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Architecture BSc (ARB/RIBA Part 1)

A three-year degree in architecture that is world-renowned for both creativity and innovation, accredited by ARB/RIBA for Part 1.

About

This three-year programme teaches students from across the globe the skills to practise architecture and an understanding of how to use those skills imaginatively in different contexts.

As an architecture student at The Bartlett, your time will be spent in both the studio and the workshop, with approximately 70% of the programme taught and assessed through your design portfolio. Design teaching is delivered by leading practitioners, specialists and academics in small groups or on a one-to-one tutorial basis with frequent review sessions.

As well as being vocational preparation for practising architecture, this programme introduces students to the wider societal forces which affect them and architectural production, stressing the indivisibility of the architectural, cultural, professional and technological realms. Alongside design teaching, our students take core modules (Technology, History & Theory, Computing and Professional Studies) which are assessed through a combination of coursework, essays and examinations.


Highlights

  • Learn the skills to practise architecture, exchanging ideas with students from across the globe as well as leading practitioners and academics
  • Work in state-of-the-art bespoke facilities – both our studios and workshops are designed for creative flexibility and idea generation – and take part in the UK’s biggest architecture Summer Show
  • Choose one of our famous Design Units in Year 2 and 3, with whom you’ll develop your own unique project and undertake substantial field work and trips
  • Enjoy being part of a world-leading community for studying, teaching and researching architecture and the built environment
Studying architecture at The Bartlett has encouraged me to do things that I had never dreamed of doing, challenging my world, both technically and intellectually. 

Tom Ushakov, Architecture BSc student, 2019

Studying at The Bartlett is rigorous and rewarding for students with confidence, grit and curiosity.

Annabelle Tan Kai Lin, Architecture BSc student, 2019


Modules

Year 1

Design Projects (60 credits)

Module coordinator: Frosso Pimenides and Max Dewdney

This module explores ways of seeing, understanding and interpreting objects, places and events, learning to look beyond the obvious into the unseen and often absurd qualities of things. Students develop the skills to undertake investigations and representations of architecture through various media and complete a series of design projects across a range of scales, constructed or represented through models and drawings.

Environmental Design (15 credits)

Module coordinator: Blanche Cameron

This module aims to teach students the skills and concepts needed to address environmental design as an integral part of the architectural design process. Students are introduced to environmental design and its associated fields including climate, energy and sustainability. They study, among other things, environmental physics, energy sourcing and the relationship between buildings and global climate.

History of Cities and their Architecture (15 credits)

Module coordinator: Professor Mario Carpo

Students are introduced to Western architectural and urban history, from the classical age to today, with a brief overview of architectural history outside of the Western canon. This module also introduces new methodologies of architectural history and theory developed in the field of cultural studies.

Making Cities: The Production of the Built Environment (15 credits)

Module coordinator: Jonathan Kendall

Students develop an understanding of the relationship between architecture, planning and construction, learning how these teams come together to design and deliver projects and how the accumulation of these projects shapes and is shaped by their urban context. Using London as their primary resource, students undertake critical and creative research on specific built and emerging projects within the city, which are primarily explored through the production of short films.

Structures, Materials and Forming Techniques (15 credits)

Module coordinators: Steve Johnson and Anderson Inge

This module is designed to equip students with the tools and technical knowledge they need to allow the development of their own design thinking and personal research. Students develop a clear understanding of the materials used in the making of buildings, how these materials are fabricated and the architectural and structural influence of material selection. 


Year 2

Design Projects (75 credits)

Module coordinators: Ana Monrabal-Cook and Dr Luke Pearson

Students work in small studio groups called Design Units, to respond to a brief and develop a substantial portfolio and final project, often but not always inspired by the Unit’s annual field trip. This module consists of three stages, in which students investigate, develop and synthesise their building designs. Projects may take the form of 1:1 installations, material testing, speculative drawings, animations and models, either digital or physical

Design Technology I (15 credits)

Module coordinator: Oliver Houchell

Students learn to demonstrate a project’s potential to respond to site and context, by addressing the technical requirements of a building’s design and construction and the needs of its users. Each student collates, amongst other things, a suitable selection of materials, a structural strategy and an environmental and energy strategy for their design project. 

