master of architecture tabloid 2016
DESCRIPTION
A selection of work from the Master of Architecture course at UCA Canterbury from the academic year 2015/16. www.uca.ac.uk www.cantarch.comTRANSCRIPT
DYAD
2016
M.Arch
“I am extremely interested in the junction between art and architecture. I do believe that when architecture transcends building to encompass meaning, and when art becomes intrinsic to the built environment, our collective imagery can be actualised.”
Mies Van Der Rohe
In The Birth of Tragedy Friedrich Nietzsche sets out Apol-lonian and Dionysian positions as aspects of art practices. This classical schema has been the subject of much criti-cal review and philosophical extemporisation since its 19th century publication. The themes set out find particular res-onances in our own hybrid discipline – partly an art form and thus seeking autonomous expression, partly a product of engineering and thus an instrumental construct. Archi-tecture continues to maintain a troubled, unstable identity as profession and as academic discourse. On the one side of this schizoaffective divide are the objectives, processes, means and materials mustered in the pursuit of clear aims. Functional accommodation derived from humane and sensi-ble ideals. On the other is the chthonic, the urgent yet un-necessary, the wilful, passionate and unruly: the Dionysian, borne of a desire to create that subtends the laws of practi-cal expediency, aligns itself with neoteny and manifests the unconscious. Apollo orders the world rationally whereas Di-onysus intuits the folly of such constraints and tears at them. We should not however fall into the easy misconception that these categorisations are synonymous with objective and subjective positions, they are aspects of a dyad, a molec-ular bond so strong as to make separation impossible; for architecture can never be purely aesthetic or merely shelter – there is always a supplemental quality at play. The succinct definition set out by Alfred North Whitehead, writing in Pro-cess and Reality is pertinent in this regard:
“Order is not sufficient. What is required, is something much more complex. It is order entering upon novelty; so that the massiveness of order does not degenerate into mere repeti-tion; and so that the novelty is always reflected upon a back-ground of system.”
DYAD Apollo + Dionysus
HOW WE SEE YOUSo – and in the light of the foregoing, we set off to Malta, to meet the V18 European Capital of Culture team, to put on an exhibition at Valletta’s princi-pal contemporary arts space, Blitz, and to explore the country. The title and theme of the show was ‘How We See You’: our initial view of this southern Mediterranean post-colonial nation was of necessi-ty distant, in several senses: this provided the im-petus for an enquiry into the media surface of Mal-ta –to present work which emerged out of highly time-constrained studies of the present conditions in the country. Such research methods inevitably highlighted recurrent thematic concerns: top-slicing domestic and international media via the usual col-lection of search algorithms returned results which had validity insomuch as they most powerfully influ-enced the perceptions of the largest audience – a digital cynosure.
In early November we set off on a brief but intense period of research and presentation, plus some late autumn sun – always an asset for a study trip. We had made a collection of works designed to exist in two states: the active [performance phase] and the passive [transport phase] and necessarily capable of being deployed to serve their functions without recourse to external services or site preparation. This collection of dyads, transportable architectur-al constructions were designed to afford, produce, incite or house performances and were considered to be means by which we could stimulate discussion around the V18 cultural programme and beyond, in the liminal period prior to the opening of the event and as tools with which when on site, we might un-cover less obvious conditions and agendas.
John Bell [M.Arch Course Leader]
INFRASTRUCTURE
> The outdated infrastructure in Valletta strug-gles to cope with an increasing occupation of the city. The UNESCO world heritage status and the narrow street grid make it difficult to upgrade the city and to meet today’s needs and demands.
Beyond the formal urban pattern, between the fortification walls and the sea, exists an urban fringe currently occupied by vigilant agents re-siding in informal architecture and disjointed points of interchange. It is here where the city can improve.
Placed behind a screen wall that follows the sight lines and angles of the existing fortifications, new infrastructural and informal programmes coexist out of sight. Transforming the periphery of the city into a service belt by streamlining the current transport infrastructure and inserting it into the existing topography leads to the crea-tion of new public spaces as well as additional residual niches for subcultural activities that don’t follow the conventions of the city.
Stealth Urbanism
Anthony [email protected]
03: Stealth Urbanism
The city of Valletta is playing catch up with the world as its infrastructure strug-gles to cope with the increase in car use and more people commuting into the city. To update the city it requires the use of a Service Belt, the fringe of land between fortifaction and ocean. Inserting large infrastructure into this zone and using the geometries and tex-tures of the fortification, serve the city without impeding on its visual identity.
03: Stealth Urbanism
The city of Valletta is playing catch up with the world as its infrastructure strug-gles to cope with the increase in car use and more people commuting into the city. To update the city it requires the use of a Service Belt, the fringe of land between fortifaction and ocean. Inserting large infrastructure into this zone and using the geometries and tex-tures of the fortification, serve the city without impeding on its visual identity.
PUBLIC SPACELINK
STEALTH STRUCTURE
TICKET OFFICE
RAMPED LINK
JETTY
SALLY PORT
SLIEMA FERRY
BUS DROP OFF
VALLETTA GATE
TUNNEL
BUS LEAVING CITY
BUS TERMINAL LINKPUBLIC SPACE[RENZO PIANO]
BUS CONCOURSE
RETAIL
LINK TO CITY
LINK TO CITY
LINK TO CITY
BUS TERMINAL
ADDITIONAL PROGRAMME
BUS OFFICES
MARKET
RETAIL
WET MARKET
PARK SQUARE
CIRCULATION
PUBLIC SPACE
FORMULA:
CAR PARK
RESIDUAL SPACES
RESIDUAL SPACES
INFRASTRUCTURE
STEALTH
STEALTH URBANISM
STEALTH
Exploded perspective showing conceptual breakdown. The city of Valletta is playing catch up with the world as its infrastructure struggles to cope with the increase in car use and more people commuting into the city. To update the city it requires the use of a Service Belt, the fringe of land between fortifaction and ocean.By inserting large infrastructure [ferry, car park and Bus terminal] into the existing topography it creates residual space in and around this infrastructure which can be used for supple-mentry promgram, especially acts of validated vigilantism that currently inhabit this zone.
