Fan-centric Parliament explores an alternative architectural strategy to replace the decaying and uninhabitable Palace of Westminster — an Neo-Gothic relic, which will cost the taxpayer £4 billion to restore. Knowing the country is entering into one of the most controversial and destabilizing moments in its political history, this project sets out to explore a parliament stripped of territorial boundaries, with the flexibility to adapt to shifting ideas and cater for needs of engaging the wider population.
Like music touring shows, fans record and share their personal memories of physical and visceral experiences through digital media — fans recruit other fans into owning their own experience with the subject. This tactic has been employed within recent general election campaigns, but how can the momentum of political engagement be carried through into the parliamentary model?
The scrutiny of government and the making of law must become public events, sited in stadiums across the UK, to cater for a multitude of uses and an assemblage of spaces.
Through story-boarding and model-making, the Architect becomes the Director and Scenographer for scripting space and designing physical journeys to explicitly express parliamentary processes for the public attendee as well as the television watcher. Deploying ephemeral structures, architectural artefacts, and kinetic moments, members of the public will experience politics like they have never done before. The presence of the public, and their opportunity to be seen, will be a constant reminder to members of Parliament that the work they carry out is done on behalf of the people, both now and in the future.
School of Architecture
MA Architecture, 2017
Amalie's work covers both architecture and set design. With an interest in performance and film-making, her design practice explores how architecture creates visceral experiences and physical journeys.
During her bachelor degree, at University College London, Amalie combined studies of social anthropology, philosophy and the history and theory of design with her design research. Projects ranged between architecture, product design, film installations as well as a 1:1 stage design for the Bloomsbury Theatre.
Since graduating in 2013, she has worked at Mark Fisher's studio, Stufish Entertainment Architects. Notable projects include, Monty Python Live at the O2 Arena, Robbie Williams 'Swing Both Ways' arena tour and AC/DC 'Rock or Bust' stadium tour.
Amalie's time at the RCA has allowed her to further explore her passion for a multi-disciplinary design practice by utilising the college facilities for sound design, moving image and methods of fabrication such as resin casting and 3D printing.
- BSc (Hons) (First Class) Architectural and Interdisciplinary Studies, Bartlett School of Architecture, University College London, 2013
- Design assistant, Stufish Entertainment Architects, London, 2013 – 2017; Carpentry assistant, Royal Opera House, London – Essex, 2012; Researcher, KEO Films, London, 2012; On-site volunteer, Ash Sakula Architects, London, 2012; Architectural assistant, Brian O'Reilly Architects, London, 2010
- Prize Winner for Distinguished Dissertation, University College London, 2013
- 'The Bartlett, Architectural Pedagogy and Wates House – An Historical Study'. Opticon1826, (16): 26, Dec 2014, pp. 1-19,