Yearbook 2014 by Brighton University Architecture

University of Brighton Architecture Department Year Book 2014

Compiled: Kate Cheyne & Sarah Stevens Proofing & editing: Kate Cheyne , Karin Jaschke & Andrew Bayley Layout, cover design & typography: Andrew Bayley

Architecture Brighton

Introduction Ivana Wingham

Undergraduate Studies Kate Cheyne

Year 01 Michael Howe

Studio 09 Performance Platforms

Studio 10 Grafting Communities

Studio 12 - Spatial Projections - Translation from Drawing to Dwelling

Architectural Technology - Duncan Baker-Brown

Professional Practices - Duncan Baker-Brown

Architectural Humanities Tilo Amhoff

Talks & lectures

Exhibitions & Events

Brighton Interior Architecture and Architecture Society

Studio 03 Mythic Realities

Studio 04 Non-Discrete Architectures

100

Architectural Humanities Karin Jaschke

Part 3 - Nick Hayhurst

Imag

Architecture Brighton

Studio 01 Regent's X

Studio 02 - The Seen and the Unseen

Studio 06 Ducks are a-dabbling, Up tails all!

ns g

102

ge credits

Studio 14 - Nonlinear Travel, Transience, and the Potential of Nothing

Studio 55 - The Invisible Community: An Embassy for Latin-America in London

Erasmus Exchange Anthony Roberts

Option Study Modules Andre Viljoen

Study Trips

Master of Architecture Sarah Stevens

Studio 01 Layered Fields

Studio 02 Exchange in the Air

Studio 05 - Contingent Ideas, Contingent Architecture

Architectural Technology Jeff Turko

Professional Studies - Nick Hayhurst

103

104

Staff

Thanks

Architecture Brighton

INTR ODUC TION 04

Architecture Brighton

Architectural study at Brighton is full of surprises and so is the city. You think that you are coming to study in a small southeast town on the coast and suddenly you discover that the city as well as the school environment starts to challenge your view of architecture in an unpredictable way. Our teaching is based on expanding your creativity, experimentation and our desire to prepare you to be an architect of the future, an architect who is prepared for changes in the profession, changes in the environment and mergers of disciplinary boundaries. Our students are engaged with work and life in such a way that there are no boundaries to where the pleasure to study comes from. The school is a buzzing place in which you become fully implicated in the work and in your study of architecture – beyond the confines of the traditional conceptions of the discipline and profession. The School offers learning through engagement with all aspects of making and drawing – the core architectural tools. The research based studio ethos is supplemented with a range of creative provocations to tease out each student’s potential. Our students work in a creative studio environment learning how to design. Technology teaching becomes an integral part of understanding the world around you in which architecture plays a crucial part. Our computer labs, digital fabrication, analogue workshops and print rooms are full of expert and helpful staff most of whom are artists and/or makers. Our humanities studies help you to develop reflective and critical skills. Brighton students are at the heart of school life and participate, organise and stage series of events through BIAAS student society. Combined with vibrant international lecture series students are exposed to a culture of learning beyond the confines of the school. IVANA WINGHAM : HEAD OF ARCHITECTURE

Undergraduate course

Welcome to the wonderful, animated, intense and often challenging world of the undergraduate course at Brighton! In the following pages we invite you to pass through the looking glass and discover both the unexpected and the scholarly. In our programme we revel in variety and difference.

BA ARCHIT ECTURE (HONS)

This pluralism makes for lively debate and friendly competition amongst staff and students and gives students the space to start developing their own positions within the world of architecture. Looking at the rich display of creative and engaged design work featured here, we dare you not to be seduced by the power of our studentsâ&#x20AC;&#x2122; architectural imagination.