STRUCTURE
STRUCTURE
BASE STRUCTURE
BASE STRUCTURE
Valletta’s Transport Future
Liam [email protected]
> The issue of transportation in the Maltese is-lands is significant; an underutilised public transport system and one of the highest usage statistics of private cars anywhere in the world have led to many urban areas becoming ex-tremely congested with high levels of pollution. Although there have been numerous reforms to public transport over the last few years, there are still many shortcomings, particularly around the capital Valletta and the surrounding Grand Harbour area. The thesis performs a critique of the current transport system and the strategies proposed for the future, and provides an alternative vision which comprises the use of light rail, a reformed bus service and a car free zone within Floria-na and Valletta whereby cars are phased out through the introduction of electric autonomous vehicles. The primary architectural intervention is located around the 17th Century fortifications of Floriana, known as ‘The Floriana Lines’, and aims to amalgamate these transportations forms within a number of structures, whilst also cre-ating a vibrant public space for residents and tourists alike across the width of the Sciberras peninsular.
LONG SECTION | 1:100 49
39GROUND FLOOR CONCOURSE
40BUS STATION
HUB FROM THE BASTION 45
41LIGHT RAIL PLATFROM
27PART V | DEISGN DEVELOPMENT
Exterior view of the transport hub
Antithesis: Completion of Sliema
> The thesis aims at designing propos-als to give the city of Sliema an identity. Sliema is situated across a small body of water across from the walled city of Val-letta, where holiday homes and hotels populate the mid-rise skyline.
As an antithesis to the rigid ground of Valletta, Sliema is ready for changes, ex-pansion and augmentation. The thesis first tackles the chaotic circulation with the introduction of an artificial landscape, which is unlikely to happen in Valletta. Then expansion is made possible with the presence of cores and scaffolding on our artificial landscape. It is also a ground challenging the traditional thinking about movement and space. Long slides and am-biguity between barriers and surface give people more possibilities of free move-ment. The add-on facilities can be taken down and change over time. They can also be extended to surrounding buildings.
Big objects are set up in relation to the landscape. They are casual, sharp and vibrant. There is a keen sense of humour in relation to the urban context. Can you glimpse a giraffe in the forest of columns?
ARTHOUSE/NOMADThe Future of Riverside Studios
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ThesisAntithesis: Completion of Sliema
ARTHOUSE/NOMADThe Future of Riverside Studios
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ThesisAntithesis: Completion of Sliema
May Milk [email protected]
ARTHOUSE/NOMADThe Future of Riverside StudiosThesisAntithesis: Completion of Sliema
Unlike Valletta, where everything is maintained to be the same as in the past, Sliema is not constrained by rigidity. The artificial landscape in Sliema is ready for changes, expansion and attachment. This is made possible with the pres-ence of cores and scaffolding structure. It is also a ground challenging the tra-ditional thinking about movement and space. Add-on long slides and ambigu-ity among barriers and surface give peo-ple more possibilities of free movement. Add-on facilities can be taken down and change over time. They can also be ex-tended to surrounding buildings.
Big objects are set up in relation to the landscape. They are casual, sharp and vi-brant. There is a keen sense of humour regarding the urban context, which could be difficult to happen in Valletta.
Lowline
The proposed solution to these issues is to design a pedestrian/cycling bridge that would allow the pedestrians of the area to shift between the sequences of Valletta, Manoel Island and Sliema. As a result, the proposed bridge would poten-tially solve the economical and physical obstacles, as well as encourage cycling with a new route into the capital.
Ahmed [email protected]
Nina [email protected]
MESH SHELF
storage space
storage spaceEctiis erunt experi diatem re sitae nus, sit aria volorpor sapieni musciet ex eaquiate pernatis alicill accupta temporro consed quis aut laut lanisto verfero veleni apeliqu osantibus, solo ma vellaut re laborerum fuga. Fictibus aperiatio dolupta quisite scius, sunt.Igni omnim aut odi conet omnime repre sin exces quas molorehenda con re raernatiate es eaqui autempo
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> The Lowline project looks into the aban-doned Maltese railway tunnel by focusing on its history recorded in old photographs.
The line is made up of two old railway stations and a tunnel between Valletta and Floriana, which is difficult to access due to the demol-ished Valletta station at the new City Gate.
The thesis proposes a series of interventions in Valletta and Floriana transforming these, oth-erwise forgotten infrastructures of the past.
Bridging the Gap
> The aim of the thesis is to solve the is-sue of accessibility of Valletta, Manoel Island and Sliema derived from a process of experiments and investigations.
The first stage of the project focussed on using collage as a tool for investigation and presentation. This tool was used to create a campaign to understand Malta from a distance and simultaneously gen-erate outcomes that would raise aware-ness on certain issues within Malta.
The investigation focused on how col-laging two or more images together can present the opportunity for a new narra-tive.
The idea of collage as a tool lead to inves-tigating the organisation of scenes with-in sequences of a film, and how differ-ent placements could result in different outcomes. The shift from 2D to 3D led to experimental stages that questioned the placement and sequence of Manoel Island and it’s neighbouring areas, Vallet-ta and Sliema. These experiments shed light on the complications concerning traffic, access and circulation of pedes-trians and the hidden economic potential of the chosen areas.
CULTURE
main feed from seawater culvert
storage tank
storage tank
valve set • dry
valve set • wet
wet pipe sprinklerdry pipe sprinkler
distribution pipe distribution pipe
boiler
chiller
sand filter
cation unit
anion unitdemineralized water system
jockey pump
master pump
compressor unit
air inair out
air out
air out
cooling
combustion
draft hood
exhaust stack
duct
combustion chamber
supply plenum
blower chamber
heat exchange
supply ductsand filter
cation unit
anion unit
chiller system
valve
demineralized water system
pump
heater
heaterfilter
filter
motor pump
motor pump
chiller system
skimmer
main drain
main drain
skimmer
return
return
return
return
return
return
main feed from seawater
culvert
drain
drain
Pool Filtration System
>supply hot / cold water from seawater culvert
>drain the pool
Water Sprinkler System
>supply hot / cold mist fro
m seawater culvert
>create rain / snow
Air Blower System
>supply hot / cold wind
>create sooth breeze / strong wind
> Malta’s infrastructural development is close-ly knit to the political, social, economic and environmental discourse on the island. Marsa Power Station - the main source of electrici-ty for Malta from 1953 to its decommission in early 2015 - has seen a controversial debate about its value.
The 180m long turbine hall of the power sta-tion became the core of the project. After stripping off all the existing entities of the power station, only retaining the structural skeleton, a series of interventions that corre-spond to the anatomy of the former industri-al mechanisms were introduced to transform the turbine hall into a weather machine.
