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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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Conference Timetable Introductions Spaces For Theory Spaces For Technology Spaces For Design Keynote Speaker Contributor Profiles _ Greenwich at Venice Biennale 2012 AVATAR and TED.com GREen Project Office _ Student Course Guide BA (Hons) Architecture Diploma in Architecture MSc Architectural Design

[CONFERENCE TIMETABLE]

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Friday 21st September 2012 To mark the beginning of the 2012-2013 academic year, the Architectural Programmes will host a one-day conference titled of Spaces For Architectural Education, principally developed in anticipation of our forthcoming move to the new building in Stockwell Street. The conference will comprise of presentations around Theory, Technology and Design, 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 intended for diploma students and third year degree students but will be open to the whole Department of Architecture and Landscape.

Introduction Neil Spiller Spaces For Theory Nic Clear Mark Garcia Helen Castle Respondent - Mike Aling Lunch Spaces For Technology Simon Herron Simon Allford Shin Egashira Respondent - Luke Olsen Break Spaces For Design Nic Clear David Greene Roisin Heneghan Respondent - Matthew Butcher Break Keynote Ben Nicholson

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Proposed Stockwell Street development. Visualisation courtesy of Heneghan Peng Architects.

[INTRODUCTIONS

[PROFESSOR NEIL SPILLER

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The education of architects and designers is a source of much discussion and debate. This debate always focuses on seeking a compromise between two cultures - that of science and that of art. In effect this continuum ranges from the quantifiable to the 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 respond to our contemporary world. A world that needs maverick creativity but equally a familiarity with the established ways of doing 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 biotechnical convergence between fauna, flora and wetware. The School of Architecture, Design & Construction and the University of Greenwich will be working in this new cyborgian geography to create worlds that bask in the new sublimity of the twenty first century,

with no luddite pretension but a view to ecological sensitivity. The world is out there, held in genetics, politics, biology protocols and computers lets make it beautiful and make it touch the earth lightly. Welcome to this conference, it is an initial signpost to the future. Professor Neil Spiller Dean School of Architecture, Design and Construction September 2012

Neil Spiller, Great Metaphysician.

[INTRODUCTIONS

[NIC CLEAR

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Over the summer the Department of Architecture 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 landscape 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 uncertainty. 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 uncertainty 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 elitist architectural culture are being superseded by the more dynamic and contingent models 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

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 engaging with the technologies of virtuality (exploring fully immersed, mixed and augmented environments); time based digital media (video, animation and motion-graphics); nano and bio technology (micro landscapes and architecture, ethics, sustainability and ecology), reflexive 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 leading practitioners to lend their support to develop a new type of architecture and landscape education. Students by necessity will develop skills that will enable them to flourish as designers, and as people, well into the future. Nic Clear Head of Department of Architecture and Landscape

Nic Clear, Protocell Architecture 02 [Networks].

[INTRODUCTIONS

[SIMON HERRON

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Whats in a name... take the label off a can of beans, what have you got left a can of beans? 1
The prevailing difficulty with labels is that they seem to condition nothing but your mind! Labels build up expectations, drive assumptions and prejudices drawn from experience and preconditioned responses. Its 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 uncovered, what evidence is presented of the physical fabric, what are the signatures, distilling one use from another? Its a Beach presents a speculative proposal for an extremely versatile and indeterminate facility, which changes use, function, appearance, composite parts and name. The second a 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,

Ron Herron, Its a... Beach, Archigram, January 1971.

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 anticipatory. So what then defines the school? An architecture school can no longer be defined simply by a label, or constrained by its physical presence, it needs to evolve and exist, above all else as an Idea... the Bauhaus is not remembered so much for what it physically produced or built, but for the extraordinary step change in visionary thinking it generated. An architecture schools 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 paradigms. The aim is to invent and service the needs, wants and mores of the future, to devise new strategies for architecture production. Simon Herron Academic Leader, Architecture
1 Its a..., Ron Herron, Archigram, January 1971. 2 Lewis Carroll, Through the looking glass.

Susanne Isa, Bovine with Cheese Board, Berlin, November 2006.

[SPACES FOR THEORY

[SPACES FOR THEORY

[NIC CLEAR

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Architecture is a complex discourse; it is not just designing buildings and building buildings. Architecture exists in the multiple possibilities that exist around the creation of spatial concepts. These ideas, representations and artefacts can exist as physical objects, virtual and augmented environments, texts, drawings, 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 something 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 appropriate than others? WHO DECIDES? The nature of a theory, and its relationship to architectural production is often presented as natural and transparent. Theories of architecture 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 conservative value systems, personal, financial and bureaucratic. Theories often legitimise the status quo, maintaining a system of conviviality and progressiveness through private ownership and consumerism. As theories become 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 designing and making. Moving forward, it is essential to consider theory and practice as interconnected; 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, drawings, films etc) that feed back into a theoretical understanding of architecture. Theories of architecture should be informed by engaging in the ideological trends that are shaping contemporary architectural discourse, and be an active part of that process. Nic Clear

Image courtesy of Mark Garcia.

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[SPACES FOR THEORY

[MARK GARCIA

[SPACES FOR THEORY

[HELEN CASTLE

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Mark Garcia PRACTI_COOL THEORY: HISTORIES AND FUTURES OF BEAUTIFUL ARCHITECTURAL MONSTERS.

entrepreneurial, high-innovation, knowledge-intensive industries and professions, by theories (with a little t). Being faster, ubiquitous, implicit, tacit, more specific, subTheoretical, more accessible and popular theories, including unconsciously operating ideology, are therefore inescapable but also eminently utilitarian and at its best, as verified, valid, original, innovative and architecturally productive and significant as the best hardcore Theory.

