masters in architecture (riba/arb part2)webdocs.aub.ac.uk/m.arch graduate show catalogue...
TRANSCRIPT
Masters in Architecture (RIBA/ARB Part2)This group of Masters architecture students, the largest cohorts so far, have been special, working remarkably well together, and supporting one another. They are all very talented individuals who have been productive in the studio and beyond. They have enjoyed the course’s unique location. It is both near the dramatic landscape, from the New Forest to the Jurassic Coast, and within a changing sea-side town. This provides a great context and research, for their projects and interventions. A large proposed urban project by Zaha Hadid Architects at the ‘front’ of Bournemouth has been the focus for the fi rst year M.Arch students. On the campus the gallery, studios, model making, printing and workshop facilities encourages a culture of making and production. The graduating students started two years ago with a collaborative series of installations in the empty parts of Boscombe’s Sovereign Shopping Centre. Responding to the context and the local community they started by creating whales, music and other spatial activities. For some of them it inspired their thesis projects to improve, regenerate and also question the environment of Boscombe and of Bournemouth. Others developed larger ecological challenges with projects in Tokyo, Angola and Kent looking at sustainable communities, energy infrastructure, and lunar movements. The course continues to develop its international links in the past year particularly via the Venice Biennale. Two of the students were selected as British Council Fellows in the British Pavillion at the Venice Biennale, and they had a fantastic experience researching for fi ve weeks in Venice. We as a course visited the Biennale supported by the AUB Mike Davies International Fund. Thanks to Shumi Bose, Alastair Donald, and Ola Dele Kuku for your lectures and contributions to our Biennale events. The students, especially those that have come through the AUB degree, have seen the development of AUB’s buildings and architecture particular the construction of Peter Cook’s Drawing Studio and its opening by Zaha Hadid. They have had a remarkable series of lectures, from world-renowned architect visitors such as Norman Foster, Peter Cook, Glenn Howells, Kieren Long, Alan Stanton with his choreographic daughter Thea Stanton, Mike Davies from RSHP on Mesotecture, Jessie Brennan, Katy Marks, Chloe Young, and Matthew Butcher. Thanks are due to the students and their many supporters, to the AUB staff, particularly Louise Thompson, Fausto Sanna, Willem de Bruijn, with visiting tutors Richard Eastham and Jennie Savage plus technicians Michelle Lowe and Preeti Sood. Thanks also to our external examiners Piers Taylor and Carolyn Butterworth. There have been many other contributors so thank you Michael Lane, David McCarthy, Nilesh Patel, Patrick Lewis, Andrew Fifi eld of PLP, Ron Bakker of PDP, Christian McLening, Arups London and Ben Rowe & Punton of Ramboll, Prof. Antonello Alici, and Will Allsop’s offi ce.
From Virtual Reality... ... to drawing in the AUB Architecture Studio
From presenting at Zaha Hadid Architects... ...to experiencing the world’s architecture at the Venice Biennale
NIGEL CLARKE
THERAPY - INDUSTRIAL INTERVENTION
The Dungeness application is a new industrial typology, experimenting with new andold technologies as a mechanism for mental therapy.
Dungeness has a major confl icting relationship between the natural and industrialenvironment. It has a coastal desert land with an imposing nuclear power plantcreating a surreal environment. This energy system is abstract and isolated from thedensely populated areas. It highlights the disconnection we have with our energysystems and a diagnosis of ‘negative anthropocene’.
This calls for a new planning application for site ‘C’ to create a harmonious ecosophy;an equilibrium between the environmental, social and mental ecologies. Focusing onthe mental attributes through therapy to re-educate and engage people with thesource of their energy system in order to be aware of their ecological responsibilities.
The architectural design is driven by industrial conditioning through the use ofthermal pools, which are heated via a by-product of hydrogen fuel cells as well asancient hypocaust systems. The pools are not conventional in the sense of relaxationbut a method of psycho shock therapy into the speculative future of ‘the drownedworld’.
“The innate releasing mechanisms laid down in your cytoplasm have been awakened...Into the entirely new zone of the neuronic psyche... Total psychic recall.” (J.G Ballard).
