#Bartlett school of architecture

[intersection-of-art-and-science]

“‘All the externally exposed surfaces of buildings and urban infrastructures, from blank walls and facades to roofs, retaining barriers and fences offer vast quantities of area to absorb and store water,’ [says Marcos Cruz, Professor of Innovative Environments at The Bartlett School of Architecture.] ‘Hydrophilic design allows us to take advantage of plants that will help us improve the storm-water management of facades and increase absorption of CO2, nitrogen and pollutants while emitting significant levels of oxygen.’”

[foxyou-too]

Bartlett School of Architecture

[portrait-paintings]

Sir John Newenham Summerson

Artist: Leonard Rosoman (British, 1913-2012)

Date: 1984

Medium: Oil on canvas

Collection: National Portrait Gallery, United Kingdom

Sir John Newenham Summerson

Architectural historian and writer on art. Sir John Summerson typified the professional mandarinate that dominated government and the arts after the Second World War. Educated at Harrow and the Bartlett School of Architecture, Summerson turned to writing about architecture in the early 1930s under the pseudonym 'Coolmore'. He later wrote a number of books including Architecture Here and Now (1934), Georgian London (1946), Ben Nicholson (1948) and The Life and Work of John Nash, Architect (1981). In 1945 he became Curator of Sir John Soane's Museum in Lincoln's Inns Fields and remained in this post until his retirement in 1984, aged 80.

Leonard Rosoman painted Summerson in Sir John Soane's Museum shortly before his retirement in 1984.

[justforbooks]

Joseph Rykwert

Architectural writer who believed that buildings not be considered in isolation but as part of the fabric of a city

Joseph Rykwert, who has died aged 98, was a historian and critic of architecture of exceptional intellect, cultural breadth and distinctive outlook. His books and his teaching changed the understanding of his discipline and helped to move the design and planning of cities and buildings away from the functionalist mindset that dominated postwar building. In 2014 he was awarded Britain’s leading honour for architecture, the Royal Gold Medal, one of a very few times that it has been given to a writer rather than a practitioner.

Rykwert’s first book, The Idea of a Town (1963), by exploring the rituals that underlay the founding of ancient cities, sought to restore the importance of such things as memory, feeling, intuition and instinct in the making of the places where human beings live. It was an important part of a wider reaction to technocratic approaches that were causing widespread destruction in cities across the world. It is now commonplace for developers and planners to talk about “placemaking”, by which they mean the ways in which architecture and landscape work together to make social urban spaces, a concept that owes much to Rykwert’s belief that buildings should not be considered in isolation but as part of the fabric of a city.

His other books included On Adam’s House in Paradise (1972), on architects’ enduring fascination with the idea of a primitive hut at one with nature, and The First Moderns (1980) – his favourite – which revealed the roots of 20th-century ideas of modernity in thinkers and architects 200 years earlier.

In all his work Rykwert moved readily between architecture, philosophy, art and other disciplines, aided by his wide erudition and an impressive library that he started building as a student. He was motivated by his certainty that the design of buildings is always part of a wider culture, and by his passion for the places that make a city flourish, whether a remembered street in pre-war Poland or a forum in ancient Etruria. He was, as the writer Susan Sontag put it, an “ingeniously speculative historian and critic of architecture – of that is, the forms (in the most concrete sense) of civilisation.”

The many architects whom he inspired and influenced include the Stirling prize winners Sir David Chipperfield and Witherford Watson Mann, Eric Parry, Patrick Lynch, and Sir James Stirling (the giant of British architecture after whom the prize was named).

Rykwert’s demeanour was gentle and civilised – “the sort of great-uncle I would have liked to have”, as one former student, the artist Richard Wentworth, now puts it, who “always imparted a general sense of mischief”. This character was all the more remarkable for the traumas of his childhood, in which he and his family had to flee for their lives from the advancing German armies. Many of his relatives died in the Holocaust.

Joseph was born in Warsaw, the son of Elizabeth (nee Melup), and Szymon Rykwert. His father, a railways engineer, was ruined after the great crash of 1929, but worked his way back to prosperity. In September 1939, when the Wehrmacht invaded Poland, the Rykwerts escaped via Lithuania, Latvia and Sweden to Britain. Joseph went to Charterhouse, a “plunge” in his words “into the wholly alien world” of an English boarding school. His father died of a stroke early in Joseph’s time there, leaving his mother “skimping” to pay his fees. He went to the Bartlett School of Architecture, which was evacuated to Cambridge in wartime, then the Architectural Association in London.