Helen Castle WHY 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 delivering cutting-edge design and ideas. Founded in 1930, it published the likes of Alison and Peter Smithson, Sir Denys Lasdun and Ern 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 espouse 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 believer that you have to look back in order to move forwards.

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 (THEORY) 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 repressing 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, installations etc.) blur the distinction between THEORY and MAKING in both the products and the processes of architecture. Even todays hardcore Theory (with a big T) (positivist, academic, scientific theory) has in some cases been replaced, particularly in the softer disciples (humanities and social sciences), and more creative,

In architecture warring camps persist and slogans like theoretical meltdown, theoretical hiatus, death of theory, post-theoretical, end of history and the anti-historical are being proclaimed alongside the schism between Critical Architecture and Post-Critical Architecture. These discourses perpetuate an unhealthy state of intra-disciplinary apartheid in the oppressive myth of the essential and general separation of THEORY from MAKING, for either mode is a practice and involves design. The cleverest THEORISTS like Sylvia Lavin are side-stepping the debate by calling simply for cool architecture in both THEORY and MAKING. A rapid international survey of some evidence for the increasing popularity and general practicality of architectural theories shows that THEORY is becoming cooler. Recent and emerging cool architectural projects demonstrate that those which couple the best THEORY and MAKING into fluidly beautiful hybrid monsters can reach the highest levels of futuristic global architectural 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 builds in it: the gauntlet has been thrown down.

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[SPACES FOR TECHNOLOGY

[SPACES FOR TECHNOLOGY

[SIMON HERRON

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Framed within the broad context of a discussion on the spaces of architectural education, precariously situated at the pivotal point of balance between Theory and Design, the role of Technology is presented as a central protagonist in architectures search for its driving soul. Consider how architecture can be defined by its engagement with and use of technology. For some, technology is central to their practice, it forms and frames it, providing the reason and content 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 be a 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 latest in intumescent seals, roofing membranes, faade systems, laminate wars, rapid prototyping 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 unnerving sensation of living in reverse, deep

into a technological shadow. Side stepping the gravitational pull of the past is the powerful 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 technological evolution from idea to delivery. Looking back over 1930s issues of Architecture Vivante in monochrone with hand-tinted plates, to the glossy magazines of the 60s, you are struck by an obsession with sanitation, hygiene, fresh air and light. Modernism posited as a pseudo-technical discipline, aided 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 architectural school with presentations framed to challenge preconceptions. Simon Herron
1 The opening to The Great Gizmo by Reyner Banham, first published in Industrial Design, Sep 1965.

Susanne Isa, T-Rex, Gas Stop, Cabazon CA.

[SPACES FOR TECHNOLOGY

[SIMON ALLFORD

[SPACES FOR TECHNOLOGY

[SHIN EGASHIRA

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Simon Allford

Shin Egashira In the tale he wrote for a little girl, Lewis Carroll mathematically illustrated the relationship 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, surrounding ourselves with various kinds of gadgets, while we continue to piece together

the images, afterimages and fragments of memories 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 design science that attempts to create a new urban context by re-utilizing the excesses, by mixing the old technique and new technologies and make sense of poetry and practicality?

AHMM, Tooley Street, Vault Roof.

AHMM, Cobham Bridge Trees.

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, drawings 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 convenient pedagogical categories?

Today I am invited to participate in a conversation in a university about Technology which is somewhat inconveniently sandwiched between Theory and Design. On another day it could be culture, production and aesthetics. Perhaps that is one possible 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 construction, technology, culture, society, environment 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 mastering constraints to offer a way of thinking about and designing the world to improve the potential of our existence on Buckminster Fullers Spaceship Earth. Technology is not a separate discipline or subject. Technology, to adapt an aphorism of Cedric Price, is only one part of the right answer if you began by asking the right question.

Shin Egashira, Fish Cabinet.

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[SPACES FOR DESIGN

[SPACES FOR DESIGN

[NIC CLEAR

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In two years time the Department of Architecture and Landscape will be moving into a new building in Stockwell Street. This begs a fundamental question: given that we will be occupying 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 student 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 technologies has revolutionised the way architectural education is taught and practiced, there is an absolute imperative to develop design and representation skills that are appropriate to current and future employment needs. However an understanding of, and ability to utilise traditional forms of design and making are an invaluable asset in the effective acquisition of even the most advanced skills. Whether students are trying to develop skills in CAD, graphics, animation, programming, scripting or digital fabrication, a strong foundation in traditional means is essential.

The next generation of architects will have to deal with diminished resources, consequences 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 reasoning 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 beyond the restrictions of practicality and professionalism, while still being a place where they learn to communicate practically and professionally, to develop effective skills that will allow them to flourish throughout the C21st. Be reasonable, demand the impossible! Nic Clear

Anon, Heres 3 Chords... Now Form a Band, 1977.

[SPACES FOR DESIGN

[DAVID GREENE

[SPACES FOR DESIGN

[ROISIN HENEGHAN

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David Greene INVISIBLE UNIVERSITY

Roisin Heneghan In a time when spatial proximity is no longer essential, where lectures can be downloaded, seminars conducted across time zones and tasks undertaken remotely, it is the opportunity for students to work together, to see and learn from one anothers 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.
IU, Future Learning.

Heneghan Peng Architects, Stockwell Street.

