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I am very proud to post that this month the Architectural Review features Kingston Unit 2 rather heavily, showing work of selected students including public house study drawings of The Grapes by Carlos Dos Santos, Thomas Sellers, Alexandra Bailey and myself. It also rates the unit in its article Top Ten London Architecture Units alongside units from institutions such as The Architectural Association and The Bartlett (UCL).

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I was thrilled to see that a portion of a large 1:20 section of the Grapes Public House created by Carlos Dos Santos, Alexandra Bailey, Thomas Sellers and myself in a recent edition of The Architects’ Journal. I was however disappointed when I noticed that the only credit for the work was given to Carlos. This is a shame because although a large amount of this particular portion of the section was done by Carlos and he has also been the stand out student of the year, which has resulted in him being put forward for the RIBA President’s Medals, it is upsetting that a piece of work that is a collaboration between four people is not acknowledged as such. The section not only required four skilled individuals but also their ability to work as part of a team to complete, and resulted in a piece of work we were all very proud of.

A notable cast from the series which culminated in the Final Concrete Cast. This cube uses the skeleton frame as originally proposed, but when struck revealed a quite beautiful concrete finish with inserted clear acrylic pattern. The skeleton was retained rather than removed and the whole cube was worked to give the concrete a more rough texture to contrast with the smooth acrylic, which was also worked to give a frosted finish.

The culmination of a series of concrete casts as discussed in Concrete Cube, Concrete Construction and Concrete Shuttering is shown above. A negative version of previously proposed versions, the contrast between where the aggregate has been exposed and the smooth finish from the shuttering is remarkable. The wallpaper pattern taken from The Grapes public house has been used to protect part of the cube whilst the exposed concrete has been worked back to reveal, in this case, recycled green glass aggregate.

The use of etched glass in public house fenestration is the perfect marriage of function and decoration. Used as a screen for privacy whilst also allowing light into a space, they are highly detailed ornamentation pieces. Much like wallpaper, the use of decorative patterns adds a sense of domesticity to a space, blurring the line between what is private and what is public.

The image shown is an illustration of how brickwork or paving blockwork could be cut to interlock structurally and create a spinning motif, which is one of the most frequently recurring patterns in Islamic art. Taken from Islamic Patterns by Keith Critchlow, I especially like it if used in the main foyer space. Orientated in the right way it aligns with both axis the proposed Mosque deals with with, that of the existing fabric and of Mecca, as discussed in Site Axis. It also starts to address the detailed domesticity that the Wallpaper gives The Grapes Public House.

Interior photograph of concrete cube shuttering, detailed in Concrete Construction.

These are construction drawings for the shuttering of the newly proposed concrete cube, last described here, showing how a skeleton frame is inserted into the main plywood cube shuttering to create the recessed pattern. The new version wraps the whole wallpaper pattern around the cube.

Much like Skeleton and Not just a Balustrade, the investigation of the wallpaper pattern from The Grapes Public House is applied to a cubic form. The proposed 150mm concrete cube, with the pattern in relief, acts as much as a tectonic study as that of pattern.

This modern designed mosque, the Islamic Forum by Jasarevic Architects in Penzburg, Germany, is a wonderful example of a building acknowledging both its cultural history and its location. The building is decorated in islamic script and patterns with suitable spaces for prayer but its external aesthetic fits in with the surrounding urban landscape taking more from the local vernacular rather than that of ‘traditional’ mosque architecture, whilst still retaining the Minaret. The really interesting part personally is the adaptation of traditional islamic patterns and their use both as perforated balustrades and decorative patterns applied directly to raw concrete, which follows a similar working to that of Wallpaper Balustrade from The Grapes Public House.