Gadgetry such as a water sprinklers, HVAC systems and fog machines were re-purposed to generate diverse atmospheric conditions:
_ the mists of the morning fog _ the screeching thunder on a rainy day _ the lightness of cotton-like clouds _ the gusts of wind of a tornado _ the unbearable heat in a desert plain
The Weather Station holds the potential to replicate the whole range of the Earth’s cli-matic conditions on demand.
The Weather Station
Ting Yan [email protected]
> The sublime can be defined as having the quality of greatness, magnitude or intensity. Whether physical, metaphysical, moral, aes-thetic or spiritual, our ability to perceive or comprehend it is temporarily overwhelmed by it.
The island of Kemmuna holds this accolade. Highly isolated, nestled between Malta and Gozo, it historically served as a location for the exile of errant Knights of the Templar, and for the controlled quarantine of victims to the plague epidemic. A chapel provided religious counsel to those isolated, and two vcemetery sites laid the departed to rest in good faith.
Faith continues to bear a key role today. Its five permanent residents form a clerical as-semblage in the bereavement retreat ceme-tery, offering friends and families an opportu-nity to appreciate the life of someone close.
The island is a place for contemplation and healing, Guided by the affective qualities of the highly picturesque, exposed and perilous coastline, the architectural interventions are grafted deeply into the rock, beckoning one to stand atop and peer over the edge in an affective reaction of pleasurable terror.
Entropy Kemmuna
Owen [email protected]
bell tower chapelBELL TOWER CHAPEL CREMATORIUM
ITERATIVE DEVELOPMENT
Development of Chapel design from initial mapping drawing > speculative form generation > outline floor plan / elevation > thickness application to plan /section .
crematorium
> Strait Street is a linear urban fabric known for its religious heritage and rituals. Amongst the many bilingual streets of Valletta, Strait Street was also known as ‘the gut’ for its past identity as a red light district.
Stigmatised by its past, Strait Street became redundant, with only antique signs and memo-ries of navy veterans remaining. More recent-ly, the street has been re-populated by law practitioners of the adjacent Maltese Courts of Law. As part of the V18 programme Strait Street is supposed to encounter a substantial regeneration process that will transform, and tame the street even more.
The thesis proposes an anti-gentrification strategy for Strait Street by challenging the ex-isting hierarchies between architectural form and programme. The project provides juxta-positions of reoccurring geometric and spatial regimes informed by the existing voids of the urban fabric. The architectural interventions provide a lateral spatial system at ground and subterranean level. Non-hierarchical relation-ships are developed, allowing for the possibili-ties of cross-programming existing institutions and niche communities.
The events in this bilateral street will be un-precedented and unpredictable, creating an alternative identity of Strait Street.
Bilateral Strait Street
Melissa [email protected]
Cro
wni
ng o
f the
Virg
in M
ary
proc
essio
n Maltese people show their veneration and respect to the Blessed Lady as the Queen of Heavens.
Excavation works at Malta Law of Courts lead to discov -ery of tombs.
Forensic pharmacists research on legal highs.
Paid
to d
eal w
ith d
rugs
.
Royal Ballet Soloist to play the witch Odile in Swan Lake.
Maltese nuns love to dance.
Malta Skateboard Association (MSA) to meet at Malta Law of Courts.
Unlicensed street vendors sen-tence suspended for Market day at Malta Law of Courts.
Malta assists with evacuation of cats and dogs from Libya
Pet I
mpo
rtat
ion
Police Force routine check.
Bilateral Strait Street: 1/100 Longitudinal Section and Programmatic Annotation
The Dream Factory
> The project explores the growing film indus-try in Malta and investigates the possibilities of hybrid buildings to create symbiotic relation-ships between different, sometimes conflict-ing programmes.
The proposal combines a film studio complex with functions that relate to the Valletta Film Festival and the growing film tourism in Malta, including cinemas, exhibition halls, restaurants and a hotel.
Dream Factory Perspective
Dream Factory Perspective
Lezandri Van [email protected]
Itinerant Geographies
> The issue of displacement and migration is one of today’s most controversial topics. The increasing number of conflicts and shifts in our global political and socioeco-nomic systems have resulted in a persecut-ed minority having to fight for aid, refuge and survival. Itinerant Geographies pre-sents statistics, facts, and further research regarding migration to and through Malta by mapping the various places of transit and the institutional stations on the refu-gees’ journeys. The project proposes an ar-chitectural alternative to the detention cen-tre typology, encouraging a new ‘welcome culture’ and the integration of migrants within local communities. Constructed out of economically viable, prefabricated tim-ber units, the scheme proposes a Migrant Centre which can be arranged and adapt-ed to suit the site. Programmes include a an arrival centre, accommodation and communal spaces like healthcare facilities, classrooms, a kitchen and cafe. The set of buildings aims to encourage interaction be-tween the local residents and the refugees, providing an alternative to existing migrant detention facilities.
CH3- Malta Islamic Center: Design progression
Malta Islamic Center- School- Outdoor facility
Rel
igio
usEd
ucat
iona
lC
ultu
ral
Mosque
Ablution
Imam consultation
Cafe
Offices
School
Library
Exhibition Space
Parking
Recreational facility
Malta Islamic Center- Exploded Axonometric
CH3- Malta Islamic Center: Design progression
Rashed Al [email protected]
Malta Islamic Center
> Historically, Malta has a deep bond with the Arab world, traces of which can still be wit-nessed in its architectural heritage. Currently however, only one mosque, the Malta Islamic Centre in Paola, exists on the island. According to recent studies Malta’s Islamic community is expected to grow in the near future. The thesis proposes a new Islamic Centre on the island of Comino. By combining religious, cultural and educational facilities within one architectural ensemble, the project creates an inclusive place for the muslim community and visitors alike.
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Availability | Site Analysis
Illustration of sites available for proposed development / design for the integrated refugee facility. The sites vary in size and location, and span across the entirety of Marsaxlokk. All sites are underdeveloped; the sites are open land areas available for building and future development.
