First published in 2012. University of Greenwich School of Architecture, Design and Construction Mansion Site Bexley Road London SE9 2PQ Copyright c University of Greenwich. All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage and retrieval system without permission in writing from the publisher. ISBN: 978-1-909155-01-5 Editorial: Nic Clear Design: Mike Aling Printed by Astra Printing Group in the UK.
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First published in 2012.
University of GreenwichSchool of Architecture, Design and ConstructionMansion SiteBexley RoadLondon SE9 2PQ
Copyright c University of Greenwich.
All rights reserved.
No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage and retrieval system without permission in writing from the publisher.
ISBN: 978-1-909155-01-5
Editorial: Nic Clear
Design: Mike Aling
Printed by Astra Printing Group in the UK.
005006012016020024026
028030032
035036048062
Conference TimetableIntroductionsSpaces For TheorySpaces For TechnologySpaces For DesignKeynote SpeakerContributor Profiles_
Greenwich at Venice Biennale 2012AVATAR and TED.comGREen Project Office_
Student Course GuideBA (Hons) ArchitectureDiploma in ArchitectureMSc Architectural Design
Proposed Stockwell Street development. Visualisation courtesy of Heneghan Peng Architects.
005[CONFERENCE TIMETABLE]
Friday 21st September 2012
To mark the beginning of the 2012-2013 academic year, the Architectural Pro-grammes will host a one-day conference titled of ‘Spaces For Architectural Educa-tion’, principally developed in anticipation of our forthcoming move to the new building in Stockwell Street.
The conference will comprise of presenta-tions around Theory, Technology and De-sign, they will be introduced by school staff and invited speakers, introducing students to the range of intellectual positions held within the world of architecture as well as those of external practitioners.
The conference is intended to provide a ‘kick-start’ to the theory, technology and design courses, it is primarily intend-ed for diploma students and third year degree students but will be open to the whole Department of Architecture and Landscape.
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Introduction Neil Spiller
Spaces For TheoryNic ClearMark GarciaHelen CastleRespondent - Mike Aling
Lunch
Spaces For TechnologySimon HerronSimon AllfordShin EgashiraRespondent - Luke Olsen
Break
Spaces For DesignNic ClearDavid GreeneRoisin HeneghanRespondent - Matthew Butcher
Break
KeynoteBen Nicholson
Neil Spiller, Great Metaphysician.
007[PROFESSOR NEIL SPILLER ][INTRODUCTIONS ]
with no luddite pretension but a view to ecological sensitivity.
The world is out there, held in genetics, politics, biology protocols and computers - let’s make it beautiful and make it touch theearth lightly.
Welcome to this conference, it is an initial signpost to the future.
Professor Neil Spiller
DeanSchool of Architecture, Design and Construction
September 2012
The education of architects and designers is a source of much discussion and debate. This debate always focuses on seekinga compromise between two cultures - that of science and that of art. In effect this continuum ranges from the quantifiable tothe poetic.
However, there is a third culture, one that is both open to pragmatism but is also open to the nuances of poetics and semiotics. The new spaces of creative education must re-spond to our contemporary world. A world that needs maverick creativity but equallya familiarity with the established ways ofdoing things - so that we, as designers, may be critical yet also propositional.
Our world is caught within an interplay of the virtual and the actual and it is within these interstitial spaces that new architectures can be constructed, whether it is an augmented reality terrain, or a convenient app or a bio-technical convergence between fauna, flora and wetware.
The School of Architecture, Design & Con-struction and the University of Greenwich will be working in this new cyborgian geo-graphy to create worlds that bask in the new sublimity of the twenty first century,
Nic Clear, Protocell Architecture 02 [Networks].
both inside and beyond the traditional realms of the construction industry. New possibilities require new processes, new modes of action, new sensibilities, new forms of organisation, new modes of production and new forms of dissemination. A key element is to develop programmes that engage with the impact of advanced technology on architecture and landscape, to use design as a way of engag-ing with the technologies of virtuality (explor-ing fully immersed, mixed and augmented en-vironments); time based digital media (video, animation and motion-graphics); nano and bio technology (micro landscapes and archi-tecture, ethics, sustainability and ecology), re-flexive environments and cybernetic systems.
Changes that were started last year are now blossoming, our programmes now contain some of the best teachers in any department in the country and the excitement generated by these new opportunities have attracted lead-ing practitioners to lend their support to devel-op a new type of architecture and landscape education. Students by necessity will develop skills that will enable them to flourish as de-signers, and as people, well into the future.
Nic ClearHead of Department of Architecture and Landscape
009[NIC CLEAR ][INTRODUCTIONS ]
Over the summer the Department of Architec-ture and Landscape has undergone a dramatic change. It has reorganised, reconfigured and recalibrated. People may have been worried by the speed of this change, but change has come about as much by necessity as choice. Like the majority of architecture and land-scape departments, Greenwich had become fixed in its ways; Greenwich had developed a timidity and insularity largely predicated on a fear of the unknown, a fear of uncertain-ty. The economic reality of higher fees and greater expectations had it fixed in the beam of its head-lights, the only option was to move and to move quickly. However, we have not moved recklessly, we have seized a once in a generation opportunity to create a new school.
We are on the move; we are leaner, fitter and more agile, we embrace change and uncertain-ty as allies; we realise the necessity of creating new connections and new possibilities. One thing is certain - standing still is not an option.
The traditional claims to authenticity of an elit-ist architectural culture are being superseded by the more dynamic and contingent mod-els of spatial production predicated on new technology and new modes of connectivity. Architecture and landscape is being defined by the way it adapts to these new possibilities
Susanne Isa, Bovine with Cheese Board, Berlin, November 2006.
Ron Herron, It’s a... Beach, Archigram, January 1971.
011[SIMON HERRON ][INTRODUCTIONS ]
“What’s in a name... take the label off a can of beans, what have you got left… a canof beans?” 1
The prevailing difficulty with labels is that they seem to condition nothing but your mind! Labels build up expectations, drive assump-tions and prejudices drawn from experience and preconditioned responses. ‘“It’s a poor sort of memory that only works backwards,” the Queen remarked.’ 2 The question is how to move forward when all around appears to be moving in reverse?
Consider the two images opposite; what clues, understanding or meaning can be un-covered, what evidence is presented of the physical fabric, what are the signatures, dis-tilling one use from another? It’s a… Beach presents a speculative proposal for an ex-tremely versatile and indeterminate facility, which changes use, function, appearance, composite parts and name. The seconda pastoral scene of carefree abandon, a soft radiant light. Both images suggest an environmental, tuned-up, plugged-in, loose fit, augmented wireless technologies, a nomadic technological arcadia, anticipating the future desires of the tribe. High demands on the physical hardware challenges conventional thinking of static utility. Design life, upgrades,
‘It’s a...’, Ron Herron, Archigram, January 1971.Lewis Carroll, Through the looking glass.
12
the seamless interface with software and firmware, agility of response, the desire for control and choice. The physical architectural fabric provides a backdrop, an environmental conditioner, tunable, responsive and anticipa-tory. So what then defines the school? An architecture school can no longer be defined simply by a label, or constrained by its physi-cal presence, it needs to evolve and exist, above all else as an Idea... the Bauhaus is not remembered so much for what it physical-ly produced or built, but for the extraordinary step change in visionary thinking it generated. An architecture school’s purpose is to act as a catalytic incubator of architectural thought and practice, a shapeless pressure vessel,a reaction chamber generating a critical mass, a space of unparalleled distraction, unburdened imagination. Reject tired labored practices of the past, reject narrow minded professionalism, reject statically driven para-digms. The aim is to invent and service the needs, wants and mores of the future, to de-vise new strategies for architecture production.
Simon HerronAcademic Leader, Architecture
[SPACES FOR THEORY ]
Image courtesy of Mark Garcia.
012
013[NIC CLEAR ][SPACES FOR THEORY ]
Architecture is a complex discourse; it is not just designing buildings and building build-ings. Architecture exists in the multiple possi-bilities that exist around the creation of spatial concepts. These ideas, representations and artefacts can exist as physical objects, virtual and augmented environments, texts, draw-ings, models, photographs and films. It is the various combinations of these possibilities that give us various theories of architecture. Individually, theories of architecture tend to reflect specific value systems; aesthetic, physical, social, cultural and political. But, whose values? Who decides why is some-thing ‘good’ or ‘bad’? Theories of architecture are not innocent; through the language that is used, the sources that are cited and the methodologies that are employed, values and positions are perpetuated, sometimes this is done consciously and purposefully, sometimes it is not. How do we construct theories of architecture and why are some forms of knowledge considered more ap-propriate than others? WHO DECIDES?
