Leeds schooL of Architecture

YeARBooK|12 13

contents

Foreword

BA(hons) Architecture

Year one

common Ground

extreme change

Futurists

MArch MA Architecture

Abstract Machines

crash test

urban studio

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Foreword

In 1962 Umberto eco published The open Work. Addressing issues of ‘form and indeterminacy in contemporary poetics’, the book marked a turning point in the understanding of the relationship between the production of the artwork, its definition and inner structures, and the mechanisms of its reception. The ideas it proposed provoked lively reactions – supportive or vitriolic, all intellectually curious. They also led eco to systematically address semiology and structuralism in his later works, and to propose a semiotic approach to architecture.

eco interprets architecture as a system of communication that ‘starts from existing architectural codes, but actually rests on other codes that are not those of architecture’. The architect, he observes, ‘must articulate architectural signifiers to denote functions; ... but the system of those functions does not belong to the architectural language, rather, it is external to it’. And indeed ‘what architecture gives form to (a system of social relationships, a way of dwelling or of being together) does not belong to architecture’. (U. eco, La struttura Assente, Milan: Bompiani 2002 (1968), p. 233-34).

half a century later, eco’s words resound familiar, but also dated, even ‘unfashionable’. And yet, because architecture and its discourse are not a fashion, and because the architectural ‘functions’ that eco refers to are not exclusively linked to modes of use, performative requirements and technical solutions, but also to forms of signification and communication, it is topical to reconsider, here and now, the original formulation of architecture as an open work.

determined by many external agents, affected, transformed, open more than ever to the influences and the interventions of other forces that are

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often unpredictable, architecture is always already challenged in its environmental, cultural, social and political positions. Yet, uncertainty is not allowed to the architectural Project, buit or unbuilt, as it performs, again and again, that de-cision that makes it possible – that make it take a position. The openness of the artwork to chance and to interpretation (and, in architecture, to inhabitation) is made possible by the multiplicity and plurality of its agents (both architects and non architects), and by the process of their interactions. But underlying this openness, and indeed enabling it, while provoking different interpretations, are the very elements that organize architecture as a form of structured meaning, and that define the boundaries and the directions of such interpretations.

The open Work explored mainly serial music, experimental literature, media and new forms of visual arts. The pages that follow here present unbuilt works of architecture that ‘give form’ to ideas and agendas for the present and the future of the european city – the main focus of this year’s work. Abstract machines, crash testing and choreographies of social participation are the tools that were imported into architecture to address the wider situations of extreme climatic, economic and social change, from the precise, codified, limited and yet open specifics of the architectural project.

Teresa stoppani

head, The Leeds school of Architecture May 2013

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BA(hons) Architecture

We see the city as a landscape of possibility: utilising the synergy of new technologies, with the heritage and myths of the existing city, to create new futures that are sustainable and socially just.

We see the city and its architecture contextually, as a nested series of interventions at scales from the region, via the city, to the building skin and the room itself.

Many of the projects we do are directly linked to making – either things or policy or methodologies. from the action research of the futurist Unit, where the downfall of Yorkshire coastal regions is tackled, to the extreme change Unit where parametric modelling allows the development of complex component driven façades, to the Venice group, where process, materiality and texture is key - we engage in a creative way with the limitations imposed and possibilities presented by technologies and material.

The following is a celebration of work from all years. We hope that, through this book, you are able to share in our thoughts and ideas.

Des Fagan RIBA March BArch

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YeAr oneBA1 offers a year of experimentation and curiosity, where we challenge the meaning of architecture in order to propose new spaces. The year provides a foundation for intuitive investigation, supported by skills need to analyse, propose and communicate ideas. We begin by examining the everyday object and how we ‘see’ in order to provide a critical dialogue between real, imagined and the void in-between. Risk taking is encouraged and opportunities explored via making, drawing, printing, sculpting and film.

Projects undertaken in semester one examine the city of Leeds as an environment that can be ‘read’ and transformed via small-scale architectural interventions. In semester two we visited Marrakech and skipton, where we examined the peculiarities of the marketplace and the notion of trading.

Claire HannibalGeraldine Booth

Ian FletcherLesley Millard

Craig Stott

Adebanke Adenisa, Nushoor Almahoozi, ehab Almarsumi, samer Bannourah, samuel Bedford, Adit Bhatnagar, Jack Biddle, Alexander couth, Wayne croasdell, Graham davey, Joseph earley, Benjamin Goldie, Zahra hagnajat, Bethany hamer, Leslie-Andrew hardt, Jack hartley, Ayah hatahet, Rebecca hodgson, Nathan hopwood, faisal Ibrahim, Yusef Iqbal, eve Jackson, hannah Johnson, Mathew Kan, sammy Kawook, William Kent, Kamila Kudlata, Grady Lancaster, Amin Mahdmina, Adam Maqsood, Nicholas Mierzejewski, florence Mujaji, Alex Murray, Moreen Mutesi, Lincoln Myers, Paul ojeil, Agnesa osmani, Piotr Pich, Varvara Polti, James Ratcliffe, Joesay Reynolds, Aimee Rogers, Lucy Rymer, san-ta sangar, Nils schmidt-hansen, Matthew shepherd, Abigail stone, Victoria Tainty, hannah Thomas, Laurynas Vaskevi-cius, Bethany Walker, Zachariah Wall, Anastasia Whitehead, corey Wilson, Rizwan Younis,

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JAMes rAtcLiFFehagglers, hawkers and Traders

JosePh eArLeYPanopticon

JAcK BiddLehagglers, hawkers and Traders

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LAurYnAs VAsKeViciushagglers, hawkers and Traders

