Figure 1
Jonathan Hill, Creative Users, Illegal Architects, PhD, 2000, published as Actions of Architecture, 2003. Institute of Illegal Architects. Photograph, Edward Woodman; model, Bradley Starkey.
Figure 2
Jonathan Hill, Creative Users, Illegal Architects, PhD, 2000, published as Actions of Architecture, 2003. Institute of Illegal Architects. Photograph, Edward Woodman; model, Bradley Starkey.
Figure 3
Jonathan Hill, Creative Users, Illegal Architects, PhD, 2000, published as Actions of Architecture, 2003. Institute of Illegal Architects. Photograph, Edward Woodman; model, Bradley Starkey.
Figure 4
Yeoryia Manolopoulou, Drawing on Chance: Indeterminacy, Perception and Design, PhD, 2003, published as Architectures of Chance, 2013. Viewing Instrument I questions frontal and fixed models of architectural representation and explores the surrounding nature of spatial perception by ‘pivoting’ space from the back to the front of a moving observer. Photograph, Anthony Boulanger.
Figure 5
Yeoryia Manolopoulou, Drawing on Chance: Indeterminacy, Perception and Design, PhD, 2003, published as Architectures of Chance, 2013. Using ‘measurable chance’ to mark, multiply and connect 9 × 9 points in a drawing experiment that tries out Duchamp’s concept of ‘demultiplied vision’.
Figure 6
Yeoryia Manolopoulou, Drawing on Chance: Indeterminacy, Perception and Design, PhD, 2003, published as Architectures of Chance, 2013. Drawing Pier 40: aerial view of a design proposal for Manhattan’s Pier 40, conceived as a continually changeable landscape following chance operations that are influenced by the inhabitants and the seasons.
Figure 7
Penelope Haralambidou, The Blossoming of Perspective: An Investigation of Spatial Representation, PhD, 2003, published as Marcel Duchamp and the Architecture of Desire, 2013. ‘Illuminated Scribism’, plate 19.
Figure 8
Penelope Haralambidou, The Blossoming of Perspective: An Investigation of Spatial Representation, PhD, 2003, published as Marcel Duchamp and the Architecture of Desire, 2013. ‘Illuminated Scribism’, plate 16.
Figure 9
Penelope Haralambidou, The Blossoming of Perspective: An Investigation of Spatial Representation, PhD, 2003, published as Marcel Duchamp and the Architecture of Desire, 2013. ‘Illuminated Scribism’, plate 39.
Figure 10
Alessandro Ayuso, Body Agents: Deploying a New Figure for Design, PhD, 2015, published as Experiments with Body Agent Architecture, 2022. View of Kneeling Window drawing in progress.
Figure 11
Alessandro Ayuso, Body Agents: Deploying a New Figure for Design, PhD, 2015, published as Experiments with Body Agent Architecture, 2022. Animation Still, from animation sequence ‘A Meeting in Digital Space showing animated P_1435 body agent and ‘Janus faced figure’ comprised of 3D scan of Alessandro Ayuso bound to animated skeleton in situ.
Figure 12
Alessandro Ayuso, Body Agents: Deploying a New Figure for Design, PhD, 2015, published as Experiments with Body Agent Architecture, 2022. Body Agent Tempietto Sectional Model. SLS printed nylon and card, scale 1:10.
Figure 13
Nerea Amorós Elorduy, East African Refugee Camps as Learning Assemblages: The built environment as an educational resource for encamped young children in the East African Rift, PhD, 2018, published as Architecture as a Way of Seeing and Learning, 2021. Inception workshop in Kiziba refugee camp with community mobilisers, ECD caregivers, mother-leaders, NGO representatives and architecture students engaged in a discussion about the common and open spaces currently used as playgrounds by young children in the camp.
Figure 14
Nerea Amorós Elorduy, East African Refugee Camps as Learning Assemblages: The built environment as an educational resource for encamped young children in the East African Rift, PhD, 2018, published as Architecture as a Way of Seeing and Learning, 2021. Mural-making process on the first and second walls of Kiziba’s quarter four maternelle.