The nature of a theory, and its relationship to architectural production is often presented as ‘natural’ and ‘transparent’. Theories of archi-tecture are not ‘natural’, they are ideological; they are constructed as part of a discourse. Theories have to be considered within various
philosophical, ideological, political and social contexts. Theories are not static or fixed, they are being constantly changed and negotiated, surrounded by associations which often tie them to deeply conventional and conserva-tive value systems, personal, financial and bureaucratic. Theories often legitimise the status quo, maintaining a system of con-viviality and progressiveness through private ownership and consumerism. As theories be-come repositories for ‘our’ values, they also become repositories for ‘our’ prejudices, they have been subsumed under the weight of these prejudices.
In many cases theories of architecture have become removed from the practice of design-ing and making. Moving forward, it is essential to consider ‘theory’ and ‘practice’ as intercon-nected; to use histories and theories as a way of giving practice an intellectual, cultural and political basis. Equally it is important to be involved in ‘making’ (artefacts, texts, draw-ings, films etc) that feed back into a theoreti-cal understanding of architecture. Theories of architecture should be informed by engaging in the ideological trends that are shaping con-temporary architectural discourse, and be an active part of that process.
Nic Clear
014
[MARK GARCIA ][SPACES FOR THEORY ]
Mark GarciaPRACTI_COOL THEORY: HISTORIES AND FUTURES OF BEAUTIFUL ARCHITECTUR-AL MONSTERS.
‘Theory is a practice, a practice of concepts. Practice is a theory, a theory of contexts.’ Bernard Tschumi
‘There is nothing so practical as a good theory.’ Frank Duffy
‘Theory is exactly like a box of tools.’Gilles Deleuze
The relationship of history and theory (THE-ORY) to building and making (MAKING) has always been a love-hate marriage. In this bi-polar opposition, specialization and separation help to generate cyclical and dichotomising fashions, privileging and re-pressing one binary pole or the other. Whilst there are some clear differences, in the 21st century new architectural technologies, methods, materials and media (such as film, websites, diagrams, performances, in-stallations etc.) blur the distinction between THEORY and MAKING in both the products and the processes of architecture.
Even today’s hardcore ‘Theory’ (with a big ‘T’) (positivist, academic, scientific theory) has in some cases been replaced, par-ticularly in the ‘softer’ disciples (humanities and social sciences), and more creative,
entrepreneurial, high-innovation, knowl-edge-intensive industries and professions, by ‘theories’ (with a little ‘t’). Being faster, ubiquitous, implicit, tacit, more specific, sub-Theoretical, more accessible and popular ‘theories’, including unconsciously operating ideology, are therefore inescapable but also eminently utilitarian and at its best, as veri-fied, valid, original, innovative and architec-turally productive and significant as the best hardcore ‘Theory’.
In architecture warring camps persist and slogans like ‘theoretical meltdown’, ‘theoreti-cal hiatus’, ‘death of theory’, ‘post-theoreti-cal’, ‘end of history’ and the ‘anti-historical’ are being proclaimed alongside the schism between ‘Critical Architecture’ and ‘Post-Crit-ical Architecture’. These discourses perpet-uate an unhealthy state of intra-disciplinary apartheid in the oppressive myth of the es-sential and general separation of THEORY from MAKING, for either mode is a practice and involves design. The cleverest THEO-RISTS like Sylvia Lavin are side-stepping the debate by calling simply for ‘cool’ ar-chitecture in both THEORY and MAKING.
A rapid international survey of some evi-dence for the increasing popularity and general practicality of architectural ‘theories’ shows that THEORY is becoming ‘cooler’. Recent and emerging ‘cool’ architectural pro-jects demonstrate that those which couple the best THEORY and MAKING into fluidly beautiful hybrid monsters can reach the highest levels of futuristic global architec-tural research, creativity, innovation and significance. Such an alchemical meltdown of THEORY and MAKING could happen in the crucible of the new building on Stockwell Street, with what the school designs and bui-lds in it: the gauntlet has been thrown down.
015[HELEN CASTLE ][SPACES FOR THEORY ]
Helen CastleWHY HISTORY & THEORY = INNOVATION.
For design students, history and theory are easy to overlook. They lack immediate allure. They are in no way attention grabbing. You have to fight to make time to read and engage with ideas. There is just too much else going on, to visually consume. Social media is very distracting and time-consuming, considering the speed at which it comes at you. But can students really afford to neglect developing their critical thinking? To be an architect you have to display a great deal of ingenuity not only in your design, but in every aspect of your practice. You have to be able to situate your ideas and yourself, and to be analytical in everything that you approach - from the most mundane practicalities to the strategic.
Architectural Design (AD) has an almost unrivalled reputation worldwide for deliver-ing cutting-edge design and ideas. Founded in 1930, it published the likes of Alison and Peter Smithson, Sir Denys Lasdun and Ernö Goldfinger in the 50s & 60s; Cedric Price and Archigram in the early 70s; becoming the Post-Modernist mouthpiece of Charles Jencks in the late 1980s; by the 1990s, it was one of the first publications to es-pouse the digital in architecture. Published bimonthly, AD both anticipates and reflects on ideas, design tendencies and cultural phenomena. Highly illustrated, it juxtaposes ground-breaking design with original thinking. As its editor, Helen Castle is an advocate of critical thought. She is also a strong be-liever that you have to look back in order to move forwards.
[SPACES FOR TECHNOLOGY ]
Susanne Isa, T-Rex, Gas Stop, Cabazon CA.
017[SIMON HERRON ][SPACES FOR TECHNOLOGY ]
Framed within the broad context of a dis-cussion on the spaces of architectural edu-cation, precariously situated at the pivotal point of balance between Theory and De-sign, the role of Technology is presented as a central protagonist in architecture’s search for its driving soul. Consider how architec-ture can be defined by its engagement with and use of technology. For some, technol-ogy is central to their practice, it forms and frames it, providing the reason and con-tent to their work. For others, technology is a simple practical issue of expedience, a means to an end. Neither position is right or wrong, however a decision needs to bea considered consciously. Technology is both theoretical practice and a design discipline.
So what of the technology of today, or more importantly, the near future? Looking through the pages of professional journals, a cross section of current vernacular thinking, the lat-est in intumescent seals, roofing membranes, façade systems, laminate wars, rapid proto-typing of everyday sanitary vitrines, I recalled a half-remembered Talking Heads lyric: “...same as it ever was, same as it ever was.”
You could be forgiven for imagining you are experiencing a momentary and curiously un-nerving sensation of living in reverse, deep
The opening to The Great Gizmo by Reyner Ban-ham, first published in Industrial Design, Sep 1965.
1
into a technological shadow. Side stepping the gravitational pull of the past is the power-ful but invisible force of Technological Drag, shifting instead into the heady slipstream of the future, a space where the fabric of time bends, exposing NASA 9 stages of techno-logical evolution from idea to delivery.
Looking back over 1930’s issues of Architec-ture Vivante in monochrone with hand-tinted plates, to the glossy magazines of the 60’s, you are struck by an obsession with sanita-tion, hygiene, fresh air and light. Modernism posited as a pseudo-technical discipline, aid-ed by an array of new hardware.
‘The purpose of technology is to make a dream a fact... the end is to make the Earth a garden, paradise; to make the mountains speak.’ Arthur Drexler. 1
Today we have the opportunity to discuss technology within the context of an archi-tectural school with presentations framed to challenge preconceptions.
Simon Herron
018
[SIMON ALLFORD ][SPACES FOR TECHNOLOGY ]
Simon Allford
What is this thing called architecture?
We study it, practice it, execute it and in doing so all too often we accept the absurd notion that it can be regulated. In actuality architecture only exists as buildings, draw-ings or ideas when they are recognised as such by peers, critics and historians (of the past and future).
Yes there is a profession and it is right that there is, but thankfully in the UK they protect title not activity. Of course that can also be said to be absurd, but better to protect a title than restrict architectural activity.
There are plenty of professionals who build but fail to make architecture and many more who make architecture but badly and barely worthy of the name. But then again that is a statistical inevitability! And of course much architecture exists only on paper in words and drawings: architecture is about ways of seeing and then designing the physical world, it is not solely about execution nor solely about ideas.
So what of the taxonomy of architecture and how we study it by subdividing it into con-venient pedagogical categories?
Today I am invited to participate in a con-versation in a university about Technology which is somewhat inconveniently sand-wiched between Theory and Design. On another day it could be culture, production and aesthetics. Perhaps that is one possi-ble description of architecture: the theory of technology and design.