Practice, Ethics and Enterprise (15 credits)

Module coordinator: Jane Paterson

This module introduces students to the full range of career options in architecture, including business, practice and enterprise initiatives. Students work in groups to simulate practice and business activities and learn transferable skills applicable to both practice and other enterprise initiatives. 

History and Theory of Architecture (15 credits)

Module coordinators: Dr Nina Vollenbroker and Dr Stelios Giamarelos

This module develops students’ understanding of key moments in the history and theory of architecture, and the ways in which architectural knowledge is produced. Students study, amongst other things, 20th century architects and buildings, a range of key architects’ philosophies and approaches, the relationship between architecture and the arts, and the influence of architectural writing on architecture. 


Year 3

Design Projects (75 credits)

Module coordinators: Ana Monrabal-Cook and Dr Luke Pearson

Students work in their Design Units to respond to a brief and develop a substantial portfolio and final project, often but not always inspired by the Unit’s annual field trip. As with Year 2, this module consists of three stages, in which students investigate, develop and synthesise their architectural designs. Projects may take the form of 1:1 installations, material testing, speculative drawings, animations and models, either digital or physical. 

Design Technology II (30 credits)

Module coordinators: Simon Beames and Luke Olsen 

This module teaches students the skills to critically examine their final design proposal, determine the key technical issues involved, research these and then integrate the research into a creative design process. Students gain an advanced understanding of the synthesis of verified strategies for structural and environmental design. They also learn to carry out technical research through a broad range of media and methodologies, and how to test, analyse and evaluate construction techniques and principles.

History and Theory of Architecture (15 credits)

Module coordinators: Dr Nina Vollenbroker and Dr Megha Chand Inglis

This module introduces students to a range of historical and theoretical approaches and research methods, empowering them to productively engage with specific architectural and urban questions and tdatehemes. Students gain research and writing skills, as well as the knowledge to facilitate critical thought about the production, representation, use, experience and impact of architecture and cities, drawing out relationships between past and present. 


Design Units 

In Years 2 and 3, the Design Projects modules are taught in design units: groups of around 15-17 students from across both years. Each design unit is led by distinguished tutors from academia or professional practice, usually both.

Please find summaries of the briefs our design units will be working to in 2022-23 below, alongside links to unit blogs and social channels.

Current Architecture BSc students will receive full briefs at the start of term via Moodle. 

UG1

Image: Page from the Shahnama (Extract), Mir Mossavvir, Iran, Est. 1525-1535
Common Ground - Effective Use of Land

Margit Kraft, Rosie Hervey, Toby O’Connor 

From a planetary perspective, with carbon budgets tightening and populations increasing we need to use less resources and take up less space. In doing so we also have the opportunity to reverse the rapid decline of biodiversity by supporting more non-human life. 

Using less space may mean giving up some types of private space we are used to having whilst also coming closer together to share more with others. This year we will investigate the design of hard working mixed-use thresholds, rooms and buildings, as the keys to unlocking radical arrangements for an urban block in London. 

Continuing our interest in designing for change over time, this year we will pay particular attention to seasonal shifts of use and microclimate. Through an emphasis on experimentation with timber and clay, we will investigate how the sourcing, processing, finishing and assembly of materials can generate an architectural language that embodies ideas of effectiveness, coexistence and care

Image: Page from the Shahnama (Extract), Mir Mossavvir, Iran, Est. 1525-1535 - Public Domain Rights

UG2

Image: Walter Segal method under construction, by Jon Broome

1:1  

Zachary Fluker and Jhono Bennett 

Spatial practitioners are intrinsically shaped by their situated experiences, knowledges, values and beliefs when called upon to design in their cities.  The way they see, think and act are fundamentally formed by 1:1 reciprocal relationships of me:object, me:space, and me:them.

Every day provides confrontations with such exchanges of self and other, from what one purchases at the local hardware store for a home repair, to what TikToks algorithm suggests one watches next.  These intimate moments across different scales within the built environment, reveal the ever-emerging dynamics of us, and offer an opportunity to inform a more contextual responsive design practice. 

As a unit, UG2 students will co-produce their own toolsets of making: documentation in order to explore the tensions between urban systems of exchange -in both the physical and virtual. Focusing on instructional forms of media, UG2 will look at contemporary concepts of DIY culture and how the agency of self-build/self-make can shape our cities.

