Continuity in Architecture believes that the city is an exciting, complex, and crowded place, full of contrast, juxtaposition, discord and incongruity. Colin Rowe and Fred Koetter describe it as a ‘didactic instrument’, that is, a place in which a desirable discourse can be formulated. We believe that the constructed environment is charged with narrative content, that it is a place in which certain elements come to the fore, while others are more modest, more unassuming, but no less important or carefully considered. The built environment is created from the collective endeavours of many generations; each of which has its own priorities, focus, or agenda, and it is the interpretation of these priorities that proves to be the impetus for further evolution or change.

This year the MArch Atelier worked across three live research strands:

Contentious Heritage examined the reuse of buildings and structures that contained a difficult past in collaboration with University Hasselt. Thesis themes included the legacy of Leopold II, the walled city of Kowloon, the industrial past of Manchester and the future of the ‘Gallery of Degenerate Art’.

Encounter and Exchange questioned the future of the Historic High Street (in collaboration with Bradford Civic Society and the Townscape Heritage Scheme). Projects included the reuse of Bradford Church Institute, a new housing quarter and the Corridor of Lost Artefacts.

Settlement Chronologies drew upon previous investigations into the particular qualities of small settlements in England. The project questioned whether the exploration of these places can be conducted in a similar manner to that of urban areas, or, whether they need an individual set of parameters and guidelines.

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Year 6

Professional Studies

Professional Studies 1

For the first task we asked students to reflect on the nature of urban living in the context of Bradford, Yorkshire, and the somewhat tired Oastler Shopping Centre in the ‘Top of Town’. In a post-pandemic world, questions of work-life correlation are to the fore, but there are wider, long-term demographic and social trends that may also stimulate a creative response. So:

How should city centre living respond to the new normal of working from home? Who wants to live in the hub of the city, and why? What are the characteristics of space and the objects they accommodate that make for a ‘home’? How will the city’s demographic needs be met by culturally appropriate domestic configurations?

As a provocation, we asked students to reflect on an artwork depicting a room with a view. From this, the relationship between home, occupants, atmosphere and the city were established. Fundamental to the students’ approach was the Atelier’s observation that a building’s tectonic strategies work to negotiate the delicate relationship between public and private realms, which in turn imply solutions achieved through the appropriate technology of the envelope, and the beauty of its detailing. There were some undeniably striking, radical, and beautiful homes proposed.

Professional Studies 2

Continuing in Bradford, with that deeper understanding of the place and its people, students explored how to creatively reuse an existing building in the town, selected from one of four sites. Each project aimed to establish a conversation with the past at an urban level, at a building level, and at a detailed level.

Students began by selecting a bold re-use precedent that would inform the rehousing of the arts organisation FUSE Art Space in the ‘Top of Town’. Choosing one of three sites in the area, the studio project engaged in altering, stripping, dropping, cutting, opening, lining and cladding the existing form, as it was repurposed for modern technical and functional requirements.

Most important of all: we expected students to allow the building itself to shape and influence the programme, demonstrating a commitment to form as a driver of functional content, so ‘form follows form’.


Year 5

Jonathan Barker, Millie Barrow, Laura Bucknall, Joseph Richard Cox, Thomas Craven, Robert Crutchley-Macleay, Kiran Farooq, Sophia Yvonne Rebecca Grabow, Yifan He, Tania Islam, Kathleen Karveli, Zhe Han Law, Sze Jin Lee, Weining Luo, Keerthana Manimaran, Hayden Moores, Alexandru Munteanu, Patrick O'Brien, Danito Oledan, Razaw Osman, Catherine Zena Parsons, Billie Pritchard, Oliver Radcliffe, James Reed, Thomas Roylance, Hayley Louise Sheldon, Philippa Smith, Juliet Sara Tremble, Diana Iona Ursachianu, Adam Valman, Daniel Walsh, George Edward Williams, Jiang Yuxin, Irina Binti Zahidi, Hanxiao Zhao and Xuexin Zhao.

Year 6

Claire Ainsworth, Tahreem Amjad, Sonia Mancxia Balaguru, Natasha Blows, Celia Brearley, Jack Carter, Ashley Cheung, Eva Cheung, Robert Clarke, Niall Coleman, Irena Dewi, Alexander Hughes, Supriya Jagtap, Ifan Jones, Emma Lewis, Valentine Lezius De Seynes, Ajay Mahay, Areeje Sherllalah, Mona Tamaru, Jo Tan, Jumana Tarazi, Aysha Utsho, Daniel Warren, Hayden Webster, Alex Williams, Gei Ga Wong, Lucy Woodward, Bismah Zafar