The greatest of architectural inventions is the invention of a vernacular: a way of thinking of and making architecture that is at once easy and at one with ideas of con-struction, technology, culture, society, envi-ronment and time.
So when I talk today of my practice and our engagement with technology, I am still discussing theory and design and ideas, but in particular the way we set out to construct ideas about architecture. Architecture is above all the art of mas-tering constraints to offer a way of think-ing about and ‘designing’ the world to im-prove the potential of our existence on Buckminster Fuller’s ‘Spaceship Earth’. Technology is not a separate discipline or subject. Technology, to adapt an apho-rism of Cedric Price, is only one part of the right answer if you began by asking the right question.
In the tale he wrote for a little girl, Lewis Carroll mathematically illustrated the re-lationship between size and scale. As she walked Through the Looking Glass, Alice grew and shrunk simultaneously.
Today, as we look through the city, what appears before us seems to reflect the other side of the looking glass - where the fast and the slow, the big and the small, instants and repetition, function and non-sense co-exist.
We are changing as if we were balancing our body within this state of flux, surround-ing ourselves with various kinds of gadg-ets, while we continue to piece together
the images, afterimages and fragments ofmemories in order to make sense of the city through our bodily experience.
As contemporary building technologies facilitate the complex economical and political climate globally on one hand, and create the necessity of our shared physical experience in the local scale on the other, we are faced with a city without the sense of tactility and gravity; the city as trace.
Can we imagine a different kind of de-sign science that attempts to create a newurban context by re-utilizing the excess-es, by mixing the old technique and new technologies and make sense of poetry and practicality?
Shin Egashira, Fish Cabinet.
[SPACES FOR DESIGN ]
Anon, Here’s 3 Chords... Now Form a Band, 1977.
021[NIC CLEAR ][SPACES FOR DESIGN ]
In two years time the Department of Architec-ture and Landscape will be moving into a new building in Stockwell Street. This begs a fun-damental question: given that we will be oc-cupying a C21st space, what sort of agenda is appropriate for C21st design education?
The school has a duty to equip students with skills to communicate individual ideas and aspirations, and given the diversity of its stu-dent population the University of Greenwich should be encouraging diversity in the forms and content of its student work. The school cannot become a monoculture if it is to thrive, it has to embrace a wide number of positions to create meaningful design possibilities.
In the last 15 years the onset of digital tech-nologies has revolutionised the way architec-tural education is taught and practiced, there is an absolute imperative to develop design and representation skills that are appropri-ate to current and future employment needs. However an understanding of, and ability to utilise traditional forms of design and mak-ing are an invaluable asset in the effec-tive acquisition of even the most advanced skills. Whether students are trying to develop skills in CAD, graphics, animation, program-ming, scripting or digital fabrication, a strong foundation in traditional means is essential.
The next generation of architects will have to deal with diminished resources, consequenc-es of climate change and a greater merging between actual, augmented and virtual space. There is no place for the faint hearted, there is an imperative to create young architects who are brave and forward thinking, who will have to challenge orthodoxies and be responsive to change. An education in architecture should enable a student to be employable across a range of disciplines. Architecture teaches graphic, technical and theoretical skills; it enables students with logistical and reason-ing abilities, students must be in a position to capitalise on the opportunities presented to them and develop an individual position and agenda that will last beyond university.
The new building for the School of Architecture, Design and Construction should be a place where students are allowed to experiment, to play, to dream, to push their aspirations be-yond the restrictions of practicality and profes-sionalism, while still being a place where they learn to communicate practically and profes-sionally, to develop effective skills that will allow them to flourish throughout the C21st.
Be reasonable, demand the impossible!
Nic Clear
022
[DAVID GREENE ][SPACES FOR DESIGN ]
David GreeneINVISIBLE UNIVERSITY
The Invisible University is about fostering the crossover of architectures, old ideas (there is no such thing) with new technical imperatives - what did we learn? A dou-bletake rewind - both futuristic and nos-talgic. Hot-wiring modernism and taking it for a picnic: electro-social camouflage, collective engagement, differentiated repeti-tions and good old-fashioned pencil.
The Invisible University attempts to avoid seeing architecture as a set of shapes, preferring to see it more as a sensitive responsive system. An elec-tronic topology, constantly tuning and retuning itself.
The Invisible University is a network that employs a strategy of ad hoc multi-disciplinary collaborations that are seen as an essential part of the evolving model of a flexible university.
The project has worked to collage together the vocabularies of advanced robotics and information technology with the description of architecture by the Situationists as time and event, and the poetic impetus of the ro-mantics, Coleridge, Wordsworth et al... it is an example of a general condition that we refer to as Incidental Pastoralism.
Incidental Pastoralism depicts a landscape that George Stubbs and the I-pod user would both understand. The Invisible Uni-versity acts as a catalyst in this landscape that is infested by sheep and machines, grazing within the nervous system of the in-ternet, where the values of a planet are sub-ject to wikification, and where the dominant technology has no moving parts.
Imagine yourself with a laptop on a lawn by a shed. The screen is your tutor, the lawn is your classroom so what is the shed for? The Invisible University research into the ar-chitecture of the culture of smaller and faster.
IU, A Well-Serviced Primitive Explores the Architecture of the New Nature.
IU, Future Learning.
023[ROISIN HENEGHAN ][SPACES FOR DESIGN ]
Roisin Heneghan
In a time when spatial proximity is no longer essential, where lectures can be down-loaded, seminars conducted across time zones and tasks undertaken remotely, it is the opportunity for students to work to-gether, to see and learn from one anoth-er’s work, and to make, that informs the design of the new building for the School of Architecture, Design and Construction in Greenwich.
A large studio, around which are organised all of the seminar rooms and classrooms, brings all of the disciplines into one space structured around design and making. The focal interior space is this working space which has its parallel in the roof gardens.
Heneghan Peng Architects, Stockwell Street.
Heneghan Peng Architects, Stockwell Street.
024
[KEYNOTE SPEAKER ]
Ben Nicholson, Roman Labyrinths, 2005. Ben Nicholson, Appliance House, Face Name Collage, 1986-1990.
Ben Nicholson, Appliance House, Exterior Elevation of Cell Wall, 1986-1990.
025[BEN NICHOLSON ][KEYNOTE SPEAKER ]
In a search for a practice of design that is beyond both ‘green’ and ‘taboo’? Where on earth can one look: inward? Does the ener-gy leaking from the pineal gland detect spa-tial qualities that are traditionally invisible? How do we design for the intangible, where the white space that surrounds architecture is sensed? Maybe the hyper-cycle of mak-ing stuff and building buildings will lead to a resurgent interest in the ineffable, usher-ing in a wholesale rejection of matter. Could this be our ‘Ghost Dance’ moment, when the ethereal engages the visceral to makea sublime construct of nothingness?
What is the equivalent word to Go Walk-about: is it wandering or wanderlust or maybe meandering? If humans were spi-ders, paying out a silken thread wherever they went, they would find that each per-son’s passage on earth is nothing more than a single line. We like to think that one foot goes one place and the imagination takes the other somewhere else, but no: everyone walks a continuous line through life - no ifs, ands or buts.
A labyrinth is a raw architectural plan with-out substance, save the invitation to walk in dust. It sets in motion an intermingling of people, where the backs of hands brush
against each other and the body pivots on a heel to confront someone face to face. At one moment you are held enveloped by others, the tables then turn and it is you who do the holding.
With each visit to a labyrinth an exfoliation of energy is shed, building a repository in the ground that accumulates incrementally to make a fund of something that lingers. The more well-being that is left in any place, the more it can give to those who leave in its bosom their hurt. Yet places can be worn down by giving too much, a battlefield for example. Cities becomes rich when they accumulate the collective energy left there, be they animals or humankind. Surely that is why some fields still sing long after the memory of what once happened there dissolves.
It is possible to do architecture with no build-ing and still derive pleasure from it. Try it!
Ben Nicholson
026
[PROFILES ]
Simon Allford co-founded Allford Hall Monaghan Mor-ris Architects. He leads a studio with projects in England and abroad that engage both public and private clients ina wide range of projects that vary greatly in scale and use. All invite the exploration of a particular architec-ture’s potential to offer utility and delight.
Simon is a visiting professor, lecturer, critic and ex-ternal examiner; he judges urban and architectural design competitions and contributes to debates, lec-tures and publications that discuss architecture and the work of his practice._
Helen Castle is Editor of Architectural Design (AD) and Executive Commissioning Editor of the UK ar-chitecture list at John Wiley & Sons. She has worked for over twenty years on architectural pub-lications and has an MSc in the History and Theory of Modern Architecture from the Bartlett School ofArchitecture (UCL)._
Shin Egashira is an artist, architect and educator that worked in Tokyo, Beijing and New York before coming to London where he has been establishedsince 1987.
