentations featuring
their findings and outlining their
proposals for intervention. The
symposium also featured a guest
lecture by Professor Despina
Stratigakos (State University of

73. tempelhof 1.JPG
Museumsinsel
Museumsinsel
Kreuzberg
154
155
Tempelhof
Crossings
Kreuzberg

74. AssimilationSEA FORTS / SEALMAY, 7 20132119
156 157
Daniel Dyer
Katie Burgess
Irina Korneychuk
Olga Gogoleva
Vitalija Salygina
Dana Mudawi

75. [PROMONADE]
158 159
Ugnius Katinas
MA 1.jpg
Peter Drysdale
Joseph Charman
Hugh Craft

76. site entriesmovementsite entriesmovement
160 161
Matthew Ruddy
Paul Hegarty
Paul Hegarty
Adam Smith
Annie Hart

77. 163
162
Sam Austin
memory
detail,
narrative,
Design begins with a concept and ends in details, or so conventional wisdom and contract documents might have us believe. This studio challenges the tendency to see architectural ideas as separate from the materials, processes and technologies of construction. Inspired by Marco Frascari’s notion of the ‘tell-the-tale detail’, the project explores how details can embody the story of the whole.
Studio participants chose an existing building – of any style, age, location or use – and proposed an addition to it. First, they drew and modelled their building in detail as a way to encapsulate their interpretation of it. Then, focussing on the ‘tell-the-tale detail’ where new meets old, they developed a programme, devised strategies and designed the addition. An accompanying series of lectures and seminars, including contributions from Rob Thomas (Cardiff University), Ade Scholefield (Architype) and Claudia Dutson (RCA), encouraged exploration of technical and environmental issues as integral to the emerging narrative of the project.
The resulting proposals are thought-provoking, playful and diverse: Sunderland Civic Centre is transformed into Culinary Institute, Shivering Sands sea fort becomes an outpost for isolation training, a mill boiler house near Darlington is recast as Industrial Ideas Store, a Cambridge block is refigured to open the University to the city…
project 02
Joseph Charman
Lam Nguyen

78. 164 165
59
roving travensed back to
spinning room
carded wool drawn across to extension to be gilled
drawn and turned into roving
lift
spinning room
roving dropoff
staff kitchen
polycarbonate panel
35mm marlon st sevenwall polycarbonate panel
polycarbonate panel
polycarbonate encloses cuts made
through existing building
existing windows
originals have already been scrapped
therefore replace with double glased,
timber frame windows
shower room
shower room
design studio
electrical access point
mechanical services
24mm birch ply flooring
existing stonework
540mm masonry wall with 110mm stone
facing
clipping frame
steel frame: 200mm circular hollow section
clips out existing wrought iron frame to
create atrium opening
bracing
10mm steel cables prevent steel frame
twisting
steel frame
steel frame: 200mm circular hollow section
PLAN DETAIL PERSPECTIVE 1:50
Tell the Tale Details
Sarah Harrison
Daniel Dyer
Katie Burgess
Matthew Ruddy

79. 166 167
Ronald Allen
Olga Gogoleva
Joseph Worral
Annie Hart
Adam Smith

80. 168 169
Gavin Welch
Omer Alp
Dana Mudawi
Hugh Craft
Will Whiter

81. 170 171
HUNTER STREET
NORTHGATE STREET
MALE TOILET FEMALE TOILET
STORE ROOM
CAFE
BAR
BAR
KITCHEN
PRODUCTION ROOM
RESTAURANT
RESTAURANT
OUTDOOR SEATING AREA
Scale 1:100 at A1
Ground Floor Plan
NORTH
site model
massing model massing model massing model
Vitalija Salygina
Paul Hegarty
Marina Osmjana
Ugnius Katinas
Peter Drysdale

82. 172 173
John Beattle
Competition 2012
Second Prize RIBA
Forgotten
Spaces
During 2012 the RIBA ran a design competition
called ‘Forgotten Spaces’. Open to entrants
from across the country, the competition asked
students, architects, planners, artists, engineers
and landscape designers to nominate an existing
site in the North East area and propose an idea
for its improvement. A ‘forgotten space’ could be
small or large a grassy verge, a wasteland, an
unused car park, a derelict building, an empty
unit, an underpass or a flyover. The proposal
could be simple or complex, a commercial or
public facility, a piece of public art or a new build-ing.
The main requirement is that it responds to
the surrounding area and serves a function for
the local community.
The North East is a sprawling region full of poten-tial
for development. Despite successive waves
of economic booms, there still remain pockets of
obscure left over land and neglected plots that
could with imagination and new thinking accom-modate
a host of functions and respond to local
needs.
The competition placed an emphasis on local
engagement and active participation in the de-velopment
of our urban realm under the assump-tion
that in the coming years we are likely to see
an expanded role for neighbourhood and com-munity
groups in what gets built and where. For-gotten
Spaces 2012 was an opportunity for test-ing
ideas and is a chance to put locally inspired
proposals ‘out there’.