Image: Walter Segal method under construction, by Jon Broome

UG3

Image by Natalia Michalowska, Unit 3, 2021-2022 
Where the Wild Things Are, Outside Over There 

Ifigeneia Liangi and Daniel Wilkinson

UG3 explores and reconceives the relationships that exist between architecture, its designers and occupants. Each year, the tone of this is defined by the identities, desires and personalities of its students. Working across multiple scales and the links between space and style, this unit considers how buildings can have a more sensuous and innovative exchange with the environmental issues that threaten to consume them, considering the practicalities of time, crafting and construction as parallel protagonists to one's personal intentions. Students will also consider how buildings take on a life of their own and outgrow their architect, like a child its mother. 

The unit works with a foot in the magical and a hand in the practical, creating architectural fantasies that are grounded ten feet deep in reality. Students design expressively detailed buildings which aim to excite, seeing the creative process as a wild rumpus across the messy and the refined, with the mistakes and misfires that happen along the way becoming catalysts for wonder. 

Image by Natalia Michalowska, Unit 3, 2021-2022 

UG4

Image: Christo and Jeanne-Claude, Running Fence, 1976, ©Wolfgang Volz 
Antithesis

Katerina Dionysopoulou and Billy Mavropoulos

UG4 is driven by the dialectic between the pragmatic reality of architecture as a profession of restrictions and the deep creativity practitioners bring to their projects.  

Recent events around the world revealed humanity to be in an age of upheaval. When complex, contradictory situations constitute no simple solutions, the notion of duality proves itself relevant. UG4 will pertain to a perspective of life which embraces the opposite and paradox of existence — exploring design potentials and new architectural vocabularies within the dialogue of dualities.   

Architecture could not exist without fundamental dualities. UG4 is not simply interested in the obvious outcomes of these pairings, but more so in the friction and dialogue produced at its point of contact. UG4 students will look at precedents such as Anish Kapoor’s controlled manipulation of materials to reveal its unprecedented qualities, and Marcel Raymaeker's subversions of traditional typologies in Belgium’s post-war architectural reclamation, forming complex dialogues between the new and old.  

From wide holistic conceptual dissection condensing down to materials interrogation, students will investigate plausible forthcoming trends and narratives to find and offer a more sustainable and relevant way of living. UG4 views antithesis not as antagonistic forces that aim to trump each other, but as oppositions that need one another for a complete celebration. 

Image: Christo and Jeanne-Claude, Running Fence, 1976, ©Wolfgang Volz 

UG5

Image: The Courir de mardi gras at Hastings Fat Tuesday festival, by Bob Tipler
F.I.L.T.H.

Bongani Muchemwa and Patrick Massey

UG5 proposes to examine the role of the architect and architecture within the context of the long established housing crisis in the UK. Students' research will be based on the belief that architects can best respond through the act of design and that the development of meaningful built forms must be interlinked with a deep understanding of locality.  

This year, the unit focuses on Hastings, an East Sussex seaside town that has seen enormous growth in house prices, but no real expansion in housing and infrastructure. Rapid, unsustainable growth has led to an unmanageable situation for the Hæstingas, leading to a growing antipathy for new arrivals from London who are given the unfortunate moniker FILTH (Failed In London, Try Hastings).*   

Architectural solutions must emerge from a deeply contextual research process. The aim for this year is to design locally integrated, resilient, and uplifting spaces for local inhabitants, challenging gentrification, and the displacement of Hæstingas. UG5 will look for visions of a new exemplar settlement that borrow ideas of integration from wherever they may be found. 

* Caroline Harrap, ‘Double trouble? How big cities are gentrifying their neighbours’, www.theguardian.com, 27 March 2018

Image: The Courir de Mardi Gras at Hastings Fat Tuesday festival, by Bob Tipler

UG6

Image: Boiler Manufactory Müller (CH), by Maria Müller
Calibrating

Stefan Lengen and Ben Spong

UG6 continues to study its fascination between landscapes and architectures. This year the group will explore the notion of ‘calibrating’ and pursue an interest in the latent qualities of rural and urban landscapes. UG6 considers architectures as ‘tuning instruments’: tuning means experimenting, innovating, failing, learning, embracing imperfection, transition, and transformation. 

Calibration is a process that accounts for the relative position of something to another. Typically, calibrating is a reductive method for minimising the difference between positions. This has extreme value in the sciences but overlooks the more implicit potential for calibration within architectures which will be the main line of enquiry this year.  

