This is the transcript for the video Postgraduate Architecture and Landscape Architecture

Luke Chess (00:18):

Okay, well thank you very much for joining us here this evening. Just in case you missed the beginning, my name is Luke Chess. I’m the Marketing Manager here for the Faculty of Design, Architecture and Built Environment. I will be something of an MC at this strange virtual event that we’re all doing together.

Luke Chess (01:50):

First of all, it’s important to note that the ancestral lands of the Gadigal people, are the area that the UTS City Campus now stands. I’d like to acknowledge the Gadigal people of the Eora Nation upon whose ancestral lands the City campus now stands. And indeed, from where I’m broadcasting, it’s the Gadigal people of the Eora Nation’s ancestral lands as well. I’d like to pay respects to the Elders both past and present, and emerging, acknowledging them as the traditional custodians of knowledge for this land. And I’d particularly like to welcome any Aboriginal or Torres Strait Islander people attending this evening.

Francesca Hughes (02:30):

Thank you very much, Luke. Good evening and welcome, everyone, I’m Francesca Hughes. I’m Head of School of Architecture, and I’ve now been with the school for 18 months, which has been an amazing time.

Francesca Hughes (02:43):

We have made a lot of really important transformations into the Masters program and it is a extremely vibrant, energetic, active program. With a lot of very interesting things going on in it.

Francesca Hughes (02:59):

I’m going to hand you over to the course director of Architecture Masters, Urtzi Grau, of Fake Architecture, Fake Industries. And also the course director of Landscape Architecture Masters, Penny Allan, who will speak to Landscape Architecture after Urtzi has introduced the Masters overall and spoken to the Architecture program. Many thanks. Urtzi, over to you.

Urtzi Grau (03:27):

Thank you, Francesca. Hello, everyone. I will briefly introduce the Master of Architecture. The first thing that I want to make clear is how this Masters differs to other Masters that are being offered right now in Australia. It’s a straightforward answer. We are different because when you arrive to the school, to the Masters, we considered that you are already architects. That means that you are already done with the Bachelor, you’re already done with the section of your education that holds your hand and tells you step by step how to become an architect.

Urtzi Grau (04:08):

When you are here, you have already achieved a degree and you’re ready to enter in a space in which you have the responsibility over your own education. You are the ones who, through your choices, are going to decide what kind of architect are you going to be, what kind of architect does the world requires, what is the future of architecture practice? To ensure that that’s the case, we offer a range of the studios every semester, between 12 and 10.

Urtzi Grau (04:39):

Designer studios are a range of all sorts of topics, led by extremely committed studio leaders. I would like to take you in a journey that gives you a glimpse of what we have been doing until now, because the studios of next semester are right now in the making.

Urtzi Grau (05:04):

We’re literally deciding and talking with different practitioners and architects, both in Australia and around the world, to actually identify what are the projects that are worth taking. What I want to make clear is that, how it works is that every semester, you will get a document similar to this one, at least 12 to 10 studios. Each of them, again, they’re extremely idiosyncratic, they’re specific with a lot of focus, and they’re classified in a series of categories that I going to unpack.

Urtzi Grau (05:40):

The first one are Long studios. Long studios are the only studios that actually last for more than one semester. They’re studios that do with the topic that they are dealing with, the complexity, or the amount of information, of the urgency or the importance require more than one semester to actually respond and come up with design solutions. What we do then is to ask specific tutors to engage in the topic for a three year long period. That period allow to… not to get the students to actually do the same studio for three years, but rather get the same topic, do it in three years and get newer students every time that build up in the knowledge that the previous semesters have done.

Urtzi Grau (06:26):

We’ve been running, now three year studios in that model. Antarctica led by Luther King has been looking at the implications of climate change and geopolitical powers in the definition of Antarctica and how scientists are engaging with research there. Dossiers in the city, led by [Tobva Lewinsky 00:06:47] and [Rian Aldicous 00:06:49] have been looking at the securitization of cities, both here in Australia, but also collaborating closely with universities in Johannesburg and Beirut.

Urtzi Grau (07:00):

Planet City is a joint venture with the NGB in Melbourne. A two year long project in which collaborating closely with the architect and artist, [Liam Young 00:07:14]. We are designing the city for the entire population of the world. Five billion people start in one single city with the density of [inaudible 00:07:23] city that will occupy more or less the size of Tokyo.