He started to write, studiously, taking two years to complete his first book review for the Burlington Magazine. He wanted to work for “the London architect I most admired”, Ernö Goldfinger, but was put off by the measly pay on offer – 30 shillings a week – and went instead to the pioneer British modernists Maxwell Fry and Jane Drew, who paid five times as much. Rykwert later decided to refuse a job offer in the Paris studio of the most famous architect of the 20th century, Le Corbusier, who paid nothing. Eventually, although his built works included a fur-lined nightclub and a house in Chelsea, Rykwert’s writing and teaching would take over from designing buildings.

In both London and Paris, which he visited as a young man, the postwar years were for him a time of “exhilaration and easy familiarity” in which “people of great intellectual and professional distinction ... seemed prepared to accept an obscure and impoverished youth as a partner in dialogue.” From the age of 18 he exchanged ideas with the future Nobel prizewinner Elias Canetti. Later he became friends with Italo Calvino, whose 1972 novel Invisible Cities owed something to Rykwert’s urban thinking, and the painters Prunella Clough and Michael Ayrton. Iris Murdoch, Umberto Eco and Saul Steinberg were also acquaintances. In 1968 he would befriend the great modernist designer Eileen Gray, then living in obscurity at the age of 90, and rediscover her work in an article for the Italian magazine Domus.

He started to teach, including at Ulm School of Design, in Germany, then considered to be the heir of the Bauhaus as (in Rykwert’s words) “the forge of all that was new in design”, although he found its “systematic rationality” uncongenial. He was librarian and tutor at the Royal College of Art in London from 1961 to 1967 and from 1967 to 1980 professor of art at the new University of Essex.

His postgraduate seminars for the university, held in various locations including the Royal Academy in London with the historian and theorist Dalibor Veselý, were groundbreaking for the way they combined architecture with philosophy and anthropology.

After Essex, Rykwert held posts and professorships at the University of Cambridge and, from 1988 to 1998, at the University of Pennsylvania, and visiting appointments in numerous universities in several countries. In his retirement he continued to welcome lively and creative minds to his book-lined London flat. He was appointed CBE in 2014.

His first marriage, to Jane Morton, ended in divorce. In 1972 he married Anne Engel, his editor on The First Moderns, with whom he enjoyed a successful partnership until her death in 2015. He is survived by Sebastian, his son with Jane, and by Anne’s daughter from a previous marriage, Marina, and by two step-granddaughters.

🔔 Joseph Rykwert, architectural historian and critic, born 5 April 1926; died 18 October 2024

Daily inspiration. Discover more photos at Just for Books…?

[modelarchitecture]

Carolyn Tam, Unit 9, Bartlett School of Architecture Digital Garden

Located in the royal docks of london, the project aims to reuse the water of the disused dock and reinvent the lost spectacle of the pleasure garden. With one of its past exhibits being a japanese garden, the cherry blossom tree is chosen as a subject. Utilising the water from the dock, mechanical devices and digital technology along the banks project holographic cherry blossoms onto mist. Holographic tree grows and undergo seasonal changes in a fascinating choreography on a grand scale transforming the disused dock into a live event spectacle.

[scotianostra]

On 13th August 1907 Scottish architect, Sir Basil Spence, was born.

Spence was born in Bombay, India, his education began at the John Connon School, operated by the Bombay Scottish Education Society, he was then sent back to Scotland to attend George Watson's College in Edinburgh from 1919–1925. He enrolled at Edinburgh College of Art in 1925, studying architecture.

In 1929–1930 Spence spent a year as an assistant, along with William Kininmonth, in the London office of Sir Edwin Lutyens, whose work was to have a profound influence on his style, where he worked on designs for the Viceroy's House in New Delhi, India.

While in London he attended evening classes at the Bartlett School of Architecture under A. E. Richardson. Returning to Edinburgh College of Art in 1930 for his final year of studies, he was appointed a junior lecturer, despite the fact that he was still a student. He continued to teach there until 1939.

Basil Spence is arguably the most internationally renowned 20th-century architects, known principally for his breath-taking work rebuilding Coventry Cathedral. Spence was an eclectic architect whose work ranged from vernacular-styled fisherman’s dwellings in Dunbar to opulent traditional country houses to ultra-modern pieces like the Edinburgh University library. He has been compared to Robert Adam by some for his detailed attention to interiors. Some of his work might have been criticized but my favourite of his in Edinburgh has stood the test of time as other buildings of the 60’s and 70’s have been pulled down. The Scottish Widows Building at Dalkeith Roads on the south side of Edinburgh is in my opinion beautiful, it’s hexagonal bronze-tinted glassy exterior with the water reflecting the sun onto it at times and of course the backdrop of Arthur’s seat helps. The views out to Arthur’s seat and Edinburgh on the upper floors must be a joy for those that work there.