A prefab design system might be deployed on any one of these sites in Marsaxlokk (Malta, or greater Europe) in variation of stack and layout. The system enables fl exibility, mass production, speedy construction, and al-lows for adaptation throughout it’s lifespan and depending on it’s usage.
x 2 M
igrat
ion C
ontro
l Offi c
ers
Second Floor | Accommodation Units
First Floor | Accommodation Units
Ground Floor | Migrant Accommodation Centre
Grou
nd F
loor
| Migr
ant W
elcom
ing C
entre
Firs
t Flo
or | M
igran
t Pro
cess
ing C
entre
Ground Floor | Communal Facilities
First Floor | Healthcare Centre
x 8 Nun Unitsx 14 Single Units
x 4 Couple Units
x 4 Family Units
x 20 Single Units
Third Floor | Accommodation Units
x 4 Couple Units
x 4 Family Units
x 20 Single Units
x 2 Teachers
x 3 Skilled Professionals
x 2 Doctorsx 1 Nurse
x 6 M
igrati
on C
ontro
l Offi c
ers
x 3 N
uns
x 1 E
mer
genc
y Roo
m D
octo
r
x 1Em
erge
ncy R
oom
Nur
se
x 5 Nuns to facilitate the day to day running of the site
LANDSCAPE
> Malta has always suffered from water scarcity. The phenomenon of water steal-ing has made the situation even worse. The people of Malta consume more ille-gally sourced water than metered water.
The project investigates the historical, today nearly forgotten water infrastruc-tures in Malta, such as fountains, cis-terns, aqueducts and water reservoirs, many of which were designed for military use.
The proposal transforms the site on top of the subterranean granary stores in Flo-riana into the largest fountain in Malta. Waterperformer is a device that creates changing microclimates through differ-ent water effects transforming the site into a public waterscape.
Waterperformer
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legends:
fountain
site
evaporator
sprinkler
ramp
existing granary
150mm I beam steelangle link w/ bolt50mm steel tube90mm PVC pipemetal plate fixingsump cover gratingwater filtercopper fixing holderexhaust cover460V water pumpfountain nozzle
heat pipescopper covermotorized distributor
steel trusscontrol valve50mm copper pipe20mm PVC pipepressure tank
GMS platecopper railingsteel frame50mm steel tube column
fountain
evaporatorsprinkler
WATERPERFOMER VER. 0.4b
Kim Pan [email protected]
> Flood Proofing Birkirkara provides flood prevention facilities and infra-structures in Birkirkara, to alleviate future flooding disasters in the urban neighbourhood, the adjacent univer-sity campus and the local farmland.
The proposal protects the city by us-ing the site as a barrier and filter, with large water basins following the exist-ing contour lines of the topography.
This infrastructural landscape is cou-pled with an agricultural preservation hub and student accomodation.
> Malta’s natural environments, in particular the marine and coastal zones, have been exploited for eco-nomic and business gains.
The thesis explores the theme of emergence by designing a floating community for seaweed farming and bio-fuel production in this ecologi-cally sensitive area.
Inspired by self-organised urban systems, and making use of compu-tational design methodologies, the project develops architectural and structural systems, accomodating spaces for production, recreation and communal facilities.
Flood Proofing Birkirkara
Seaweed Farm
Birdseye view
Christiana [email protected]
Konstantina [email protected]
200 2 4 8 12
METRES
Maltese Gaming Industry
Sadiq Abdul [email protected]
> The aim of the project is to unify the thriv-ing, but currently fragmented gaming indus-try in Malta. The proposed building acts as an incubator providing small businesses with shared studios and state of the art facilities. It also creates an interface between the in-dustry, the gamers and the general public.
A plaza on street level, a lecture space and an arcade, as well as a roof terrace provide multiple platforms for formal and informal encounters.
COMMERCE
MALTESEGAMINGINDUSTRY
EXTERIOR RENDERS
Pods are designed parametrically. This enables anyone to create a completely unique workspace very quickly and without knowledge of design or 3D modelling.
Function:
- A cube is subdivided by a factor of 3.- Vertex distortion is applied.- The model is decimated to reduce the number of triangles.- All verticies in the bottom third of the volume are flattened and lowered to create a base.
It is possible for the user to be able to customise the design, through control over the parameters- the internal area for example can be selected before the process is initiated by increasing the length, width or both of the base unit. Users can also dictate the level of sharpness by increasing or reducing the vertex distortion or the final look by altering the vertex distort seed value.
Pod Design
The Third Place
> The historic city of Valletta is a victim of its own beauty. Its tourism industry continues to promote overly stringent planning regulations despite Malta’s economic shift towards the ex-port of goods and services. These strict regu-lations have led to a sclerosis of design and the degradation of central Valletta. One of the few current developments, the con-version of the old abbatoir into a Design Clus-ter, aims to provide a platform for the creative industries. The proposed format however, is poorly suited to offices and communal net-working spaces. The project examines an alternate method of encouraging dialogue in the design communi-ty, based on the principle of ‘the third place’ by Roy Oldenburg, a social space separate from both the home and the workplace. The offices are isolated from the Design Clus-ter and are re-distributed as a series of port-able office pods around Valletta instead. To-gether with additional temporary installations they create liminal streetscapes encouraging encounters and initiating discourse about the future of Valletta.
VALLETTA
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To make construcing the pod easier, striated supports can be milled in order to support the skin as it is assembled. Because of the low density of the PC facets which form the skin, these can be made from corrugated card, meaning they can easily be removed after construction has been complete.
The supports should be laid on the base plate for the pod, then triangles attached starting from the bottom then wrapping around and over the supports.
Construction
Installation 2 Section - 1:75
Installation 2: Interface to a Hidden Space
The installation - Urban Obstacle, will be constructed from a skin of Corian (Solid Surface) over a tubular steel frame.
The Corian facets can be milled to very precise tolerances, this combined with its capacity for seamless joints makes it possible to create a very large surface with relative ease.
The panels will be supported by the steel frame which sits below the surface, this makes it easy to assemble, and maintains the pure exterior aesthetic whilst contributing an interesting internal effect.
Construction & Materiality
Sandy [email protected]
MUSALewis Jacques
View From The Top Across All The Decks An d Screens
MUSALewis Jacques
View Strait Up Underneath The Decks
Lewis [email protected]
The Postmodern Addition
MUZA Deep Screen
The Postmodern Addition embraces the historic nuances, visceral undertones and time-based experiences with architecture, art, culture and history in Valletta, Malta.
A family of architectural characters reso-nates neighbouring characteristics in ma-teriality, yet evokes very different, com-plementary emotions and multi-sensory experiences.
> The project creates a new space in be-tween the existing Auberge d’Italie and the new screen for video projections.
Between the limestone wall and the trans-lucent screen, a set of concrete decks and steel balconies sit in the gaps between the multiple projection cones, providing a ver-tical public space and a new circulation sytem for the MUZA museum.
Daniel [email protected]
In Search of Well-tempered Environment(s)
How can we embrace a better sense of living through context, place and environment(s) to experience joy, wellbeing and well-tempered living through notions of comfort, shelter and dwelling?