Urtzi Grau (07:29):

We also have a series of our studios that are focusing in making. Making is a really important part of our teaching, and specifically in a school like this one, a school that as you see has the name technology associated with it. We do so by basically engaging our facilities in the advanced fabrication workshop downstairs. We do all sorts of things, we make mock-ups, mock-ups being this new format that has become a key piece to not only test materials, but actually conceptualize buildings.

Urtzi Grau (08:07):

We make lot of models, big models, models that are sometimes bigger than the students. We make one to one installations for the last few years, we’ve been testing one to one installations that are sometimes within the school, sometimes are outside the school. Like the case of this one, a domestic environment designed by [Bill Jackson 00:08:25].

Urtzi Grau (08:26):

We do situated making, making that happens, not necessarily in the laboratory like space of the studios, but actually out there, in the city, in the countryside, like this one done by the students of [Jose Maria Torres Nadal 00:08:38].

Urtzi Grau (08:40):

We also like to bring to you those projects, ophthalmic projects, research projects that are not available in Sydney or in Australia, right? To do that, we ask people that are not necessarily at the attached to university to teach every semester. The range is quite wide, we go from professionals that maybe have studies, practices in Sydney or Melbourne, and some of those cities in Australia, to [inaudible 00:09:15] to get people that are actually right now outside.

Urtzi Grau (09:18):

We do this because two reasons. One is because not always one can have access to these professors, but also during the COVID situation. What we used to do there was, to travel a lot to certain studios abroad, it’s not possible. We expect in 2021, maybe, we will recover the possibility of running again traveling studios, but in the meantime, what we are going to do is to bring the outside in.

Urtzi Grau (09:48):

We’ve done that with Jose Maria Torres Nadal, from admin of the school of Alicante, and probably one of the brains behind the wave of contemporary Spanish architecture.

Urtzi Grau (09:59):

We’ve done that with Liam Young, as I mentioned before, from Tomorrow’s Thoughts Today, a practice between London and LA, that is right now running the Masters of Visualizations hierarchy in LA, and is there teaching together with [Maria 00:10:15].

Urtzi Grau (10:17):

We asked [Mark Raggett 00:10:18] from ARM, one of the seminal appearance of Melbourne in to join us this semester. Candelapas, Angelo Candalepes, comes join us regularly, every autumn semester, to bring both his experience, and the intensity of his teaching.

Urtzi Grau (10:35):

Other Architects, Dave and Grace have been running a series of studios called, Dead by Design, in which they’re exploring the contemporary takes of cemetery design.

Urtzi Grau (10:52):

Supercontext, [Andrew Daly 00:10:52] and [Eduard Fernandes 00:10:53] have been working with us this semester, have been looking at schools as projects.

Urtzi Grau (11:01):

Also, as you can see, these contemporaries are not necessarily organized in the way that they’re not overlapping. Of course, studio could be… [inaudible 00:11:10] the studio that is doing making and is engaging with research, and in this case there is another category that we call Landscape Studios.

Urtzi Grau (11:18):

During the autumn semester, every year, we have joined the studios in which the students of the Masters of Landscape and the [inaudible 00:11:27] of Landscape sit together with students of Architecture in studios that are joined, therefore the projects that they’re dealing with overlap between both disciplines, that of course they are related, in a way they’re almost cousins. They discuss from advanced methodologies to deal with problems, over a contemporary problems, problems in the present that probably can not, or shouldn’t be any more addressed with the limited set of tools or one single discipline, and require a rather large approach, a more holistic approach, and these studios are ideal.

Urtzi Grau (12:07):

This semester, Penny Allan, who will join us afterwards, is running together with [James Nelson 00:12:13], the studio, Fire, when she will be able to talk about it. It’s looking at the aftermath of the fires that we suffered through the end of 2019 and the beginning of 2020.

Urtzi Grau (12:29):

This came with[inaudible 00:12:29] is working on interspecies care in Antarctica. Jose Maria Torres Nadal is reconceptualizing the type of institutions that are going to be dealing with climate change. This is all the selection of course. In the coming semester there will be other hiring studios.

Urtzi Grau (12:56):

I want to close with this specific category that I think is plenty important for us. It’s called Fundamental Studios. Fundamental studios are studios that propose in something that maybe haven’t been [inaudible 00:13:10] in the different categories that are building, like designs.