Although known for his modern work, which isn’t to everyone's liking some of his designs are more classical, like Glenwood at Glenlockhart Road, Edinburgh as seen in pic three, and Murrayfield Golf Clubhouse in the next photo. The other photos are of the man himself and Coventry Cathedral.

Pics are of Bsil Spence, Morton Hall Crematorium, New Zealands Government Building, "The Beehive". Sussex University Meeting Room and Coventry Cathedral.

[paralleljulieverse]

This Week in Julie History: Coronation Night Gala Supper Dance and All-Star Cabaret, Cumberland Hotel, 2 June 1953

Seventy years ago, in June 1953, London pulsated with the exhilarating energy of Coronation Week. Just as witnessed during the recent ascension of King Charles, crowds thronged the flag-bedecked streets of the capital, hearts ablaze with patriotic pride, waiting for a glimpse of their new young Queen Elizabeth II.  Numerous celebrations filled the Coronation Week of 1953, ranging from quaint neighbourhood street parties to grand, opulent balls. Almost every hotel and restaurant across the city curated special coronation-themed events. Among these, the Cumberland Hotel, located in the upscale Marble Arch district, offered a notable highlight with a magnificent Gala Supper Dance and Dinner. 

Tickets for the gala were priced at 5 gns—approximately £200 in today's terms—so it was clearly a high-end affair. But for their money, guests were indulged with a gourmet six-course supper featuring suitably coronation-themed dishes such as Le blanc de poularde Reine Elizabeth -- Queen Elizabeth chicken breast -- served with Windsor Pearls and Royal Potatoes. Enhancing the experience, guests were also treated to a cocktail on arrival, half-bottle of vintage champagne and after-supper liqueurs.

A superbly curated All-Star Cabaret performance served as a delightful accompaniment to the evening's supper. Compered by celebrated magician, Billy McComb, it featured a line-up of top variety entertainers including comedian Reg Dixon; radio impressionist Peter Cavanagh, the singing duo, Jack and Daphne Barker, and ‘Britain’s youngest soprano’, Julie Andrews.

That Julie was contracted as one of the gala’s headliners attests to her rising professional stock in the era. Now aged 17, she was fast moving beyond the child star persona of her early career and events such as this cabaret marked a pivot to a more mature and sophisticated style.

Unfortunately, as she relates in the first volume of her memoirs, Julie didn’t actually make it to the Cumberland Hotel that night due to a car breakdown:

“There were many glamourous events and galas during the time of the coronation, and my mother and I were invited to perform one evening at a hotel on Park Lane. We set off in Bettina, our trusty car. There was a low bridge on the way to London, where the road took a huge dip. We were decked out in our best attire, and as happens so often in England, it was simply teeming with rain. Ahead of us, under the bridge, was a vast body of water. “Oh, just plow through it,” I advised Mum. “If we go fast enough, we ’ll come out the other side.” Mum gunned the engine, and Bettina came to a hissing stop right in the middle of the pool. Her motor had completely flooded. Dressed in our finery, we waded out of the deep water and stumbled to a garage to ask for the car to be towed to safety. We never did make the concert” (2008, 154).

There is no record of how Julie’s absence was conveyed to the crowd at the Cumberland or what their response was...but we’d have been crying into our five guinea half-bottle of vintage champagne!

Sources:

Andrews, Julie (2008). Home: A memoir of my early years. London: Weidenfeld and Nicolson.

Bartlett School (2023). Survey of London: Vol 11 Histories of Oxford Street. Bartlett School of Architecture, University College London.

Cumberland Hotel (1953). A souvenir of the coronation of Queen Elizabeth II. London.

Evening Standard, 27 April 1953: 2.

Copyright © Brett Farmer 2023

[the-proeducator-blog]

UK Universities Known for Excellence in Specific Fields: A Guide for International Master's Students

Choosing the right university for your Master's degree can be a life-changing decision, especially when you're planning to study abroad. The UK is home to some of the world’s most prestigious universities, each excelling in specific fields. Whether you're interested in business, engineering, medicine, or the arts, the UK offers tailored programs designed to help you thrive in your career. To make studying in the UK even more accessible, explore options like the British government scholarship, which provides financial aid to international students.

In this guide, we’ll explore UK universities renowned for their expertise in specific disciplines to help you make an informed decision.

🏫 Why Choose the UK for Specialized Education?

The UK’s education system is a global benchmark for excellence. Many universities specialize in specific areas, providing tailored programs, state-of-the-art facilities, and industry connections that pave the way for success. Additionally, the British government scholarship can help ease the financial burden, ensuring international students can focus on their studies.