Shin’s work has been exhibited in London, Japan, Switzerland, Korea, Singapore, Italy and the USA. Artworks and installations include ‘The English House’ at the Camden Arts Centre, ‘Impossible Vehicle’ at the Spiral Garden, Tokyo, ‘Slow Box/Afterimage’ for the Tsunami Trienalle and ‘Time Machine’ for Beyond Entropy in the Venice Architecture Bien-nale. He has been artist in residency at the Cam-den Arts Centre in London and Bennington College in Vermont.
From 1990 he has taught at the Architectural As-sociation School of Architecture and has been Unit Master of Diploma Unit 11 since 1996.
He is the founder and organizer of the Koshirakura Landscape Workshop in Niigata, the Muxagata Build-ing Workshop in Portugal and the AA Maeda Work-shop in Tokyo, London and Hooke Park. He has also taught workshops in Korea, Taiwan, Ireland, China and Norway and has been a lecturer in several uni-versities and venues all over the world._
Mark Garcia has worked at Branson Coates Archi-tecture and at SOM London. He has held academic posts at St. Antony’s College, Oxford and at the De-partment of Architecture at the Royal College of Art, London. He is the editor and author of Architextiles AD, The Diagrams of Architecture and Patterns of Architecture AD and is a lecturer in the School of Ar-chitecture, Design and Construction at the University of Greenwich. He is currently editing and writing the forthcoming Future Details of Architecture AD._
David Greene. Founder member of Archigram. He was awarded, with Peter Cook, the Annie Spink Award for Excellence in Architectural Education in 2002. A nervous, twitchy career from designing t-shirts for Paul Smith to freelance practical speculations for developers to conceptual speculations for Archigram._
Roisin Heneghan is director of Heneghan Peng ar-chitects, who practice architecture, landscape and ur-ban design. Heneghan Peng take a multi-disciplinary approach to design and have collaborated on a range of projects which include larger scale urban masterp-lans, bridges, landscapes and buildings.
Current projects include the Grand Egyptian Museum at the Pyramids, the Giant’s Causeway Visitors’ Cen-tre, Central Park Bridges at the 2012 London Olym-pic Park, a Library and School of Architecture at the University of Greenwich, London and the Mittelrhein-bruecke in the Rhine Valley._
Ben Nicholson is Associate Professor in Architec-ture, Interior Architecture and Designed Objects at the School of the Art Institute of Chicago (SAIC). He studied at the Cranbrook Academy of Art, the Archi-tecture Association, London and Cooper Union, New York. He has exhibited internationally, including at the Whitney Museum at Altria, New York, Venice Bi-ennale of Architecture, the Renaissance Society, Chi-cago, the Canadian Center of Architecture, Montreal and the Barcelona Center of Contemporary Culture. His publications include The Appliance House; The World: Who Wants It?; Ben Nicholson: Thinking the Unthinkable House and Ineffable Architecture, and his work is featured in collections at the Canadian Center of Architecture, Montreal and the US Library of Con-gress, San Francisco Museum of Modern Art.
027
028
[GREENWICH AT VENICE BIENNALE 2012 ]
Nicolau Faria
Simon Woodward
Dominic Davis
029[MATTHEW BUTCHER ][GREENWICH AT VENICE BIENNALE 2012 ]
As part of the prestigious 13th Venice Archi-tecture Biennale this summer, the University of Greenwich School of Architecture, Design and Construction was asked to represent the UK in an international exhibition ofstudent architecture work.
Curated by David Chipperfield as part of his remit as Director of the Biennale this year, the exhibition, entitled 40,000 Hours, aimed at creating a complete survey of student de-sign approaches across the international academic community.
The exhibition set out to discover if there was any common ground to be found within this diverse and contradictory community and, if so, what this ground might be.
The school was asked to submit three stu-dent projects to be shown alongside work from 30 international architecture schools including the University of California, Berke-ley, Oslo School of Architecture and Design and the Tsinghua University, Beijing. All of the projects submitted had to be represent-ed by a single white card model; by reduc-ing the materiality down to a single, univer-sal medium the similarities and differences of the designs exhibited could be assessed more easily.
The students selected to exhibit from Greenwich were chosen from across the ar-chitecture course - from second year degree to postgraduate diploma. All three projects demonstrated individual design sophistica-tion as well as being experimental - show-casing the diverse approaches to design being explored within the school.
From the degree course, Dominic Davis, a second year last term, presented a rep-resentation of his project ‘A “Voyeurs” Bath House’, sited in Marseille. Last year’s Bronze medal nominee Simon Woodward presented his project ‘Land Observatory’,a building which acts as a scientific instru-ment to monitor coastal erosion in north Nor-folk. This land observatory, clad in clay and samphire, employs boat-building techniques and can be rotated by sea- or oar-power. Finally, Nicolau Faria, a postgraduate stu-dent from Diploma Unit 15, has modeled an abstract representation of a retrofitted Truman Brewery on Brick Lane in east London.
The Biennale runs from the 29th of Septem-ber until the 25th of November. This year it has 119 international exhibitors including Zaha Hadid, Peter Eisenman, Ai Weiwei and Álvaro Siza.
030
[AVATAR AND TED.COM ]
Rachel Armstrong presenting at TED.
031[DR RACHEL ARMSTRONG ][AVATAR AND TED.COM ]
The unique, synthetic ecology underpinning the Future Venice project reached the att-ention of the TED (Technology, Entertain-ment, Design) Fellowship committee, which was awarded to AVATAR researcher Rachel Armstrong in July 2009 and extended into a three year Senior TED Fellowship inNovember 2010.
The production of an artificial limestone reef underneath the historic city, by a mega- scale, chemical computer was borne from a collaboration with Neil Spiller’s AVATAR (Advanced Virtual and Technological Archi-tecture Research) group in late 2008 when the tactics of complex materiality were dis-covered to be common to surrealist spatial protocols and the new science of synthetic biology (the design and engineering of living systems).
An ecological future for Venice was pro-posed as the consequence of programmed interactions between smart droplets and their surroundings whose material depos-its were guided by their internal chemistry. The accretion of limestone as the conse-quence of a carbon-fixing ‘metabolism’ was imagined to lead to a broadening of the sur-face area of the woodpile on which the city rests and to spread its point load so that
its sinking into the soft delta soils on which it had been founded would be attenuated.
AVATAR’s pioneering research and devel-opment into a new field of synthetic bio-logy has continued and ventured beyond the realm of speculation, incorporating labora-tory and field work. Synthetic biology based architecture has provided the basis fora number of TED events, whose aim is to spread ‘ideas worth sharing’. For example, AVATAR has presented on carbon fixing paints, challenged the design of the carbon cycle and demonstrated how it is possible to design with materials that possess a will of their own.
These projects have also been published in the ‘TED Book’ series of Amazon Singles titles, which have multimedia capabilities. TED’s high profile platform continues to ex-tend AVATAR’s outreach through independ-ently organised TEDx talks in places such as Budapest and Belgium. AVATAR’s close relationship with TED reflects its own com-mitment to high impact, excellent, accessi-ble research and communications strategies that are not only advantageous for reach-ing hundreds of thousands of people but help to combine AVATAR’s research and teaching programmes.
The GREen project office at the University of Greenwich School of Architecture, Design and Construction has established a labora-tory base in ‘Green Works’, a new hub for biotechnological development in London. Fronted by Howard Gilby, GREen work alongside leading engineers and landscape architects Battle McCarthy.
The Laboratory will be an opportunity to create and test applied green engineering science through prototyping, practical and experimen-tal research. The focus will be on designing and prototyping for live projects as well as research into routes to industry, certificationand funding.
Additional layers of insulation are being ret-rofitted to hundreds of thousands of proper-ties across the UK as part of the govern-ments Green Deal initiative to help bring down electricity usage and therefore reduce carbon emissions. During the summer these newly insulated properties overheat and occupants open windows, which in many cases only serves in exaggerating issues of noise and air pollution.
The GREen team have been developinga range of products and systems combining plants, insulation and hydroponics (using
ultrasonic misters, and fog jets previously developed by Nasa). The solar powered mist makers are timed to spray the air around the plant roots for 30 seconds every four hours (depending on the plants), maximising the nutrient needs of the plants whilst minimis-ing water usage. The airtight containers are similarly protected from bacteria attack and insulated against the seasonal variants of winter freezes and summer overheating.