LEWIS CROPLEY
BOSCOMBE WELLBEING CENTREIn year 1 I looked at the symptoms and causes of deprivation and their architectural solutions. From toxic mould to isolation, to starvation, to building temperature to equality in the public and private arenas. Solutions exist to tackle deprivation where there is transient or arguably imminent economic collapse predicted at some point in the future, affecting quality of life, public health and even mortality rates. The aim of my thesis year is to develop and interrogate a future thinking and interventionist deprivation resistant architecture, conceptually, for the public good and technically. This I believe will create both an academically and professionally valuable document for application in my future work in practice, both in urban planning and architectural design.
Why design out deprivation? The RIBA Code of Professional Conduct states that architects should work towards the public good and impartially, creating a member’s obligation to see all subjects as equals and to provide facilities that will be useful even where a member of the public may be economically, politically or socially deprived. This service based physical conversation between designer and user groups is what I would like to investigate further with a design for a wellbeing centre in Boscombe, one of the most deprived areas statistically in the south west.
The aim of the thesis will be to experiment and develop a more focused inclusivity in architectural design. From fresh air to gender and equality to universal disability access. The technology strategy will focus on sustainable over-heads in the running of the building and an envelope that allows the owners and occupants lower energy consumption.
MIGUEL ANGELO DE OLIVEIRA [email protected]
UTANYA KIMBO
Despite the war problems in Angola, that still echo today, and the current economic crisis, due to the low oil price in the international market, the Angolan government is investing in the public and private sectors in order to create opportunities to turn Angola into a country with a dynamic economy, which is socially fair and environmentally sustainable. The governmental initiative of Angola ‘2025’ is a very promising step forward to boost Angola’s development in all sectors, and it will support further initiatives to increase in the term prospects for the country.
The aim of this thesis project is to develop a model of a rural/urban scheme, which will focus on minimising the problem of overcrowding in the cities such as Luanda. It will improve the lives of the people in need of social, economical, environmental and cultural well being. This urban/village solution will bring people back to the areas that in previous generations they have left, and result in improved quality of life at the individual, social and environmental levels.
JAMIE PAUL MALCOLM HUMPHREYS
TURNING JAPANESE, REDUCTION:REINTRODUCTION
The fi rst overview that is to be addressed is that of the title, why call it this? Turning Japanese is a signal towards the architectural and cultural idiosyncrasies that are uniquely Japanese from the Metabolic movement to the traditions and rituals of everyday life, then is reduction:reintroduction, this project aims to create a ‘monster’, a daemon that reduces the need to work extensive hours by creating a structure that is able to feed itself.This project aims to reintroduce the activity of sexual behaviour and fetishism back into an overworked and tired society, this reintroduction is not just underpinned in Japanese culture but in many 21st century developed cultures. Japan was chosen in this instance due to obsession; from obsession one is able to gain understanding past the surface and answer questions that may have otherwise gone unanswered. The images highlight that the ‘monster’, in this instance identifi ed as both serpent for Adam and Eve and as the fabled Minotaur for Ariadne and Theseus but this highlights that it is indistinguishable to separate the ‘lovers’ from the ‘monster’. In the 21st century the monster has been addressed as overworking with Japan’s weekly working hours often averaging 100 hours. The project has aimed to create, as stated, a daemon, a benevolent monster that aims to help humanity instead of causing its downfall or suffering. The form most ideal for this daemon was given to that of the serpent, in western philosophy it is known as an evil entity but in eastern philosophy it is an omen of good luck, rebirth and fertility. Like a serpent the structure utilises solar panels and solar water heaters to create a charged and warm interior, its piles run with brine to absorb ground source heat which its spreads throughout its body. It is clad in scales made from fi brous concrete and its skeleton is that of hard and long lasting steel. Its habitat is the vast concrete labyrinth known as Tokyo, where it forms a symbiosis with the individuals who inhabit it; it protects, shelters and warms them whilst in return it is maintained and occupied.