LucY rYMercollections and curiosities

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LAurYnAs VAsKeViciushagglers, hawkers and Traders

LucY rYMerhagglers, hawkers and Traders

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LAurYnAs VAsKeViciuscity Instrument

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MAtthew shePherdcity Instrument

ZAhrA hAGnAJAtcity Instrument

JAMes rAtcLiFFecity Instrument

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AGnesA osMAnicollections and curiosities (above and below)

JosePh eArLeYcity Instrument

JAcK BiddLehagglers, hawkers and Traders (above and below)

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coMMon Ground

2nd Year (2nd semester): samah Anjum, Anna Athanasiou, Jacob Bojcun, Remi connolly-Taylor, francis cullen, Gurjina dugal, Phil Goss, dave hallam, Benjamin higginbotham, George Kerridge, Lucas Leandro, danielle Levitt, daniel Lomax, William McMahon, felipe Palmer c.P. de faria, danny Pound, Abdullah Rehman, Matthew Riley, delbert st Marthe, Arpeeta Thakur, sophie Thompson, Karina Withers. 3rd Year: Basma Ajoor, Nathalia Azevedo, Melanie Backhouse, Jordan Blacker, Abdulrahman Bucheeri, Benjamin courtenay, Lauren di Pietro, Jonathan evans, Mitra hadian, Adam hegab, Ryan holdsworth, Jiyan Khalaf, Ryan Lawlor, Joseph Myerscough, danny Patel, Matthew Redding, hina shah, samuel spence, chantelle stewart

common Ground was the title of the 2012 architecture Biennale curated by david Chipperfield. Many of the issues raised by his curatorial role are broadly in sympathy with the aims of this design studio. We are strongly interested in the idea of the everyday how this relates to the ground between buildings, the spaces of the city and the relationship of architecture to the political, social and cultural structure of the city. These ideas are to be investigated through theoretical studies and writings and the application of the pre-conceptual models and paintings. our interest is also in the realization of architectural ideas at many scales from the urban up to the full-scale model or 1:2.

Venice was chosen as the study area because of the publication of a recent book ‘Venice the Migropolis. This book identified Venice as a sign, a real abstraction a series of remote images. The book discussed how a city could be explained through the naratives of visitors and migrants to this new global city. Very few of the inhabitants of the city are born in the area or Italy. Their stories tell of another city unknown to the tourist a place that has not yet become an image of itself and its beauty.

Sarah Mills & Dennis Burr

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sAM sPence (3rd Year)fLIGhT: Venice to chioggiaConceptual image of approach to Chioggia Centre for Visual Arts

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sAM sPence (3rd Year)fLIGhT: Venice to chioggiaFacade study

18PAPER DRY TOWERscreen print, plaster of paris base

The tower penetrating the voids left by the old cement silo

rYAn LAwLer (3rd Year)desalination Plant, VeniceThe Desalination Plant of San Giacomo in Palude provides the surrounding residential districts and agricultural areas with clean water bringing life to the area. Lightweight Timber Truss towers clad in a mass of solar panels hold desalinating equipment that extract sea water and using solar energy produce clean water that is then stored in silos encased heavy weight brickwork towers that keep the silos at a cool temperature. The tower’s research and learning facilities help aid the knowledge of water production and purification, from here the public are taught about the process and how to produce their own clean water.

sAM sPence (3rd Year)fLIGhT: Venice to chioggiaChioggia Centre for Visual Arts, screenprint on plaster

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JAcK Bown (2nd Year)Boat Builder Perspective section (top)Model, tracing paper and wire mesh

The image above shows a Psycho-Geographic Map of Venice. It is a study of the precise laws and specific effects of the geographical environment upon people, reflecting primarily on the emotions and behaviour of individuals and also on specific events experienced within different areas of Venice. I also focused on the general pace of the different parts of the city, the centre obviously being more hectic and completely tourist driven had a completely different feel to the more secluded residential areas of Cas-tello and the Jewish Quarter. In and around St Mark’s Square the overload of tourists, and subsequently tourist attractions, made it very difficult to move from place to place, the pace was hectic slow and frustrating. The events happening in these places were quite mindless, tourist capturing photos at every point, not an Italian in sight, it felt disconnected, not a city but a machine feeding off touristm and advertisements. The map was intended to show a clear separation between the tourist driven and resi-dential areas of Venice, juxtaposing the ‘real’ Venice with the places and people that have merely conformed into this ‘society of spectacle’.

“The spectacle is not a collection of images, rather, it is a social relationship between people that are mediated by images.” Guy Debord

Psychogeographic Map Venice

reBeccA turner (2nd Year)Psycho-Geographic Map of VeniceThis is a study of the precise laws and specific effects of the geographical environment upon people, reflecting primarily on the emotions and behaviour of individuals and also on specific events experienced within different areas of Venice. The map shows a clear separation between the tourist driven and residential areas of Venice, juxtaposing the ‘real’ Venice with the places and people that have merely conformed into this ‘society of spectacle’.“The spectacle is not a collection of images, rather, it is a social relationship between people that are mediated by images.” Guy Debord

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soPhie thoMPson (2nd Year)Traffic and movement film

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BenJAMin courtenAY (3rd Year)Nuclear fusion Anaglyph 3d

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John eVAns (3rd Year)Jewish Library and MuseumConceptually the design will embody the idea of transparency, a stark contrast to that of the Ghetto, an enclosed and historically guarded manifestation. The building will celebrate the space, programme and structure. Functions will be independent and close in secondary internal zones allowing fr independent environmental conditions and management specific to their use.Therefore the building is permeable and engaging, blurring the threshold between the exterior and interior and conforming to the ideals of the master plan.