Students' approach will be necessarily experimental, as calibrating encourages the construction of architectures that ask questions of landscapes as opposed to ones that impose answers upon them. UG6 searches for architectures that calibrate and collaborate with landscapes to create a more diverse built environment that address current social, cultural, political, and ecological inequalities.  

Image: Boiler Manufactory Müller (CH), by Maria Müller

UG7

Image: The Entrance to Ironmongers’ Hall of Aldersgate Street, Barbican, London by artfletchlicensed under CC 4.0
The Carbon Tectonic

Joseph Augustin, Christopher Burman and Luke Jones

How should architecture understand its role in the project of environmental transformation? Faced with the looming disaster of climate change, societies all over the world will have to transform their industries, technologies, food and energy systems over the next thirty years. What role can architects play in this vast global endeavour?

UG7 is interested in the possibilities of design in an era of rapid and essential change. The question is not simply how architecture can contribute to necessary shifts in consumption and environmental impact, but how larger processes of climate mitigation might shape its room for manoeuvre — its space of possibility.

What sorts of buildings will be needed in a decarbonising world? What new forms of design, organisation or urban life will become possible? The answers to many of these questions remain, crucially, undetermined. They may lie in local transformations and community-led design, or in the remote systems of planetary material supply chains and energy systems. UG7 invites students to explore how their own design agenda might take shape at the intersection of the complex processes.

Image: The Entrance to Ironmongers’ Hall of Aldersgate Street, Barbican, London by artfletchlicensed under CC 4.0

UG8

Image: New Brighton, England, 1983-85 © Martin Parr / Magnum Photos 
Up Close, at a Distance

Farlie Reynolds and Greg Storrar 

‘The thing about tourism is that the reality of a place is quite different from the mythology of it.’ 

     –  Martin Parr 
 
Interested in material, structural, and spatial experimentation at a range of scales, UG8 champions innovative architectural strategies that boldly address the environmental challenges of our time. This year the unit will explore the architecture of sightseeing and sightmaking, re-imagining the experiences of tomorrow’s tourist. 

With the escalation of the climate crisis, the question of what might curb the unstoppable growth of global travel emerged. Then came the pandemic; physically too far, digitally too close. Students must ask themselves how much travel was ever really needed, and consider the different experiences one might construct now we are able to travel again. 

Are humans destined for Surrogate Tourism, simulated travels to another place (or time)? Or might one creatively rethink Destination Tourism, conjuring sustainable experiences capable of drawing footfall away from ravaged historical sites and sublime landscapes? Or are consumerist models of travel altogether inappropriate in an age of climate catastrophe; should humanity embrace Slow Tourism, a return to the nomadic? 

These ideas pose provocative questions of architecture, of its identity, authenticity, permanence and mobility, of the provenance of materials and the skills and people that make it. This is where UG8 will begin. 

Image: New Brighton, England, 1983-85 © Martin Parr / Magnum Photos 

UG9

crowded beach from above with people sunbathing
Festival

Chee Kit Lai and Jessica In

The Festival has been a part of human life since antiquity. Reflecting the social and economic changes in our world, festivals consolidate social groups from small (e.g. the family unit) to large (tribes and towns). They provide a temporal microcosm from which our relationships - between ourselves and with the spaces we inhabit – become distilled, intensified and amplified. The 20th century anthropologist Emile Durkheim considered “feasts and festivals as an ‘effervescence’, the intensity of which cements the solidarity of a group or a people, a representation of the invisible relationships between human and the laws of nature, a veritable institution whereby the bonds between the members of a society are maintained, regenerated, and reproduced.” 

This year UG9 will consider the festival as a transgression of everyday routine, a departure from the ordinary that allows for a requestioning of one's individual and collective values. A disruptor of the day, students' architecture will take on theme of festival as a departure point for their design investigations.  

Image: 'Sun & Sea' by Lina Lapelytė, Vaiva Grainytė and Rugilė Barzdžiukaitė 

UG10

Image: Hew Locke, The Procession (2022), Tate Britain - photo: Pedro Gil 
Polyrhythms*: Guyana

Pedro Gil, Neba Sere and Colin Smith

*Polyrhythms: simultaneous use of one or more rhythms that are not readily perceived as being derived from one another. 

