 2020年受疫情的影响，哈佛、耶鲁、UCL等海外名校纷纷发布了线上毕设/设计展，以展示学术研究成果。近日UCL伦敦大学学院正式发布了2020 Summer Show，总共包含设计包含200组作品，一格将对本次Summer Show进行全面报道。     扫码获取高清设计合集图纸 点击了解2020哈佛大学74组MArch建筑毕设展播  点击了解2020哈佛大学31组MLA/MAUD/MUP景观城规毕设展播 The city has a role in caring for people’s imaginations, to nurture storytelling and memory, and a responsibility to keep stories alive in a way that is accurate, engaging and influential. The experience of the city can change when people become aware of its history. This project looks to the past through performance. Theatre was traditionally a ‘play’ or a ‘game’. Forms of street and ‘folk’ theatre that allow for this, such as fairs and carnivals, are traditionally performed at times of regeneration. They help society rethink the present by connecting to the past. As the world is rapidly changing, the importance of these festive rituals is worth revisiting. Street performances are especially important in this present time when the future of genres designed for ‘traditional’ theatre is in question. The project follows the design of a floating theatre and exhibition/workshop space in a London dock, where the now underground River Neckinger enters the Thames. This theatre becomes a travelling fair and follows the route of the Neckinger, considering events recorded along this route. The project considers what can be done to make the city more caring in light of these stories, and how the city may be turned into an immersive theatre.
Understanding water as a human right and a source of joy and shifting social attitudes to water treatment infrastructure. Blending landscape, infrastructure, building and hydrological processes, the scheme aims to reposition the public opinion of wastewater treatment by inserting it into the core of a public space and allowing people to experience its regenerative properties. The scheme is located in the vicinity of Alexandra Palace, London, and partially submerged into the landscape of the redundant filter beds at the Hornsey Water Treatment Works. The proposal forms part of a wider masterplan for a community, centred in sustainable water use. An underground thermal spa forms the heart of the proposal, promoting health, wellbeing and positive relationships to water. All of the greywater produced by the spa is processed and reused on site, through a living, non-chemical, wastewater treatment system that creates a closed hydrological loop with the adjacent water works. At ground level a landscape of shallow pools, lagoons, water channels and features provides a cooling play space for families in the summer and in the cooler months acts as an extension of Alexandra Park. A secondary landscape of 'hydrobotanic' regeneration ponds filter the surface water through natural processes.
Addressing air pollution through healing and care for the elderly population in urban China. This project explores the lasting effects of pollution in the elderly population of the city of Linfen, China. This city has been named as one of the most polluted places in the planet, and mixed with an inflating ageing population, pollution is a growing factor in the premature deaths that occur each year. The project aims to explore new building strategies that can create a clean environment to live in and care for the elderly, and propose a way of constructing an alternative model for care homes. These building technologies could then be assumed as a possible solution to be scaled up and implemented as part of a wider masterplan, creating more clean environments across the city. The project began by identifying air pollution as an obstacle to creating a truly ‘caring city’, and noted the loss of connection to nature in the population of Linfen. The design research developed a series of strategies by which to negotiate and mitigate air pollution in Linfen, in order to create safe environments that have closer links to nature and vegetation.
Dominant history has always been the British gaze mapped onto the African landscape. Radical politics is looked for elsewhere, rather than through the national politics here. This project will be a reverse of that construction, imagining the African gaze mapped onto the British landscape, providing a ‘radical' way of thinking about a national question: who should own the land of the Scottish Highlands? Scotland has the most unequal landownership in the Western world. Since the Highland Clearances, the ownership of the Highland has stagnated for both the landscape and communities. Today, the four commissions of the Highland, the deer, land, sheep and forestry commission have held contentious discussions about ways to unsettle these ossifying boundaries, physically and culturally. The project’s ambition is to challenge existing landownership boundaries by constructing a radical vessel that roams across the Highlands under the ‘right to roam’ act, rehabilitating the land and cultivating conversations in a way that requires cultural diversity and community appreciation. As Frantz Fanon concludes in?Black Skins, White Masks?(1952): “…the black man is not. No more than the white man. Why not simply try to touch the other, feel the other, discover each other?”
The exit of Britain from the EU and the proposed shift to the new Environmental Land Management Scheme has allowed the UK to rewrite subsidies and propose an ambitious new direction. It seeks to redefine the nation's relationship with the landscape: one of ‘environmental value’ and ‘stewardship’. Small insertions, dwarfed in size by the expanse they form, serve to breach existing sea walls and curate tidal flows, mediating a new landscape within. Inviting the tide, not just to the ‘controlled’ environment behind the sea wall, but also beyond that of the architectural, results in four pavilions whose internal climate, form and voice force a conversation on the visitor. This conversation is realised through the careful tuning of structure and architectural components, with standard methods of vibrational dampening, erosion prevention or thermal isolation rejected. As the landscape is reflooded, the structures aim to establish a new architectural norm: one where natural forces are not held behind embanked walls, but are instead permitted to converse with the internal, with tide and tourist collaborating to realise an architectural design. They hum, drift or moisten, marking the tide and reframe society's relationship to a changing coast as the stewards of the environment.