[Abstract]
‘In Search of Well-tempered Environment(s)’ is an exploration into the interior conditions of the home, through relational qualities of space, ma-terial, philosophy, geography and history. This piece of research about environment(s) is not about stereotypical understandings such as that of natural or physical settings but that of situ-ations, context, habitats and shelters, be they material or immaterial, tangible or intangible.
It is as much a tentative beginnings on under-standing the multiplicity of avenues available to explore, as it is an expansive and highly evoca-tive linguistics exercise open for conjecture and further rigour.
My method is simple, as to not stray away from the trajectories of the four overarching and dis-tinct frameworks that have been set out and written about. Coupled with several critically engaging, theoretical yet practical 3D scanning experiments that compliment the framework and show key examples of how we can expe-rience joy, wellbeing and well-tempered living through notions of comfort, shelter and dwell-ing.
Whilst Reyner Banham in ‘The Architecture of the Well-tempered Environment’ sets out to write a book about firsts and not mosts in the form of advocating well-tempered living through technological advances, environmental aware-ness in architectural histories and the reliance on mechanical services to create his environmental bubble, this research proposes that there are relational situations that work with one another and don’t culminate in one single reasoning.
This body of research provides alternative views, thinking, writing and research on the seman-tic linguistics at play with environment(s). Thus showing how habitat, surrounding, setting and context can change the conditions, locales and atmospheres of the status quo.
[Extract]
Beyond Banham & his Bubble
In Search of Well-tempered Environment(s) sets about critically examining and engaging in non stereotypical notions of what an environment is and what environment(s) should, could and would be with great emphasis on the cross polli-nation of disciplinary analysis.
In a bid to be transparent, I will embrace Ban-ham’s method of research, insofar as to say my motivation and intention is to mimic the way in which he classifies what ‘Architecture of the Well-tempered Environment’ is. That is to say it is a tentative beginning on environment(s) in the broadest sense of the word, as a set of mostsand not firsts.
Some who have read the title of this research may automatically assume that they will be reading about environment(s) as a substrate of Nature and Ecology as the all seeing ‘physical characteristics’ of the world they live in. They
may get caught up on why I perhaps may not be exclusively writing about ecosystems of ge-ographic and territorial hotspots either. Ironical-ly, the aforementioned are only one branch on a large tree of differing but relational substrates.
I must stress, that to feel and be comfortable, one does not have to solely rely on interior con-ditions relating to temperature, humidity and a constant supply of fresh air. Here the focus is on the perceptions, the multi-sensory experiences and the atmospheres at play, which stimulate joy, wellbeing and well-tempered living environ-ment(s), consequentially stimulating life in the architecture of the humble home and living con-dition.
The reality of ‘maintenance’ and ‘decent’ levels of comfort are something that is far beyond an afterthought to the controlling developers. In parallel to Banham and his writings, it seems the architectural profession are partly to blame with regards to the failure to engaging environmental consciousness and the appropriateness of Envi-ro-tectural qualities. He writes that because of the professions failure to;
“almost literally – keep its house in order, it fell to another body of men to assume respon-sibility for the maintenance of decent environ-mental conditions: everybody from plumbers to consulting engineers.”
He later writes of the “persistently lopsided ar-chitectural discourse” which seems to be evi-dent now some 40 years after Banham’s work. [ Banham, R. 1984. 11 ]
Banham champions a time where the Architect need not just be the archetypal artist, with the vision, but to be the one who holds understand-ing of the mechanical service system. Done, in a bid to elevate and promote a richer architectural discourse, with the end result being a more con-scious and aware Architecture and Architect.
Therefore In Search of Well-tempered Environ-ment(s) attempts to start the didactic conver-sation in illuminating better notions of comfort, shelter, wellbeing and joy through a broadening of opportunities to diversify the current para-digm in Architecture. Peg Rawes in Relational Architectural Ecologies writes about biodiversi-ty in the built environment and the relationships between ecologies and architectures. Rawes goes on to explain that these relationships;
“extend well beyond traditional defini-tions of environmentally responsive architectur-al design” [ Rawes, P. 2013. 2 ]
Architectural Historian, Jonathan Hill is well known for extensively exploring weather in re-lation to domestic environment(s) coupled with highly evocative and poetic writing that is root-ed in contextualisation, history and speculation. From this, Hill has quoted Banister Fletcher on the origin of architecture and the intrinsic rela-tionship with what I would call notions of primi-tivism and survival;
“The purpose of the home is to keep the inside inside and the outside outside. Tradition-ally, threats from outside come in a number of guises, notably inclement weather and undesir-able people. Both are associated with the form-less, fluid, unstable and unpredictable. [ Fletcher ] Architecture… must have had a simple origin in the primitive efforts of mankind to provide pro-tection against inclement weather, wild beasts and human enemies.” [ Hill, J. 2006. 9 ]
We see Hill exploring intimate cores, perceptions and experiences of inhabitation, the interior, comfort and what I believe are underlying ideas of well-tempered living and environment(s). He also explores historical denotations of the devel-opment of the home and homeliness and how internal subdivisions such as day and night func-tions created the idea of segregation and com-parative privacy. Not only that, he argues for the inception of the corridor as being an enabler for:
“a room to have a single use and a sin-gle entrance, defending privacy and discourag-ing entry to anyone without a specific purpose.” Hill, J. 2006. 7 ]
[...]
WRITINGby Daniel Stilwell
> Dialogue is inspired by the artwork of Ai Weiwei, in particular his depiction of intentionally dropping a Han vase. The photos provoke thoughts on the forged and the authentic, the old versus the new, and thus generate a dialogue be-tween people and art.
By using a simple architectural language the MUZA building is transformed into a user-friendly showcase of Malta’s histor-ic and contemporary art.
Entering through a 9 meter tall tapered entrance visitors led into the gallery spaces by ascending the new corten steel staircase.
A newly added contemporary art space is located on roof level. Its facade is made of a gabion wall containing crushed Mal-tese limestone blocks, which have been collected from the demolition of the ex-isting mezzanine level.
> The Covered Market, built in the 1860’s under British rule, still operates to this day, although in a somewhat neglected state. The V18 programme seeks to bring the market back to it’s former glory.
The project proposes a new habit-able roof structure featuring spac-es for changing cultural events and community activities.