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The city of Venice established a boundary to prevent the Jewish Community entering the city after curfew. They were confined to the ghetto - a small canal locked, guarded island in the north of the city.The proposal will be intricately linked with, and sit adjacent to the Jewish Ghetto and on one of the newly formed green routes, as outlined in the master plan.The archive and depository will house approximately 5000 book and ancient documents; 2500 of which are historic Hebrew texts, centuries old. These are currently being stored in the Jewish Library, located in the ghetto. At times unfavourable conditions can hinder their accessibility to student, academics and the public, but also their safety. The proposal will also provide museum and gallery space, displays will be transferred from the existing small Jewish museum bringing together a diverse mix of Jewish heritage and culture into one accessible volume. Education facilities and a cafe and function room which can be used by the local community for events and celebrations will also be incorporated into the building fabric thus furthering the notion of common ground within the building.

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LAuren di Pietro (3rd Year)community college on Isola dei saloni, Venice.concept Image (above)The Community College Campus is the driving scheme for my master plan in order to tackle the problems of the area, economically and socially, through the education of the community.I will create a sensitive response to the domain of public and private use that will:- create a safe and friendly College campus for students and residents of the area.- create public spaces and squares for the community to meet and gather.- use the water’s edge as meeting spaces.Volumetric site Model (left)This is part of a volumetric study using models to understand spatial and aesthetic qualities of my design. The model is at scale 1-500 and measures 1200mm x 2400mm made from reclaimed scrap wood, cardboard, concrete and MDF.

AdAM heGAB (3rd Year)The Vivaldi concert hall, cannaregio, Venice

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JosePh MYerscouGh (3rd Year)Wholesale Meat & fish Market, Venice: This project is within the third phase of the San Giacomo Masterplan, two new wholesale meat and fish markets and outdoor farmers marker serving the southern district of the island. Featuring a large concrete & bamboo meat market and smaller fish market; along with a outdoor farmers market. All of which bring back a common ground, sustainable, community space for a new 21st century healthy lifestyle for the island.

henrY schoFieLd (2nd Year)Venetian Boathouse & Automated dry-dock facilityTwo thousand Water Taxis and Gondolas navigate Venice’s canals on a daily basis, the requirement for boat storage and maintenance facilities is thus in high demand. This project creates an efficient space in the heart of the Jewish Quarter for the storage and restoration of up to 20 gondolas at a time. The exoskeletal framework allows residents and pedestrians of the Fondamenta Misericordia to observe the rebirth and preservation of the one of Venice’s greatest heritages. At the same time the project showcases a state of the art, sustainable automated dry-docking facility; reducing congestion and resolving the logistical nightmare of boat storage; one of Venice’s greatest issues since its creation.

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wiLLiAM McMAhon (2nd Year)Low Density Isolated (top)High Density Isolated

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extreMe chAnGe

2nd Year (2nd semester): Jamie Aldus, dali Alnaeb, dean Bartlett, Justin Bilinskas, Michael Bland, Jack Bown, chloe Burbidge, Phillipa Burgin, francesca cameron, Karly chung, Robert cresswell, Ryan daniel, chris delahunt, Josh elleray, Jubal Green, Jake hinchcliffe, Mohamed Mahmood, callum Muir, christopher scarffe, edward shallcross, Lottie smith, Jennisfer stalker, Laura Tsang, Jake Woods. 3rd Year: Michael Akinola, Josh cottrill, stewart craven, helen davies, Victoria Gaskell-fawcett, Jack ford, Jack Green, danielle Landrum, Bradley McArdle, Yuen Ngai, Luke sach, Kane sanders, Jack sanguinetti, harry sharp, Gemma Walker, Kimberly Ward, Kirsty Williams

“Humans and all other living beings emerge from and exist within, the dynamic processes and phenomena of the natural worls, and they have had and continue to have a profound effect upon it. All forms of nature an all forms of civilisation have ‘architecture’, and arrangement of material in space and over time that determines their shape, size, behaviour and duration, and how they come into being. Energy, information and material flow through all the forms in the world, and human forms and culture have coevolved and developed within those flows.”Michael Weinstock,emergence

“Would that the wind had form”hermann Melvile, Moby dick

The studio’s focus lay in the exploration and exploitation of symbiotic relationships latent within a sit subject to extreme environmental conditions. Granada in southern spain was chosen as the locus of our activities, being subject to ongoing desertification.The increasingly onerous climate provided a spur, facilitating a morphogenic approach

to form finding. D’Arcy Wentworth Thompson regarded the material forms of living organisms as a diagram of the forces acting upon them. The studio questioned the validity of this analogy when extended to architecture. This led to an exploration of the interactions of systems/process ecologies subject to climate. The studio asked ‘could valid contextually generated architecture emerge from this line of enquiry?

Keith Andrews & Vernon Thomas

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VictoriA GAsKeLL (3rd Year)convert and sewing schoolThe integration between public and private begins from the moment the public enter on to the structure. They are encourage to walk along the roof of the chapel, sound and light piercing the walkway. They are then brought around the worship space following the same processional route as the nuns, creating a harmony between the obvious separating of cultures. The permeable wall, depicting the treas of a loom, creates a boundary between the two parties whilst still linking them through sound and light.

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The York Flood Observatory Christopher DelahuntC3331714

chris deLLAhunt (2nd Year)York flood observatory

JAcK Bown (2nd Year)York flood observatoryThe section displays the main entrance/lobby into the underground spaces from the rear of the building; then moving into the journey spaces with the primary water garden at ground level, ending with the reflection space. The section then cuts through the staircase moving up into the secondary water garden and private access to the research facility. The first floor represents the cafe space and second displays the office space in the private sector.

nAstAssiA ruescher (2nd Year)Live Work space - development models

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JAKe woods (2nd year)The York house of TimeTime itself controls every aspect of modern life within the city, so can people be made aware of time again through physical interaction within a space?Through disassembling the clock, a new form becomes apparent, free from the conformity of its predecessor, becoming an object in itself, creating a new architecture.