The Invisible University is a network that employs a strategy of ad hoc multidisciplinary 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 romantics, 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 University acts as a catalyst in this landscape that is infested by sheep and machines, grazing within the nervous system of the internet, where the values of a planet are subject 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 architecture of the culture of smaller and faster.

IU, A Well-Serviced Primitive Explores the Architecture of the New Nature.

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 doubletake rewind - both futuristic and nostalgic. Hot-wiring modernism and taking it for a picnic: electro-social camouflage, collective engagement, differentiated repetitions 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 electronic topology, constantly tuning and retuning itself.

Heneghan Peng Architects, Stockwell Street.

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[KEYNOTE SPEAKER

[KEYNOTE SPEAKER

[BEN NICHOLSON

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Ben Nicholson, Roman Labyrinths, 2005.

Ben Nicholson, Appliance House, Face Name Collage, 1986-1990.

In a search for a practice of design that is beyond both green and taboo? Where on earth can one look: inward? Does the energy leaking from the pineal gland detect spatial 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 making stuff and building buildings will lead to a resurgent interest in the ineffable, ushering in a wholesale rejection of matter. Could this be our Ghost Dance moment, when the ethereal engages the visceral to make a sublime construct of nothingness? What is the equivalent word to Go Walkabout: is it wandering or wanderlust or maybe meandering? If humans were spiders, paying out a silken thread wherever they went, they would find that each persons 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 without 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 building and still derive pleasure from it. Try it! Ben Nicholson

Ben Nicholson, Appliance House, Exterior Elevation of Cell Wall, 1986-1990.

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[PROFILES

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From 1990 he has taught at the Architectural Association 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 Building Workshop in Portugal and the AA Maeda Workshop 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 universities and venues all over the world. _ Mark Garcia has worked at Branson Coates Architecture and at SOM London. He has held academic posts at St. Antonys College, Oxford and at the Department 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 Architecture, Design and Construction at the University of Greenwich. He is currently editing and writing the forthcoming Future Details of Architecture AD. _ Simon Allford co-founded Allford Hall Monaghan Morris Architects. He leads a studio with projects in England and abroad that engage both public and private clients in a wide range of projects that vary greatly in scale and use. All invite the exploration of a particular architectures potential to offer utility and delight. Simon is a visiting professor, lecturer, critic and external examiner; he judges urban and architectural design competitions and contributes to debates, lectures 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 architecture list at John Wiley & Sons. She has worked for over twenty years on architectural publications and has an MSc in the History and Theory of Modern Architecture from the Bartlett School of Architecture (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 established since 1987. Shins 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 Biennale. He has been artist in residency at the Camden Arts Centre in London and Bennington College in Vermont. 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 architects, who practice architecture, landscape and urban design. Heneghan Peng take a multi-disciplinary approach to design and have collaborated on a range of projects which include larger scale urban masterplans, bridges, landscapes and buildings. Current projects include the Grand Egyptian Museum at the Pyramids, the Giants Causeway Visitors Centre, Central Park Bridges at the 2012 London Olympic Park, a Library and School of Architecture at the University of Greenwich, London and the Mittelrheinbruecke in the Rhine Valley. _ Ben Nicholson is Associate Professor in Architecture, Interior Architecture and Designed Objects at the School of the Art Institute of Chicago (SAIC). He studied at the Cranbrook Academy of Art, the Architecture Association, London and Cooper Union, New York. He has exhibited internationally, including at the Whitney Museum at Altria, New York, Venice Biennale of Architecture, the Renaissance Society, Chicago, 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 Congress, San Francisco Museum of Modern Art.

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[GREENWICH AT VENICE BIENNALE 2012

[GREENWICH AT VENICE BIENNALE 2012

[MATTHEW BUTCHER

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Dominic Davis

As part of the prestigious 13th Venice Architecture Biennale this summer, the University of Greenwich School of Architecture, Design and Construction was asked to represent the UK in an international exhibition of student architecture work.
Simon Woodward

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 design 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 student projects to be shown alongside work from 30 international architecture schools including the University of California, Berkeley, Oslo School of Architecture and Design and the Tsinghua University, Beijing. All of the projects submitted had to be represented by a single white card model; by reducing the materiality down to a single, universal 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 architecture course - from second year degree to postgraduate diploma. All three projects demonstrated individual design sophistication as well as being experimental - showcasing the diverse approaches to design being explored within the school. From the degree course, Dominic Davis, a second year last term, presented a representation of his project A Voyeurs Bath House, sited in Marseille. Last years Bronze medal nominee Simon Woodward presented his project Land Observatory, a building which acts as a scientific instrument to monitor coastal erosion in north Norfolk. 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 student 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 September until the 25th of November. This year it has 119 international exhibitors including Zaha Hadid, Peter Eisenman, Ai Weiwei and lvaro Siza.

Nicolau Faria

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[AVATAR AND TED.COM

[AVATAR AND TED.COM

[DR RACHEL ARMSTRONG

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The unique, synthetic ecology underpinning the Future Venice project reached the attention of the TED (Technology, Entertainment, Design) Fellowship committee, which was awarded to AVATAR researcher Rachel Armstrong in July 2009 and extended into a three year Senior TED Fellowship in November 2010.
Rachel Armstrong presenting at TED.

its sinking into the soft delta soils on which it had been founded would be attenuated. AVATARs pioneering research and development into a new field of synthetic biology has continued and ventured beyond the realm of speculation, incorporating laboratory and field work. Synthetic biology based architecture has provided the basis for a 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. TEDs high profile platform continues to extend AVATARs outreach through independently organised TEDx talks in places such as Budapest and Belgium. AVATARs close relationship with TED reflects its own commitment to high impact, excellent, accessible research and communications strategies that are not only advantageous for reaching hundreds of thousands of people but help to combine AVATARs research and teaching programmes.