Jun Yee [email protected]
Dialogue
The Hexagonal Roof
Handrail Guide boxHandrailBalustradeComb plateStepSkirt panelHandrail driveTrussGearboxStructural SupportLanding floor plate
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Design Technology
Antonia [email protected]
Platform Dance Theatre
The Pyro Symphony
> The tradition of fireworks in Mal-ta was the catalyst for the project. A new structure is grafted onto the covered market in Valletta and acts as a pyrotechnical device turning each performance into a singular event, never to be repeated.
> The history of dance and the performing arts can be traced back to the 15th century in Malta. The Platform Dance Theatre aims at providing a cultural platform for the people of Valletta by creating a space where the public and performers can collaborate. A distinct fea-ture of the existing Covered Market is its 1860’s cast iron structure. Revolutionary at the time, its presence, not only structurally but also aes-thetically, still holds fast today.
Inspired by the existing structure, the Plat-form Dance Theatre creates a inhabitable level above the current market, celebrating inno-vation in structure as well as aesthetics. The dance performance space becomes a floor and a roof at the same time, with the theme of movement being the protagonist.
Spanning the whole area of the market, the glass floor provides natural lighting into the lower levels through an undulating roof struc-ture.
Sophie [email protected]
THE PYRO TREBUCHET
THE PYRO SYMPHONY
1:100 SECTION
The Cyborgian Society WRITING
How are we to adapt to the post-human environment?
[Manifesto]
A Manifesto for Our Cyborgian Culture
Class shall not be relevant towards the Cybor-gian physical environment (Gonzalez, 1999 cited in The Gendered Cyborg: A Reader. Hovenden, F, 2000)
Posthuman will embrace the role as the media-tor, between the real and artificial bodies.
The architect builds the environment that no longer will conform to one particular form (Cruz, 2013)
The appearance of the cyborg is to hold an infe-rior role against the prophlatic systems (Antho-ny Vidler, cited in The Inhabitable Flesh of Archi-tecture, 2013:192)
The cyborgian society can inhabit anywhere within it’s desires, and adapt through hybridisa-tion of biological and man made (Cruz: 2013:196)
All creation of cyborgs is to be rationalised through design anatomy, using virtual augmen-tation (Cruz, 2008:50)
[Abstract]
This thesis is concerned with the inhabitants of the future: cyborgs. An increasingly persistent metamorphosis from the natural body to the artificial alternatives society has to offer, has created a new and strong post-human occupant within society. The question investigated in this thesis is concerned with the potential impact that a cyborgian body has on architecture, how as designers the potential importance to pursue a new aesthetic within the built environment, based on the progression of the human form it-self. The scope of this thesis is to gradually build a manifesto that understands and accommo-dates for the new body, through exploration of various qualities that impacts the built environ-ment. Since there is no distinct cyborgian body, this thesis will investigate how this change will alter the architect’s role, as there is no longer a distinct physical space for a singular human form. The cyborg is becoming a prevailing in-habitant, and demands a consideration within the future posthuman environment. Producing the manifesto will outline the parameters for ar-chitecture to obey and conform to, transforming our existing environment into an idealistic land-scape that combines the artificial and natural aesthetics the posthuman reflects.
[Introduction]
“’Change for machines,’ she sighed heavily. ‘That’s all we’ve ever done is change for the ma-chines. But this is the last time. We’ve finally changed enough that the machines will be mak-ing all the changes from now on.’”
Pat Cadigan, Synners (Cadigan, 1991:29)
Today, the creative process of architecture cer-tainly still surrounds itself with the confinements of the human body, its walls, its flesh and inter-nal structure echoing through the physical space it inhabits. As Spiller proposes, “architecture is a man-made carapace of the body.” (Spiller,
1998:32) Currently we face a new type of body, progressed through history and the context so-ciety was facing. Our bodies are the origins for all forms and design created through the human mind. (Palumbo, 2000:9) Since it is important to consider the origins of this significance within architecture, the ideal aspiration for a design-er is to design for someone or something for a response. This is consequently shifted as the “someone or something” has evolved.
Technology is an augmenting component of what builds up the everyday life of postmod-ern community. (Cruz, 2008:48) Where would society be without prosthetics, plastic surgery, and the many modern advances that question-ably are overlooked amongst the tremendous array of options? (Catts and Zurr, 2008:31) What was once a figment of imagination, or an idea sprouted from popular science fiction, is now very much taking place in the present time. This thesis is concerned about what is required to shift itself into the cyborgian society, through the investigation into the Cyborgian culture, ap-pearance and environment.
It’s important first to consider what a cyborg is, and does the entire human population need to conform to this category of inhabitants in order to live in the post human environment. If this idea is really circulating around the relationship of the artificial and natural states, it is arguably possible for our physical surroundings to chal-lenge this balance equally as much as a singular human being.
The Cyborgian Body – Marcos Cruz
Marco’s Cruz and his thesis titled, The Inhab-itable Flesh of Architecture was a catalyst for this investigation into the shift in society. Cruz attempts to define body conceptions, from the past and future, that triggered the question ‘How are we to adapt to the Posthuman Environment’ This covers what the future holds for the human form and it’s relationship to it’s environment. As Cruz attempts to define the body conceptions of Western culture, much of this terminology comes from the research through artists, and should neglect other body conceptions that may not have fitted these western aesthetics. The fi-nal and most current body conception Cruz de-tails, is the ‘Cyborgian body’ that progresses on from the ‘modern body’ society may be more ac-customed too. This body conception is placed in time after the Second World War, a moment of history where severe brutalities and gruesome disfigurement left areas of the body in need of replacement and new solutions. A curiosity with technological development, and the powerful position that machinery holds provoked socie-ty into exploring the combination of technology and our bodies. Cruz describes the outcomes of such experimentation, claiming it has “allowed the body to go beyond its limitations and ex-pand its sensory apparatus and activate a new dimension in terms of communication and social engagement.” (Cruz, 2013:18) It is evident that this new “dimension” is being explored through architecture, how the cyborgian society can ma-nipulate and redesign new spaces.
In order to fully understand and investigate how to adapt a posthuman environment, this disser-tation is split into three sections, each one con-tributing a significant quality in how a society is constructed. In the first section, research into the culture a cyborgian civilization can possess, will be explored in comparison to the past and existing societies. While this part of the disser-tation focuses on particularly important media portrayals that help build up a cyborg, these case studies do live in the past, therefore in this section the study of the past expectations of the post human environment are also discussed. The second section moves on to an analysis of the societies appearance, how they are physical-ly and mentally designed in order to portray a true member of The Cyborgian society. Through the study of present cyborgs, and texts that also discuss this body conception is expected to de-velop the investigation towards an answer. The aesthetic nature of the Cyborg is an ambiguous combination of anthropology, man made and biological matters that collectively form one so-ciety. (Haraway: 1990:65) The final section is an analysis of what the environment will hold for the post human condition. Is the environment crucial to the future cyborgian invasion? This section, similar to section I is an analysis of the past proposals towards new architecture, how this had an impact on the present and future ide-as for cyborgs.