Undergraduate course

Our approach of research-led learning emboldens students to develop their own creative and rigorous approach to design from the first week of the first year to the last week of their last term. The work in this yearbook shows that our students are equipped with a wide range of skills and well on their way to become technologically, professionally and culturally literate architects. Our ideal student is imaginative, creative and self-questioning. We ask students to explore and test ideas through experimentation and research â&#x20AC;&#x201C; making, modeling, drawing, creating and sharing new possibilities rather than replicating existing ones. Out of this spirit has grown a vivacious student community, formalised in BIAAS (Brighton Interior Architecture and Architecture Society) and always keen to know more and develop further the identity and culture of the School, through lecture series, exhibitions and a variety of other activities. In Year 1 students are taught in a year-wide group in a shared studio space, exploring the foundations of design practice. In Years 2 and 3 students choose between a range of studio groups. Every studio is supported by two tutors and explores a theme in relation to their own active design and research practice. Each studio has a dedicated studio space where students work and learn together, through discussions with each other and their tutors. In Years 1 and 2 our students are introduced to technological questions through hands-on projects, making large-scale physical installations of structural and building construction systems. There is the opportunity to learn on-site from the construction of our yearly exhibition pavilion, collaborating with other professionals from the building industry. In Year 3 students are supported to integrate their understanding of technology and professional practice with their design projects. Our BA Architecture team is proud to show our work to the world outside this School, and hope that you will join us in whispering to others that Brighton Architecture is a Pleasure Palace for free thinkers and creators.

Undergraduate course

YEAR 01 Our first year of the BA (Hons) Architecture at the University of Brighton has been designed to open students’ eyes and minds to the culture of architecture, so that they may begin to embrace the richness and diversity of practices within the discipline and beyond. We started the year by giving students a grounding in fundamental skills and knowledge in a number of essential key areas, placing great emphasis on the skills of looking, recording, interpreting and exploring through drawing and modeling. This year, our studio commenced with a set of five representational exercises designed to underpin and support design studio learning. Delivered through a series of ‘technique’-based projects, it familiarised students with a range of forms of architectural drawing and modeling from which they would then build their own representational vocabulary in the design projects. In the Architectural Humanities module in term one, we introduced students to a wide-ranging selection of architectural literature and the notion of architectural culture as a discursive and reflective field of study and practice. Students were asked to write a book report and in groups, compiled their work into a journal, or ‘Brighton Book Review’, taking on roles as editor, graphic designer, coordinator and so on. In a series of intense workshops students learned about library research, academic writing, and books as cultural artefacts. The ‘Book Fair’ where students presented mock-ups of their Book Review, offered a chance to bring design and text-based work together in a collective forum. Alongside this and underpinning the work on the book reports, a lecture series familiarised students with the history of modern Western and World architecture.

Undergraduate course

Within the technology module the students undertook a series of explorations, under the themes of Folding, Inflating and Spinning. Their ideas were tested through a group construction project. Each team was required to develop and build a one-to-one construction, based on a design proposal produced by one of their fellow students, or ‘colleagues’. To mimic life in an architectural practice, they were asked to document the process of design and construction, with reference to technological insights, methodology, resourcing and project timetabling. As this group work proceeded, students were encouraged to apply the technological knowledge gained to design a Wedding Canopy for a wedding type of their own invention. During this process students were introduced to fundamental considerations about architectural design in relation to social structures and conditions. Cultural context and formal invention were key themes during this design project. The final project, A Place of Congregation, asked the students to synthesise their year’s learning and apply this to a small building, sited on Newhaven Pier. The emphasis here has been on site specific design issues, including both the physical and cultural context of place. The pier is a late 19th century concrete construction, an engineering artifact that the students surveyed in detail. Each student made a section of the pier to form a large scale physical model of it, so that they could then confidently model their own proposals around the existing condition. Based on several daytrips to Newhaven (in all weather conditions) the students proposed small clubs or friendship societies that they felt would benefit the town, from Fishing Clubs and shooting ranges to naturist colonies and Submariner’s Societies. Students in this year’s cohorts were remarkably creative and the range and scope of their output rich and diverse, both in terms of proposed project briefs and the architectural language developed in and through the designs. The final design project combined thorough analytical work with a playful approach to design and reflects, we believe, that our first year students have both grown as students of architecture and enjoyed themselves over the course of the year.