Polluted external air is filtered and cleansed by the plant roots before entering the build-ing. Working in collaboration with Battle Mc-Carthy, the designs have been progressed with expert help from the r+d departments of industrial giants Ambius and Cordek, glo-bal leaders in their respective fields of plant maintenance and polystyrene manufacture.
GREen are also developing cooperative community vertical “ph”arming projects aimed at maximising crop yield and crop value in dense urban conditions.
Current GREen members:Howard Gilby, Roger Seijo, Chris Pattison, Mitch Johnson, Natasha Hutchinson-Fuat, Salwa Al-Waili, Sarah Dowdall, Christopher Singh, Charlie Treverrow, Drew Chapman, Petya Nikolova.
The University of Greenwich Department of Architecture and Landscape is a positive and creative environment that, due its loca-tion within the School of Architecture, De-sign and Construction, is Multi and Inter dis-ciplinary by nature; this puts us in a unique position to equip students to address global environmental and technological challenges and bring to the fore cutting edge approach-es to Design and Construction, approaches conceived within the context of an efficient and ethical use of resources.
The BA (Hons) Architecture and Diploma in Architecture programs offer an experimental and speculative approach to architectural discourse that put excellence in design at the heart of their activities and provide the skills and context for the production of theo-retical, analytical and critical studies on and in Architecture.
Our programs aim to address and define new trends and knowledge in the field of Architecture; to posit new aesthetic sys-tems and codes of representation for Archi-tecture; to facilitate a body of knowledge, both practical and theoretical, that allows students to develop and refine their own design language albeit within a rigorous academic framework.
Our students are encouraged, challenged and inspired in equal measure; we offer an environment where students are able to develop skills and practices that will extend well beyond their time at University, while at the same time we make sure that they are given space to flourish as people.
At the University of Greenwich Department of Architecture and Landscape we believe we have a responsibility to look forward; to not only deal with what Architecture and Landscape are and were, but to set an agenda for what Architecture and Landscape could be.
[For full information regarding Program and Course Specifications please consult the Definitive Course Guide, which can be found on MOODLE.]
P - O C T - N O V - D E C - J A N - F E B - M A R - A P R - M A
OVERVIEWBA (Hons) Architecture is a three-year full-time, and a four-year part-time course that leads to exemption from ARB/RIBA Part One. The programme encourages a creative and speculative approach to design, a thor-ough engagement with both theoretical and technical ideas and techniques combined with a rigorous professional understanding of the roles of the architect in society.
The BA (Hons) programme is design led with half the credits for each year coming from design courses; it develops from an in-itial exploratory first year where all students are introduced to the means of articulating architectural ideas through drawing, making and writing into second year where they must demonstrate a competent, inventive and au-thoritative approach towards Architecture. In third year the aim is to bring students to a point where they can demonstrate through their portfolios, technical reports and dis-sertations, expertise in delivering an appro-priately complex set of architectural ideas, presented to a professional standard.
There is an emphasis throughout the de-gree on work being conducted with rigor and ambition, with the expectation that students will define an area of study and
personal research that will equip them for life beyond University.
DEGREE DESIGN UNITSSecond and third year design teaching is organised using the Unit system; students are required to join one of a selection of specialist design Units. Each Unit will of-fer an exciting and innovative approach to teaching, developing a broad range of skills (design, graphic, software, technical) to support design teaching. Units are en-couraged to develop and support special-isms that mark them out as having a clear position with respect to design, technology and theory, these positions will be clearly articulated through Units briefs and presen-tations. Admission to a Unit is by interview and agreement with Unit staff.
P - O C T - N O V - D E C - J A N - F E B - M A R - A P R - M A
038
[STUDENT COURSE GUIDE ]
Cast-In Steelwork (Brackets/Plates) Connections for Atrium Stairs
P - O C T - N O V - D E C - J A N - F E B - M A R - A P R - M A
P - O C T - N O V - D E C - J A N - F E B - M A R - A P R - M A
048
[STUDENT COURSE GUIDE ]
Steel Structures, Small Lecture Theatre - Basement & Grd
049[DIPLOMA IN ARCHITECTURE INTRODUCTION ][STUDENT COURSE GUIDE ]
OVERVIEWThe Diploma in Architecture is a two-year full-time, and a three-year part-time course that leads to exemption from ARB/RIBA Part Two. The course encourages both a rigorous professional approach to architec-ture within a highly speculative and crea-tive context. There is an emphasis on work being conducted at a graduate level, with the expectation that students will, through reading and research, define an ambitious area of study.
A unique aspect of the course is the oppor-tunity for students to develop research into advanced architectural design and tech-nology and explore architectural ideas and practices beyond the traditional remit of the architectural profession.
In the Diploma program we see that our responsibility is to provide an environment where students are encouraged to reflect on an evolving world, searching out an ap-propriate Architectural response relevant to their time. Ultimately the aim is to engage with students and to challenge them to be independent in thought and action.
Year 1 provides students with an appropri-ate grounding into contemporary issues of
Architectural Design, Urbanism, Technology and Theory.
The Urban and Building Design Projects and Design Realisation report provide a frame-work through which students can critically examine the Technical and Professional de-sign drivers for the principle design project of the year. Bridging the gap between school and practice, Design Realisation in particu-lar re-situates Technology and Professional Studies within the creative Design process.
Each Design Unit has an established part-nering with a major London practice to sup-port and mentor students through the prac-tice based tutor program, which runs across the school. The course is further augmented by a dedicated lectures series. Students also start to develop an individual approach to theory through the ‘Theories of Architectural Design’ course.
Year 2 provides the opportunity for students to develop agendas in Advanced Archi-tectural Design, Technology and Theory, through individually tailored design projects that are underpinned with the help of a specialist Thesis.
Continues overleaf >
P - O C T - N O V - D E C - J A N - F E B - M A R - A P R - M A
050
[STUDENT COURSE GUIDE ]
Continued >
DIPLOMA DESIGN UNITSThe Diploma program operates through a Design Unit system that stresses innova-tion and continually highlights the value of design propositions, their social impact and professional requirements.
Design is always conducted within a broad and rigorous intellectual framework pro-vided by the Unit tutors, the culture of the school and the external expectations placed upon it.
Unit tutors expect and support a high level of skill in design, as well as resourceful research and the thoughtful application of technological and environmental criteria.
Each Design Unit provides a range of de-sign, technological and related skills, as well as a clear and particular intellectual position within which to conduct those skills. Each of the Units has a strong identity within which the student is encouraged to develop their own particular approach to the study of architecture.
Steel Staircase - Main Library
P - O C T - N O V - D E C - J A N - F E B - M A R - A P R - M A|< Y2 ARCT 1058 + ARCT 1059 >||< Y1 ARCT 1036 + ARCT 1061 + ARCT 1062 >|
051[DIPLOMA IN ARCHITECTURE COURSES ][STUDENT COURSE GUIDE ]
Year
1 F
ull-T
ime
(Par
t-Tim
e le
vel i
n br
acke
ts)
_ Urb
an D
esig
n Pr
ojec
t (PT
1)
TOW
N 1
036
20 C
redi
ts
The
Urba
n De
sign
cour
se f
acilit
ates
an
unde
rsta
ndin
g of
the
com
plex
ities
of
con-
tem
pora
ry c
ities
. Th
e pr
ojec
t wi
ll ou
tline
an
ana
lysis
of th
e Ur
ban
Cont
ext t
o sh
ow
how
this
info
rms
the
deve
lopm
ent
of d
e-sig
n wo
rk.
Stud
ents
will
be e
ncou
rage
d to
loo
k at
a r
ange
of
fact
ors
from
the
hi
stor
ical
trans
form
atio
ns o
f th
e sit
e, i
n-clu
ding
the
maj
or d
river
s th
at i
nflu
ence
d th
ose
chan
ges,
to
a cr
itica
l an
alys
is of
th
e sp
ecifi
c sit
e co
nditi
ons,
eco
nom
ic fa
c-to
rs a
nd t
heir
desig
n re
spon
ses.
Stu
dent
s m
ay a
lso w
ish t
o sp
ecul
ate
on t
he n
atur
e of
new
inf
orm
atio
n te
chno
logi
es a
nd t
heir
impa
ct o
n th
e au
gmen
ted
natu
re o
f citi
es o
f th
e fu
ture
.
The
proj
ect
will
be a
des
ign
prop
osal
for
a
defin
ed u
rban
terri
tory
. Th
ose
prop
osal
s sh
ould
loca
te th
e sit
e co
ntex
t for
the
subs
e-qu
ent B
uild
ing
Desig
n Pr
ojec
ts, a
nd s
houl
d de
mon
stra
te t
heir
abilit
y to
sup
port
suc-
cess
ful
cont
empo
rary
urb
an l
ife w
ithin
an
envir
onm
enta
lly,
socia
lly a
nd e
cono
mica
lly
resp
onsib
le u
rban
fabr
ic.