UG10 acknowledges the Global North/South paradigm. 

UG10 recognises residual tensions and paradoxes as method to explore both contemporary and historical relationships between the UK and Latin America. The unit draws attention to the differing phenomena and cohabitations between these diverse contexts, exploring what has been ‘borrowed,’ ‘drawn upon’ and ‘taken’ from either side of the Atlantic. UG10 will highlight what remains of those actions, dialogues and exchanges, in relation to migrant communities, architectures, visual arts, literature, music and ideas.

Each year UG10 selects a Latin American region to focus our investigations into typologies that include construction idioms and techniques, funding streams, design activism, and material iterations. The unit promote speculations on radical ideas, design solutions, resilient futures, and alternative visions. This year students will focus on the country of Guyana. UG10 design projects will learn from, be inspired by, and celebrate Guyana as our source of stimulation. We will study and be inspired by Guyana from afar and will produce design projects situated in London that celebrate Guyanese culture.

UG10 is committed to exploring architecture as a vehicle for social justice. We are interested in exploring themes of decolonisation and what this means in an architectural and social context – through spatial tectonics. The unit positions itself to learn from global cultural and social references that are delivered through finely crafted physical models and architectural drawings.  

This year UG10 will celebrate Guyana, Blackness, and Afro-Latin American culture - through the lens of our design projects. 

Image: Hew Locke, The Procession (2022), Tate Britain - photo: Pedro Gil 

UG11

Image: The Fifth Orchestration – Ghost Stories ‘19 by Edwin Maliakkal
Ghost Stories

Mani Lall and Matt Poon

Narrative and stories surround us, we are embedded within and enriched through the stories of our lives, the memories we make and places we inhabit and engage with. 

However, we are not always aware of sub-texts that influence the experience of our environment, ideas and elements that make up the nuances and implications of how we perceive, belong, live and work in this landscape of stories.

UG11 is interested in the notion of ghosts, understood as the elements that are suggested and implied. These exist in the shadows, in the background and are what UG211 students will explore this year. They will begin with the forgotten and lost of London’s Docklands, with a focus on narrative, revealing and proposing moments… suggestions and ideas will be folded into the veneer of site and city.

Exploring the City through lenses of the hidden, suggested stories of ritual and myth, students will interpret the implied and physical influences, and the ideas that occupy and weave stories. They will reconfigure these into layered and enfolded artefacts at various scales of engagement.  

Image: The Fifth Orchestration – Ghost Stories ‘19 by Edwin Maliakkal

UG12

Image: Collective Drawing by UG12 Students of Faversham, Kent 2021
Track and Trace 

Níall McLaughlin and Hannah Corlett

This year, students will design a settlement together. Each student will design one building individually, while the whole group will work in collaboration to agree on the wider arrangements of routes and spaces that make a successful place. The group will balance individual initiative and communal cooperation. 

Track and trace technologies enable a product’s status to be captured throughout its value chain, and for its path to retrospectively be identified and verified. Within the built environment the assessment of path and value is essential: learning from example, evaluating cost and understanding implication fuels innovation. UG12 will examine traces in the landscape and in the history of architecture to help create a track that leads into a newly imagined future. 

UG12's tutors are architects who are involved day-to-day in making buildings. UG12 students will learn with them how to draw, model and design based on a deep understanding of landscape and material practice. Taking the demands and opportunities of the Climate Emergency as a springboard, together they will learn and imagine surprising futures based on a firm understanding of the conditions of society today. 

Image: 'Collective Drawing' by UG12 Students of Faversham, Kent 2021

UG13

Image: Superstudio, Visita primaverile nello showroom, 1972. Courtesy of the Drawing Matter. Copyright: Estate of Adolfo Natalini 
Agritecture: Taking the Country’s Side

Maria Fulford and Jörg Majer

“The inevitability of total urbanisation must be questioned, and the countryside must be rediscovered as a place to resettle, to stay alive; enthusiastic human presence must reanimate it with new imagination.”  

Rem Koolhaas, Countryside: A Report (Köln: Taschen, 2020)  

UG13 is interested in ruralism and the challenges and opportunities that this environment provides in the 21st century. The countryside has undergone seismic changes through mechanisation, agro-chemistry, land management, migration and new types of industry emerging. Despite these changes, rural environments are woefully under-represented and misunderstood; it is time to shift focus and examine the potential of this fertile territory.  