Undergraduate course

VERTICAL STUDIOS YEAR 2&3 15

Undergraduate course

MERIDIAN “When I’m playful I use the meridians of longitude and parallels of latitude for a seine, drag the Atlantic Ocean for whales. I scratch my head with the lightning and purr myself to sleep with the thunder.” Mark Twain - Life on the Mississippi

Mark Twain’s words about meridians entice us with both the precision and the poetics of the network of lines of longitude and latitude that man has laid over Earth so that we could locate ourselves on our planet. His quote plays to our curiosity about unknown territories and our ability to use our imagination in exploring the unreachable.

Undergraduate course

Maps fascinate for similar reasons – the enticement of where we could be runs alongside the nostalgia of where we have been, all imagined from the security of knowing where we currently are. The ability to position ourselves globally was not always something to be taken for granted, and the discovery of ascertaining longitude at sea, so we could safely navigate the world by boat, took some of the greatest scientific and engineering minds before it was unlocked by a clock-maker’s ability to make the perfect timepiece in the 18th century. This year we chose ‘Meridian’ as our overriding theme in the undergraduate programme as it is tantalising for any architect who works with spatial and temporal complexities to explore this often over-looked system that links space and time together to ground the human body to a place. Chtcheglov, the French political theorist, wrote, “Architecture is the simplest means of articulating time and space, of modulating reality, of engendering dreams.” With the prime meridian running through East Sussex, leaving the UK at Peacehaven, studios have chosen to look at this arbitrary line either as a local positioning system, or as a global reference point. As Brighton is a coastal city, as locals we can immediately imagine the historic importance of discovering longitude so that sailors and fishermen could find their way home to port safely whilst as architects we can revel in both the abstract and the explicit methods of representing moving and stationary bodies in space and time. Each of the studios set their own architectural agenda and methodology in response to Meridian, and have developed a varied set of architectural interests and explorations. Studios have, quite literally, positioned themselves within the world.

Undergraduate course

REGENT’S X STUDIO 01: BEN SWEETING & ALEX ARESTIS

Year 3: Nicola Charalambides, Eva Chee, Louise Fisher, Toulla Kyriakou, William Mcdowell, Francis Naydler, Erasmia Papallou, Oliver

This year Studio 01 have been working in and around London’s Regent Street, Regent’s Park and Regent’s Canal investigating how to design buildings within a distinctive established architectural context and landscape.

Riviere, Monica Serizawa, Nefeli Theiakou, Matthew Wong Year 2: Georgia Antonopoulou, Ying Cheung, Mirella Fournaridi, Andreani Papaioannou, Samuel Plank, Beth Rodway, Niki Stavrou,

Regent Street is a sinuous line through London conceived by John Nash in the C19th to build profit as well as beauty. Today this is a world of neoclassical facades, brand new constructions, colonnades, axial views, level changes, alleyways, brick and stucco, steel and glass, quiet institutions, crowds of shoppers, tow paths, house boats, palaces and a zoo.

Terry Tai, Jaime Tam, Thomas Thornton

We have studied the city scale of Nash’s moves and also the smaller spaces opened up and left behind over time. From this beginning we have developed spatial investigations through models and drawings and proposed new buildings and urban arrangements at the north-west edge of Regent’s Park where the built edge of Nash’s vision ends and where the park meets the canal and Camden.

Undergraduate course

THE SEEN AND THE UNSEEN STUDIO 02: ANUSCHKA KUTZ & ANDRE VILJOEN

Year 3: Nicolas Parr, Laura Olivier, Flé Sessay Year 2:

Studio 2 worked with the notion of the Unseen. Our project sites were seemingly everyday spaces in London Bridge, an area where layers of the past and present have formed a thick pack of often mis-fitted places, objects and people.