Year
2 F
ull-T
ime
(Par
t-Tim
e le
vel i
n br
acke
ts)
_ Adva
nced
Arc
hite
ctur
al D
esig
n 01
- Pr
ojec
t The
mes
(PT2
)
ARC
T 10
5840
Cre
dits
Adva
nced
Arc
hite
ctur
al D
esig
n 02
- M
ajor
Pro
ject
(PT3
) AR
CT
1059
40 C
redi
ts
Adva
nced
Arc
hite
ctur
al D
esig
n 01
- P
roje
ct
Them
es p
rese
nts
stud
ents
with
an
opp-
ortu
nity
to e
xper
imen
t and
dev
elop
spe
cu-
lativ
e m
odes
of
inqu
iry t
hat
will
be r
igor
-ou
sly d
eplo
yed
in th
eir M
ajor
Pro
ject
s.
It al
lows
st
uden
ts
to
deve
lop
the
con-
cept
s,
tech
niqu
es
and
met
hods
th
roug
h de
sign
rese
arch
and
as
part
of t
his
som
e st
uden
ts m
ay w
ish t
o de
velo
p sp
ecia
lised
m
etho
dolo
gies
an
d m
edia
, wh
ilst
othe
rs
may
wi
sh
to
deve
lop
arch
itect
ural
co
n-ce
pts
from
ae
sthe
tics,
te
chno
logy
an
d cu
ltura
l pra
ctice
s.
Adva
nced
Arc
hite
ctur
al D
esig
n 01
may
be
deve
lope
d as
a c
ompl
ete
proj
ect i
n its
own
rig
ht o
r it m
ay b
e se
en a
s th
e pr
elud
e to
the
Maj
or P
roje
ct.
P - O C T - N O V - D E C - J A N - F E B - M A R - A P R - M A
052
[DIPLOMA IN ARCHITECTURE COURSES ][STUDENT COURSE GUIDE ]
The
Maj
or P
roje
ct is
an
oppo
rtuni
ty fo
r stu
-de
nts
to c
onst
ruct
a p
iece
of i
ndivi
dual
de-
sign
rese
arch
tha
t is
char
acte
rised
by
an
in-d
epth
inve
stig
atio
n of
a s
pecif
ic ar
ea o
f ar
chite
ctur
al in
quiry
. Th
e sc
ope
of t
he r
e-se
arch
will
be d
evel
oped
in
cons
ulta
tion
with
thei
r Un
it tu
tor’s
, st
uden
ts s
houl
d de
-pl
oy th
e th
emes
and
tech
niqu
es d
evel
oped
in
Adv
ance
d Ar
chite
ctur
al D
esig
n 01
to c
re-
ate
a ro
bust
and
rigo
rous
thes
is th
at is
fully
ex
plor
ed a
nd a
rticu
late
d th
roug
h th
e de
vel-
opm
ent
of a
n ar
chite
ctur
al p
ropo
sal.
The
inte
llect
ual
ambi
tions
of
the
Maj
or P
roje
ct
are
to b
e de
velo
ped
with
ref
eren
ce t
o th
e Ad
vanc
ed A
rchi
tect
ural
The
sis (
see
be-
low)
. Stu
dent
s ar
e en
cour
aged
to b
e am
bi-
tious
and
inno
vativ
e an
d to
que
stio
n wh
at is
an
app
ropr
iate
form
of a
rchi
tect
ural
inqu
iry
at th
e be
ginn
ing
of th
e C2
1st.
Stud
ents
will
be r
equi
red
to d
emon
stra
te
the
deve
lopm
ent
of t
heir
Adva
nced
Arc
hi-
tect
ural
Des
ign
Proj
ect
with
ref
eren
ce t
o th
eir r
esea
rch
cour
se w
ork
and
will
pres
ent
thei
r pro
ject
thro
ugh
a de
sign
portf
olio
that
m
ay i
nclu
de d
rawi
ngs,
illu
stra
tions
, m
od-
els
[phy
sical
and
/or
virtu
al],
inst
alla
tions
, fil
ms,
an
imat
ions
, in
tera
ctive
m
edia
an
d pe
rform
ance
. Al
l wo
rk m
ust
be s
uita
bly
docu
men
ted
and
cohe
rent
ly pr
esen
ted
to
the
high
est l
evel
.
_
_ Build
ing
Des
ign
Dev
elop
men
t (PT
1)
AR
CT
1061
20 C
redi
ts
Build
ing
Des
ign
Repr
esen
tatio
n (P
T2)
ARC
T 10
6220
Cre
dits
Build
ing
Desig
n De
velo
pmen
t an
d Bu
ild-
ing
Desig
n Re
pres
enta
tion
toge
ther
requ
ire
stud
ents
to d
evel
op a
brie
f and
the
desig
n of
a re
ason
ably
com
plex
bui
ldin
g fo
r a re
al
or im
agin
ary
clien
t.
Build
ing
Desig
n De
velo
pmen
t is
prod
uced
in
con
junc
tion
with
the
Des
ign
Real
isatio
n re
port
to e
nabl
e th
e st
uden
ts t
o de
mon
-st
rate
the
ir ab
ility
to s
atisf
y te
chni
cal
and
prof
essio
nal c
riter
ia w
hile
mee
ting
aest
hetic
an
d fu
nctio
nal
requ
irem
ents
. Th
e pr
oduc
-tio
n of
the
desig
n an
d th
e re
port
will
be c
ar-
ried
out i
n co
llabo
ratio
n wi
th a
Pra
ctice
tuto
r fro
m a
pro
fess
iona
l offi
ce.
Build
ing
Desig
n Re
pres
enta
tion
will
be p
re-
sent
ed th
roug
h a
portf
olio
that
mus
t dem
-on
stra
te a
n ap
prop
riate
leve
l of r
esol
utio
n,
look
ing
parti
cula
rly a
t qua
litat
ive a
spec
ts o
f ar
chite
ctur
al p
rodu
ctio
n in
cludi
ng p
ossib
le
mod
es o
f in
habi
tatio
n by
end
use
rs.
The
portf
olio
will
cons
ist o
f a c
ompr
ehen
sive
set
of re
pres
enta
tions
that
will
inclu
de a
set
of
scal
e dr
awin
gs th
at a
dequ
atel
y de
scrib
e th
e fin
al p
ropo
sal a
nd m
ay a
lso in
clude
phy
si-ca
l mod
els,
virt
ual m
odel
s an
d illu
stra
tions
, as
wel
l as
ins
talla
tions
, an
imat
ions
and
in
tera
ctive
med
ia.
Stud
ents
are
enc
oura
ged
to a
dopt
a c
riti-
cal
and
inno
vativ
e at
titud
e to
ward
s th
e te
chni
cal
and
prof
essio
nal
requ
irem
ents
an
d ap
proa
ch t
hem
with
int
ellig
ence
and
ambi
tion.
The
exa
ct n
atur
e of
requ
irem
ents
is
to b
e in
terp
rete
d th
roug
h th
e et
hos
of th
e in
divid
ual u
nit.
_
Steel Staircase - SoADC Atrium
053[DIPLOMA IN ARCHITECTURE COURSES ][STUDENT COURSE GUIDE ]_ Bu
ildin
g D
esig
n D
evel
opm
ent (
PT1)
ARC
T 10
6120
Cre
dits
Build
ing
Des
ign
Repr
esen
tatio
n (P
T2)
ARC
T 10
6220
Cre
dits
Build
ing
Desig
n De
velo
pmen
t an
d Bu
ild-
ing
Desig
n Re
pres
enta
tion
toge
ther
requ
ire
stud
ents
to d
evel
op a
brie
f and
the
desig
n of
a re
ason
ably
com
plex
bui
ldin
g fo
r a re
al
or im
agin
ary
clien
t.
Build
ing
Desig
n De
velo
pmen
t is
prod
uced
in
con
junc
tion
with
the
Des
ign
Real
isatio
n re
port
to e
nabl
e th
e st
uden
ts t
o de
mon
-st
rate
the
ir ab
ility
to s
atisf
y te
chni
cal
and
prof
essio
nal c
riter
ia w
hile
mee
ting
aest
hetic
an
d fu
nctio
nal
requ
irem
ents
. Th
e pr
oduc
-tio
n of
the
desig
n an
d th
e re
port
will
be c
ar-
ried
out i
n co
llabo
ratio
n wi
th a
Pra
ctice
tuto
r fro
m a
pro
fess
iona
l offi
ce.
