At the end of a marathon day during which 23 students presented project work to BuroHappold Engineering’s top executives, four students from Diploma Studio 10 (DS10) at the University of Westminster were selected to build temporary installations for the global engineering practice’s soon to be refurbished London offices. The presentations were overseen by their tutors Arthur Mamou-Mani and Toby Burgess, and Neil Billet, Andrew Best, Emma Greenough and James Solly from BuroHappold.

The winners of the competition were:

  • Garis Iu (71 Newman Street window) with The Meander, an 12 meters long flowing  cluster of laser-cut curved origami filtering views on street level towards the reception area.
  • Diana Raican (17 Newman Street window) with The Colliding Cubes,  a dramatic 5 meters wide wall suspended above the street and assembled with friction-based component dissolving through one another, parametrically designed to filter light and views.
  • Joe Leach (17 Newman Street Staircase) with The Falling Leaves, an innovative laser-cut curved truss system assembled around a series of nodes holding a beautiful array of wooden leaves.
  • Charlotte Yates (17 Newman Street separating screen) with The Jitterbuga kinetic installation inspired by Buckminster Fuller and made from punch-pressed aluminium icosahedron opening and closing depending on space requirements.

The projects celebrate 40 years of innovative structural solutions from BuroHappold and the practice’s commitment to supporting education in the fields of architecture, engineering and digital fabrication and will have a lifespan of a year before the next DS10 intake follow the same process and vie for an exhibition space.

We would like to thank David Scott and Edward Lancaster from the University of Westminster’s Fabrication Laboratory for all their support.

Here are images of the winning designs. More news to come on the expected launch date.

The Meander by Garis Iu - DS10 Univeristy of Westminster for BuroHappold Engineering (led by Arthur Mamou-Mani and Toby Burgess)

The Meander by Garis Iu – DS10 Univeristy of Westminster for BuroHappold Engineering (led by Arthur Mamou-Mani and Toby Burgess)

The Colliding Cubes by Diana Raican - DS10 Univeristy of Westminster for BuroHappold Engineering (led by Arthur Mamou-Mani and Toby Burgess)

The Colliding Cubes by Diana Raican – DS10 Univeristy of Westminster for BuroHappold Engineering (led by Arthur Mamou-Mani and Toby Burgess)

Jitterbug by Charlotte Yates - DS10 Univeristy of Westminster for BuroHappold Engineering (led by Arthur Mamou-Mani and Toby Burgess)

Jitterbug by Charlotte Yates – DS10 Univeristy of Westminster for BuroHappold Engineering (led by Arthur Mamou-Mani and Toby Burgess)

Falling Leaves by Joe Leach - DS10 Univeristy of Westminster for BuroHappold Engineering (led by Arthur Mamou-Mani and Toby Burgess)

Falling Leaves by Joe Leach – DS10 Univeristy of Westminster for BuroHappold Engineering (led by Arthur Mamou-Mani and Toby Burgess)

The student work will join the permanent installation “Wooden Waves” designed by DS10 tutor Arthur Mamou-Mani. More information on this project may be found on http://mamou-mani.com/BuroHappold.

TheWoodenWaves by Mamou-Mani at 17 and 71 Newman Street.

TheWoodenWaves by Mamou-Mani at 17 and 71 Newman Street.

We will be presenting a talk entitled ‘The Rise of the Entrepreneur Maker’ discussing recent work we have been doing with our DS10 students as well as our wider work in practice and academia.

There will also be an exhibition of DS10 student work, showcasing this year’s proposals for Burning Man and the four installations that the students are currently installing in Buro Happold’s London headquarters.

See poster below for more information…


Video- Filmed & Edited by Joshua Potter, including footage from Toby Burgess, Lianne Clark, and Vlad Ignatescu.

As part of our research for Brief 03; ‘Future Cities’, DS10 travelled to the wonderful city of Copenhagen, Denmark. The video above was made to provide a glimpse into the incredible time the unit had whilst visiting the city and all of the amazing Architecture it had to offer during our visit. Below is a schedule and some pictures that provide further details of our trip which took place from the 29th January  until the 2nd February 2015. We would like to thank all involved for their generosity and time.