Urtzi Grau (13:14):

We are absolutely aware that one of the columns, the purest of architectural education is the ability to produce buildings, not only design buildings that are a good design. But actually that have a level of resolution that will transform it’s students, the students of the Masters in a extremely successful professionals.

Urtzi Grau (13:35):

To do that we offer every semester course studios that will go fundamental. There is studios that not only focus on building but also [inaudible 00:13:45] bring together a group of professional consultants that work closely with the students, at the same time that they’re doing the [inaudible 00:13:56] in the studio.

Urtzi Grau (13:57):

They work with them as if the students were in an office, right. Basically, the students will bring the project, they will bring the design, at the stage of development and will sit with a professional consultant, off-site consultant, and structural consultant an environmental consultant and also expert on Aboriginal narratives in the city, to discuss how to develop further the project. By the end of the semester, we’re don’t have only the set of documentation usually come out from the Masters of these during the Masters but also a set of documents that demonstrate the ability of the students to become a professional architect.

Urtzi Grau (14:39):

The semester, for example will run the Contemporary Studio led by, [inaudible 00:14:43] on the rare design of the government Architect’s Office. And Dirty Talk by [Miguel Rodriguez-Casellas 00:14:51] that they’re actually doing that literally [inaudible 00:14:55] because the consultants come on the second half of the semester. Domestic Formalities like Bill Jackson is also looking at housing and new types of domesticities, also engaging with the consultants.

Urtzi Grau (15:10):

And Never Ideological, the studio is run by Supercontext and on the design of the schools, it’s also engaging with the consultants. We have [inaudible 00:15:21] some students when they go through the four semesters of Masters, they realize that, within the variety of the studios that we’re offering we’ll take things into account if you’re doing four semesters of [inaudible 00:15:34] studio, we’ll probably offer around 48 different choices.

Urtzi Grau (15:39):

There is non that actually can host the project they have in their minds. They want to propose something that can not be comfortably fit in, in any of the different options. In those cases that are exceptional but still they’re there, we offer Thesis model the last semester of the degree.

Urtzi Grau (16:04):

A student could agree with a tutor, with a studio leader, with an academic in the school, who actually develop an individual Thesis. That it’s a project that is different enough complex enough or simply idiosyncratic enough to require that kind of focus.

Urtzi Grau (16:20):

This is exceptional for several reasons. Not usually hard to have a void like that but also because it’s an excite of generosity and empathy, right? An academic and a student have to understand each other, have to understand that this not commonalities in the topics they’ve want to discus, to actually engage in a project in which… How one academic can win one achievement [inaudible 00:16:45] closely together to produce something that of course is expected to be further away than the traditional project of the Masters Studio.

Urtzi Grau (16:55):

As we see in here, for example, the exhibition that the chief students put together last year, on the archives of the government architect, so began to send a thesis [inaudible 00:17:06] involve a new building for the government architect but also a full exhibition with the documents of the missing archives of the government architect and also a publication and all.

Urtzi Grau (17:18):

This thing became almost a big even when the thesis was presented. Also the studios, by the way, we only have look at one third of what Masters full architecture is. The other third is divided between the Practice [inaudible 00:17:33] as use of, subjects that different to the studios are disabled, right?

Urtzi Grau (17:38):

The studios are [inaudible 00:17:39] they’re changing completely, you never know what’s going to happen next semester. I don’t even know yet what it’s going to be offering next semester. I’m trying to tell them as soon as possible. The Practice stream is both your theories based subjects that are extremely consistent.

Urtzi Grau (17:56):

They’d start with the subject of Research Cultures. The titles of the subjects actually always have the word “practice” preceding them and they’re basically looking at what it means to practice from the perspective of [crosstalk 00:18:10] really perceive perspective.

Urtzi Grau (18:11):

In this case, what it means to practice research as an article. A subject that I have done myself and becomes a introduction to a Masters because it looks at, what are the practices or the types of research that have already happened in the Masters. We had this morning, an amazing panel review in which the students presented a amazing analysis of what are the discussions in each of these designer studios.

Urtzi Grau (18:34):

It falls with the Profession, run by our professor in Practice, [Jurrel Reignmer 00:18:38], also the main partner in [inaudible 00:18:42] architecture, in which he does more or less the same, look at how practice means, what is the new modes of practice, by inviting a professional’s offices both from Sydney… right now from all around the world to actually explain, what are the modes of practice they are dealing with.

