TS&JT Architecture & Design

Teaching Overview

Both partners teach a postgraduate design unit at Kingston School of Architecture, and on the Engelsberg Summer School in Classical Architecture in Sweden. These academic environments provide opportunities for reflection and intellectual rigour, which in turn informs our practice. In 2021 they won the RIBA Traditional Architecture Groups Achievement Award in recognition of their teaching work.

They taught the William H. Harrison visiting design studio at the University of Miami School of Architecture Spring 2021.

Timothy combines his role in the practice with that of Course Director of the MArch (RIBA 2) Architecture course at Kingston.

The partners have been guest critics at University of Notre Dame, USA, University of Miami, USA, Yale School of Architecture, USA, Cambridge University, Edinburgh College of Art, TU Munich and ETH Zürich. Timothy has previously taught at London Metropolitan University and Jonathan at Edinburgh College of Art.

MArch Unit 6 15/16


Over the past couple of years Unit 6 has considered what a building should look and feel like, internally and externally. We are interested in the development of the classical language of architecture. We are less interested in the mythical origins of the corinthian capital or in establishing a definitive explanation of the satisfying proportion of the doric order. We accept the orders and the language of classical architecture as a practical, tectonically legible and objectively beautiful set of architectural principles. Furthermore, we are interested in relief, colour, material, mass, construction and emotion.

This year students will develop designs for a gallery annexe to Thomas Gainsborough’s House in Sudbury, to provide good rooms for the display of Gainsborough’s paintings.  The architectural expression of the projects will be appropriate to the market town context, but will also be demonstrations of the evolution of the classical language of architecture in the twenty-first century.

“…in favouring visual pleasure over theory, originality over convention, and an engagement with the social world rather than academic abstraction, Gainsborough and his art have a continuing significance for British culture.”
Introduction to ‘Gainsborough’ exhibition at Tate Britain, 24 October 2002 – 19 January 2003

On the study trip we will visit powerful and relevant buildings in Scandinavia such as Carl Petersen’s Faaborg museum, which provides a direct reference for our projects, Tony Fretton’s Fuglsang gallery, the Thorvaldsens Museum in Copenhagen by Bindesbøll, work by C.F.Hansen, Klas Anselm and in Stockholm, Asplund and Lewerentz including the Skandia cinema, St Mark’s church and the Woodland Cemetery.

We will engage with the fundamental architectural considerations of scale and language, and the application of the order of classicism at the scale of the town, building, room and fitting. The resulting proposals will be resolved to a high level of detail; they will be essays in the architectural expressions of the head and of the heart.

  • Peter Folland, gallery entrance, pencil and watercolour.

  • Peter Folland, gallery ground floor plan, pencil and watercolour.

  • Peter Folland, 'Archaeological Order', pencil and watercolour.

  • Peter Folland, detail of picture hanging system - cornice, brass hook and chain - pencil and watercolour, .

  • Albert Parkhouse, gallery model.

  • Andrew Taberner, wooden concept model.

  • Andrew Taberner, 'pargeting'.

  • Francesca Saia, 'propylaea' of main entrance to gallery.

  • Francesca Saia, gallery entrance.

  • Rosy Jones, isometric drawing of garden and cloister.

  • Rosy Jones, gallery flooring.