Dimitra Chatzilouka, Nikki Chouvarda, Alex de Caires, Derin Fadina, Encina Fernandez, Ivona Gregor, Nikolaos Kofopoulos, George Kokkotis, Anna Kupriyanova, Kavika Lau, Matus Peklansky, James Purchon, Tommy Tullis, Zhemin Wu

We started out by uncovering unseen spaces, qualities and potentials, whether these had disappeared, been hidden, eliminated or excluded from sight, whether they were so everyday that our mind rendered them invisible in plain view, or, whether they were highly visible, but largely inaccessible. Attached to this spatial uncovering was the taxing social question as to who remained unseen or had been purposefully edited out of the visible urban fabric? The students were invited to take up a critical architectural position with their propositions, by inserting either vanished or unseen programmes and people, or by excavating and mobilising existing unseen spaces and using their dormant potentials. Rumour has it that… a church has now a double life as a secret nightclub, Borough Market harbours mobile underground gardens, Guy’s Hospital has been de-institutionalised, the Disenfranchised at Cross Bones now have their own territory, and a collaborative structure is growing off Borough High Street ...

Undergraduate course

DUCKS ARE A-DABBLING, UP TAILS ALL! STUDIO 06: KATE CHEYNE & GRAHAM PERRING

Cartwright, Elena Christodoulou, Alfonso

The river still chattered on â&#x20AC;Ś a babbling procession of the best stories in the world, sent from the heart of the earth to be told at last to the insatiable sea.

Cobo, Jude Dajani, Alexandra Freeman,

Kenneth Graham

Year 3: Bethany Bird, Nick Brown, Jason

Athina Rigopoulou, Ida Rostlund, Rebecca Sturgess, Amy Wong Year 2:

Studio 06 is interested in an architecture that holds multiple eras together simultaneously, mixing up stories from the past with stories of the future.

Celine Battolla, Hannah Bradley, Rose Douglas, Marina Kafantari, Harrison Lang, Chir Wey Lim, Misbah Mahmood, Selam Mengistu, Maria Mouyiasi, Risha Patel, Joe Randall

The studio stationed itself along the Ouse Navigation, once a local Sussex transport route, carrying cargo, livelihoods and ideas. We journeyed away from our usual studio environment to work in the field encouraging students to gain a richer and more complex reading of the British landscape. The projects were developed from what cartographers describe as deep-mappings of an area â&#x20AC;&#x201C; putting stories to places and seeing what joins them. Waymarkers were built and planted in the landscape to probe changing conditions. Carefully observed drawings of the riverscape were used to uncover shifting territories. What have evolved are projects that confidently propose new rural architectural languages and uses, showing the British Countryside as a culturally fertile landscape. We have placed our studio in an investigation of human riverside settlements from source to mouth. The featured proposals show that out of this, unexpected and speculative ideas that move beyond the sentimental or nostalgic can be born - being used as a catalyst to regenerate our rural towns and villages while remaining relevant to the existing communities.

Undergraduate course

PERFORMANCE PLATFORMS STUDIO 09: STEFAN LENGEN & KYRIAKOS KATSAROS

Year 3: Marianna Demetriou, Alexandra Douka, Will Greaves, Akmol Hamid, Andreas Kyraikou, Isaac Leung, Faria Mehmood,

Studio Quirks: We probe for ties and links to our own practice and research. We are interested in responsive devices that will monitor and respond to environmental conditions and the activity patterns of specifically chosen sites.

Freddy Thomas, Emily Vuyk, Ping Wong Year 2: Jack Carlisle, Lok Cheung, Justin Clarke, Katerina Demetriou, Maria Mavrikou, Katya Nikitova, Artem Popov, Kutlu Unalir

Initial Project: Both technically and conceptually, the studio engages critically with design methodologies and generative ideas, through which we incubate the space and programme. This process incorporates an exploration of the analogue / digital and narrative / data continuum and is materialised initially through responsive devices at a built scale of 1:1. Main Project: The main project is based in Newhaven’s Fort Hill and the former Tidemill area. We operate within a context of popular outdoor environments, a rich history of transient architecture, an unstable crumbling geology, as well as washed-away infrastructures. Studio 09 explores the notion of ‘responsive architecture’ and its spatial phenomena and qualities, encompassing the designs of theatrical landscapes with performance platforms / festival structures.