Urtzi Grau (19:03):

What is the cutting edge of practices in architecture right now. The third stop within the sequence is Finance and Project Management. In this case, run by a former head of school Anthony Burke. The form of practice moves from this big survey of what is happening outside, to actually focus on what it will mean when you run an office.

Urtzi Grau (19:27):

The subject that looks carefully at what it means to actually be managing an office, what it means to practice. Questions around contracts, liabilities, construction sets, all these things will be addressed in the subject and we close with Advocacy.

Urtzi Grau (19:42):

Advocacy is almost a summary of what you have done the last subject in the Masters [inaudible 00:19:50] by Miguel Rodriguez-Casellas, former dean of the school of architecture and [inaudible 00:19:56] Puerto Rico and our head of the Francesca Hughes, who you already met.

Urtzi Grau (20:01):

A subject that asks you to propose what you’re going to be practicing. To look at everything you’ve done in the Masters, all the subjects, all the studios, all your projects and come up with a proposal of what you’re taking from this school, up into the world.

Urtzi Grau (20:20):

A extended portfolio that not only addresses collective of the work but also asks you to have an ethical position towards the world. What kind of architect are you going to become?

Urtzi Grau (20:33):

The third section of the Masters are the Electives. To try to list them, it will be impossible, they also change but also, they change more around the studios. They are continuously reorganized because they are extremely aware of anybody that is coming by Australia, anyone that is proposing something new.

Urtzi Grau (20:53):

We have Electives that will literally pop up almost in any moment through the sequence. This semester we have, Tom Weaver, coming to visit the editor of Nod Press. We had people like [inaudible 00:21:09].

Urtzi Grau (21:08):

We had series of work shows, during the summer period, in which, we a list of local to join us, [inaudible 00:21:12] join us, a group of friends that are always around the conference reviews, that I think are keen because, in a specific moment in time there is a touch in an important topic for the present or there’s simply visiting Australia where they will run a condensed elective for two weeks, in which you will ask to be in the school everyday.

Urtzi Grau (21:41):

The final section of the Masters, that maybe doesn’t reflect in the curriculum but is probably as important as the other one, is the culture of Events that actually builds the Master. The Master is a program that is built, not only on the content of the subjects but in a idea of community that is constructed through the persons in the studios.

Urtzi Grau (22:05):

That space that is reserved only for Masters for the Masters students in the fourth floor of the building and there you have access 24 seven.

Urtzi Grau (22:15):

An endless amount of social events that are classic from the schools of architectures that we took extremely seriously. The Juries separation, the Juries of the [inaudible 00:22:27] in which we invite people from all over the country to actually discuss with as much precision and focus to the projects of the students.

Urtzi Grau (22:36):

The students get the crescent and get a personalized feedback. Events like Super Crit in which the best proposals of which the studio will present in a public venue [inaudible 00:22:50] of all the students. Both demonstrating the quality of the production in the school but also giving us a glimpse of… a cross section of all the discussions that are happening in the Masters.

Urtzi Grau (23:03):

The final review, that fantastic event, that involves setting up a massive exhibition that takes over a section of the school, in which normally, we have reviews but we have visitors, we have discussions, we have invitees that come to discuss. We have industry coming to visit.

Urtzi Grau (23:20):

Parity, probably one of the most intense moments in the studio, in which those two [inaudible 00:23:27] discuss with each other what are the values of the studios they are proposing but also come with a agreement on what are the grades that the school thinks all the projects should have.

Urtzi Grau (23:42):

What are the limits of what is the minimal amount of quality that we will accept as something that could pass but also what os the maxim on or what able the best projects.

Urtzi Grau (23:53):

This is, as you can see a collective project, in which everyone teaching the Masters is involved.

Urtzi Grau (24:00):

Lectures. Every semester we run endless lectures, not only the ones that are done by the school at a hall, like the [inaudible 00:24:07] from this semester, but also this semester for example, we’re having three studios running… Three Masters studios running on electro series. Public corporate is running a series of lectures on public corporate practices. [inaudible 00:24:25] a series of lectures with the artist from Beirut.