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Kirsti wiLLiAMs (3rd Year)Albaycin community hubDue to the changing angles and orientation of each of the separate panels, depending on where the sound is initiated, a different quality of sound is reflected. (Above)

Tessellations allow differing degrees of transformation and directional movement. (Left)

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SEMESTER 2: EXTREME CHANGE - RITUAL BATHING SPACES.LuKe sAch (3rd Year)Ritual Bathing space, GranadaExploded axonometric (above)Section (left)

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Yuen chAK nGAi (3rd Year)Art & craft exhibition centre:An addition to the Centro Albaycin, a traditional craft training centre in Granada. The exhibition centre displays traditional art, and also educates tourists.

KiMBerLY wArd (3rd Year)silk factory facility

JAcK Green (3rd Year)Pottery Workshop

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dAnieLLe LAndruM (3rd Year)Granada ceramics Workshop

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soPhie thoMPson (2nd Year)flamenco Pavilion

dAnieL Pound (2nd Year)Art and sculpture gallery, GranadaInternally based in geometric patterns

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chArLotte FuLLer (2nd Year)

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JAcK Ford (3rd Year)The art of making: Luthiery archives & workshopsLuthiery; the art of crafting a stringed musical instrument, by hand has survived many decades of industrial mass production. Luthiery represents an activity where an archaic and seemingly romantic mode of making is sustained through the communication abilities of technology. Yet the work itself directly engages the senses and mind as a whole. The art of luthiery seems to embody in an instance the technical/scientific and the poetic/intuitive. It is only through deliberate dissection that these sub elements can be separated.The ‘art of making’ aspires to expose and exhibit the people and processes involved in the traditional flamenco guitar craft in Granada. For years a skill-set has been passed on: using zeal and imagination, as well as passion and emotion these luthiers attempt to combine the precision of science with the elegance and resourcefulness of art to create highly refined musical devices. The proposed building situated in the Cuesta de Gomerez, Granada deconstructs the principle ideologies in guitar construction and implements them for use as building components. In turn spaces exhibit a sense of craft of the bespoke where the form, materiality and structure are celebrated as a direct response to the construction of guitars.

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Futurists“…We are interested in diurnal cycles: temporary re-purposing of buildings, urban spaces - the deployment of new technologies and art/branding, together with issues of sustainability and disposability this raises: the assumed constant need for re-invention… This year, we have focused upon the UK seaside and what has happened to this ailing tourist destination. In a period of recession, why are we not returning to the

domicile shore for our holiday - is it a matter of taste and finance or is it just the weather? The threshold between water and land is no longer clear – the UK is dissolving without a strategy to contain it.

What can we do to reinvent our coast? do we defend, retreat or attack?.....”

Des Fagan & Simon Warren

2nd Year (2nd semester): Aidem Astle, Connor Backhouse, Aidam Bintcliffe, Leila Djalavandi, Daniel Duffield, Luke fowler, charlotte fuller, hannah Geskes, christie Gustave, Tony Kangah, Besart Redenica, Bradley Rhodes, olivia Robinson, Joel Roderick, Natassia Ruscher, Jamie Sample, Henry Schofield, Harriet Shires, Rebecca Turner, Peter Morales Valovirto, orlander Watson, eleni Zormpa. 3rd Year: Besnik Abdiu, Joseph Bradley, dan calverley, Valbona canolli, Launa cowan, Lauren heys, Luke hirst, Ayesha Iqbal, Kathryn Neal, Michael Powell, Michael Quan, Kathy Roe, charles Ryan-hicks, daniel sargeant, samuel Taylor, Andrew Thompson, Lee Wade, Gaven Webb,

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Michael Powell 3rd Yearforgotten Victoriana, scarborough

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KAthY roe (3rd Year)‘everything happens on the edge’Boat recycling yard, Scarborough

Andrew thoMPson (3rd Year)Boat recycling yard, scarborough

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LornA cowAn (3rd Year) A centre for coastal RetreatThe centre develops and implements an ecosystem monitoring program that focuses on climate change, carbon recy-cling and hydromatic components. It educates the population of scarborough about the program, as well as visitors, thereby encouraging more people to visit the seaside town.

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MichAeL PoweLL (3rd Year)concept sketch

Supporting the Cultural Strip, Scarborough

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MichAeL PoweLL (3rd Year)freehand sketchPass the towers and up to Scarborough Castle

dAnnii LeVett (2nd Year)Biodiversity Tower, scarborough

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nAstAssiA ruescher (2nd Year)Halifax Library (top) and Intervention

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LuKe hirst (3rd Year)sketch, scarborough

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GeorGe KerridGe (2nd year)deep sea Museum

MichAeL BLAnd (2nd Year)sea Pavilion (above)The pavilion aims to provide a stable platform from which anglers can fish from safely following the construction of the sea wall which made it difficult for anglers to access the sea front. The design inspiration came from off shore oil rigs, whose tectonic structure could withstand the relentless forces of the sea. From this the design developed into an industrial, grungy steel structure.

hAnnAh GesKes (2nd year)War Memorial Library, halifax

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GAVen weBB (3rd Year)The Problem (top)We are faced with with a looming global crisis; the expiration of our fossil fuel supplies. This is an industry that will fail and collapse in the not too distant future; without a viable replacement every thing we take for granted will crawl to a halt, from cars to trains to planes.