Undergraduate course

GRAFTING COMMUNITIES STUDIO 10: CORDULA WEISSER & RUTH LANG

Year 3: Bashear Al Mulla, Mikey De Billot, Konstantin Jerosin, Iveta Kulenska, Jeanelle Lee, Joseph Mercer, Amy O’Shaughnessy, Nadine Oakes, Mariyana Stoyanova, Todorina Viteva, Daniel Wilkins, Jamie Woods, Jeanelle Lee Year 2:

The studio’s work is sited along the London strip of the A10 – one of the oldest and most diverse roads in Great Britain. We started the year with group investigations into the different urban conditions, modi operandi and communities as well as modes of architectural production looking at the possibilities of how the specific skill sets we have as architects can help develop, promote and broadcast the idea of an alternative future. This was accompanied by a series of seminars and a study trip to the Architecture Triennale in Lisbon, resulting in small scale ‘agitprop’ structures.

Benjamin Davies, Ezer Han, Freya Laing, Eve Olsen, Afifah Othman, Katarzyna Soltysiak, Ben Spong, James Thompson, Chiou-Zhen Wong

These were taken forward into larger social catalyst programmes pursuing individual briefs and architectural research questions with varying emphasis on notions of ‘grafted’ and ‘grafting’ architectures, programmatically, technically and formally. The projects range from a civic launderette, a facilitator for communal child-rearing and a public health square, using air and light as architectural materials, to a ‘social condenser’ for the 21st century.

Undergraduate course

SPATIAL PROJECTIONS TRANSLATIONS FROM DRAWING TO DWELLING STUDIO 12: LUIS DIAZ & SEAN ALBUQUERQUE

Year 3: Arianne

Boogaard,

Josephina

Chatzigeorgiou, Ka Travis Cheuk, Christos Christou, Kar Adaline Hui, Li Xin Khoo, Ruta Lauzikaite, Andy Pun, Nikolas Stagkos, Yi Ling Tan, Louisa Turner Year 2: Jack Aldus, Hanne Barriteau, Jack Cottrell, Matthew Holmes, Eliska Lichtnerova, Miranda Nicolaou, Nikol

Studio 12â&#x20AC;&#x2122;s programme was based around the idea of collective dwellings founded around a concept of shared and mutually beneficial spatial and territorial concepts. Collective dwellings constitute the greatest part of any urban territory. As such they establish identities as blocks, estates, neighbourhoods, quarters or districts. In addition, they are also often produced without specific end users. Our investigations will focus on the space between the city-at-large and the front door, that is, the space which gives the collection of dwellings an identity. This is the space that can be shared, that provides a route to the unit, and which either knits the ensemble as a whole to the city or separates the two from each other.

Polykarpou, Andreas Savva, Tsz Lok To, Angharad Webber, Mandy Wong, Dagmar Zvonickova

The site is the soon to be demolished Robin Hood Gardens designed by Peter and Alison Smithson. While being given the choice to work on this premise, all students opted to retain the existing housing in their projects. Strategies included for example the addition of new units in and around the existing structure, or a focus on recomposing the Smithsonsâ&#x20AC;&#x2122; project in such a way that it adapts to and transforms the area as a whole. Projects ranged from small scale studies of entry sequences into terrace units to broader urban transformations that tie the site together with the DLR station to the south to the Crisp Street Market to the north.

Undergraduate course

NONLINEAR - TRAVEL, TRANSIENCE, AND THE POTENTIAL OF NOTHING STUDIO 14: STEPHEN RYAN & PETER RAE

Year 3: Serkan Aslan, Jakub Choluj, Florence Fathers, Atanas Hristov, Demetris Ktorides, Evripides Mytilineos, Asta Sabaliauskaite, Christopher Webb, Gabija Zakarauskaite Year 2: Jessica Coode, Barbora Jurickova, Chris Long, Chloe Ma, Zachary MacPherson,

Studio 14 journeyed into the world of the traveller. In travelling in and around Newhaven, we considered the perception of time and space, its encounter, its measure, its shadow. Through experience in different situations, near and far, we considered the necessity for shelter, safety, rest, and rejuvenation. Nomadic, without the certainties of location or site, working from ideal to real, proposals were developed investigating forms of ‘refuge’. We speculated on the possibility of escape, and in search of illusive destinations adopted nonlinear narratives, exploring identity, character, sense, and memory.