The production of an artificial limestone reef underneath the historic city, by a megascale, chemical computer was borne from a collaboration with Neil Spillers AVATAR (Advanced Virtual and Technological Architecture Research) group in late 2008 when the tactics of complex materiality were discovered 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 proposed as the consequence of programmed interactions between smart droplets and their surroundings whose material deposits were guided by their internal chemistry. The accretion of limestone as the consequence of a carbon-fixing metabolism was imagined to lead to a broadening of the surface area of the woodpile on which the city rests and to spread its point load so that

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[GREen PROJECT OFFICE

[GREen PROJECT OFFICE

[HOWARD GILBY

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The GREen project office at the University of Greenwich School of Architecture, Design and Construction has established a laboratory 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 experimental research. The focus will be on designing and prototyping for live projects as well as research into routes to industry, certification and funding. Additional layers of insulation are being retrofitted to hundreds of thousands of properties across the UK as part of the governments 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 developing a 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 minimising 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 building. Working in collaboration with Battle McCarthy, the designs have been progressed with expert help from the r+d departments of industrial giants Ambius and Cordek, global leaders in their respective fields of plant maintenance and polystyrene manufacture. GREen are also developing cooperative community vertical pharming 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.

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[STUDENT COURSE GUIDE

[ARCHITECTURE PROGRAMS INTRODUCTION

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The University of Greenwich Department of Architecture and Landscape is a positive and creative environment that, due its location within the School of Architecture, Design and Construction, is Multi and Inter disciplinary 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 approaches 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 theoretical, 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 systems and codes of representation for Architecture; 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.]

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[STUDENT COURSE GUIDE

[STUDENT COURSE GUIDE

[BA (HONS) ARCHITECTURE INTRODUCTION

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P - O C T - N O V - D E C - J A N - F E B - M A R - A P R - M A Waterproof System

OVERVIEW BA (Hons) Architecture is a three-year fulltime, 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 thorough 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 initial 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 authoritative 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 dissertations, expertise in delivering an appropriately complex set of architectural ideas, presented to a professional standard. There is an emphasis throughout the degree 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 UNITS Second 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 offer an exciting and innovative approach to teaching, developing a broad range of skills (design, graphic, software, technical) to support design teaching. Units are encouraged to develop and support specialisms 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 presentations. Admission to a Unit is by interview and agreement with Unit staff.

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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 [STUDENT COURSE GUIDE

Year 1 Full-Time (Part-Time level in brackets) _ Architectural Design 1: Investigation and Proposition (PT1) ARCT 1038 30 Credits Architectural Design 1: Experimentation and Communication (PT2) ARCT 1016 30 Credits Architectural Design 1 introduces the core activities and conventions of architectural design set within the broader academic framework of first year. Students are introduced to a range of tools, techniques and tactics appropriate for the study of architecture at undergraduate level.

Year 2 Full-Time (Part-Time level in brackets) _ Architectural Design 2: Exploration and Proposition (PT3) ARCT 1039 30 Credits Architectural Design 2: Tectonics and Realisation (PT3) ARCT 1040 30 Credits Architectural Design 2 builds upon the core activities of Architectural Design 1. The course encourages students to experiment with different design methodologies and pursue speculative design processes in the context of a Design Unit that will have its own innovative approach to architecture.

Year 3 Full-Time (Part-Time level in brackets) _ Architectural Design 3: Exploration and Proposition (PT4) ARCT 1041 30 Credits Architectural Design 3: Realisation (PT4) ARCT 1038 30 Credits Architectural Design 3 will develop an ambitious and appropriately complex architectural project through a process of research, briefing, design development, and design proposition. The project will explore issues of social, cultural and physical context, programme, technology and environment, and will lead to the design of a comprehensive architectural project, in association with Integrated Design Technology and Professional Practice (ARCT 1074). The courses aim to introduce students to ways of seeing, understanding and interpreting the physical world around them; to observe and analyse architectural situations and events, their cultural and physical context and to learn to look beyond the visible to uncover the unseen properties of things. Students will learn how to develop and express architectural ideas, programmes and In Exploration and Proposition students will make decisions about design process, programme, action and function and elaborate on how these are described.

] [BA (HONS) ARCHITECTURE COURSES ]

P - O C T - N O V - D E C - J A N - F E B - M A R - A P R - M A |< Y3 ARCT 1041 + ARCT 1038 >| |< Y2 ARCT 1039 + ARCT 1040 >| |< Y1 ARCT 1038 + ARCT 1016 >|

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Tectonics and Realisation should build on the ambitions of initial explorations and will develop skills in the integration of structural, material, environmental and experiential considerations of a design brief.

The major design project will be developed within the Design Unit to a degree of professional skill and at a range of scales. Each Unit will develop a different approach to the course depending on their own particular position, however in each case the project will demonstrate advanced skills in design

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functions through a variety of media and to explore the translation of sets of drawings into physical objects and models.