  • Monday 2nd: Snow day in the city. Several snow fights occurred as students strolled through the city, enjoying the sights of ‘Tivoli’, ‘Christiansborg Palace’, ‘Børsen’, the ‘Danish Jewish Museum’ by Daniel Libeskind, ‘Det Kongelige Bibliotek (The Royal Library)’ which includes ‘The Black Diamond’ by Danish architects Schmidt Hammer Lassen, ‘Dome of Visions’ by Kristoffer Tejlgaard, ‘Frederik’s Church’ – which boasts the largest dome in Scandinavia, and also ‘The Little Mermaid’ by Edvard Eriksen. 
Pictures – Aslan Adnan, Toby Burgess, Esha Hashim, Vlad Ignatescu, Arthur Mamou-Mani and Joshua Potter.

component assembly

Inspired by minimal surfaces, more specifically triply periodic minimal surfaces, Hypar Infinity is a component based pavilion constructed from plywood sheets. The first part of the research focused on triply periodic minimal surfaces, that are locally area-minimizing, have a zero mean curvature and repeat themselves in three directions. Many of these surfaces were discovered by Alan Schoen in the 1970s. The research into infinite minimal surfaces led to experiments with hyperbolic paraboloids or hypars. Hypars are saddle shaped doubly ruled surfaces but act as minimal surfaces. Hypars can be easily folded, attached together in variety of ways, and infinitely repeated. In my proposal I attached six hypars together creating a star-like shape that became the module, which is then mirrored along its edges to create the final design.

The pavilion aims to create a social environment and encourages self-exploration and social interaction among its visitors. The structure provides a place to relax, socialize, hide-away from the sun during the day and enjoy the beautiful lights of the playa during the night. The structure is made out of 240 components that are laser cut and fixed together by solid hinges. Each leg of the pavilion would be placed on a wooden base that would then be anchored to the ground.



Inspired by the hypothesis of parallel universes, The Multiverse is a timber pavilion that ultilises curved crease folding system to create a fluid-like body that loops infinitely, aiming to evoke a myriad of moral conundrums. The research first looked into curved crease folding, where by introducing concentric fold lines to a flat surface would allow the surface to bend freely and flexibly. Experiments are done by testing with semi-circular modules, where a closed end loop is introduced to create different resultant forms.

CCF1 CITA Presentation-5 CITA Presentation-12 CITA Presentation-13

Model Photos

In cosmology, parallel universe describes the hypothetical set of infinite possible universes that exist as we make decisions in our lives – with each choice spawning a multitude of universes. In life, we are often met with these choices where we must make our own decisions in order to move on, and over time we have grown to regret and rejoice. Although it is important to realize that the present times only exist the way it does because of the choices we have made, what is more curative to the mind is that we stay true to these decisions – for it matter not what choice we made, but that we made one. We were in control of our own paths, we are, and will always be.

The Multiverse questions the nature of reality. Burners are encouraged to interact with the pavilion by writing on the surface moments of regrets and joy, leaving a piece of themselves together with others; thus they are encouraged to contemplate on their past and present, questioning their beliefs and morality, and gradually fall into a complete moral maze.



The Multiverse is constructed of a segments of 4mm plywood components which, when bolted together, forms a series of semi circular surfaces. By applying the principals of curved crease origami, where the fold angles are proportional to the curvature of the resultant surface, the semi-circular surfaces are able to bend into various forms as desired. Consequently, by fixing the hinge angles between the segmented faces, a resultant form can be established.

The pavilion appears to loop infinitely, symbolizing the hypothesis of infinite universes as generated by our decisions in life. Within the pavilion, burners are encouraged to interact with the pavilion by writing on the surface moments of regrets and joy, leaving a piece of themselves. Overtime the pavilion will be a home to emotions, where burners can sympathize one another and at the same time reflect on the self and one’s morality.

At night, the pavilion will be lit by a series of EL wires placed at the fold of the structure, thus further emphasizing the pavilion’s curvatures.

Multiverse Night

BOARD_idea a3conceptual sketches

Physical Manifestation of FUN-Tegrity Pavillion

“All Structures, properly understand, from solar system to the atom, are tensegrity structures. Universe is omnitensional tensegrity”, Buckminster Fuller described the tensegrity structure. With the concept of “Fun Circus: Playground in the desert” , the Fun-tegrity Pavillion is a shelter that offers fun and also leisure with the idea of fun palace in the middle of the dead desert – redefining oasis. Flexible, stable and tuneable of membrane tensegrity are advantages to create the fun and leisure based installation and give more means rather than only harps in spaces. The pavilion will capture the essence of dynamic characteristics of the tensegrity structures, by decomposing and altering the basic module of the tensegrity model. This pavilion will has three main functions, which are for shelter, leisure and as a playground . The membrane of the structure will provide shelter from the hot burning sun , and in between the poles of the compression members, hammocks can be installed to provide individual leisure space. On top of the modules combined , there’ll be a trampoline installation, as the playground, where people can jump on it .