Samrita Mudher, Jason Ka, Myy Tran, Aliya Yerkaliyeva

In the second term we returned to Newhaven, observing the cyclical forces and flows of nature and economics. Here our first term’s research formed the basis for investigating forms of ‘retreat’ - places in which the lightness of transience is offset against the desire for stability, continuity and integration with locality. Engagement with this ‘unloved’ town and its people was seen as vital in establishing credible regeneration design proposals that contribute positively towards shaping its future.

Undergraduate course

THE INVISIBLE COMMUNITY: AN EMBASSY FOR LATIN-AMERICA IN LONDON STUDIO 55: PEDRO GIL & CHRISTO MEYER

Year 3: Alexandra Baykoucheva, Liam Bedwell, Nika Broka, Lily Carver, Georgia Grigoriadi,

Studio 55 explores a design development primarily through the making / crafting of physical models that lead into the crafting of drawings and spaces.

Neofytos Maliotis, Marios Messios, Alexander Mizui, Yasaman Mohsanizadeh, Je-Shae Pace, Christina Popova, Emily Street, Daniel Wu Year 2: Sadek Ahmed, Ebru Bakici, Rosie GibbsStevenson, Stuart Goldsworthy-Trapp, Antigoni Goutakoli, Louis Hardy, Arshia Hatami, Fiona Wong

This year Studio 55 studied the Latin-American community in the Elephant and Castle, London, in order to uncover and understand its social and spatial characteristics. Despite increasing numbers of Latin-American migrants to London in recent years and their important contribution to the functioning of the city economically, socially and culturally, very little is known or documented about their community. This lack of visibility is largely the result of a lack of research, and shortcomings in the way official statistics are collected. Students developed architectural proposals based on research and narrative that would foreground and enrich this vibrant communityâ&#x20AC;&#x2122;s presence in the Elephant and Castle area.

Undergraduate course

ARCHITECTURAL TECHNOLOGY This year in the BA Architecture course at Brighton the Technology Units have been linked more closely than ever with studio teaching. A new programme designed to bring decisions around environment and sustainability into the early stages of the design process has helped students make intelligent and articulate responses to technological issues raised within their design studios. The technology teaching team responsible for delivering this module include a structural engineer, two practicing architects, a material technologist and an environmental scientist. All members of the technology team helped to deliver a comprehensive lecture series that was tailored specifically for Level 5 students in the Autumn Term and Level 6 students in the Spring Term. New lectures introduced into the already established programme covered topics considering sustainable development strategies, including issues as diverse as PassivHaus design standards, Permaculture, material meanings and whole-life material processes such as methods of reusing waste as a valuable resource Alongside this, students have been following the construction of the Brighton Waste House that is taking place on campus over the last year. Many helped with the construction of this unique building that hopes to demonstrate how a design strategy impacts upon every decision from materials choice and detailing through to site organization and energy consumption. Some Level 5 students used the Waste House as a vehicle for their AD572 project. Level 5 students started the academic year with a team project designed to explore broad technological themes of Meridian and Time delivered through the narratives of the individual studio themes. The Technology tutors worked with studio based groups ensuring that students had to negotiate the complete design process, from first tentative design concept, through research, testing and prototyping, to final design.

Undergraduate course

The first term ended with the construction of eight magnificent 1:1 models of their developing concepts. With complete freedom to make mistakes and learn from each other, the groups worked along very different trajectories, pursuing new skills in both digital and hand-craft as well as crucial skills of working in creative teams. Level 6 students have been tutored on a more one to one basis as the technology team have been acting more as technology consultants, assisting with developing the design strategies and detailed â&#x20AC;&#x2DC;production informationâ&#x20AC;&#x2122; of students final design projects. This years graduating students have been some of the hardest working and articulate BA students the Tech Team have tutored. Good luck for the future!