Discovered by an archaeologist, red fox and magpie, the ruins of 'The Woodland Library' are found between the labyrinthine paths of Sherrardspark Woodland in Welwyn Garden City. Framed as a 'parafiction', the project is a venture into a realm of dichotomies: architecture and literature; architecture and landscape; architecture and wilderness. Often cast as the backdrop in mythology and folk stories, the woodland represents a place of liminality, unknown characters and transformation. It is fertile ground for the imagination of the architect, whose hands waver across the landscape like that of a shaman over the flames of a camp fire. Inspired by the literary teachings of Umberto Eco in his?Six Walks in The Fictional Woods?(1994), the project intersects principles of fictional literature with architectural design as a way to revisit the role of the architect as a spatial storyteller. Voyages within the woodland reveal infinite ruins that include archives, gardens, follies, workshops and amphitheatres, some of which are rumoured to have been designed by an architectural apprentice of Isamu Noguchi and John Hejduk. Others are rumoured to have been built by the Roman God Janus, whose two faces look to the past and the future at the same time.
“God speaks through all things and everywhere there are spirits – though to keep like intelligible we lock these off.” Ingmar Bergman (1982)?Fanny and Alexander All things have spirits. The project narrates a space as a living creature, recalling a spiritual connection among monsters (shelters), nature (local environment) and mankind (users). Born as a half-fish half-bird monster, Peng uses its talent to guide the poet to sense the wind, creating an intimate dialogue between the poet and nature. This bond evokes the poetry of life. Unpacking the 'Map of Monsters', numerous monsters are hiding in London. Based on the top of Primrose Hill, Peng translates the rich wind into three languages in its three different roles: · As a friend of the poet, Peng's first language is to remind the poet of the external environment. · As the giant's navel, Peng's second language helps the giant and the poet talk to each other. · As an independent monster, Peng's third language is a unique code for communicating with other animals around him. Peng proposed an integral narration of shaping space from the perspective of a living creature, and gives a glimpse into the world of monsters.
‘Freedom is Slavery’. The slogan from George Orwell’s 1984 (1949) is becoming relevant again in the UK. Facial recognition technology, the NHS contact tracing app, even Brexit, have created an environment where the private lives of ordinary citizens are constantly encroached upon. As an instrument of societal safekeeping, the evolving risks of surveillance as a ‘digital spy’ are easily discounted. Many organisations, including Big Brother Watch and Amnesty International UK have attempted to tackle the issue of mass surveillance by raising public awareness, but is that really enough? As the UK hurls towards a surveillance state under the COVID-19 crisis, the project seeks to create an anti-surveillance government body that is ‘hidden in plain sight’ by being temporarily ‘blinded’, ‘muted’, or ‘deafened’ with the help of a series of playful mechanisms inspired by children’s games. 'The Ministry of Anti-surveillance' is more than a protest: it is a campaign against a deeply disrupted system, a step towards equilibrium. Guided by the games, the polarity of the ‘obvious’ and the ‘obscure’ become intertwined and almost inverted. Eventually, navigating through the architecture itself becomes an exercise in ‘doublethink’.
Instead of working against the forces of nature, the community of East Tilbury has long sought to return to a nomadic way of life, forgoing the rampant pressures and excess of the neoliberal city for something more attuned; living with (and not against) the land. Returning to principles of the historic commons, their settlements were designed with the foresight to be able to change within the land and waterscapes, where the dynamic masterplan is built across time, seasons and tides to speculate on new forms of living. The riverbank has receded, but unlike predictions in the early 21st century, the Thames has been deliberately widened. From an initial afforestation of the marshland ecology, a soft system for commons production began, fifty years ago. Driven by historical principles in commoning, of 'piscary', 'estovers' and 'in the soil', living within the community involves a new relationship to the water and land through seasonal agriculture and ecological stewardship. Also safeguarding the Bata Estate further inland, the common contemplates an approach to architecture that is post-compositional, reactionary, and embedded within larger ecological systems. Instead of building from and against the water, flooding becomes an opportunity to rearrange and expand the commons beyond the Thames.