83. 174 175
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have met local needs, the redun-dant
steel frame can become
another opportunity for the occu-pation
of a more sustainable, risk
free development.
Proposal
The scheme proposes a new
adaptable architectural system
that can inhabit a redundant
steel frame. In doing so it aims
to question the type of generic
masterplanning present in ar-eas
of potential regeneration. The
design therefore seeks a way of
thinking about development that
will only respond to current mar-ket
demand and the needs of the
local area. A new type of architec-tural
system will emerge allowing
adaptability, less restrictions, ef-ficient
extensions and no vacant
spaces. The system will inhabit
the redundant frame and will con-stantly
change to meet market
New City Industries:
Sunderland
Context
Back in 2006 council plans were
in place for the regeneration of
the Sunniside area of Sunderland.
Developers were attracted to in-vest
and work began in 2007 on
the first of many intended sites.
The site in question was acquired
by an Irish developer where work
was underway to construct a 6
storey development, compris-ing
of 62 apartments and retail
units at ground floor level. During
the construction phase financial
problems caused by the reces-sion
brought work on site to a
stand still. To this day the site
has remained a forgotten space
where a redundant steel frame
still stands as a monument to the
boom and bust culture of pre-recession
development.
In recent years steps have been
made to progress the origi-nal
masterplan resulting in the
completion of a small number
of new developments. On the
whole these schemes have car-ried
big risks for developers and
now many remain vacant. The
real issue for this area is the as-sumption
that generic mixed-use
buildings are the answer to suc-cessful
regeneration. It is exactly
this kind of real estate develop-ment
practice that I want to ques-tion
through my forgotten space.
Some of the more neglected
buildings originally marked for
demolition have seen a gradual
increase in the occupation of cre-ative
industries. This type of sus-tainable
development has meant
the area is slowly showing signs
of life without the need for generic
masterplanning. In a similar way
to how these neglected buildings
demand and satisfy multiple uses
for both buying and renting. The
system is based around the con-cept
of flexible individual units
constructed cost-effectively off-site.
It has been designed to al-low
units to cater for any use type.
Also various options will be avail-able
to suit the client’s require-ments
chosen from a standard
kit of parts. If the client requires
additional floor space in the fu-ture,
new units can be connected
vertically or horizontally across
the frame. This is all made pos-sible
through an interchangeable
panelling system that tackles the
problem of adaptability that is in-herent
in other modular construc-tion.
Also, if the client decides to
move out of the frame the unit can
be recycled and used elsewhere
independently or as an extension.
Once units start to occupy the
frame the collective community
will start to make decisions on
how the future of the scheme will
develop. This co-operative ap-proach
will take away decisions
from developers and allow the
community to develop inclusively.
This method of development chal-lenges
the original masterplan of
the area and seeks to nurture a
more sustained growth inline with
the needs of the local area.

84. 176
177Materiality (Armelle Tardiveau) Studio 2 – ArchAid (Martyn Dade Robertson)
Studio 3 – Quotidian Contraptions (Matthew Margetts and Jo McCafferty)
Studio 4 – Under the Skin (Colin Ross)
Studio 5 – Strange Places (Adam Sharr)
The studios were designed to offer the students a wide range of themes to consider – from Studios centred around strange or historic contexts, through people and process to advanced technology and experimental materiality. In all cases the studios explored issues that also had a wider contemporary social, economic and cultural relevance.
As a thesis, students were still expected to identify and develop their own particular individual line of architectural enquiry. In many cases this evolved gradually throughout the year, but always with a continuous narrative. The line of enquiry was encouraged to be specific, but linked to the collective themes identified by the studio. Prevalent themes explored this year have been liminal thresholds, post- industrial employment, economic insecurity, temporary materiality and uncertain futures.
Also new to 2012 / 2013 was the introduction of the ‘Technical Specialism’ as an integral part of the thesis project, and the ‘Academic Portfolio’. Students were encouraged to explore from the outset a specific line of technical enquiry that could inform the architectural development of their project. Supported by leading regional and national engineers the technical development of the project was recorded in the ‘Technical Report’. The Academic Portfolio is a separate critically reflective document which collects all the design output from the two March years into one edited portfolio, carefully mapped by the student against the RIBA / ARB criteria.
Matthew Margettsstage 6
Stage 6 this year has been taught through 5 themed studios. Students still undertook a year long thesis with a self generated brief, however this brief was informed by, and related to, a thematic framework established by the studio. There were a series of collective reviews programmed through the year, but between these shared points the studios were encouraged to function autonomously, organising their own field trips, technical support and guest reviewers / tutors. All studios participated in a 5 week long ‘primer’ exercise at the start of semester 1 which was used to develop and test wider themes on smaller scale projects. The primer output was not expected to be a ‘building’ but in all cases had an architectural relevance. Many students’ thesis project briefs emerged directly from the primer project, though this was by no means an expectation.
The five studios were:
Studio 1 – Atlas – Exploring

85. 178
The Thinking Through Making Week (TTMW)
was a new initiative for this academic year. The
intensive week was designed to provide Stage
6 students with an introduction to a range of
‘making’ techniques which could be used to
develop new ways of thinking about their thesis
projects.
A series of interactive workshops were
developed with practicing artists and makers
throughout the week to explore notions of
space through a variety of media and working
at a variety of scales. Each day was themed
around a particular process – assemblage, film,
casting, rubbing and stitching.
Tim Morrison (http://www.yorkopenstudios.
co.uk/artist/Timothy-Morrison) launched the
week with his ‘Assemblage’ workshop –
challenging the students to create miniature
worlds from brown cardboard.
These worlds were then used as the basis for
stop motion animations in a workshop run by
Newcastle graduate Matt Lawes –(http://www.
matthewlawes.co.uk).
Christian Spencer-Davies from London based
A-Models (http://www.amodels.co.uk) ran a
workshop introducing the students to advanced
model making techniques.
Wednesday centred around a workshop run by
Newcastle based artist Effie Burns - http://www.
effieburnsglass.co.uk, exploring small scale
casting techniques.
Thursdays ‘rubbing’ theme involved block
printing workshops from current Stage 5
student Kevin Liu and life drawing classes from
Charlotte Powell.
The week culminated in a day long workshop
run jointly by Lesley Campbell – Course
Leader Fashion Design at Sheffield Hallam
and Rachel Currie (Plus 3 Architecture) which
introduced the students to dress pattern making
techniques and explored how these might be
spatialised. The History of Space thinking through
making week
Tim Bailey (xsite architecture)
179
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86. 180 181
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IMG_0823.JPG