ECE SELIMOGLU
WOMOONMoon has been the source of inspiration over the centuries. Being a naked-eye observable but an unreachable existence with a dynamic shape has made the moon a spirited object for imagination for humanity. But most importantly, it was imagined as a goddess, Artemis, Selene, and Hecate in Greek mythology, and Diana, Luna, and Trivia in Roman era. Almost every goddess was linked to moon to some extent; all share common characteristics including ruthlessness and possessiveness. Not only linked to goddesses, but also to women and fertility specifi cally menstrual cycle to the moon’s phases. Moreover, the moon also has been held responsible for the psychological problems especially seen in women, under the name of “lunacy”, which originates from the name of the Roman goddess, Luna. Short and long-term consequence of the phenomenon that the higher likelihood of women being diagnosed as lunatic was suggested to become part of feminist orthodox. Today, the moon is still a representation, though not obviously, of womanhood and in some extent of feminism.
This project is the refl ection of the powerful female fi gure, inspired by the Goddess of the moon Diane, whose mission is to solve the most critical social, political and scientifi c issues such as the individual rights, free markets, education reform and parental choice, participation of women in political, social and scientifi c arenas etc., while admiring all the glory of the moon. This is aimed to be achieved with a secretive women’s institute, a research and educational institution, dedicated to the moon, which is the base for social, political and scientifi c works for the women’s resistance in Dungeness. It residents women all around the world as a retreat centre in order to conceal the women’s resistance while being an astronomical observatory.
NICOLA STONE
EGO. THE OTHER CITY: THROUGH THE LOOKING GLASSThe Thesis project concentrates on bringing about the emergence of a new city egofor Boscombe; confronting the areas problems and social stigmas, asking the city tochange, adapt and grow. The project considers the philosophical parameters set outin Jacques Lacan’s work on the emergence of an individual’s ego, incorporating thethree registering orders that encompass the psyche. ‘THE IMAGINARY’, ‘THE REAL’and ‘THE SYMBOLIC.’ The project mimics these very human paradigms on a largerscale and directly tests these theories on Boscombe. In this implementation of Lacan’stheories, another, like the refl ections within the mirror, is created. The Ego. The OtherCity.
In this ego other there is a continuing distance, a lacking, The other in the mirror isunobtainable, this is how I see my thesis design project, as a different being, a fantasystate that will never be built. A proposed design that exists only in the mirror realityas does the ego of a human being. My ego design for Boscombe looks out of themirror in the hope that the existing city will offer it a temporary existence, hopingthat it will notice this ego other in the mirror demanding Boscombe to aspire tobe more like its mirror reality. Thus, then conjuring another mirror stage and theemergence of a ‘new current ego’ for Boscombe.
It is my intention to within the representation of Design Thesis 2 to considerthis forever lacking that Lacan sets out in his analysis of being. Can I through mydesign concept and detail offer a solution to this distance between both beings, thebeing looking into the mirror and the being looking out. Can I begin to blur theseboundaries of reality within the representation of my architecture?
The individual ego encompasses this continuum of personal relatedness in ways that refl ect both the brain and its experience. The conditions of jamais vu (where the familiar appears strange) and deja vu (the opposite condition, where the unfamiliar appears familiar) are examples of alterations in relatedness. (Feinberg, T.E. 2002;2001. p.31)
DANIELE TROMBINhttp://trombindt.wixsite.com/[email protected]
THE EDUCATIONAL & FARMING CENTRESince the Industrial Revolution, the world has seen a multitude of technological achievements, population growth, and a corresponding increase in the use of resources. With the growth in global population there has been a need to produce more food to cope and there has been a need for more land to be cultivated. In the long run, this has generate a massive impact on our ecosystem through deforestation; vastly altering the ecology, the climate and ultimately shifting us away from our connection to nature.
The Bournemouth Educational & Farming Centre’s (BEFC) main objective is, therefore, to educate and to create an awareness amongst its visitors; hosting events such as seminars, talks and general discussions to develop an understanding of ecological issues. This will consist of explaining the risks in which our society is heading towards and highlighting the importance of preservation of our environment; merely through demonstrating more suitable and sustainable ways of using natural resources. More importantly, this institution will be looking at elucidating notions such as re-forestation and new methods of producing indoor organic food, followed by the concept behind vertical farming and its benefi ts. The high rise design expressed within the structure, it is signifi cantly important as it embraces principles envisioned by the radical movement of Superstudio, where colossal and geometrical mega structure take over desolated and primordial landscapes, imposing their futurist vision of order.