Undergraduate course

PROFESSIONAL PRACTICES The autumn term is a busy time for Level 6 Architecture students not least as they have a 20 unit (200 hours) module devoted to teaching them the fundamentals of becoming a professional architect in practice. This unit seeks to integrate issues surrounding professional architectural practice by using the studentâ&#x20AC;&#x2122;s last Level 5 design project from the previous summer as a vehicle for negotiating a path through the various work stages of a design project from inception through to completion on site. Students are expected to utilise the RIBA Plan of Work 2013 as a model for navigating this route completely. Students attend a series of lectures under the umbrella heading of â&#x20AC;&#x153;how architects workâ&#x20AC;?; what it is to be a professional architect in the UK in 21st Century. Lectures are supplemented by seminars and workshops delivered, for example, in partnership with the Heads of Planning & Security and Building Control at Brighton & Hove City Council. Students also receive additional lectures from construction consultants such as CDM-Coordinators & Quantity Surveyors with one to one tutorials from other visiting qualified architects. This learning module allows students to evaluate their own design projects within a professional context by directly applying professional practice and legislation via the medium of short essays, Gantt charts, Design & Access Statements, drawn overlays discussing Building Regulation issues, risk registers and finally a short essay reflecting on the students own practice and position within the world of architectural practice. This module of work is designed to help students to develop an understanding of the complexities and variety that presents itself to an individual practicing architecture, as well as a greater conception of their own practice as an architect and designer within this practice.

Undergraduate course

ARCHITECTURAL HUMANITIES

With the start of the new academic year we began teaching our subject area as ‘Architectural Humanities’, in order not only to reflect on the ‘History and Theory’ of architecture as discipline and profession, but also to highlight architecture’s position within and impact on the world. This has allowed us to better respond to the widening concerns of our students and engage with the increasingly complex conditions of contemporary architectural practice. As much as to provide our students a solid knowledge-base, our aim is to teach transferrable skills, including critical reading and writing, independent research, and collaboration with others.

Undergraduate course

Our first year is all about books: we introduce students to a broad array of architectural literature and in intensive workshops, teach basic skills in academic reading, writing and research. Students write a Book Report and compile their work into an edited Brighton Book Review. In addition, our first year lectures provide an overview of canonical architecture from antiquity to modernity as well as global, vernacular, and other relevant architectural and artistic subjects. In the second year of studies, we turn our attention more specifically to buildings and ask students to begin to think in properly theoretical terms about architectural design and the built environment. In a series of reading seminars, students explore specific buildings from different points of view, through texts by critics, historians, philosophers, journalists and the architects themselves. Students work on a building study of their own choice and again compile their work in the form of an edited journal, The Brighton Building Review. The accompanying second year lectures introduce theoretical perspectives on architecture and are broadly driven by tutors’ own research interests. Towards the end of the year, students begin to prepare for their final year dissertation and develop an individual proposal, the dissertation statement. The third year dissertation is an independent student-lead research project supported in its development by a group of dedicated dissertation tutors. Subject matters may be related to studio work, personal interests or a student’s background. While a solid base is always laid through extensive reading, the originality of dissertations often stems from fieldwork that students conduct over the summer or during term, including photographic studies, archival work, and notably this year the use of analytical drawings and diagrams of spaces, buildings and cities. The mid-term poster presentation acts as an important milestone in the process, where students ‘show and tell’ about their project in front of a panel of tutors and fellow students. While we put great stock in the intellectual ethos and academic rigour of humanitiesbased study, we strongly believe in the importance of students’ personal stake in their work, the sharing of knowledge and collaborative efforts, and the importance of tutors’ own, specific research agendas to the students’ learning experience.

Undergraduate course

ERASMUS EXCHANGE Desiderius Roterodamus Erasmus: Dutch Renaissance humanist, scholar, social critic, polyglot and teacher. Never belonging firmly in any one place, he preferred to develop his scholarly activities by travelling extensively and seeking out the possibility of debate with a wide range of thinkers and scholars throughout Europe. The Erasmus exchange is an EU funded programme that facilitates student and staff mobility between Universities in the EU. Our students travel and study in another European country for one semester in their second year (Level 5) for an experience that cannot but expand their notion of their discipline and own architectural practice, just as it did for Erasmus 500 years ago. The exchange unashamedly demands that students experience new ways of thinking and learning and enjoy the encounter with another culture, language and group of people. Our school began Erasmus exchanges in the early 1990s. We currently have agreements with two schools of architecture: the original one in Brno (Czech Republic) and a relatively new one in Covilha (Portugal). This is now actively expanding to other places, so far including Sofia (Bulgaria) and Gent (Belgium).