Urtzi Grau (24:28):

Let me think. An [inaudible 00:24:31] geologicalist is talking with practices in Europe that have been doing [inaudible 00:24:38] in similar projects. We also have a gallery space that right now is closed because of Coronavirus in the fifth floor of the school. That is a space that have a place an intrinsic [inaudible 00:24:50] in the culture of the school and I will hope that it get open as soon as possible.

Urtzi Grau (24:56):

[inaudible 00:24:56] real note on the topic of Coronavirus. The Masters has been approved and is the only program in the entire school of architecture that is going to be running blended mode classes next semester, which means that, we will be the test ground to have students back into the building, student accessing the studios [inaudible 00:25:22] 25 seven, dedicated spaces for work.

Urtzi Grau (25:26):

We’ll have the students working in the model making shop. I’m super excited to be able to provide the semester with students. As much as they have to do, it’s an amazing work they chose. We’re missing the ability to engage with other people, the Zoom is not enough, it’s great and we’ve been able to do a lot of things but what we’re missing is actually being able to be in the same room, with other students and the informal part of learning.

Urtzi Grau (25:51):

That is what we call the culture of the school to be [inaudible 00:25:54] in that part. That’s my presentation. There is a question that maybe I could address after Penny’s presentation there, the one from the [inaudible 00:26:07] interior.

Urtzi Grau (26:10):

Penny, please-

Penny Allan (26:11):

Hey. Okay I’ll show my screen. Okay. Thanks Urtzi. My presentation is going to be a little bit shorter because in a sense, architecture and landscape at the Masters level share so many of our courses. I think that’s one of the most exciting things about this particular thread of programs, architecture and landscape.

Penny Allan (26:37):

Nowhere in Australia do those two disciplines intergrade so comprehensibly as they do at UTS. Incredibly exciting place to study because of that. Just going to talk about a few of the things that we’ve been doing in the last year.

Penny Allan (26:57):

As a bit of background, the structure of the architecture course and structure of the landscape course at the Masters level are almost identical. There are just a few little differences and I’ll talk about those at the end of the series of slides I’m going to show you.

Penny Allan (27:12):

One of the most exiting things that’s happened in landscape architecture, in the last year is that we’ve decided to completely focus on the idea of climate change, the issues associated with climate change and how, as landscape architects we might address climate change and landscapes at risk.

Penny Allan (27:37):

I’m just going to talk you through a couple of the studios. You’ve already seen Antarctica. This is the studio that is open to architects and landscape architects. In the Masters program, every spring we have landscape focus studios, which is exclusively for landscape and I’m going to talk to you about those.

Penny Allan (27:57):

This one is another one that’s offered to architects and landscape architects. This Fire studio is the one that I ran. I’m still running it, we’re about to do our final reviews in a weeks time. It’s about the bushfire at the end of last year, on the south coast, in Rosedale.

Penny Allan (28:16):

And we’re looking at communities living in fire prone areas and how as landscape architects and architects we can enhance the resilience of those communities.

Penny Allan (28:29):

Just going to show you a little bit of work from that. Then we travel a lot, last year we took students to Hong Kong, to look at the impacts of urban density on ecologies and ecosystems, and in particular, novel ecosystems and how, in urban environments that are incredibly dense, landscape is still there. What kind of landscape is it? How can we encourage it thrive, so that people who live in dense cities can live comfortably.

Penny Allan (29:09):

Here’s an example of the work from that. Then we went to Byron Bay. We took students, this was an elective. We took students to do a studio in Byron Bay looking at this water system on the inside of the coast line there. We’re looking at coastal erosion and flooding.

Penny Allan (29:30):

Here’s an example from that studio. Then we took students to Broken Hill. We’re looking here, at the relationship between drought in Broken Hill and the health on indigenous communities, who are incredibly connected to country.

Penny Allan (29:51):

Here’s an example of work from that studio. Then, unlike architecture, Thesis, is a fundamental part of the Landscape Masters program. The final semester is devoted to a semester-long, self-directed studio with a supervisor, on the subject of your choice.

Penny Allan (30:16):

As with the architecture program, Practice is an incredibly important part of the program and just to finish, here is a slide which shows the three years of the undergraduate program, the two years of the Masters program. As you can see, with the Masters, year one and year two, each semester had the studio.