Figure 15
Nerea Amorós Elorduy, East African Refugee Camps as Learning Assemblages: The built environment as an educational resource for encamped young children in the East African Rift, PhD, 2018, published as Architecture as a Way of Seeing and Learning, 2021. Infographic showing the growth of forced migrants registered as refugees by UNHCR in the African continent since 1960 until 2016. The bars on the right-hand side and the dots on the map show the proportion of the region’s hosted refugees as of December 2016.
Figure 16
David Buck, In An Open Field: A Musicology for Landscape, PhD, 2015, published as A Musicology for Landscape, 2017. Temporal analysis of Green Meadows. Charcoal on paper, 112.6 cm × 160 cm.
Figure 17
David Buck, In An Open Field: A Musicology for Landscape, PhD, 2015, published as A Musicology for Landscape, 2017. Extract 1 from 655: a descriptive notation for an auditory landscape. Charcoal on paper, 112.6 cm × 160 cm.
Figure 18
David Buck, In An Open Field: A Musicology for Landscape, PhD, 2015, published as A Musicology for Landscape, 2017. Extract 2 from 655: a descriptive notation for an auditory landscape. Charcoal on paper, 112.6 cm x160 cm.
Figure 19
Jan Kattein, The Architecture Chronicle: Diary of an Architectural Practice, PhD, 2008, published as a book of the same title in 2014. Stage set for ‘Kabale und Liebe’, 1784, by Friedrich Schiller as directed by Anna Malunat at Akademietheater, Munich, in 2004.
Figure 20
Jan Kattein, The Architecture Chronicle: Diary of an Architectural Practice, PhD, 2008, published as a book of the same title in 2014. Zero Emission Luminaire no. 05 on Caroline Street, Blackpool.
Figure 21
Jan Kattein, The Architecture Chronicle: Diary of an Architectural Practice, PhD, 2008, published as a book of the same title in 2014. Zero Emission Luminaire no. 03 at Woburn Square Studios, London.
Figure 22
Natalia Romik, (Post)-Jewish Architecture of Memory within former Eastern European Shtetls, PhD, 2018, to be published as a book in 2022. Public programme in the evening in Józefów Biłgorajski.
Figure 23
Natalia Romik, (Post)-Jewish Architecture of Memory within former Eastern European Shtetls, PhD, 2018, to be published as a book in 2022. The walk with JAD, image from the collection of the Contemporary Art Centre Kronika in Bytom.
Figure 24
Natalia Romik, (Post)-Jewish Architecture of Memory within former Eastern European Shtetls, PhD, 2018, to be published as a book in 2022. The Nomadic Shtetl Archive in the market square in Kock.
Figure 25
Polly Gould, No More Elsewhere: Antarctica through the Archive of the Edward Wilson (1872–1912) Watercolours, PhD, 2016, published as Antarctica, Art and Archive, 2020. Suiseki Bergs, 2013, three Edwardian mahogany nesting tables with hand-blown glass. Dimensions of tables, 62 × 33 × 25 cm, 64 × 41 × 29 cm, 67 × 49 × 33 cm. Installed at Danielle Arnaud London, 2013.
Figure 26
Polly Gould, No More Elsewhere: Antarctica through the Archive of the Edward Wilson (1872–1912) Watercolours, PhD, 2016, published as Antarctica, Art and Archive, 2020. Lantern Landscape, 2013, tulip wood, wax, paint, magic lantern projector. Installed at Danielle Arnaud London, 2013.
Figure 27
Polly Gould, No More Elsewhere: Antarctica through the Archive of the Edward Wilson (1872–1912) Watercolours, PhD, 2016, published as Antarctica, Art and Archive, 2020. Erebus and Northern Islets, 2012, hand-blown coloured and mirrored glass, watercolour on sand-blasted glass, 45 × 45 × 16 cm. Installed at Danielle Arnaud London, 2013.