Here’s why the UK stands out:

✅ Global Recognition: Degrees from UK universities are highly valued by employers worldwide. ✅ Industry-Relevant Skills: Programs are designed to equip students with skills aligned to market demands. ✅ Scholarship Opportunities: Scholarships like the British government scholarship make world-class education affordable.

🏫 Top UK Universities Excelling in Specific Fields

1️⃣ Business & Management: London Business School (LBS)

Known for its globally recognized MBA and Master’s programs, LBS is a leader in business education. It offers unparalleled networking opportunities with global industry leaders and boasts a diverse international student body.

2️⃣ Engineering: Imperial College London

Imperial is a powerhouse for engineering and technology, offering cutting-edge research opportunities and industry partnerships. Fields like civil, mechanical, and aerospace engineering are particularly strong.

3️⃣ Medicine: University of Oxford

Oxford’s medical school is one of the oldest and most respected globally. Its research-led approach provides students with hands-on experience and opportunities to work alongside top researchers.

4️⃣ Law: University of Cambridge

Cambridge offers some of the most prestigious law programs in the world. Its emphasis on legal theory, combined with practical insights, makes it a top choice for aspiring lawyers.

5️⃣ Creative Arts: University of the Arts London (UAL)

If you're passionate about fashion, design, or performing arts, UAL is your go-to university. Programs are tailored to nurture creativity and innovation, with strong ties to the global arts community.

6️⃣ Data Science & AI: University of Edinburgh

Edinburgh leads the way in data science and artificial intelligence. With advanced labs and a thriving tech scene, the university equips students for the future of technology.

7️⃣ Environmental Studies: University of East Anglia (UEA)

UEA is at the forefront of environmental research, offering world-class programs in climate change, sustainability, and environmental sciences.

8️⃣ Finance & Economics: London School of Economics (LSE)

LSE is a global leader in finance, economics, and social sciences. Its proximity to London’s financial hub ensures students gain insights from industry experts.

9️⃣ Computer Science: University of Manchester

Manchester excels in computer science and IT-related programs. From AI to cybersecurity, its cutting-edge curriculum ensures students stay ahead in the digital age.

🔟 Architecture: University College London (UCL)

UCL’s Bartlett School of Architecture is globally renowned. Its innovative programs focus on sustainable and modern architectural practices, blending creativity with technical expertise.

💡 Scholarships to Support Your Journey

Affording higher education can be a challenge, but scholarships like the British government scholarship are designed to support international students financially. These scholarships not only cover tuition fees but often assist with living expenses, making your UK study experience more manageable.

🌍 Making the Right Choice as an International Student

Here’s how to choose the perfect university for your Master’s:

1️⃣ Identify Your Field: Focus on universities excelling in your area of interest. 2️⃣ Explore Scholarships: Research opportunities like the British government scholarship to ease financial stress. 3️⃣ Consider Location: Opt for universities in cities that align with your professional goals. 4️⃣ Evaluate Campus Life: A supportive international student community can make your experience more fulfilling.

🚀 Your Dream University Awaits!

The UK is a land of opportunity for international Master’s students, offering exceptional education and specialized programs to help you shine in your chosen field. With the British government scholarship and countless other financial aid options, your academic dreams are within reach.

Take the next step toward a brighter future—start exploring the perfect UK university for your Master’s today! ✨

[russellmoreton]

Bartlett School of Architecture by Russell Moreton

[theohonohan]

Pops of colour

The artist Michael Craig-Martin and the architect Peter Cook are both in their 80s, and both great-grandfathers of the British art and architecture scenes respectively. Craig-Martin is known for his influence on the YBAs as teacher at Goldsmiths' College, while Peter Cook is known for turning the Bartlett School of Architecture at UCL into a world famous centre of architectural education.

Though grey, now, both men have embraced bright artificial colours in their work. Craig-Martin's vivid wall drawings, in a graphic linear style, use flat artificial colours — acid greens and magentas — to create an impression of freshness. Peter Cook is unafraid of artificial pigments, disdaining the greiges and pastels of minimalism, the grim "biscuit-coloured" world of correct and puritanical brick architecture and the earthy "Wiltshire loam" of ecologically inspired buiding, rammed earth, cob and the like. Both men are aware of the artificiality of synthetic colours, and their modernity. Cook has observed:

We live in a world where chemistry and artificiality exist to challenge the memories of mud and lime and baked clay. Yet colour is there to delight. Perhaps it is the delight itself that scares us?