Penny Allan (30:41):

The first studio in autumn is, undertaken with architecture and the second studio is landscape specific. We have all of the same practice subjects, Finance and Project Management, Research Cultures, Profession and Advocacy but they’re just slightly differently organized and we four Electives as well.

Penny Allan (30:59):

Okay. Amanda, over to you.

Urtzi Grau (31:10):

There’s a series-

Penny Allan (31:10):

[crosstalk 00:31:10] sharing?

Urtzi Grau (31:11):

There’s a series of questions that has come on the question and answers, that I would like to address. The first one is from [Mariam 00:31:18] that is asking, “As a graduate interior, a graduate of Interior Architecture [inaudible 00:31:22] of Europe would like to transition to Masters of Architecture”. Currently, this year, anyone that’s coming degree of Interior Architecture needs to take the last year of the undergrad. We’re changing that [inaudible 00:31:36] for next year, for 2021. In 2021, we will be offering a transition year. Transition Honors, I would call it, where you will be able to enroll from March, 2021.

Urtzi Grau (31:51):

That will allow you to, in a year, to cover the materials that would allow you to then enroll in the Masters of Architecture at UTS. The second question are from [Usef 00:32:03], “Are there any professional placements or internship opportunities during the M.Arch?”.

Urtzi Grau (32:10):

We don’t have any specific program of placements or internship but at the same time we are really proud to say that the big majority of our students are all working in different practices. I think that is something that sets the tone of our Masters. At the same time that they are studying they’re working in paid internships, in different offices all around Sydney, which leads us to believe that actually, graduates and students in the Master of Architecture of UTS are actually, well regarded in the last group of professional offices because they’re… We usually have no problems to have placements and internships and temporary positions in offices.

Urtzi Grau (33:01):

What we don’t do is, we don’t mediate them. Those are personal relationship between the students and the offices. What has happened in the oast and is quite common is that, because we have a section of our student leaders, our professional practitioners in Sydney, those studios lead to odd relationships between the teachers or the student leaders and the students, they’d leave eventually, to a work placement in their offices.

Urtzi Grau (33:32):

The third question, [Daniele Wu 00:33:34], “I’m about half-way through my Masters of Architecture in University of Sydney, I’m looking to transfer, can you indicate how well my existing credits will transfer over? Additionally, what are the options for an Honor Thesis extended research thesis UTAS?”.

Urtzi Grau (33:53):

In principal, it shouldn’t be a big of an issue to transfer. We’ll have transfers all the time from different universities across Australia and beyond. I cannot answer exactly, how your credits are going to align because I will need to look at the credits themselves. These transfers are treated at a case to case. Those studios tend to be… We tend try to align professional subjects. They’re commonalities of course.

Urtzi Grau (34:24):

In terms of the Honors Thesis, as I explained before, the last semester of the degree, we like to have… To see if there are students that considered on the project they want to develop, doesn’t fit… There’s no studio big enough or wide enough or specific enough to actually host the project, we are happy to actually explore [inaudible 00:34:50] Thesis.

Urtzi Grau (34:51):

That is exceptional, exceptional in all senses, it has to be a robust project. It requires to develop a relationship with an academic. To actually understand [inaudible 00:35:02] a project of generosity and also it’s exceptional in the amount of commitment that the student should show to actually engage in that level of intensity and generosity.

Urtzi Grau (35:13):

Thesis project cannot be just another project at the studio, it has to have the deepness but also the extension and the outcomes that a Thesis project will have. I talk a little bit about the project of the government architects last year. Project by [Danna 00:35:33]. The Thesis project won the medal in the Institute for Technology. A project that was looking at the technologies that had been used to [inaudible 00:35:47] implement the lockdowns in King’s Cross.

Urtzi Grau (35:50):

There are projects that are incredibly intense but of course, the space is there, we’re super interested and keep developing and having every semester, a group of students, engaging in that kind of questions.

Urtzi Grau (36:05):

Mariam is asking a follow up question, “Can I enroll I the Honors transition year, in the coming semester? So that I can finish by the next year, so I do have to wait to next March, to enroll?”.

Urtzi Grau (36:20):

I would love you to enroll next year but the Honors transition is not out yet. It will be accepting students in March 2021, it’s literally is a premier, I will literally we’re just finishing the last touches in the program, to make it work. Probably will be announced through the winter an will be open for enrollment. But enrollment won’t happen until March 2021.