The outcomes of these courses will be a coherent design portfolio that describes an ambitious architectural proposition, represented through appropriate forms of architectural representation that might include detailed drawings, physical models, and digital representations.
[STUDENT COURSE GUIDE Precast Concrete Core Staircases

research and proposition. The projects will demonstrate an advanced formal and technical resolution appropriate to year three, pursuing an in-depth consideration of contemporary cultural conditions, historical context, and environmental, structural and professional design strategies. This is the final design course in the BA (Hons) Architecture programme, and it gives students the opportunity to deploy the understanding, analytical skill, critical ability and knowledge they have developed throughout the course to make ambitious architectural proposals to a level of detailed resolution. _

Students will work in the new Year 1 studio and will develop individual design proposals, which will allow the exploration and testing of emerging interests and preoccupations through an iterative design process. _ There is an emphasis on research, analysis, exploration and hypothesis through project design work. Learning how to express, articulate and represent ideas, graphically, through writing and aural presentation is an essential aspect of the course. _

] [BA (HONS) ARCHITECTURE COURSES

P - O C T - N O V - D E C - J A N - F E B - M A R - A P R - M A

] [STUDENT COURSE GUIDE ] [BA (HONS) ARCHITECTURE COURSES ] 041

042 [STUDENT COURSE GUIDE

_ Green Engineering For Future Cities (PT2) ARCT 1066 30 Credits _

Introduction to Building Environments and Construction (PT1) BUIL 1166 30 Credits The course has two parts. It is intended that they run in parallel and not necessarily sequentially. The course will introduce students to current theories, technologies and practice, at a range of scales, the micro and the macro, and help students formulate design strategies based on sustainability principles. _

The aim of the course is to challenge our existing practices, demonstrating the ways in which they are unsustainable. Through lectures, seminars and workshops students are encouraged to develop a sound understanding of sustainable principles and their influence on the role of architects/ landscape architects, and to evaluate the social, environmental and economic implications of design.

Integrated Design Technology and Professional Practice (PT4) ARCT 1074 30 Credits This course is developed within the Design Unit with the support of a Practice Tutor, an experienced project architect working in a major London practice. The course is additionally supported by an evening lecture series and provides technical and professional support for the final design projects.

[BA (HONS) ARCHITECTURE COURSES ]

Part A: The course provides an introduction to environmental design for architects, climate physics, energy conservation and issues of sustainability. Students will explore how buildings exist and interact with the physical world and how they themselves produce and generate their own environments, which are all experienced by individual users. Students are introduced to a range of basic environmental tools, techniques and tactics appropriate for addressing environmental conditions of site as seen as an integral part of the design process.

The course is designed to help students to understand their future role within the context of a construction industry, and their individual place within a design team. Students therefore need to develop an understanding and sensitivity towards the appropriate use of materials and construction techniques in a given cultural, social, and historic context. Equally students are required to develop technical knowledge and skill beyond functional aspects of building, by integrating technology and

sustainability aspects in the design work and by establishing material properties and detailing as a primary tool through which conceptual factors are transferred into built form.

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Part B: The course provides an introduction to building construction for architects, exploring material properties, structural principles and design and fabrication techniques and issues of sustainability. Students will explore how buildings exist and interact with the physical world and how they are produced, constructed, and experienced by individual users. Students are introduced to a broad range of construction methods, techniques and tactics, appropriate for addressing the physical conditions of site, where the relationship to the processes of building production and fabrication are seen as central to the design process. _

[STUDENT COURSE GUIDE

P - O C T - N O V - D E |< Y3 ARCT 1074 Y2 ARCT 1066 Y1 BUIL 1166

A second function of the course is to make students aware of the professional responsibilities of an architect and that inter-relationships with other individuals and organisations are increasing in complexity. This part of the course aims at giving the students an understanding of the industries, regulations and procedures within which the profession operates. This includes planning regulations, building control regulations, health and safety, times scales and cost constraints, as well as basic business principles related to running a practice and leading projects from conception to completion. The aim is to provide the student with a comprehensive overall view of the profession of architecture as well as helping them to define their personal development aspirations within it. _

] [BA (HONS) ARCHITECTURE COURSES

C - J A N - F E B - M A R - A P R - M A >| |< Y3 ARCT 1074 >| |< Y2 ARCT 1066 >| >| |< Y1 BUIL 1166 >| >|

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044 [STUDENT COURSE GUIDE ] Services Installations - Containment + Pipework + Ductwork - Main Distribution Routes (All Floors) [BA (HONS) ARCHITECTURE COURSES P - O C T - N O V - D E C - J A N - F E B - M A R - A P R - M A

Architecture and Landscape 1750-1970 (PT2) ARCT 1052 15 Credits The course allows students to explore attitudes to modernism in Architecture and to develop an understanding of historical, social and critical themes in architecture, urbanism and landscape, with reference to

the period of 1750 onwards. It is designed to cultivate skills in analytical and critical thinking and develop skills in critical writing and presentation through a familiarity with a range of texts, designers, design movements and their meaning; and an understanding of their social, cultural and historical contexts. The course will be presented through weekly lectures, seminars and group tutorials, students will explore the influences of individual buildings, landscapes and urban contexts on architecture and social development. There is an emphasis on the impact of industrialisation and development upon construction, design, and urbanism; and the social and artistic responses to these factors. _ Cultural Contexts of Architecture (PT1) ARCT 1050 15 Credits _ Contemporary Theories (PT2) ARCT 1008 15 Credits _ Architectural Dissertation (PT3) ARCT 1014 30 Credits The course will introduce the premise that architectural ideas and concepts are culturally constructed as part of a discourse and that they are always allied to particular value systems and ideologies. It will provide a background for current issues concerning quality in the built environment, with reference to cities in history and today and examine the cultural context of the built environment and the relationships between design and society. Since the 1960s, theory has played an increasingly important role in architectural thought and practice. Awareness of diverse thinkers and methods, from inside and outside architecture, is now considered a necessary part of an architects training as a stimulus to creativity and a means of being able to articulate a position and to enter into critical judgment about the work of an architect. The course aims to make students familiar with a range of positions, through the medium of academic texts and related projects and produce confidence in using this knowledge. Through lectures and discussion the course presents a range of theories concerned