The solution In order to address this crisis, we need to start utilising alternative fuels and technologies. The development of micro algae over the past few years has grown rapidly, with many companies now capable of producing power purely from Ethanol based sources. Micro algae is capable of using the vast amounts of CO2 that we produce, and converting this back to usable Ethanol.

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henrY schoFieLd (2nd Year)Aerial Arts Academy halifaxHalifax’s once world renowned Aerial Arts community has since retired. Inspired by Peter Cook’s “London Eight” and many asian influences, this project aims to re-stimulate the art in the heart of one of Yorkshires most historic towns. Bringing tightrope walking and aerial performance into Piece Hall’s community. Yoga and Meditation spaces feature throughout the building in order to enhance the spiritual experience one must take in order to gain physical balance and successfully tightrope walk.

BrAdLeY rhodes (2nd Year)halifax Textile Learning centre

LeiLA dJALALVAndi (2nd Year)creative Arts Training facility, halifax

connor BAcKhouse (2nd Year)Manuals Library, halifax

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dAVe hALLAM (2nd Year)The spires

JoeL rodericK (2nd Year)halifax democracy space

LuKe hirst (3rd Year)sketch, scarboroughDennis Mason Jones Freehand Sketching Awards 2012, winner

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chris deLAhunt (2ndYear)steampunk scarborough

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MArch MA Architecture

The future is urban, and probably very different from today. This is the challenge for the 21st century Architect, to imagine not only the future, but to envision ways of getting there - from here.

We see the city as a landscape of possibility: utilising the synergy of new technologies, with the heritage and myths of the existing city, to create new futures that are sustainable and socially just. Architecture is not only building to us, but a concretisation of the needs and dreams of the city as a whole. We see the city and its architecture contextually, as a nested series of interventions at scales from the region, via the city, to the building skin and the room itself.

our approach is research based design. design teaching is studio-based allowing students to specialise within the frame of the RIBA/ARB criteria. Research is embodied in everything we do, not just book based research but research by design. This research is based on the practice of architecture; where the deep understanding of situation, underpins new work and new dialogues.

We are moving towards projects that are directly linked to making - either things or policy or methodologies. from the action research of our Urban studio, where real life community design projects are realised to the Abstract Machines studio where parametric modeling allows the development of complex component driven facades, we engage with the possibilities created by new technologies and material. The crash Test studio engages with urban policy and sustainability in a creative way to produce closed cycles cities.

Simon Warren

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ABstrAct MAchines

5th Year: charanjeev Bamrah, Richard Berry, harry hewlett, Richard Laycock, chris Lazenby, dan Mason, simon Murphy, Alex Warren, Nick Wright. 6th Year: Tessa henshaw, christopher Lunn, Matthew Mudd, fatima Radhi, Peter shovlin, Anuj shishodia, Guy stewart

The work of the studio is proposition based and evolves from a negotiation between ‘culture’ and research in computation and tectonics. We begin by examining the ideas that underpin Architecture’s phenomenal and corporeal expression. We have an interest in data mapping the constituent patterns, forces, and systems; diagramming their interrelations. The aim is to devise performative diagrams that modify ecologies of systems to a desired end.having looked at the why and what one might do, we focus and fix on the 3-d expression of the performative diagrams. To do this students are encouraged to explore formal solutions through computational simulations and physical modeling.The principle thematic driver for M(Arch)

01 & 02, academic year 2012-13 has been ‘extreme climate’. This has focused the work of the studio on the derivation of a range of architectural responses to ameliorate, in a sustainable manner the effects of a harsh climate. The projects are largely based in spain, (principally Granada) and Marrakech, Morocco with site visits being undertaken early in the academic year. We have continued to build on the computational and tectonic grounding of 2011-12 visits the Institute for computational design (Icd) at the University of stuttgart run by Achim Menges and the ‘fabricate’ conference (2011) with students attending the ‘Prototyping Architecture’ March 2013.

Keith Andrews & Vernon Thomas

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ALex wArren (5th Year)Pneumatic earthquake defense shelterA major earthquake is predicted in Granada by Seismologists ‘imminently’. After researching high speed inflation techniques used in the aviation industry and high performance textiles used by NASA and the U.S Military, what started off as a simple pneumatic shelter became a structure that could inflate in seconds, protecting entire streets and absorbing shock-waves.

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MAtthew Mudd (6th Year)Women’s sanctuary, MarrakechThis thesis project researches and develops an architectural programme that responds to both the physical and social impact’s on architecture. The project is driven by a series of studies into the local climate, urban grain and materials (physical) and culture, tradition and   education (social). The output - a paradoxical beaconof hope that seeks to reintegrate women back into society through education, and an architecture that offers a series of detailed solutions in response to the climate in Marrakech.

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hArrY hewLett (5th Year)Adaptable shading system, GranadaThe system uses layers of perforated material that align in different arraignments to create varying levels of shading

richArd LAYcocK (5th Year)environmentally Reactive canopy, Granada

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nicK wriGht (5th Year)form and structure experimentation, Granada (top)The form optimises views to the nearby Alhambra palace and maintain constant shading from the Spanish sun, whilst creating structures rooted in the rich history of the area. Initial research was on a small scale, an intimate shading pod. This moved on to a large scale market and performance space canopy.

A musical gateway to the Albaicin, Granada (bottom)The gateway is intended to capture the vibrant musical atmosphere of the area, and to lead people to explore the intimate spaces within the old Islamic Quarter of Granada.The internal spaces are derived from the Flamenco cave atmosphere and individual note frequencies, whilst the external spaces create a public square linking to the Albaicin.