One might link this sensibility to that of Goldsmiths' academic Esther Leslie's 2005 book Synthetic Worlds: Nature, Art and the Chemical Industry. The environmental impact of using, say, a dye derived from coal tar depends very much on whether coal is already being extracted for other purposes. Leslie takes an affirmative stance in relation to these beautiful byproducts of pollution as they manifested themselves in the first half of the 20th Century. I don't think Craig-Martin or Cook worry too much about the negative aspects of their "new" colours. Cook describes himself politically as a creative cynic, which to me is compatible with a general diagnosis of amorality. He's interested, like Warhol, in what he can get away with. Craig-Martin is also not politically beyond reproach, although he seems very conscious of the privileged freedom he has enjoyed as an artist.

Speaking about himself, perhaps, Michael Craig-Martin wrote:

By far the most important characteristic for anyone wanting to be an artist is desire: the passionate, inexplicable desire to make art. This desire is more important than talent. To have enviable talent but qualified desire is not enough; to have little obvious talent but overwhelming desire may lead to success. Desire can be encouraged but not taught. In my experience, a driven person lacking any recognisable talent may, out of necessity, invent a way to work at which they excel. This is what we call originality.

That characterization, of a career propelled by desire, could also be applied to Peter Cook's life, the life of an architect–conversationalist who persistently spends time at the drawing board despite not being very good at it. Their motivating desire doesn't seem to have much to do with conscience or with a sense of responsibility. It's more like the unprofound propelling force of pop art as described by Warhol: "Pop art is about liking things". Worthy, dreary earth tones are no fun, according to Craig-Martin and Cook. The bright colours in their work betoken the exuberance of the post-war boom, the aesthetics of a time before widespread concern about environmental damage.

Peter Cook has had a long relationship and fascination with Los Angeles, a city praised by Reyner Banham in spite of its dystopian aspects. One wonders whether Cook would agree with JG Ballard's 1974 description of the place.

Personally, I'm not that opposed to pollution — I think the transformation of the old landscape by concrete fields and all that isn't necessarily bad by definition. I feel there's a certain beauty in looking at a lake that has a bright metallic scum floating on top of it. A certain geometric beauty in a cone of china clay, say, four hundred yards high, suddenly placed in the middle of the rural landscape. It's all a matter of a certain aesthetic response. Some people find highways, cloverleaf junctions and overpasses and multi-storey car-parks — they find them ugly, chiefly because they are made of concrete. But they are not. Most of them are structures of great beauty. When Los Angeles is forgotten, probably what will remain will be the huge freeway system. I'm certain the people in the future — long after the automobile has been forgotten — will regard them as enigmatic and mysterious monuments which attested to the high aesthetic standards of the people that built them. In the same way that we look back on the pyramids or the mausoleums in a huge Egyptian necropolis as things of great beauty — we've forgotten their original function. It's all a matter of aesthetics. I think that highways for the most part are beautiful. I prefer concrete to meadow.

I suspect the two would be in agreement. In his recent autobiography, Cook describes the countryside as "a rather tiresome, smelly, eerily quiet phenomenon. Acceptable for an afternoon. Remote. Threatening."

As for Craig-Martin, his wall drawings consistently show familiar manufactured items, the results of product design. In some cases the objects depicted are design classics, in others just generically recognizable goods. There doesn't seem to be any implied critique, nor does the work take any discernible stance toward this world of objects. It's hard to imagine Craig-Martin quoting Victor Papenek's famous line "There are professions more harmful than industrial design, but only a few." His concerns are narrower and quite distinct: an intense focus on making things and on the forms of things that have been made. The synthetic and artificial, for him, is the air we breathe. It's a position that seems increasingly problematic: yes, we are surrounded by design, but it is all borne on the back of an embattled natural world. I can relate to his artistic limitations: "Curved objects have to be rigid: fire extinguisher, tin globe, disposable cup (a bunch of grapes entirely eludes him."

This affinity and capacity only for drawing things which were originally drafted rather than grown, for the test tube rather than the rose, feels like an uncomplicated reflection of the industrial society in which Craig-Martin spent his best years. It was a technological consumer society, one that was accepted uncritically by the Archigram group of which Peter Cook was a prominent member. The expectation was that technology would solve all problems of energy and waste. Whether this was admirable optimism or foolish naivety, it's hard to say. We still have the energy and waste problems, but confidence in our ability to solve them has been slipping away, at an increasing rate from the generations that followed Craig-Martin and Cook. These two old men represent the past. That, of course, is what modernism is now, modernism along with all of the other art movements of the twentieth century. Their work doesn't seem likely to hold answers for the future, listen as we might as attentively to them as their elder status warrants. The problem is that answers don't seem to be forthcoming from any other quarter either.