[STUDENT COURSE GUIDE ] [BA (HONS) ARCHITECTURE COURSES

P - O C T - N O V - D E C - J A N - F E B - M A R - A P R - M A |< Y3 ARCT 1014 >| |< Y2 ARCT 1052 >| |< Y2 ARCT 1008 >| |< Y1 ARCT 1050 >| |< Y1 ARCT 1004 >|

Current architectural practice requires engagement and understanding of a variety of levels of theoretical, historical, ontextual, technological, cultural and social aspects of design.

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The course will be presented through weekly lectures, seminars and group tutorials, students will be introduced to methods for evaluating designs of various kinds and to demonstrate an ability to interpret and evaluate the historical and contemporary built environment and the theories supporting it.

In order to demonstrate this understanding with some depth, the role of the dissertation is strongly coupled with a changing focus as defined by each dissertation tutorial group.

_ History of Architecture and Landscape (PT1) ARCT 1004 15 Credits The course presents architecture and landscape in terms of a range of techniques for organising and ordering space. Some of these are very ancient, and found in all parts of the world; others are relatively new. They offer a way of looking at any kind of building or designed landscape and seeing a pattern in it. The course gives the interpretive tools to see these patterns and interpret generic design techniques and strategies, as manifested in buildings and designed landscapes through history. The course will be presented through weekly lectures, seminars and group tutorials, students will be expected to demonstrate a broad understanding of developments in the history and theory of architecture and landscape; and the related disciplines of art and cultural studies before the modern movement.

046 Steel Structures, Large Lecture Theatre - Basement & Grd P - O C T - N O V - D E C - J A N - F E B - M A R - A P R - M A

with the meaning of architecture in society. They are contemporary insofar as they are ideas that have been considered important in recent years, and are broadly concerned with the desire to give architecture a more secure grounding in modern thought, challenging a purely technical or instrumental view of its purpose and seeking to reveal the deeper potential of design and making when applied.
[STUDENT COURSE GUIDE

The dissertation should enable students to recognize the elusiveness and meaning of written texts relative to the fixity of forms. The preparation of a dissertation enables students to use a range of skills that have been developed throughout the programme: for example, the skills of enterprise and initiative required for thorough investigation and research into a chosen topic; the motivation and time management skills necessary to produce a substantive and organised piece of written work; the ability to synthesise and integrate complex information; and the ability to develop a conceptual and critical approach to architectural design.

] [BA (HONS) ARCHITECTURE COURSES ] [STUDENT COURSE GUIDE ] [BA (HONS) ARCHITECTURE COURSES ] 047

[STUDENT COURSE GUIDE

[STUDENT COURSE GUIDE

[DIPLOMA IN ARCHITECTURE INTRODUCTION

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P - O C T - N O V - D E C - J A N - F E B - M A R - A P R - M A Steel Structures, Small Lecture Theatre - Basement & Grd

OVERVIEW The 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 architecture within a highly speculative and creative 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 opportunity for students to develop research into advanced architectural design and technology 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 appropriate 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 appropriate grounding into contemporary issues of

Architectural Design, Urbanism, Technology and Theory. The Urban and Building Design Projects and Design Realisation report provide a framework through which students can critically examine the Technical and Professional design drivers for the principle design project of the year. Bridging the gap between school and practice, Design Realisation in particular re-situates Technology and Professional Studies within the creative Design process. Each Design Unit has an established partnering with a major London practice to support and mentor students through the practice 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 Architectural Design, Technology and Theory, through individually tailored design projects that are underpinned with the help of a specialist Thesis.
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Continued >

Design is always conducted within a broad and rigorous intellectual framework provided by the Unit tutors, the culture of the school and the external expectations placed upon it.

DIPLOMA DESIGN UNITS The Diploma program operates through a Design Unit system that stresses innovation and continually highlights the value of design propositions, their social impact and professional requirements.

[STUDENT COURSE GUIDE

Year 1 Full-Time (Part-Time level in brackets) _ Urban Design Project (PT1) TOWN 1036 20 Credits

The Urban Design course facilitates an understanding of the complexities of contemporary cities. The project will outline an analysis of the Urban Context to show how this informs the development of design work. Students will be encouraged to look at a range of factors from the historical transformations of the site, including the major drivers that influenced those changes, to a critical analysis of the specific site conditions, economic factors and their design responses. Students may also wish to speculate on the nature of new information technologies and their impact on the augmented nature of cities of the future.

The project will be a design proposal for a defined urban territory. Those proposals should locate the site context for the subsequent Building Design Projects, and should demonstrate their ability to support successful contemporary urban life within an environmentally, socially and economically responsible urban fabric.