With a similar approach, the author tries to bring back the concept of nature with a building that through its size becomes the promoter of this initiative. The BEFC is the end result of a long process of historical and theoretical exploration, technological development and evaluation analysis which have been produced over the last two years and culminated with the realisation of the following.
MADALINA FLORENTINA VOICU
THE LIVING BRIDGE
‘Insecurity, the spectrum says, is the new normal.’ (IGMADE)
In a world where technology has become a necessity of modern life, can anyone escape its grasps? Does humanity still have a choice in using technology? The Living Bridge is a proposition for a research institute where technology is re-purposed to enhance the human body and mind. It analyses the relationship between the human condition and its prospects in the technological revolution. Insecurity, paranoia, anxiety and other mental conditions are just a few by-products of the negative effects this revolution has bestowed upon the world.
The thesis project is manifested through the complexity of the body and the role of the architect in a project. The architecture of the research institute exploits the sublimity of the architect’s body through the repetition of the female architect fi gure. Scientists and visitors have their bodies protected from the machine by the architect and human emotions are enhanced by the magnitude of the fi gures. Placed on water, in the context of the White Cliffs of Dover, the living bridge creates a partial integration with the landscape as a method of camoufl age. It is the beginning of a dialogue between past and future, organic and artifi cial, body and technology.
LAURENCE [email protected]
VIRTUAL, UN-VIRTUAL
An experience, an expedition, into what architecture? The architecture of the future, or the architecture of the past? Does architecture even exist in time? Or does it continue to develop itself by coating itself in dirt and adapting itself through decay?
This project is a virtual reality tour of my design for an architectural design and research studio in Boscombe, Bournemouth. The building has an important public function of providing dramatic, free access from the car park to the high street whilst the work is carried out in fl oating ‘clouds’ above the public walkway.
Also to be found in the exhibit is: A custom fi breglass moulded chair with a mild steel frame chassis. A 1:100 scale model which has been 3D printed out of biodegradable PLA plastic on a machine that was made by the student. A cacophony of made objects following a ‘research by making’ philosophy including work which looks at how Virtual Reality can fi t into an existing architecture practices workfl ow.
“When we leave the museum, we start a new adventure.
This time it’s up to us to create a schedule, to fi nd the history of every second.”
Laurence Wilcox, 2017
CHARLOTTE WOOD
FABBRICA: THE THEATRE OF PROGRESSWelcome to Boscombe Spa.
Much of Boscombe’s history in the last 40-50 years cannot be expunged completely and therefore must be accepted. Nevertheless, this does not mean a line cannot be drawn in the sand and that change can be effected for the future.
Currently, many existing buildings have been left derelict or are falling into disrepair. Whilst, much of the new development and re-development around Boscombe appears somewhat ad hoc.
In view of the above, the modern architect, Prometheus in collaboration with local philanthropist Sir Henry Drummond-Wolff are determined to leave a legacy of the 21st century that will serve as a community asset to help facilitate community cohesion and regeneration.
Development of 9-11 The Crescent, BH1 4EX, proposes at its heart a ‘theatre of progress’. The concept draws on ideas espoused by Rem Koolhaas and his descriptions relating to Manhattan whereby a new building acts as a constantly changing, cyclical process of performance.
In order to effect a process of change in Boscombe, Prometheus is proposing, in similar vein, a multifaceted building which strives to educate, facilitate debate, encourage collaboration and preserve precious artefacts.
In short, a Place of Enlightenment.
Boscombe, 2008.“A self-fulfi lling myth of drugs, crime and social deprivation. You hear it therefore, it must be. However, one must not fall into the trap. One must explore and expose the hidden beauty within.”
BA (Hons) Architecture and Masters of Architecture Graduate Show 2017