Urtzi Grau (36:52):

If I wait for, wait a second. If I wait [crosstalk 00:36:59]

Luke Chess (36:59):

I’ll just help you there Urtzi, if you like, if you’ve just got a moment-

Urtzi Grau (37:04):

My daughter was coming in and I was just try to-

Luke Chess (37:06):

Of course, this is what happens when everybody works from home folks. If there are any further questions, please do ask them in the Q&A channel now. As far as we can tell, I think Urtzi, and thank you for that, has answered all of the questions today. We’ll certainly give you a couple of minutes because I know, not everybody is a speedy typer.

Luke Chess (37:27):

If there’s anything else that you would like to ask, in the mean time I-

Urtzi Grau (37:32):

[crosstalk 00:37:32] I realized Mariam had another question, “How long that path takes?”. The transition year is one year, this entire year, two semesters basically and then you can enroll into the [inaudible 00:37:49] of the Masters.

Luke Chess (37:51):

Right, thanks Urtzi. As I said we’ll just give you a couple of minutes, if you’re still formulating your questions or taking a while to type them. Please do ask question now, it’s not often we get an opportunity to chat to all of the academics from the school of architecture at the same time.

Luke Chess (38:08):

And I do see a question’s come through Urtzi.

Urtzi Grau (38:11):

What are the requirements for entering the M.Arch? That’s quite a broad question. Can you be specific about what you refer for requirements? Are you talking about the grades or are you talking about peer programs that you’re enrolled. To enroll in the Masters of Architecture you basically, you have to hold a Bachelor of Architecture, and then there is a GPA. There is a series of archs, depending on the GPA you have.

Urtzi Grau (38:44):

You directly enroll or you have to submit a portfolio. I think the best way to be sure about that is to hopefully talk with Student Services or to the university or check the online [inaudible 00:38:59] at UTS because this parameters sometimes change. But I would like to know exactly what you referred to with requirements.[inaudible 00:39:13]

Luke Chess (39:17):

Once again, it’s Luke here. If there are any further questions, while we still have some time, it would be great to use the Q&A channel. We do still have Penny Allan with us as well. If there’re any questions specifically related to landscape architecture, she’s available to discuss those with you.

Luke Chess (39:36):

I see a new question’s come through Urtzi.

Urtzi Grau (39:38):

I’m a graduate in civil engineer, can I get admission in the M.Arch? Right now we don’t have archs for civil engineering, it’s something that we’re working and we are really [inaudible 00:39:50] think in the future. I think we need to enroll in vehicle of architecture. Usually, what we do with cases like yours and again these things are evaluated case by case so I cannot give you a completely specific answer. Is that we look at the knowledge, that you have acquired in your previous degree.

Urtzi Grau (40:14):

Civil engineer has overlappings with the Bachelor of Architecture and then we are able to identify which subjects do you need to… of what kind of knowledge do you need to applicate to the level in which, you can enter Masters of Architecture.

Urtzi Grau (40:29):

Usually that happens through a process that involve, involvement but also, it’s showing us our transits and things like that and then we usually [inaudible 00:40:40] have to take number of subjects from the Bachelor of Architecture.

Francesca Hughes (40:45):

Can I just chime in on that one [Mubashira 00:40:47]. We’re keen to have ex engineers coming into architecture. As Urtzi’s explained, what you should do is apply for the Bachelors of Architecture and I think you would get substantial prior learning recognition.

Francesca Hughes (41:03):

You would find that you have a kind of limited set of subjects that you would need to cover. And then from then, you’d obviously, assuming you’d pass the Bachelors, which I’m sure you would. You would then apply for the Masters of Architecture.

Francesca Hughes (41:20):

Mariam, thank you for your questions. Does anybody else have any further questions? The anonymous questioner who asked us about the requirements. Are you able to be more specific about your question or whether you’re… whether the question is about portfolio entry? Perhaps we have addressed all possible questions.

Luke Chess (41:46):

That is a possibility, it was very thorough presentation and I’d like to thank you, Francesca for making yourself available for it and also to both of the course directors, Urtzi Grau and Penny Allan, I’d also like to thank all of the attendees, those of you who’ve turned up to receive the information. If we have no further questions, we’ll probably end the presentation at this point.

Luke Chess (42:15):

But I would like to just finish by thanking you for you time and we do hope to see embarking on your study with us here at UTS.