Build
ing
Desig
n Re
pres
enta
tion
will
be p
re-
sent
ed th
roug
h a
portf
olio
that
mus
t dem
-on
stra
te a
n ap
prop
riate
leve
l of r
esol
utio
n,
look
ing
parti
cula
rly a
t qua
litat
ive a
spec
ts o
f ar
chite
ctur
al p
rodu
ctio
n in
cludi
ng p
ossib
le
mod
es o
f in
habi
tatio
n by
end
use
rs.
The
portf
olio
will
cons
ist o
f a c
ompr
ehen
sive
set
of re
pres
enta
tions
that
will
inclu
de a
set
of
scal
e dr
awin
gs th
at a
dequ
atel
y de
scrib
e th
e fin
al p
ropo
sal a
nd m
ay a
lso in
clude
phy
si-ca
l mod
els,
virt
ual m
odel
s an
d illu
stra
tions
, as
wel
l as
ins
talla
tions
, an
imat
ions
and
in
tera
ctive
med
ia.
Stud
ents
are
enc
oura
ged
to a
dopt
a c
riti-
cal
and
inno
vativ
e at
titud
e to
ward
s th
e te
chni
cal
and
prof
essio
nal
requ
irem
ents
an
d ap
proa
ch t
hem
with
int
ellig
ence
and
ambi
tion.
The
exa
ct n
atur
e of
requ
irem
ents
is
to b
e in
terp
rete
d th
roug
h th
e et
hos
of th
e in
divid
ual u
nit.
_
P - O C T - N O V - D E C - J A N - F E B - M A R - A P R - M A
_ Des
ign
Real
isat
ion
(PT1
)
AR
CT
1063
40 C
redi
ts
The
cour
se p
rovid
es t
he o
ppor
tuni
ty f
or
all F
T1 a
nd P
T1 s
tude
nts
to c
onsid
er h
ow
build
ings
are
des
igne
d, c
onst
ruct
ed a
nd
deliv
ered
. St
uden
ts w
ill be
ask
ed t
o re
-fle
ct
upon
th
eir
rela
tions
hip
to
tech
nol-
ogy,
th
e en
viron
men
t an
d th
e pr
ofes
-sio
n.
This
will
be
expl
ored
th
roug
h an
ite
rativ
e cr
itica
l ex
amin
atio
n of
the
ma-
jor
build
ing
desig
n pr
ojec
t ta
ught
with
in
the
cont
ext
of i
ndivi
dual
des
ign
units
in
Year
1.
The
cour
se
runs
co
ncur
rent
ly wi
th
the
Build
ing
Desig
n Pr
ojec
t an
d is
supp
orte
d by
an
exte
nsive
lec
ture
ser
ies,
sem
inar
s an
d cr
oss
unit
crits
, wi
th e
ach
desig
n un
it be
ing
supp
orte
d by
a d
edica
ted
prac
tice-
ba
sed
tuto
r.
The
cour
se
aim
s to
in
trodu
ce
stud
ents
to
cor
e kn
owle
dge
that
is
requ
ired
in t
he
real
isatio
n of
bui
ldin
gs i
n pr
ofes
siona
l ar
-ch
itect
ural
des
ign
prac
tice.
Stu
dent
s wi
ll be
ask
ed to
con
sider
the
influ
ence
of a
nd
deve
lop
an a
ttitu
de t
owar
ds c
onst
ruct
ion,
te
chno
logy
and
the
pro
fess
ion,
whi
ch a
re
all
seen
as
havin
g an
int
egra
l ro
le w
ithin
th
e cr
eativ
e de
sign
proc
ess.
The
cou
rse
will
intro
duce
stu
dent
s to
ele
men
tary
mat
ters
in
volve
d in
the
runn
ing
of a
rchi
tect
ural
con
-su
ltanc
ies
and
build
ing
proj
ects
; th
e pr
o-gr
essio
n of
wor
ks fr
om c
omm
issio
n to
com
-pl
etio
n an
d th
e br
oad
rang
e of
stra
tegi
es
that
influ
ence
the
des
ign
and
cons
truct
ion
of b
uild
ings
.
_ Arch
itect
ural
The
sis
(PT3
)
AR
CT
1060
40 C
redi
ts
The
Arch
itect
ural
The
sis e
nabl
es s
tude
nts
to d
evel
op a
n ap
prop
riate
and
rig
orou
s in
-te
llect
ual
rese
arch
age
nda
for
thei
r M
ajor
Pr
ojec
t. Th
e em
phas
is of
the
thes
is ca
n be
de
rived
from
a v
arie
ty o
f disc
iplin
es in
clud-
ing
scie
nce,
arc
hite
ctur
al h
istor
y, c
ultu
ral
stud
ies,
phi
loso
phy
or te
chno
logy
.
Star
ting
with
an
inte
nsive
ser
ies
of le
ctur
es,
work
shop
s an
d se
min
ars
deliv
ered
at
the
conf
eren
ce,
which
will
inclu
de s
pecia
list
guid
ance
on
the
met
hodo
logi
es o
f res
earc
h,
each
stu
dent
will
deve
lop
an in
divid
ual t
he-
sis to
sup
port
the
theo
retic
al a
nd o
r tec
hni-
cal a
mbi
tions
of t
heir
maj
or p
roje
ct.
Stud
ents
ar
e ap
poin
ted
a Th
esis
tu-
tor,
in c
onsu
ltatio
n wi
th t
he D
esig
n Un
it st
aff
and
the
Cour
se c
o-or
dina
tors
, fro
m
avai
labl
e Un
ivers
ity p
erso
nnel
and
if n
ec-
essa
ry
a sp
ecia
list
exte
rnal
tu
tor
may
be
app
oint
ed.
The
subm
issio
n wi
ll be
in
two
parts
; pa
rt on
e wi
ll be
a R
esea
rch
Met
hods
Stu
dy,
and
part
two
will
be a
n in
divid
ually
writ
-te
n th
esis.
How
ever
the
the
sis m
ay a
lso
cont
ain
evid
ence
-bas
ed
expe
rimen
tal
and
tech
nica
l res
earc
h; d
etai
ls of
spe
cial-
ist p
rogr
amm
ing
and
scrip
ting;
int
erac
tive
med
ia;
full
size
inst
alla
tions
and
con
stru
c-tio
ns.
The
exac
t co
nten
t an
d st
ruct
ure
of
the
subm
issio
n wi
ll be
agr
eed
with
the
Th
esis
tuto
r in
co
njun
ctio
n wi
th
the
Cour
se c
o-or
dina
tors
.
054
[DIPLOMA IN ARCHITECTURE COURSES ][STUDENT COURSE GUIDE ]
Stone Cladding - Upper Levels
P - O C T - N O V - D E C - J A N - F E B - M A R - A P R - M A|< Y2 ARCT 1060 >|
|< Y1 ARCT 1063 >| |< Y1 ARCT 1063 >|
055[DIPLOMA IN ARCHITECTURE COURSES ][STUDENT COURSE GUIDE ]
_ Des
ign
Real
isat
ion
(PT1
)
AR
CT
1063
40 C
redi
ts
The
cour
se p
rovid
es t
he o
ppor
tuni
ty f
or
all F
T1 a
nd P
T1 s
tude
nts
to c
onsid
er h
ow
build
ings
are
des
igne
d, c
onst
ruct
ed a
nd
deliv
ered
. St
uden
ts w
ill be
ask
ed t
o re
-fle
ct
upon
th
eir
rela
tions
hip
to
tech
nol-
ogy,
th
e en
viron
men
t an
d th
e pr
ofes
-sio
n.
This
will
be
expl
ored
th
roug
h an
ite
rativ
e cr
itica
l ex
amin
atio
n of
the
ma-
jor
build
ing
desig
n pr
ojec
t ta
ught
with
in
the
cont
ext
of i
ndivi
dual
des
ign
units
in
Year
1.
The
cour
se
runs
co
ncur
rent
ly wi
th
the
Build
ing
Desig
n Pr
ojec
t an
d is
supp
orte
d by
an
exte
nsive
lec
ture
ser
ies,
sem
inar
s an
d cr
oss
unit
crits
, wi
th e
ach
desig
n un
it be
ing
supp
orte
d by
a d
edica
ted
prac
tice-
ba
sed
tuto
r.
The
cour
se
aim
s to
in
trodu
ce
stud
ents
to
cor
e kn
owle
dge
that
is
requ
ired
in t
he
real
isatio
n of
bui
ldin
gs i
n pr
ofes
siona
l ar
-ch
itect
ural
des
ign
prac
tice.