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tessA henshAw (6th Year)The oasis ProjectThe Oasis Project, located in the Spanish city of Granada, is a hybrid Arab bath and swimming pool scheme which acts as an urban intervention. The main project drivers were tourism, climate change, optimal branching structures and energy harvesting. These drivers resulted in a scheme that proposes closed loop energy and water systems to support a series of spaces which celebrate the delight of water in order to raise awareness of its value.

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We think that the towns and cities are heading for a big stack, and we must dress accordingly: climate change, resource depletion, global economic downturns; virtualisation, immigration, global trade, cyber warfare; wellbeing and unemployment are biting into the very flesh and bones of places.

We need to adapt to the future, and make a transition to a new flexible future. We take these possible crashes, visualise them and design futures accordingly, allowing the hostile forces to be diluted, deflected and absorbed.

This year, we have developed mycelium as a regenerative agent for brownfield sites, ensured a food resilience should the great famine come, mapped and identified potential for future development, created a quarantined society safe from pandemic

attack, established bottom-up open source small scale housing initiatives and created carbon fibre from thin air and reclaimed textile manufacturing.

over the last two years, we have investigated some of the most problematic urban areas in Britain; from Salford and the Aire Valley, to the forgotten mill towns of Lancashire, settling on the commuter town of Macclesfield; we have compared these with districts as far away as Berlin and Tokyo. We have documented shrinkage, decay, despair, we have modelled and made; argued and analysed.

our intention is to discover, document, describe and discuss adaptation and resilience in post-industrial towns and cities.

Des Fagan & Craig Stott

crAsh test

Do you dress for the ride or for the crash?

5th Year: claire Burrell, Jack davey, John evans, Lawrence ferguson, Paul hansell, charlotte haughton, Thomas Lamping, Aimee Major, huy Nam Nguyen, Ben Parish, Jose Antonio Rogriguez, susan Thomas, Joseph Walton. 6th Year: Luci Berry, Andrew Burrell, Josh Greenfield, Salih Gulercan, Thomas Harrison, Matteo Lattanzio, Antish Luximon, Vicky McQueen, James Norton, Sofia Ntokou, Matthew Riley, Timothy Robinson, Sebastian Russell, Mark Smith, Bradley spencer, Imran Zulfqar

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LAwrence FerGuson (5th year)Architecture As Artifact (above)Admiring an architectural proposition in its various elements. The garish and contrasting colors aim to express the forms as singular artifacts, isolated from context and any coherent whole.

PAuL hAnseLL (5th Year)Post capitalist Vertical AirportThe airport works like an envelope over Friedrichstraße train station creating a central hub in Berlin city center for transportation. The varieties of transportation include the use of Air, rail, road and underground all within the high densities of the capitalist city of Berlin. The vertical airport powers itself from large mechanical machines all fueled by sustainable methods. Lift systems powered by hot air balloons. The watch tower is supported by a helium filled balloon to allow it to move away from the platform to allow for safer landings for larger airships.

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BrAdLeY sPencer (6th Year)Allegorical MacclesfieldMapping Truth and Actuality 

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AiMee MAJor & PAuL hAnseLL (5th year)Model of facade system on Thyssen Krupp headquarters, essen, GermanyWhen compared, human and building skins perform a series of identical roles, yet there are vast differences. Very few contemporary building façades display any of the intricacies human skin has evolved. They offer little more than a barrier between inside and out. To attain the goals required to halt global climate change, future building skin design must improve in every aspect.By studying a built precedent and replicating its function through building a physical model, the brief provokes thought about how we can adapt our building designs to work as efficiently in their environment as possible. This system aims to make air conditioning redundant with the use of a weather station on the roof which sends signals to a computer that steers the rotation of the facade slats. The facade provides a screen that reduces solar gains when there is direct solar radiation but allows daylight in when there is not.

MAtt riLeY (6th year)d3 Unbuilt Visions competition sPecIAL MeNTIoN Transient Architecture: The Mobile Autonomous collating LaboratoryThe self-made brief was to design a laboratory which could be packed up and deployed anywhere within Europe, accommodating E.U scientists researching into climate change and its effect upon bird migration. The laboratory had to be self-sustaining, and adaptable to suit alternating environments. The laboratory is modular and made up of a kit of parts which can flat pack and be assembled together on-site. The lab is deployable by air, allowing it to reach remote, hostile areas where little infrastructure exist. The trapezium shaped module allows the lab to take a variety of forms which can create flexibility in its internal function or external performance. Each module, eventually connected together, is suspended upon an A-frame with two identical inflatable passive solar heating/cooling system smothering its exterior. Its suspension upon elevated, adjustable A-frames means that there is minimal footprint upon the natural landscape, wind can flow freely above or below preventing large wind loads and adaption to gradients in the landscapes is simple. The intelligent, flexible and adaptable passive solar heating and cooling system responds to the heating, cooling and ventilation requirements within varying climates. The laboratory is self sustaining as it harvests solar and wind power whilst collecting rainwater and utilising natural light.

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cLAire BurreLL (5th year)Resilient Residences: flood Resistant housing on the Mersey estuary (left)The Detection and Decontamination Centre provides an autonomous way of living for its occupants, providing food, water, power and clean air. In cases of flooding the pods reacts to their environment and adapt their heights according to the water level.

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sALih GuLercAAn (6th Year)Macclesfield farmers intensively farm the land using highly mechanised processes, and increase amounts of fertilisers and pesticides to produce bigger crop yields and quicker harvesting times.

John eVAns (5th Year)Rapid Response emergency flood housingThis project aims to create a community in which families displaced by natural disaster can adapt to a semi permanent home, with scope for adaptation and modification using a simple modular construction.It demonstrates how rapid response housing can address the needs of hundreds of flood victims, offering a safe and sustainable home which not only has the ability to be rapidly mobilised in emergency scenarios but also has scope for permanence in an ever changing world.