This year UG13 students will examine the relationship between agriculture and architecture and consider how this relationship has defined both rural and urban environments increasingly separated by industrialisation, globalisation and mass urbanisation. Students will consider new ways to reconnect urban and rural environments by designing their own economic and socially sustainable ‘Agritecture’. 

ImageSuperstudio, Visita primaverile nello showroom, 1972. Courtesy of the Drawing Matter. Copyright: Estate of Adolfo Natalini 

UG14

Image: Still from Good Bye, Lenin! (2003), X Verleih AG 
Nostalgia is Not What it Used to Be

Tetsura Nagata and David Di Duca

UG14 continues its studies into how societies remember and forget through the built environment. This unit has previously focused on ritualistic commemoration, political upheaval and industrial heritage. This year students will explore nostalgia – the powerful sentimental longing for a past, capable of defining a cultural identity.  

The disparity between two forms of nostalgia – the reflective and the restorative, will serve as a starting point for these investigations. As designers, students will interrogate the tension between nostalgia acting as the poison and the cure in our projects. How can one reap the beneficial impact to the individual and collective psyche, whilst interrogating the limitations in attempting to rebuild the past? 

In a time when global environmental and economic factors advocate against the inexcusable demolition of buildings, the unit will continue to imagine evocative and innovative futures by adapting existing structures. As AI sifts through past data to (re)create images of the future, students will look closer than ever at how human-made objects embody the narratives and context of their creators.

Image: Still from Good Bye, Lenin! (2003), X Verleih AG 

UG21

Left: 1969 Superstudio collage on Domus magazine Right: 2022 DALL-E 2 OpenAI generated image from text: “The duomo of Florence in a woodland covered in snow with 1960s computers and students wearing mortarboards”
(dis)Continuity

Abigail AshtonTom Holberton and Andrew Porter

UG21 will consider continuity + discontinuity; how do we design with multiple systems, that overlay, combine or break?  

Students will travel to Florence in Italy - the iconic city of the Renaissance, and a home to scientific, financial and artistic revolutions, 9999, UFO, Archizoom, and Superstudio. It created a great discontinuity in thinking and ideas, but is now a city that is highly preserved and resistant to change. Radical new urban regulations conserve the total city volume but attempt to reject nostalgia.  

Each student will develop their own unique design process to explore continuities and discontinuities. This could be through representation in space, perspective, time and film; sustainable continuity of materials; heritage and digitisation; perception and artificial intelligence. UG21 aims to create a pluralistic design culture across the analogue and digital, with design-thinking that takes different approaches. 

Images
Left: 1969 Superstudio collage on Domus magazine
Right: 2022 DALL-E 2 OpenAI generated image from text: “The duomo of Florence in a woodland covered in snow with 1960s computers and students wearing mortarboards”


Key information

Entry requirements

Application deadline

Applications are now open for 2023 entry via UCAS. The deadline for applications is 25 January 2023.

Fees and funding

  • Tuition fee information can be found on the UCL Undergraduate Prospectus 
  • For a comprehensive list of the funding opportunities available at UCL, including funding relevant to your nationality, please visit the Scholarships and Funding section of the UCL website.

Accreditation

Architecture BSc is accredited by the Royal Institute of British Architects (RIBA) and the Architects Registration Board (ARB). Students who successfully complete the programme are exempt from Part 1 of the ARB/RIBA examinations.


Careers 

Upon completion of the programme, many of our students continue with their training to become registered architects by taking a year out in an architect's office in the UK or overseas, before applying for Architecture MArch or another postgraduate degree.

Graduates of this programme benefit from excellent employment opportunities and destinations vary from internationally renowned offices to small-scale specialist practices. Some architecture graduates also use their highly transferable skills in other design-related disciplines, such as film-making, website design and furniture design.


Contacts

Programme Directors: Ana Monrabal-Cook and Luke Pearson
Departmental Tutors: Eva Branscome and Sabina Andron
Programme Administrators: Kim Van Poeteren and Bethany Barnett-Sanders (Year 1)
Departmental Tutors: Dr Sabina Andron (Year 1), Stamatis Zografos (Year 2) and Dr Eva Branscome (Year 3)

Programme Admissions: Colin Smith 
Undergraduate Admissions enqueries: Complete the contact form

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