[normally0]

**Colin Fournier (1944/45 – 4 Sept 2024)**

We are saddened to announce the passing of visionary British architect Colin Fournier at the age of 79. Renowned for his innovative work, Colin co-designed the iconic *Kunsthaus Graz* in Austria with Sir Peter Cook. Known as the “Friendly Alien,” this groundbreaking project challenged architectural conventions with its organic form and daring design, earning him international acclaim and the Austrian Goldener Ehrenzeichen medal in 2005.

As a founding member of Archigram and a professor at The Bartlett School of Architecture, Fournier’s influence extended far beyond his buildings. He mentored future generations of architects and contributed to major urban projects worldwide, including the new town of Yanbu in Saudi Arabia. His work, from the *Parc de la Villette* in Paris to *Open Cinema* in Portugal, reflected his passion for fusing architecture with urbanism.

Fournier’s legacy will live on through his bold designs and his lasting impact on the architectural world.

[globedwise]

Why One Should Pursue Architecture In The United Kingdom?

Undertaking a journey to study architecture is parallel to stepping into a realm where imagination converges with functionality, where design transcends boundaries, and where every structure tells a story. Aspiring architects often find themselves at a crossroads, finding the best destination to nurture their passion and hone their skills. Among the plethora of options available worldwide, one country stands out as a beacon of architectural excellence – the United Kingdom. Renowned for its rich history, vibrant culture, and world-class education system, the UK emerges as the ultimate destination for those seeking to delve into the realm of architectural design. In this blog, we delve into why the UK is the best country to pursue a degree in architecture.

1. Prestigious Institutions:

The United Kingdom boasts an impressive array of top-tier institutions renowned for their excellence in architectural education. From the historic halls of Oxford and Cambridge to the avant-garde campuses of London's Architectural Association School of Architecture, aspiring architects have access to a diverse range of educational opportunities. Institutions such as the Bartlett School of Architecture at UCL, the University of Edinburgh, and the Manchester School of Architecture consistently rank among the best architecture schools globally, offering cutting-edge programs and resources to nurture the next generation of architectural talent.

2. Comprehensive Curriculum:

Studying architecture in the UK provides students with a comprehensive curriculum that combines theoretical knowledge with hands-on experience. Courses cover a wide spectrum of subjects, including architectural history, urban design, sustainability, and digital technologies as well as students are encouraged to explore their creativity through design studios, workshops, and collaborative projects, allowing them to develop critical thinking skills and practical expertise essential for success in the field.

3. Cultural Immersion:

Studying in the United Kingdom offers more than just academic enrichment, it provides students with a unique cultural experience. From the iconic landmarks of London to the picturesque landscapes of Scotland and Wales, the UK is a treasure trove of architectural inspiration. Students have the opportunity to explore historic sites, attend lectures and exhibitions, and immerse themselves in the vibrant arts and design scene, fostering creativity and expanding their cultural horizons.

4. Global Recognition:

A Master's degree in architecture from a reputable UK institution carries significant weight in the global arena. UK-educated architects are highly sought after by employers worldwide for their rigorous training, innovative thinking, and technical expertise. Whether aspiring to work in renowned architectural firms, pursue academic research, or launch entrepreneurial ventures, graduates of UK architecture programs are well-equipped to make a meaningful impact in the field.

5. Practical Exposure:

Studying architecture in the UK offers unparalleled practical exposure that complements theoretical learning. From design studios to site visits, students engage in hands-on experiences that bridge the gap between classroom concepts and real-world application. Here's how practical exposure enriches the educational journey:

Design Studios: Architecture programs in the UK typically emphasize design studio courses, where students work on projects ranging from conceptual sketches to detailed models. These studios provide a collaborative environment for brainstorming ideas, experimenting with materials, and refining design concepts under the guidance of experienced faculty members.

Site Visits and Field Trips: Students have the opportunity to visit architectural landmarks, construction sites, and urban developments across the UK. These immersive experiences allow them to observe architectural principles in action, understand the impact of design decisions on the built environment, and gain insights into different architectural styles, construction techniques, and sustainable practices.

Internships and Work Placements: Many architecture programs in the UK offer internship opportunities with architectural firms, design agencies, and construction companies. These placements provide invaluable industry experience, allowing students to work on real projects, collaborate with professionals, and build a professional network. Internships also enhance students' employability and provide a glimpse into potential career paths post-graduation.

Collaborative Projects: Collaborative projects are integral to architecture education in the UK, enabling students to work in multidisciplinary teams and tackle real-world challenges. Whether collaborating with engineers, urban planners, or community stakeholders, students learn to navigate complex design briefs, communicate effectively, and integrate diverse perspectives into their work.