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Luci BerrY (6th Year)‘Making Macclesfield Food Resilient’Heterogeneous Agriculture is introduced to Macclesfield’s Hinterland. The design is a vessel for the distribution of the food produced.

MArK sMith (6th Year)Reclaiming fashionThis project explores how Fashion’s influential power over society could play an important role in making sustainability desirable.The project directly confronts the high ecological cost associated with the global consumption and waste of fashion by reducing the amount of textiles going to landfill. ‘Reclaiming Fashion’ offers an alternative ending for discarded clothing, through the reinvention of Macclesfield’s industrial textile manufacturing heritage.The project has a strong social underpinning, offering a fresh approach to engaging with issues of social education and employment for the marginalised, less wealthy residents of south Macclesfield. The scheme would provide a range of both skilled and unskilled jobs and education to the full demographic of Macclesfield’s population.

VicKY McQueen (6th Year)Carmageddon:Oil is a finite source and we are fast approaching “Carmageddon”. The day that the dominance of the internal combustion engine ends and the car, as we know it, will cease to exist, is fast approaching. The cost of oil, is only going to increase, as resources become diminished, meaning only the rich can afford to drive.There are a large number of commuters within Macclesfield. New Transport systems will be introduced to maintain connections with other towns and cities. As a result, there will become an abundance of unusable vehicles, these can be ‘traded in’ in exchange for energy or transportation costs. Taking a cradle to cradle approach, ‘waste equals food’, cars are broken down and recycled, and the materials to be reused as catalysts for new industries. The building is designed from the concept of the ‘de-production line’ creating an efficient deconstruction system, whilst re-using redundant multi storey car park structures.

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01. Clinical research vaccine entrance02. Clinical vaccine test rooms (hospital patients)03. Underground car park04. Clinical vaccine test rooms (healthy volunteers)05. Plastic production factory06. Plastic products assembly warehouse.07. Exhibition space08. Lecture space09. Sleeping rooms10. Exchange space11. Interchange space

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EXPLODED AXONOMETRIC

tiM roBinson (6th Year)Networks of Viral TraumaMy interest in viral pandemics began in 2009 during the Swine flu (N1H1) virus. It shocked, but also confused me how a microscopic virus could cause such panic and dissolution. The harrowing imagery circulated through media sources heightened mine and the public’s distress. But was this a media tactic to enslave us in a fear driven society. Or was this a real threat that could create a shift in the way we live our lives.I considered the architectural impact a viral pandemic could have on a city. Traveling into work in the summer of 2012, I looked around the tube train; calculating the number of people I had come into contact with on this shot 20 minute journey. It must have been in the hundreds. Then consider the amount of people these people had come into contact with, It must be in the ten’s of thousands. This physical connectivity could be vastly increased through travel to another part of the world. If a novel microbe did manage to gain access urban centres, then what protection was there in place to help the survival of an ordinary citizen?

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urBAn studio“A ‘sustainable city’ is organised so as to enable all its citizens to meet their own needs and to enhance their well-being without damaging the natural world or endangering the living conditions of other people, now or in the future…..there will be no sustainable world without sustainable cities.” Herbert Girardet

By thinking about the strategic urban design of the city and understanding the resources within communities the city can be made more resilient, egalitarian and coherent.

Urban studio situates its explorations in neglected places of the North’s post-industrial cities. We consider global imperatives and local issues together. We explore their interconnection and consequence of each on the other. This becomes the genesis of the student’s personal interest or manifesto. Using the chronological process of identify, define, suppose and propose we make urban design strategies for city and community. The urban strategies generate and contextualise the students’ architectural propositions.

Part of our ethos is group working, developing collaborative practice both inside and outside of the University. This means that every student will work in a group in their first semester and contribute to a ‘live project’. students in the current cohort have either designed a children’s

centre following the earthquake disaster in haiti in 2010 or developed a urban framework for hunslet which we combined with a ‘Live Project’ for new ‘bogs’ and community proposal to extend the Grade2* listed Garden Gate public house.Through being ‘out there’ with our projects, our students are helping raise money for the haiti children’s centre. Two students from this group achieved an honourable mention in the international competition ‘shelters for All’ and through this exposure are now collaborating on ‘sisal as a building material’ with American post graduate students. our work in hunslet has led to two students being commissioned by RIBA Yorkshire to make a stop motion video for the RIBA Awards. Another group has been contacted by hunslet based Voluntary Action Leeds to discuss possibilities for reusing their building. finally Leeds city council has invited the cohort to present their hunslet urban framework strategies.

Simon Warren, John Orrell & Richard Scott

5th Year: Kelela Blake, Rachael Branton, Andy clapham, hamid dhorat, Josh dyson, Adam fulton, haroulla Georgiou, Neil Graham, Joe Morizzo, Trim Murati, harvey Mudhar, Gareth Roberts, daniel Wallace, Jason Yeung, Yue Zheng, Anthea Zhu. 6th Year: emily Blowers, Nick Bullen Brown, Rob carter, Andrew court, Alex durie, steven duquemin, david heeley, Jonathan hounslow, sarah hutton, charoula Kassimati-Antonopoullou, Natalie Ledward, simon Lewington, Michael Townsend

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5th YeAr urBAn studiohunslet Pop Up Tea sheds community engagementWe feel that it is important to engage with local people in order to find out more about their area, deepening our understanding of the problems and issues, and creating a vision for Hunslet that is based on local knowledge and expertise. As prior attempts to engage with the local demographic had been met with general wariness and suspicion, we felt it necessary to rethink our methods of approaching the community. The Hunslet Pop-up Tea Shed was designed to generate curiosity and promote conversations between the local population and us as designers.