It will act as social intervention based on circus arts performances among the strangers and nomad in in the desert, a place where they communicate , have fun and share their talent. With the selected materials , of white membranes, it will contradict with the surrounding site , gracefully prevail in the middle of the dessert .

This year’s theme is about mirrors and masks, mazes and merger. It will be a kind of magic show that takes the form of an old-fashioned carnival. This Carnival of Mirrors asks three essential questions: within our media-saturated world, where prod- ucts and people, consumption and communion morph into an endlessly diverting spectacle, who is the trickster, who is being tricked, and how might we discover who we really are?

Classic carnivals, as theaters of illusion, upheld a very strict dividing line that separated carnies, cast as showmen, from mem- bers of a naïve public who were labeled chumps and suckers, marks and rubes. Our carnival, however, will perform an even more subversive trick — its motto is Include the Rube. The wall dividing the observer from observed will disappear, as by an act of magic; through the alchemy of interaction, everyone at once can be the carny and the fool.


Social Interaction 

There had been tensegrity installation before in the history of burning man . But there is no one that people can jump on it . So why not ? People will have fun and express themselves. There will be other smaller modules for other people to be used as shelters . That is the beauty of tensegrity structures . They are flexible and tuneable. This pavilion would not be merely as shelter. In fact, they can play with it or on it ! Fragments of spaces inside of the tensegrity structures, will create some social pods where strangers can hang out and exchanging their creative thoughts . But the most important thing, it will bring people together .



this entry can be access through this student’s website as well ESHAHASHIM©

Burnign man render REVISED


‘Infinite Territory’ invites burners from the surrounding playa to it’s periphery; its simple mirrored cubic exterior reflects the picturesque landscapes, unpredictable weather and inspirational artworks, creating an experience of both the real and the reflected whilst encouraging unexpected discoveries throughout the journey of the Burning Man Festival. At night, the cube will reflect the vibrancy of the playa. Illuminated strips of colourful light will glow at each edge to allow for clear visibility and frame the vistas; encouraging physical exploration within the structure and providing an immersive experience that juxtaposes the setting of the desert, and in doing so, offers a place for discovery; to recognise our inner selves and the reality of those around us.

The real gem of the ‘Infinite Territory’ is revealed from within – the burner will climb into a boundless space of infinite reflections that will hypnotise and bewilder, whilst creating a place for contemplation and speculation. Illuminated patterns will flicker and grow through key-frames of acrylic. Within this immersive digital dimension will be soft items providing a refuge from the elements. The installation will be made up of mirrored panels at each face of the cube. Three of these faces will consist of panels built with five layers of transparent perspex – each panel consists of a different pattern and when light is moved from one to the other it creates a dynamic lighting animation.




The primary structure of ‘Infinite Territory’ will be a timber framed cube using three meter length beams. The lateral stability will be reinforced using rigid panels of mirror and acrylic that shall form the artwork for the internal visual of the cube. The frame and the perspex/mirrored panels will be joined together (including any internal lighting effects) with metal brackets to reinforce the structure. This will help the overall mass resist wind loads and the harsh weather conditions of the Nevada Desert. The installation will consist of off-site fabrication of each panel leaving on-site construction reduced to the assembly of it’s component parts.

‘Infinite Territory’ will leave no trace wherever it goes; using a sheet size of 1.5m x 3m, the components of the installation allow for easy construction and deconstruction. Its weight and self-supporting robust construction means that no foundations are needed and the playa is left untouched beneath its surface.



The lighting will feature a pre-sequenced animation of LED strip lights that will illuminate the patterns giving the effect that is shown in the conceptual visuals. The lighting will be located at two opposite edges of each acrylic panel, and its components will be visually hidden within the structure. Externally, colourful electroluminescent wire at each edge of the cube will allow for clear visibility of the mirrored surface whilst framing the vistas.








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