'Responsive City' proposes a new way to inhabit and change the density of cities, where the boundaries between social distancing and daily inhabitation start to overlap and interact with each other. This project is particularly focused on the notion of 'overlooking'. The interpretations of overlooking, that is, how overlooking can both mean 'to provide a view of' and 'to oversee' (as in not seeing), are translated into social interactions and architecture. With a starting point in Alton Estate, south west London, the project inhabits a gap site around existing slab blocks built in the 1950s. As physical and mental aspects of life become more disconnected from their surroundings, this project speculates on what it means to inhabit transparency and how this notion can help to connect individuals. As a result, the project creates an ecosystem of overlooking and a housing typology that stems from its immediate surroundings. Does considering transparency in all stages of the process create stronger bonds between the inhabitants? Does it help build a stronger community and create a stronger connection to the surroundings? Does it help nurture an environment which is more responsive to both social and environmental changes?
'Phygital Habitat' uses video game elements and brings them into the physical world in order to solve real life dilemmas. Through the introduction of mixed reality and 'gamification', the project suggests ways in which both methods can be used to bring architecture and community back to life. In Japan, there is a lot of postwar housing called danchi. These buildings, once the representation of a generation’s memory and lifestyle, are succumbing to their fate as new building policies call for their demolition. The project not only speculates on an alternative way of living, but also saves the existing danchi. It is a prototype which is suitable for everyone, and provides both a physical and virtual experience of living and gaming.
This project asks, how can the London stock brick once again provide housing stock for London? The shortage of London housing has reached a critical point. 65,000 new homes are needed per year to keep up with the demands of an ever-increasing urban population. 'Stocking Up' seeks to find a solution to this shortage and reignite the communities becoming increasingly isolated. Stocking Up explores a new housing typology for London, a typology that builds upon traditional London building vernaculars. It takes the London stock brick and questions how it can once again be used to restock housing for the capital. The project will start today and grow exponentially; Stocking Up seeks to utilise the ‘spare room’ of Trellick Tower in North Kensington, London, and create a model to fill the spare room of an entire city. The growth of the scheme relies on the people that will live there to help build their own homes using the very material that sits beneath their feet, London clay. Sourcing as much material as possible from site not only reduces the cost and environmental impact but provides its future residents with the opportunity to become part of the solution to the housing shortage.
What makes a street? This project is a two-part investigation into this overarching question. It takes a look at the physical and non-physical aspects of a street’s character. 'Kilburn Slow Street' is a spatial exploration of an alternative narrative for a future high street that is associated with ideas of deceleration and slowness. The death of the high street and the movement from offline to online retail has opened an important discussion about what the future high street could be. Typically associated with retail, it will now be synonymous with ‘place’, history, culture and the people. The structure of high streets has roughly remained the same since their inception – a standard layout segregating buildings, pavement and roads. A recent change to this is the ‘shared space’ concept. Set in Kilburn High Road, Kilburn Slow Street takes this concept a step further by speculating about a new street typology that is shared by infrastructure, people and nature, where the ‘street’ unites, rather than divides. This project is presented as a visual narrative explored through a singular set of 1:1 tiles at various scales to reimagine the new high street. Here, the tile is an object, a spatial moment, a building plan and masterplan.
The project is a proposal for a self-build tower, entirely made of modular timber components. These are small interlocking 'boxes' which can be easily carried by people due to their portable size. These components evolve and adapt the activity of the self-builders, residents of the existing site of Trellick Tower. This is one of the biggest social housing schemes in London and it is currently home to a variety of communities who are part of the Trellick Tower Residents Association. The builders are able to fabricate this kit of parts in the workshop of the existing Goldfinger Factory. In this context, the residents engage with the making and the management of this pioneering self-build scheme. This tower grows over time as the self-builders carry on the construction phase. The components are inspired by the analysis of Balfron Tower, another residential tower designed by Ernő Goldfinger. Using some missing elements from the design of Trellick Tower, the design of the components and kit of parts is a re-elaboration of these iconic details, which have been reinterpreted for the new inhabitation manual, a key feature of the project.
This project is an investigation into non-territories and post-territorial inhabitation in the context of open (European) national borders, where territoriality is defined by ambiguity and temporality. This thesis tackles the socio-geographical and political sphere of territorial ownership within architecture and challenges traditional conceptions of ownership by constructing narratives around the inhabitation of non-territories. This culminates in a post-territorial experiment: the ‘EUtopian Visions’. The ‘EUtopian Visions’ critically engage with the EU’s current territorial cohesion strategy by reimagining the inhabitation of its open inner borderlands. As such, this thesis proposes alternative forms of cohesion in geographical borderlands by re-evaluating their historical territorial secession and making these dynamics an intrinsic part of a speculative design methodology. Set in Luxembourg’s periphery and its borders with Belgium, France and Germany, the project proposes post-territorial borderlands, which, in a time of Brexit and the rise of nationalism, choose neither 'Leave' nor 'Remain'. They exercise a third option independent of inter-country differences, and become a place of many identities and none. In this context, the borderlands are programmatically reinvented and hybridised, creating an eco-commercial, culturally industrial and economically domestic inhabitation network. The Luxembourgish borderlands become the test bed for the first post-territorial community of its kind.