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rAchAeL BrAnton, hArouLLA GeorGiou, Joe MoriZZo, Yue ZhenG (5th YeAr)The Garden Gate Picture houseThe Garden Gate should become the heart of the community. We are going to integrate a cinema into the Garden Gate, which will bring the community together and provide Leeds Brewery with a possible secondary income. Increasing the popularity of the public house is essential to it becoming the hub of the local community. In doing so we are interweaving out design into the ideas and principles of the patchwork Hunslet masterplan, making this a key step in Hunslet’s development.

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Andrew cLAPhAM, neiL GrAhAM, dAnieL wALLAce, JAsAn YeunG, (5th Year)Garden Gate cider TowerA tower is built to the back of the Garden Gate pub in order for Leeds Brewery to produce cider from apples in the orchards. The vertical tower maximises the small site and allows for a gravitational cider making process. The design is influenced by a brewery tower which used to be at the back of the site. The volumetrics of the tower was determined by the equipment necessary within it - this is derived from the predicted volume of harvest. The equipment is stacked to re-instate the architecture which once represented gravitational processes and to also minimise labour. The equipment sits as one, fixed to a steel frame allowing for views up and down through “the machine”.

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triM MurAti, hArVeY MudhAr, hAMid dhorAt (5th Year)The idea was to create a space where it would accommodate many different activities occurred during, the day, the week, the month and the year. This space would almost be the central point of hunslet. Activities like music from folk to urban, different comedians, performances, annual event and private hire occurring at all times. This space we design would have to be flexible to accommodate these different events.origami is a good way of making seating, acoustic panels, stages that change according to what is happening inside the space. We looked at folding, retracting and compressing systems using the art of origami.

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Josh dYson, AdAM FuLton, GAreth roBerts (5th Year)Place for the PeopleThe Main Hall is the main feature of the Place for the People. Essentially what we endeavored to produce was the perfect versatile space. This was our main objective as we intend for the community of Hunslet, alongside the Garden Gate to define this space and treat it as their own. This space is intended to be the catalyst for rebuilding the lost community spirit and it will host events such as tea dances, community meetings and speed dating amongst other events.

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eMiLY BLowers, nAtALie LedwArd (6th Year)haiti: house of hope - sisal LakauCommunal Courtyard (right), Site Model (below),

PAuL unett (6th Year)ship Breaking facility, hullThe typical life span of a ship is 25-30years. Every year approximately 300 major ships are decomissioned throughout the world. After decommission they are usually taken to ship yards for breaking to be recycled. Up until the 1980s, ship breaking occurred solely in the USA and UK, however due to rising costs and health and safety regulations it became too costly for ship owners to sell their ships to yards for breaking. Soon ship owners began to bribe corrupt African officials to allow them to discard ships in their bays at a fraction of the cost of legally selling their ships to ship yards in USA or UK. Most recently, ship breaking beaches in India, Bangladesh and Pakistan have been paying ship owners to purchase their ships due to the sell-on value of the materials and minimal labour costs. However, this practise allows for inhumane working conditions and the pollution of the oceans.The Ministry of Defence is looking for innovative proposals to preserve the HMS Illustrious which is due to be decom-missioned in 2014, within the UK. This project proposes using the HMS Illustrious as the catalyst for the ship recycling facilities in Kingston-upon-Hull by acting as a base within the Hull Estuary for ship breaking workers from Hull. It shall be partly deconstructed, combined with new and altered construction taking place to provide the means to facilitate ship breaking and educational facilities for Naval Architecture and Marine Design university courses.

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ALex durie, Andrew PYe, MichAeL townsend, thoMAs woodcocK (6th Year)haiti: house of hope We have included play as a major part of our strategy for the House of Hope to help the children through the trauma of first losing their families and now with the aftermath of the earthquake. We have implemented these findings in our strategy by letting the children take control of their environment, letting them player where ever and how ever they like. The scheme lets them run, jump, hide and climb throughout their new home.We propose the development of an ‘app’ to help rebuild Haiti, and to help the user gain a nationwide perspective of the scope and progress of projects throughout Haiti.

eMiLY BLowers (6th Year)The Game-board - The cityCreating a strategic board game that involves players trying to progress to one side of the board while trying to block other players. Encounter analysed the interaction and engagement within a live situation, looking at how rules affect autonomy. It was a valuable experiment and was interesting to see how creating a simple game allowed people to be fully engaged in a situation and from that learn much more effectively. Within the second and third game players had created strategies and used alliances with players for mutual gain.The above images shows the routes taken by each player and how they directly relate to other players. Developing this analogy I wanted the urban area of Holderness road to become the game board where interaction of the individuals takes place. The environment creates a co-ordinated urban strategy which places society at the core of a framework for the future.

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The society of Architectural Knowledge (soAK) was formed in 2013 within the Leeds school of Architecture to promote cross-studio learning, encourage student participation in the running of the school as well as creating student-led events which showcase student’s work and ideas to future employers.

The founding member committee, consisting of a number of dedicated students [Rachael Branton, Graham davey, Lauren di Pietro, Victoria Gaskell, harry hewlett, Joe Morizzo, Andrew Thompson, sophie Thompson, Gaven Webb and Yue Zheng] have worked hard to ensure that the running of the society has been as smooth as possible, from inception through its current infant stages.

soAK has created this yearbook with support from the West Yorkshire society of Architects, whom we would like to thank for their generous donation, without which this book would have never been possible.

I would also like to personally thank the staff at the school and all students who have supported the society from the very beginning.

Joe Morizzo, Vice President SOAK

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