Stu
dent
s wi
ll be
ask
ed to
con
sider
the
influ
ence
of a
nd
deve
lop
an a
ttitu
de t
owar
ds c
onst
ruct
ion,
te
chno
logy
and
the
pro
fess
ion,
whi
ch a
re
all
seen
as
havin
g an
int
egra
l ro
le w
ithin
th
e cr
eativ
e de
sign
proc
ess.
The
cou
rse
will
intro
duce
stu
dent
s to
ele
men
tary
mat
ters
in
volve
d in
the
runn
ing
of a
rchi
tect
ural
con
-su
ltanc
ies
and
build
ing
proj
ects
; th
e pr
o-gr
essio
n of
wor
ks fr
om c
omm
issio
n to
com
-pl
etio
n an
d th
e br
oad
rang
e of
stra
tegi
es
that
influ
ence
the
des
ign
and
cons
truct
ion
of b
uild
ings
.
_ Arch
itect
ural
The
sis
(PT3
)
AR
CT
1060
40 C
redi
ts
The
Arch
itect
ural
The
sis e
nabl
es s
tude
nts
to d
evel
op a
n ap
prop
riate
and
rig
orou
s in
-te
llect
ual
rese
arch
age
nda
for
thei
r M
ajor
Pr
ojec
t. Th
e em
phas
is of
the
thes
is ca
n be
de
rived
from
a v
arie
ty o
f disc
iplin
es in
clud-
ing
scie
nce,
arc
hite
ctur
al h
istor
y, c
ultu
ral
stud
ies,
phi
loso
phy
or te
chno
logy
.
Star
ting
with
an
inte
nsive
ser
ies
of le
ctur
es,
work
shop
s an
d se
min
ars
deliv
ered
at
the
conf
eren
ce,
which
will
inclu
de s
pecia
list
guid
ance
on
the
met
hodo
logi
es o
f res
earc
h,
each
stu
dent
will
deve
lop
an in
divid
ual t
he-
sis to
sup
port
the
theo
retic
al a
nd o
r tec
hni-
cal a
mbi
tions
of t
heir
maj
or p
roje
ct.
Stud
ents
ar
e ap
poin
ted
a Th
esis
tu-
tor,
in c
onsu
ltatio
n wi
th t
he D
esig
n Un
it st
aff
and
the
Cour
se c
o-or
dina
tors
, fro
m
avai
labl
e Un
ivers
ity p
erso
nnel
and
if n
ec-
essa
ry
a sp
ecia
list
exte
rnal
tu
tor
may
be
app
oint
ed.
The
subm
issio
n wi
ll be
in
two
parts
; pa
rt on
e wi
ll be
a R
esea
rch
Met
hods
Stu
dy,
and
part
two
will
be a
n in
divid
ually
writ
-te
n th
esis.
How
ever
the
the
sis m
ay a
lso
cont
ain
evid
ence
-bas
ed
expe
rimen
tal
and
tech
nica
l res
earc
h; d
etai
ls of
spe
cial-
ist p
rogr
amm
ing
and
scrip
ting;
int
erac
tive
med
ia;
full
size
inst
alla
tions
and
con
stru
c-tio
ns.
The
exac
t co
nten
t an
d st
ruct
ure
of
the
subm
issio
n wi
ll be
agr
eed
with
the
Th
esis
tuto
r in
co
njun
ctio
n wi
th
the
Cour
se c
o-or
dina
tors
.
P - O C T - N O V - D E C - J A N - F E B - M A R - A P R - M A
056
[DIPLOMA IN ARCHITECTURE COURSES ][STUDENT COURSE GUIDE ]
Stud
ents
are
enc
oura
ged
to a
dopt
a c
ritica
l an
d in
nova
tive
attit
ude
towa
rds
the
tech
ni-
cal a
nd p
rofe
ssio
nal r
equi
rem
ents
and
ap-
proa
ch t
hem
with
int
ellig
ent
curio
sity
and
ambi
tion.
The
exa
ct n
atur
e of
requ
irem
ents
is
to b
e in
terp
rete
d th
roug
h th
e et
hos
of th
e in
divid
ual u
nit.
_ Theo
ries
of A
rchi
tect
ural
Des
ign
(PT2
)
ARC
T 10
6420
Cre
dits
The
cour
se o
ffers
stu
dent
s a
plat
form
for
th
eore
tical
and
crit
ical
disc
ours
e in
arc
hi-
tect
ure,
and
ope
ns u
p an
int
erdi
scip
linar
y di
alog
ue in
the
field
of a
rchi
tect
ure,
the
arts
, cr
itica
l the
ory,
and
rela
ted
disc
iplin
es.
Star
ting
with
an
inte
nsive
ser
ies
of le
ctur
es,
work
shop
s an
d se
min
ars,
pr
esen
tatio
ns
deliv
ered
at t
he c
onfe
renc
e an
d in
a s
erie
s of
lect
ures
in te
rm 1
, stu
dent
s wi
ll de
velo
p tw
o se
para
te p
iece
s of
wor
k, th
ey w
ill wr
ite
a re
view
on o
ne o
f the
key
asp
ects
of t
he
conf
eren
ce a
nd th
ey w
ill de
velo
p an
ess
ay
on a
n in
divid
ually
agr
eed
topi
c.
Curtain Walling System - Atrium/Roofs & Greenhouses
P - O C T - N O V - D E C - J A N - F E B - M A R - A P R - M A
|< Y1 ARCT 1064 >|
057[DIPLOMA IN ARCHITECTURE COURSES ][STUDENT COURSE GUIDE ]
P - O C T - N O V - D E C - J A N - F E B - M A R - A P R - M A
058
[DIPLOMA IN ARCHITECTURE COURSES ][STUDENT COURSE GUIDE ]
Finishes - Toilets & Changing
059[DIPLOMA IN ARCHITECTURE COURSES ][STUDENT COURSE GUIDE ]
P - O C T - N O V - D E C - J A N - F E B - M A R - A P R - M A
060
[STOCKWELL STREET CONSTRUCTION DURING ACADEMIC YEAR 2012 -2013 ]
Sub Station Area (Rear 4 - 8 Navada Street)Railway Elevation (King William Passage) Reduce Level & Sub Base
SUPER STRUCTURE
ROOF FINISHES
ELEVATIONS
SERVICES INSTALLATIONS
FINISHES
EXTERNAL WORKS (STREET LEVEL)
061
062
[MSc ARCHITECTURAL DESIGN (AVATAR) ]
Neil Spiller, Wheelbarrow With Expanding Bread, Perspective.
063[MSc ARCHITECTURAL DESIGN (AVATAR) ]
The MSc Architectural Design (AVATAR) is a one-year full-time and two-year part-time course that encourages students to develop a speculative and experimental approach to architectural design through the use of advanced digital tools and techniques.
The course is designed for students of arch-itecture and related disciplines, who wish to continue their academic, intellectual and pro-fessional skills beyond the requirements of their professionally recognised qualification.
The course promotes an experimental and speculative approach to architecture and provides the skills for the production of theo-retical, analytical and critical studies on and in advanced architectural design. It aims to address and redefine new trends and knowl-edge in the field of architecture and offers a postgraduate design framework strongly supported by theoretical components.
Students are embedded within one of the Di-ploma Architecture Units run by members of the AVATAR research group and encouraged to develop a personal focus and independent research position within the Unit framework.
AVATAR is an acronym for Advanced Virtu-al and Technological Architecture Research,
the AVATAR research group was founded by Professor Neil Spiller in 2004.
The programme is not validated by a profes-sional body and does not provide exemption from the Royal Institute of British Architects (RIBA) Part 2 professional examination or from the Architects’ Registration Board (ARB) Part 2 prescriptions.
The aims of the programme are:
- To develop research concerning the im-pact of advanced technology on architectur-al design, and to contribute on a discussion on issues such as aesthetics, philosophy and cybernetics.
- To concern itself with the technologies of virtuality (exploring fully immersed, mixed and augmented environments); Time based digital media (film, video and animation), Nano and bio technology (micro landscapes and architecture, ethics, sustainability and ecology), reflexive environments and cybernetic systems.
- To posit new aesthetic systems and codes of representation for architecture, interior design, multi- media design and graphic design.
064
065[http://www.gre.ac.uk/stockwell-street ][STOCKWELL STREET DEVELOPMENT ]
University of GreenwichSchool of Architecture,Design and ConstructionMansion SiteBexley Road London SE9 2PQ
Cover image courtesy of Seele Austria GmbH
Drawings on pages 036 - 059 courtesy of Henegan Peng Architects
Thanks to Adele BrooksRoisin Heneghan Bryn Oakley Osborne ConstructionRobert SalmonSeele Austria GmbH