This project speculates about an active and flexible way of living, with movable spaces as a utopian urban planning vision. The building is located in a small, bare patch of land next to Hackney Wick Station. The project aims to make a modular housing kit for temporary living, where all the components of the building are able to be moved and removed for other uses and to be rebuilt in other places. The building has a courtyard tower typology where the 'mobile cell' lift slots in to enable the activities taking place around the courtyard. The design learns from the Odham's Walk development in Covent Garden. This project has resulted in preparing a 'catalogue of inhabitation' and the use of comic strips to show specific moments for different users, namely the young dreamer, the artist and gallerist, and the urban farmer. They also show the different types of panels and combinations of the housing kit.
Drawing from the 1926 Peckham Experiment which endeavoured to consider health and wellbeing as a holistic practice, rather than the pure treatment of ailments, this project aims to reinterpret the key values surrounding social, communal and physical activity as integral to the thriving individual. The project aims to create a phased, collective living scheme for single parents within the Peckham area which is becoming increasingly less accessible and affordable for marginalised communities. Through the use of the community land trust model the site is acquired collectively through a genuinely affordable method. The focus of the scheme is to lead towards self-sufficiency over three phases, combining a working economic model within phase three to capitalise on produce grown within the extensive allotment landscapes. Collective living is shown here as a viably more affordable option to enable communities to be able to have further control over their living environments. The project integrates open leisure and sporting activities within the lifestyles of the families, celebrating notions of wellbeing and health as essential.
Greening dense urban settlements in Shenzhen, incorporating farming whilst improving quality of life. In the context of Chinese new urbanism, to what extent can the mulberry fishpond system be applied to the residential blocks of the urban village in Shenzhen, China? Rapid urbanisation has transformed Shenzhen from a small fishing village to one of China’s biggest metropoles within three decades. However, it has also posed a threat to the area’s ecological cycle. Frequent flood disaster constantly alerts people to the lack of resilience in the urban landscape. There is no agricultural land in the city, while the original farmland has been engulfed by the metropolis and gradually transformed into a unique type of area which is called the ‘urban village’. The urban village is often considered as a ‘city cancer’, however, it also plays a role in hosting a great number of migrant workers. In this context, this project is a resilient design questioning the possibility of applying a local, ancient ecological farming system, the mulberry fishpond system, in the residential blocks of the urban village. The project has four aims: to create a sustainable living and farming system; to preserve the traditional culture; to respect and engage the community; to address urban environmental issues.
Raising understanding of climate change science and empowering climate activism through sarcastic occupation of public space. Climate change will affect humanity on an unprecedented scale. Widespread government inaction has forced the rise of the eco warriors, who have pitched themselves on the front line of the fight to force change. This project takes a cynical stance, one which accepts the slow and inadequate approach by the UK government and the unfortunate climatic conclusions that will result. It learns lessons from the often precarious actions of climate activist groups. The project proposes a politically powerful built extravaganza erected in anticipation of catastrophe in London’s political theatre, Trafalgar Square. After a strategic phased approach to occupation, three programmatic elements are targeted through a peculiar language of moving parts, metaphorical forms and found materials. ‘The Experimental Garden’ transforms the decorative Victorian fountains into tools for participatory agriculture in preparation of a food emergency; ‘Crisis Street’ manipulates Canada’s migrant policy in anticipation of mass immigration; ‘The Community Radio Station' helps to voice the truth. Together, through visual movement, ironic public participation and spectacular design decisions, 'The Climate Change Spectacular' disrupts, educates and most importantly prepares for the imminent challenges of the future.
Challenging the spaces of waiting and travel in Nottingham’s public transit network to empower citizens and address inequalities. This project aims to create a more ‘caring’ city by reimagining the architecture which supports Nottingham’s public transport network, specifically spaces of waiting and transition. The city-wide proposal employs two strategies, urban and suburban, which are intended to reduce travel inequality and improve quality of life for Nottingham’s residents. In taking privileges from car users, the project encourages people to travel in alternative ways: on foot, on buses, trams, scooters and bikes. With fewer vehicles on the roads, the tarmac is gradually reclaimed to provide more green space in the city. The suburban design strategy proposes upgrading or building key interchanges which lead in and out of Nottingham’s city centre. The redevelopment of Bulwell Bus, Tram and Train Station is the main focus of the project. In the city centre, transport hubs are designed to provide cultural and historical markers, engaging with the public and encouraging urban activity. Cycle parking and bus stops are accompanied by amenities such as water fountains and ‘changing spaces’, helping to create a more caring environment. Collective living is shown here as a viably more affordable option to enable communities to be able to have further control over their living environments. The project integrates open leisure and sporting activities within the lifestyles of the families, celebrating notions of wellbeing and health as essential.
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