[...]
by Sophie Lamarque
Technology Dissertation
Common uses of impermeable asphalt paving in urban environments intensify the problem of surface runoff. Increases in surface runoff exceeds the design capacity of sewage and results in floodingcausing disruption to traffic and daily life. In addition, surface runoff car-ries pollutants to the sea as it flows across road surfaces and construction sites
The Sustainable urban Drainage System (SuDS) is designed to replicate natural systems that use cost effective solutions with low envi-ronmental impact. The aim is to drain surface water through a sequence of collection, stor-age, and cleaning processes before releasing it back into the environment.
Porous Surface Drainage Systems & Pervious Concrete
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The Proceduresmaking of Type 1 porous concrete
repeated thorough mixing of materi-alsplacing well mixed materials into the mouldappearance on day 0appearance on day 2
preparation of apparatus and materi-alscleaning off impuritiescalibration and weighingmixing of cement and aggregatesadding water
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May Milk [email protected]
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Ratio of aggregate : sharp sand : cement : water (by mass):Time for setting: Is it pervious?Can it stand on its own weight?
3 February 2016
Sample No.2
gravel (size range: 10-25mm)Blue Circle Mastercrete Portland Cement
sharp sandtap water
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The experimental result matches the change in composition of four pervious concrete samples. When there is a higher proportion of sharp sand, and lower proportion of gravels, the infiltration rate drops accordingly. The infiltration test also proves our forth sample, which shares the same composition as standard concrete, remains some permeability.
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Sample No.1
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However, pervious concrete requires regular cleaning in order to prevent decrease in permeability. As we now try to incorporate the idea of vertical filtration to a porous surface drainage system, there must be the presence of residues after the process. Remains of them especially within porous spaces will eventually lower the efficiency to capture and drain away "first flush". It might requires further replace-ment if the trapped residues cannot be withdrawn from gaps. The cost efficiency would become a major concern.
Future Practice
Ahmed Al Mannai, Rashed Al Araifi, Sadiq Abdul Kadir and Kim Pan Wong were invited to co-design and co-ordi-nate the exhibition ‘2025 Forecasting Futures’ at ual - University of the Arts London.
“The objective is to explore the con-cept, logic, and imaginative strands of forecasting the future of design. This will be executed through investigating design techniques related to the no-tion of ‘the moment before certainty’. Factors such as reflection, intangibil-ity, and unpredictability are key com-ponents which help to catalyze the process of executing the design of this project.”
The brief involved working on the over-all theme across the web and exhibi-tion platforms, including regular meet-ings with the clients and co-organisers to present their ideas and concept de-velopment.
2025 Forecasting Futures
Site visits + Meetings
After several trials of testing and experimenting with the simplified geometric surfaces, there was a need to expand upon this work-flow. More tests were made at several scales. The exhibited con-tent, technicalites, and time frame were taken into consideration. A successfully adaptable free stand-ing surface was the consquance of these tests.
An audio-visual installation inspired by the decline and re-generation of a seaside town.
Margate has fused models of cultural tourism with a dedi-cation to its heritage to credible success. 51º23’N is a short film presented by ott. honed in on a location yet to emerge from the limbo of British seaside tourism.
51º23’N was screened to live audiences at Ramsgate Music Hall and was later featured in DUMMY online magazine.
Audio: WENVisual: ott.[Owen Darby, Ting Yan Yeo and Tony Gray]
51°23’N
birdhouse 2.0
Polhaus: [lifting the fake falcon] “It’s heavy. What is it?”Spade: “The, uh, stuff that dreams are made of.”
The Maltese Falcon (1941)
Ting Yan Yeo
The Living Machine
Daniel Stilwell
Phoenix
Anthony Gray
Poacher 2.0
Stages of Flight
Birdhouse 2.0 Melissa Adu
D e s i g nD e v e l o p m e n t
Model Making
Nesting
A process of nesting simulation using computer mod-elling developed a series of woven objects.
Using basic weaving principles to create a surface pattern created a nest like quality and a spatial con-figuration that is similar to a bird’s nest.
Though, the computer models did not give a sense of materiality and thus I started creating physical models. It started as a series of baskets and was then interlaced to created a woven topography for the quail.
Melissa Adu
May Milk Chow
Sandy Stuchfield + Leo Mulkerns
The WovenBirdhouse
House Sparrow
Migrant
Sam ChenSophie LamarqueLewis JacquesRashed Al AraifiOwen Darby
Edible BirdhouseTweeterWoodpecker
Atelier Flyvela Corvid Caboodle
The course is uniquely conceived as a forum for architectural investiga-tion and innovation. Design research is at the heart of what we do. The M.Arch offers an environment geared to the development of approach-es and techniques, equipping students with transferrable skills and ap-posite contemporary architectural knowledge. Over the course of two years, students develop individual research agendas that inform and ac-tivate personal practical projects, within the broad research frameworks of the course and that of their tutor group. Knowledge is built through one-to-one tutorials, lectures, seminars and applied project exercises; us-ing dialogue and activism to frame understandings of cultural contexts and theoretical positions. Architectural and systemic issues of fabrication, meaning, representation, electronic media, interaction, cognition, emer-gent technologies and their capacities to inform modes of spatial produc-tion provide contemporary theoretical themes and frameworks within the course. Students are encouraged to interrogate and extend their knowl-edge of spatial theory through highly experimental projects. By the end of the course, students are equipped to adopt critical positions within the profession and wider society, initiate and deliver projects grounded and delivered in design-based research and continue a process of learning through experimentation and enquiry.
We understand the architect as someone whose cross-disciplinary role en-ables them to draw on the production of knowledge within various related disciplines and to develop, through contemporary digital and analogue design processes and techniques, strategies and models for sustainable development within the context of the production of buildings, the spaces between them and the contexts in which they occur. In pursuit of these aims, the course actively seeks out partner organisations and venues for work to reach out to sector decision-makers and to the general public. We have recently worked with Arts organisations in Dover (DAD) and Lon-don (Riverside Trust), European Capitals of Culture in Cyprus and Malta and held successful public exhibitions in Dover, the Folkestone Triennial, London and Valletta. Course outputs are routinely published, through ex-hibitions, books, seminars and papers and through our successful Future Practice programme you will bring your academic production to a public forum, preparing students for professional life and developing entrepre-neurial skills.