Each Design Unit provides a range of design, 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. Year 2 Full-Time (Part-Time level in brackets) _ Advanced Architectural Design 01 Project Themes (PT2) ARCT 1058 40 Credits Advanced Architectural Design 02 Major Project (PT3) ARCT 1059 40 Credits Advanced Architectural Design 01 - Project Themes presents students with an opportunity to experiment and develop speculative modes of inquiry that will be rigorously deployed in their Major Projects. It allows students to develop the concepts, techniques and methods through design research and as part of this some students may wish to develop specialised methodologies and media, whilst others may wish to develop architectural concepts from aesthetics, technology and cultural practices. Advanced Architectural Design 01 maybe developed as a complete project in its own right or it may be seen as the prelude to the Major Project.

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.

] [DIPLOMA IN ARCHITECTURE COURSES ]

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 >|

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_ Building Design Development (PT1) ARCT 1061 20 Credits


Steel Staircase - SoADC Atrium

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[STUDENT COURSE GUIDE

Building Design Representation (PT2) ARCT 1062 20 Credits Building Design Development and Building Design Representation together require students to develop a brief and the design of a reasonably complex building for a real or imaginary client.

The Major Project is an opportunity for students to construct a piece of individual design research that is characterised by an in-depth investigation of a specific area of architectural inquiry. The scope of the research will be developed in consultation with their Unit tutors, students should deploy the themes and techniques developed in Advanced Architectural Design 01 to create a robust and rigorous thesis that is fully explored and articulated through the development of an architectural proposal. The intellectual ambitions of the Major Project are to be developed with reference to the Advanced Architectural Thesis (see below). Students are encouraged to be ambitious and innovative and to question what is an appropriate form of architectural inquiry at the beginning of the C21st.

Building Design Development is produced in conjunction with the Design Realisation report to enable the students to demonstrate their ability to satisfy technical and professional criteria while meeting aesthetic and functional requirements. The production of the design and the report will be carried out in collaboration with a Practice tutor from a professional office. Students will be required to demonstrate the development of their Advanced Architectural Design Project with reference to their research course work and will present their project through a design portfolio that may include drawings, illustrations, models [physical and/or virtual], installations, films, animations, interactive media and performance. All work must be suitably documented and coherently presented to the highest level. _

[DIPLOMA IN ARCHITECTURE COURSES

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Building Design Representation will be presented through a portfolio that must demonstrate an appropriate level of resolution, looking particularly at qualitative aspects of architectural production including possible modes of inhabitation by end users. The portfolio will consist of a comprehensive set of representations that will include a set of scale drawings that adequately describe the final proposal and may also include physical models, virtual models and illustrations, as well as installations, animations and interactive media. Students are encouraged to adopt a critical and innovative attitude towards the technical and professional requirements and approach them with intelligence and

ambition. The exact nature of requirements is to be interpreted through the ethos of the individual unit. _
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Architectural Thesis (PT3) ARCT 1060 40 Credits The Architectural Thesis enables students to develop an appropriate and rigorous intellectual research agenda for their Major Project. The emphasis of the thesis can be derived from a variety of disciplines including science, architectural history, cultural studies, philosophy or technology.

_ Design Realisation (PT1) ARCT 1063 40 Credits

Starting with an intensive series of lectures, workshops and seminars delivered at the conference, which will include specialist guidance on the methodologies of research, each student will develop an individual thesis to support the theoretical and or technical ambitions of their major project.
[STUDENT COURSE GUIDE

Students are appointed a Thesis tutor, in consultation with the Design Unit staff and the Course co-ordinators, from available University personnel and if necessary a specialist external tutor may be appointed.

The course provides the opportunity for all FT1 and PT1 students to consider how buildings are designed, constructed and delivered. Students will be asked to reflect upon their relationship to technology, the environment and the profession. This will be explored through an iterative critical examination of the major building design project taught within the context of individual design units in Year 1. The course runs concurrently with the Building Design Project and is supported by an extensive lecture series, seminars and cross unit crits, with each design unit being supported by a dedicated practicebased tutor.

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 >|

The submission will be in two parts; part one will be a Research Methods Study, and part two will be an individually written thesis. However the thesis may also contain evidence-based experimental and technical research; details of specialist programming and scripting; interactive media; full size installations and constructions. The exact content and structure of the submission will be agreed with the Thesis tutor in conjunction with the Course co-ordinators.

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The course aims to introduce students to core knowledge that is required in the realisation of buildings in professional architectural design practice. Students will be asked to consider the influence of and develop an attitude towards construction, technology and the profession, which are all seen as having an integral role within the creative design process. The course will introduce students to elementary matters involved in the running of architectural consultancies and building projects; the progression of works from commission to completion and the broad range of strategies that influence the design and construction of buildings.

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Students are encouraged to adopt a critical and innovative attitude towards the technical and professional requirements and approach them with intelligent curiosity and ambition. The exact nature of requirements is to be interpreted through the ethos of the individual unit. _ Theories of Architectural Design (PT2) ARCT 1064 20 Credits The course offers students a platform for theoretical and critical discourse in architecture, and opens up an interdisciplinary dialogue in the field of architecture, the arts, critical theory, and related disciplines. Starting with an intensive series of lectures, workshops and seminars, presentations delivered at the conference and in a series of lectures in term 1, students will develop two separate pieces of work, they will write a review on one of the key aspects of the conference and they will develop an essay on an individually agreed topic.
[STUDENT COURSE GUIDE Curtain Walling System - Atrium/Roofs & Greenhouses |< Y1 ARCT 1064 >|