Digital Technologies and Fabrication Labs: UK universities are equipped with state-of-the-art facilities, including digital design labs, 3D printers, and fabrication workshops. These resources enable students to explore advanced design tools, experiment with digital modeling software, and prototype architectural elements. By embracing technology, students develop proficiency in digital workflows and innovative design methodologies that are increasingly relevant in the architecture profession.

Conclusion:

In conclusion, the United Kingdom emerges as the unrivaled destination for aspiring architects seeking to pursue their dreams. With its prestigious institutions, comprehensive curriculum, practical exposure, cultural immersion, and global recognition, the UK offers a holistic educational experience that equips students with the knowledge, skills, and networks needed to thrive in the competitive world of architecture. Whether one's passion lies in historical preservation, sustainable design, or futuristic innovation, studying in the UK provides the ideal foundation for a successful and fulfilling career in this dynamic field.

[panacademics]

This is the time of the semester when everyone around me keeps having breakdowns left right and centre.

It just goes on to show how truly toxic architecture schools working environment is. At least mine. The dean is shit, our guides don't give a fuck and have like 15 min discussions and not see our work properly, only to tear it all down next week cus apparently our design is shit.

It's just. So frustrating. To see creativity go down the drain. All we're concerned with is getting done with the submissions. The semesters are getting shorter, good teachers keep leaving, design crits have turned subjective, submission deadlines are unrealistic, submission expectations are unrealistic, the course syllabus doesn't make any sense, sleeping well or dressing well is looked down upon since that means you're wasting time not working (by the faculty, ofc), having a social life is looked down upon cus of the same reasons, extra curricular competitions are barely given attention, participating in clubs/societies is not encouraged and practically impossible with the working hours we have to deal with, there's no healthy schedule to follow, leaving most of us with fucked up sleep cycles, back, neck and vision problems. We're forced to stay up night after night to be able to complete the work. There is no weekend. No semester break. Just year break after one entire year of rotting. We get burnt out, too often, too soon. The teachers just seem cruel at one point with how unempathetic they are. Theres a severe lack of practical learning, especially considering how practical based architecture truly is. Architecture is as physically tiring as it is mentally.

Professors seem so narrow and closed minded when it comes to design. Anything out of the ordinary or anything even minorly hypothetical is immediately shot down. We've restricted ourselves to blocks of concrete, brick and steel. We're not taught to think outside of the box, and if anyone does do it, they're mocked. I've seen the courses of schools like MIT and Bartlett, and they truly teach students how to THINK. How to broaden their minds. Why isn't this type of education available to everyone??

Ofc I've had my good share of fun in studios, but it was mainly related to my friends, and not the actual work we were doing.

I remember having some brilliant teachers and having the most fun in the classes that taught basic stuff practically. Like learning about brick bonds in first semester by actually making them. Learning metro construction in 6th semester by making miniature models. That is architecture. Questioning the mechanism and functions of everything, looking at innovative creative ways to make something functioning and practical.

And offices can be worse in a lot of ways, especially if it's a small firm. No healthy working hours, 9 hour regular working day, plus extra hours when there's more workload. Most don't give Saturdays off. And the pay?? Pathetic. Theres people who've studied for 3 years and are making more than a junior architect could imagine. So much work and effort and for what? To be disrespected by senior architects?? To not be payed well and be considered a machine instead of a human??

Ik this is majorly the fault of my own country's education system, and I don't know if students from other countries feel the same way. But I'm truly done with the system here. It feels like it was created to make you hate architecture instead of loving it. There's a reason why majority of the students go into related fields and not into core architecture. It's so shitty that by 5th year I've come to decide I can't stand it anymore and want my distance. I might get back into it eventually, but for now, I'm gonna do something else. Fuck this shit, truly.

There's so much more I could say and rant about this but I'm gonna stop now.

P.S.: My seniors call it architorture. I agree.

[africanfemalearchitects]

Lesley Lokko - the 2024 RIBA Royal Gold Medal Recipient

© Murdo McLeod. Image Courtesy of La Biennale Architettura 2021

Professor Lesley Lokko OBE is a renowned Ghanaian-Scottish architect, educator, and best-selling novelist. She is the Founder and Director of the African Futures Institute (AFI) in Accra, Ghana, which is an independent postgraduate school of architecture and public events platform. In December 2021, she was appointed as the Curator of the 18th International Architecture Exhibition, La Biennale di Venezia. In December 2022, she was awarded an OBE in the first New Year's Honors List by King Charles III, for her exceptional contributions to architecture and education. As an author, she has published 13 bestsellers.