The course is located in the established and respected Canterbury School of Architecture and shares studio facilities and staffing with the wider UCA PG programmes. Doing so creates significant formal and informal opportunities for intellectual exchange between the disciplines of art, ar-chitecture and design. The course utilises the range of craft and digital workshops and laboratories available at UCA Canterbury to facilitate ma-terial production at each stage of project development. We have a live-ly student community: our open lecture series, ‘Multistory’ runs weekly events at the Canterbury School of Architecture with speakers from the worlds of architecture, design and the arts.
Although the majority of entrants will have a good first degree in archi-tecture, with exemption from Part 1 of the ARB/RIBA professional exam, the course welcomes applications from students from cognate courses who wish to extend their knowledge of and practice in architecture. Reg-ular guidance and critical feedback from a wide range of subject experts and leading professional practitioners facilitates this to the highest level. Access to research active staff facilitates opportunities for MA-PhD pro-gression with former students having successfully embarked on such a path. The course culminates in the well-respected Canterbury Graduation Show. As such it provides, prepares and requires students to address the challenge of independently realising and comprehensively articulating in-stallations for a high profile and public arts event.
We received three commendations from the RIBA Visiting Board, which noted that the course “…has a unique investigative research aspect that encourages graduates’ curiosity. Graduates develop an activist approach to architecture”.
The Canterbury School of Architecture (CSA) is situated within the Uni-versity for the Creative Arts (UCA), a leading specialist university that offers courses from pre-degree Art Foundation to PhD research in its Art, Design & Media disciplines. Our founding colleges and¬ campus-es at Canterbury, Epsom, Farnham and Rochester have a history dating back to 1866. Our validated courses in Architecture are located at our campus in Canterbury city centre where students benefit from generous and dedicated purpose- built studios and a range of specialist technical workshops, library collections and exhibition spaces.
Our School has developed a distinctive approach to architectural edu-cation and research that is informed by its rich Art School heritage. In particular we emphasise activist models of teaching, learning and re-search; cultures of thinking and making that synthesise traditional tech-niques with advanced digital media and work flows; and a pedagogic culture that situates imaginative futures in clearly articulated critical understandings of the present. All of our activities consciously face out-wards to the world and engage diverse audiences through exhibitions, publications, collaborations and a strong public programme of lectures and events.
We see our School as a laboratory for architecture and spatial design. We’re committed to exploring the potentials of our discipline through our individual and collective actions and agency. This requires a commitment on the part of our students and staff to take a position in relation to the contemporary conditions of the city, to take responsibility for its trans-formation and ultimately to take action. This activist approach informs all of the design projects that we set for our students, demanding of them that they take responsibility for aspects of the projects objectives and aims, their development and trajectory, and ultimately their dissemina-tion and use. We share this mind-set with the wider community of artists, designers and designer-makers at UCA where there is a strong tradition of valuing professional and creative practice and agency. This Art School tradition makes the Canterbury School of Architecture an ideal place for the exploration and production of ideas as things.
CSA M.ArchCanterbury School of Architecture
MULTISTORY Guest Lecture Series 2015 – 2016
Will Jennings A Folly For LondonPeg Rawes UCLTina Richardson SchizocartographerDouglas Murphy Architectural CorrespondentChris Romer Lee Studio OctopiJack Self Real Foundation Will Alsop UCA Professor of Architecture Adam Nathaniel Furman Designer & WriterSir Peter Cook Crab StudioCarl Trenfield Carl Trenfield ArchitectsOli Mould Urban Geographer Kasan Goh Clay ArchitectureOliver Wainwright Architecture Critic for The Guardian Elly Ward Ordinary ArchitectureAndrew O’Donell AHMMDominick Tyler The Landscape ReaderLiam Young Nomadic ResearcherPUG Art & Architecture CollectiveFinn Williams Architect & Planner
Curated by Daniel Stilwell
Lunchtime Lectures 2015/16 Matthew Wilson: Typological EcologiesSam McElhinney: Secret Dynamics of SpaceLucy Jones: AediculesGabor Stark: Of Portable Monuments and Friendly ArmiesJohn Bell: Why is everything the same shape?FrancisKnight - Public Art Consultancy: How does art extend your balcony?Kristina Kotov: Barn 2 BJJ Brophy: Play it again - Why virtual reality will work … this time
Guests and Collaborators 2015/16 Antoine Borg MicallefMatt Hayes Lee Evans ArchitectsAlexander Richards Clague LLPJonathan Tarbatt Clague LLPClaire Scerri pH+ ArchitectsPaul Shedden pod ArchitectsStefano Strazzullo Curtins Diarmuid Healy CurtinsTrefor Marshall CurtinsEthan Conlin CurtinsKristina Kotov UCA CanterburyTijana Stevanovic UCA Farnham
Valletta 18 European Capital of Culture:Neville BorgVeronica BonelloDr Antoine ZammitCaldon Mercieca
Blitz Gallery Valletta:Alexandra PaceNicole Bearman
M.Arch StaffJohn BellGabor Stark
Allan Atlee Hocine BougdahJJ BrophyRadu GideiLucy JonesSam McElhinneyDanka StefanMatthew Wilson
Ian BadgerSteve Dickson-SmithChris SettleBen Westacott
4th Year StudentsAntonia Adjei-MensahNasser AhmadNegin Aminy RaoufBenjamin AustinAlisa ElenevskayaAliriza ErenKurt Gander-HoweIoulia GeorgiopoulouDaniel Jack GreenfieldMehtab IjazLewis JacquesBen KnightsSophie LamarquePanagiotis SantasDaniel StilwellJun Yee TanMax ThomsonSarah Zainalabidin
5th Year StudentsSadiq AbdulkadirMelissa AduRashed Al AraifiAhmed AlmannaiSam ChenMay Milk ChowChristiana ChistouOwen DarbyAnthony GrayNina JiangLeo MulkernsKonstantina PsathaLiam SmithSandy StuchfieldLezandri Van RooyenMargarita VerveleKim Pan WongTing Yan Yeo
Canterbury School of Architecture
New Dover RoadCanterbury
Kent CT1 3ANUnited Kingdom
www.uca.ac.ukwww.cantarch.org
Editorial team: Anthony Gray
Sophie LamarqueDaniel Stilwell
Ting Yan Yeo
John BellGabor Stark