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[STOCKWELL STREET CONSTRUCTION DURING ACADEMIC YEAR 2012 -2013

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SUPER STRUCTURE

P - O C T - N O V - D E C - J A N - F E B - M A R - A P R - M A

Associated Works

Steel Structure etc

Steel Staircases ROOF FINISHES Waterproof Membrane

Lift Cores & Walls G-1 1st Floor Slab RC Frame Walls & Cols 1-2nd Floor Steelwork Hangers 2nd Floor 2nd Floor Slab Cast-In Steelwork (Brackets/Plates) Connections for Atrium Stairs Steelwork Hangers 2-3 (GL 4 H-J) Deliver to Site Steel Colums 2-3 Delivery to Site RC Frame Walls & Cols 2-3 Fl 3rd Floor Slab Precast Concrete Core Staircases (LS 01 + LS 03 + AS 02) - Deliver to Site Steelwork Hangers 3-R (GL 4 H-J) Deliver to Site Steel Columns 3-R Deliver to Site RC Frame Walls & Cols 3-4/Roof Precast Concrete Core Staircases (AS 01) Roof Slab & Upstands Structures Above Main Roof & Plant Bases Plant Bases In Basement Waterproof Membrane - Service Yard (Over Basement) Sub Station Base/Plinth Waterproof System (Walls + Floor) - Basement Protection Screed Over Waterproof System - Basement Blockwork To Perimeter Walls - Basement Polished Concrete Screed + Insulation - Basement Screed + Insulation - Plant Rooms + Toilet Areas - Basement Polished Concrete Screed + Insulation - Gound Floor Polished Concrete Screed + Insulation - Upper Floors Screed + Insulation - Toilet Areas - Ground + Upper Floors Plant bases On Roof & Assoc W/Proof TV Studio - Basement/Grd GLS 8-9/ H-I Inc Rc Slab Large Lecture Theatre - Basement & Grd GLS 8-10/F-H Basement Trench Support Structure Small Lecture Theatre - Basement & Grd GLS 5-7/H-I Roof Steelwork Jib Crane Rear External - GL H-K Main Library - LS 02 SoADC Atrium - AS 03 Canyon (Level Gnd) Courtyard 1 (Level 1) Courtyard 2 (Level 1) Courtyard 3 (Level 1) Patio (3 No) - Stockwell Strret (Level 1) Roof 1 (Level 2) Roof 2 (Level 2) Roof 3 (Level 2) Roof 4 (Level 2) Roof 5 (Level 2) Roof 6 (Level 3) Roof 7 (Level 3) Roof 8 (Level 3) Roof 9 (Level 3) Roof 10 (Level Roof) Roof 11 (Level Roof) Roof 12 (Level Roof) Roof 13 (Level Roof) Roof 14 (Level Roof) Core Roofs Sloping Roof (Core AS 02) Rainwater Installations Balustrades - 1st Visit (Fix Support Brackets) Mansafe System - 1st Visit (Fix Support Brackets) Dismantle Cranes Award & Lead In Initial Surveys Installation Overall Railway Facade Stockwell Street Facade Atrium /Roofs & Greenhouses Courtyards & Glazed Bridge Stonemasons Scaffolding Grids C-E Upper Levels Grids F-G Upper Levels Grids H-I Upper Levels Grids J-H Upper Levels Grids F-G Upper Levels Ground Floor Survey & Enabling Works Site Install PC Panels (Using Tower Cranes) Point Precast Units Temporary Weathertight Areas (For Finishes) Blockwork Services Within The Structure BWIC Basement Plant Installations Roof Plant Installations Services Risers Containment + Pipework + Ductwork - Main Distribution Routes (All Floors) Sub Station Shell Complete Ready for UKPN UKPN 12 Week Notice Period - By UKPN UKPN Work in Highway + Substation Installation Lift Install 5 no Inc Test (HO 2no early For Fit Out) Internal Blockwork Erect Builders Goods Hoists High Level Services & Sprinkler Pipework Underfloor Services Glazed Partitions Non FR & FR - Frames Etc Stud Partitions Raised Access Flooring & Protect Suspended Lighting System Toilets & Changing Birdcage & HL Services, Acostics,Clg & Decs Sub Station Area (Rear 4 - 8 Navada Street) Railway Elevation (King William Passage) Reduce Level & Sub Base

ELEVATIONS Curtain Walling System Installation Overall

Stone Cladding

Precast Panels Rear Elevations (South & East) SERVICES INSTALLATIONS Plant Rooms + Distribution Routes

Sub Station FINISHES

Toilets & Changing Main Theatre Ground Floor EXTERNAL WORKS (STREET LEVEL)

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[MSc ARCHITECTURAL DESIGN (AVATAR)

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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 architecture and related disciplines, who wish to continue their academic, intellectual and professional 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 theoretical, analytical and critical studies on and in advanced architectural design. It aims to address and redefine new trends and knowledge in the field of architecture and offers a postgraduate design framework strongly supported by theoretical components. Students are embedded within one of the Diploma 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.
Neil Spiller, Wheelbarrow With Expanding Bread, Perspective.

the AVATAR research group was founded by Professor Neil Spiller in 2004. The programme is not validated by a professional 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 impact of advanced technology on architectural 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.

AVATAR is an acronym for Advanced Virtual and Technological Architecture Research,

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[STOCKWELL STREET DEVELOPMENT

[http://www.gre.ac.uk/stockwell-street

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University of Greenwich School of Architecture, Design and Construction Mansion Site Bexley Road London SE9 2PQ Cover image courtesy of Seele Austria GmbH Drawings on pages 036 - 059 courtesy of Henegan Peng Architects Thanks to Adele Brooks Roisin Heneghan Bryn Oakley Osborne Construction Robert Salmon Seele Austria GmbH

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