She is the recipient of the 2020 RIBA Annie Spink Award and currently serves as a Visiting Professor at The Bartlett School of Architecture, UCL, and a Visiting Full Professor at the School of Architecture, Planning and Environmental Policy, University College Dublin. She is also a Trustee of the London-based Architecture Foundation and a Founding Member of the Council on Urban Initiatives, co-founded by LSE Cities, UN-Habitat, and UCL Institute for Innovation and Public Purpose.

On the 18th of January 2024, the Royal Institute of British Architects announced that Professor Lesley Lokko had become the first African female to receive the prestigious Royal Gold Medal, which was established in 1848. She joins the ranks of Zaha Hadid and Yasmeen Lari, as the only women to have been awarded the medal since its inception.

 “I hope that this award will also make it clear that the divisions that we inherit, that we construct, that we put upon ourselves between different aspects of our lives not that they don't matter but perhaps they're not the first place that we should be looking when we're thinking about change and about moving forward.  So, I very much hope that this medal demonstrates that it's worth it to think differently. It’s worth it to go off piste or to go off the beaten track”. - Prof. Lesley

We at the AFA network hope that her final submission in the announcement video will inspire you on your path towards architecture.

Article written by Otie Pokua Yankyera on 23 January 2024.

[richardsmithemen]

From Listings to Keys: Your Journey to a House for Sale in Bartlett

Introduction:

The pursuit of a dream home is a deeply personal journey, one where individuals and families seek a space that embodies their aspirations and lifestyle. Nestled in the heart of [state], Bartlett offers a range of houses for sale, each holding the potential to transform dreams into reality. This article embarks on a journey to navigate the real estate landscape in Bartlett, delving into the elements that make it an appealing destination for potential homeowners. By exploring the town's neighborhoods, housing options, amenities, and market trends, this piece aims to guide readers through their journey from listings to keys, facilitating the path to owning a house for sale in bartlett.

Bartlett: A Glimpse of Community and Convenience:

Nestled within the landscapes of [state], Bartlett is a town that embodies a strong sense of community while ensuring modern convenience. Established as a haven for a balanced lifestyle, Bartlett has evolved into a welcoming community that harmonizes tradition and progress. Its strategic location, providing a peaceful environment while maintaining proximity to urban amenities, renders Bartlett an appealing choice for families, professionals, and individuals in pursuit of a harmonious blend of comfort and connection.

Diverse Neighborhoods and Housing Options:

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Families often gravitate towards neighborhoods with excellent schools and family-oriented amenities. Professionals might seek areas with easy commutes and proximity to business centers. Nature enthusiasts may prioritize neighborhoods near parks and green spaces, fostering an outdoor-oriented lifestyle. Bartlett's diverse offerings ensure that there's a neighborhood to align with every individual's vision.

Amenities and Quality of Life:

Bartlett is dedicated to enhancing residents' quality of life through an array of amenities and services. The town boasts a mix of local businesses, dining establishments, cultural venues, and recreational facilities that cater to diverse interests. From savoring local cuisine to participating in community events that foster a sense of belonging, Bartlett offers numerous opportunities for engagement.

For those who value outdoor activities, Bartlett's commitment to green spaces is evident. Parks, trails, and recreational areas are seamlessly integrated into the town's fabric, offering ample opportunities for residents to connect with nature and indulge in leisure activities. This commitment to holistic living contributes to Bartlett's reputation as a place where comfort meets modern living.

Real Estate Market Trends:

Understanding the trends in the real estate market is crucial for making informed decisions when embarking on homeownership. Bartlett's real estate market has displayed stability and consistent growth, positioning it as an attractive option for potential homeowners and investors alike. While property prices may vary based on factors such as location and housing type, the town's diverse housing options accommodate a range of budgets.

Recent market trends reflect a growing demand for houses that combine character with contemporary amenities. Many of Bartlett's houses blend architectural charm with modern updates, reflecting the town's commitment to preserving its history while accommodating modern living.

Conclusion:

The journey from listings to keys in Bartlett is an exploration of community, comfort, and possibilities, where tradition and modernity converge to create an enriching environment. With diverse neighborhoods, comprehensive amenities, and a thriving real estate market, Bartlett offers a haven for families, professionals, and individuals seeking a harmonious lifestyle. As you embark on this journey, meticulous research, a clear understanding of your preferences, and collaboration with experienced real estate professionals are paramount.

Bartlett's fusion of community and convenience, its embrace of diverse living, and its commitment to enhancing residents' quality of life all contribute to its magnetic appeal. The aspiration to own a house in Bartlett can be realized in this welcoming community. It's a place where your dreams align with Bartlett's offerings, culminating in a living experience that is both fulfilling and enriching.