Undergraduate Undergraduate programme course

OPTION STUDY MODULES

Option Study Modules run during the second year of the BA Architecture degree and provide an opportunity for students to extend, enhance and broaden learning by working with students from other arts and humanities disciplines. Each arts and humanities programme offers particular option study modules and second year students elect to complete one of these alongside their core architecture modules. Option modules are tailored to encourage exploratory work, guided by tutorsâ&#x20AC;&#x2122; research specialisms and interests. Topics cover a wide spectrum, ranging from material and skills based subjects like the exploration of experimental materials and construction or different ways of drawing to more theoretical and text-based investigations of cultural, social and political themes. Working with students and academics from other disciplines enriches our notions and understanding of architectureâ&#x20AC;&#x2122;s position in the wider world while also exposing students to other ways of working and thinking. Option study modules celebrate the Universityâ&#x20AC;&#x2122;s rich and diverse research culture by providing an arena for a wide array of experimentation by students, guided by leading researchers and practitioners.

Events & exhibitions

STUDY TRIPS

Events & exhibitions

TALKS & LECTURES International Lecture Series: Michael Jemtrud - McGill University, Montreal Neil Denari - NMDA inc & UCLA, Los Angeles Chris Thurlbourne - Ă&#x2026;arhus Architecture School, Ă&#x2026;arhus Perry Kulper - University of Michigan Diana Agrest - The Cooper Union, New York Florian Koehl - FAT Koehl, Berlin Mark West - University of Manitoba Nada Subotincic - University of Manitoba

BIAAS Lecture Series: ClickClick Jim - Architecture photography Assemble Studio - Connecting the public with the process Invisible Studio - Extraordinary ShedKM - Circus Street project Carl Turner Architects - Place making, process & product 6a Architects - Interiority is complex Aberrant Architecture - Studio + Think Tank Ed Whittaker - From Habitus to Mundus Emily Crompton - Urbanism, environment, design Alex Arestis - Thinking between buildings Charlie Brentnall - Timber structures Nick Kirk - Installations, artworks and spaces Holly Lewis - We made that Smout + Allen - British Exploratory Land Archive

22 Oct 29 Oct 12 Nov 19 Nov 10 Dec 12 Dec 23 Jan 30 Jan 13 Feb 06-Mar 11 Mar 20 Mar 25 Mar 03 Apr

Events & exhibitions

Staff Lecture Series: Claire Hoskin - Eye training Terry Meade - Building in a conflict zone Tilo Amhoff - Architecture & building Kate Cheyne - Fabrikate: Constructing stories Ivana Wingham - Line, lineage, life: The scene of architecuture Luis Diaz - Mondrianâ&#x20AC;&#x2122;s mirror Ben Sweeting - Epistemological theatre James McAdam - Sleep products Tony Roberts - The rule and the exception

24 Oct 26 Dec 30 Jan 06 Feb 20 Feb 03 Mar 10 Mar 24 Mar 01 May

Events & exhibitions

EXHIBITIONS & EVENTS

Events & exhibitions

PUBLICATIONS

Events & exhibitions

BIAAS Brighton has one of the most active student societies of any architecture school. BIAAS (Brighton Interior Architecture and Architecture Society) is run entirely by students through which they have the opportunity to shape the culture of the Architecture and Interior Architecture courses by organising their own exhibitions, events and lectures. BIAAS has become a forum for a variety of events including regular social occasions, life drawings classes and film screenings that contribute to the strong feeling of community, studio culture and camaraderie which characterise our courses at Brighton. This year the students have expanded the successful evening lecture series, inviting an array of practitioners from both the mainstream and edges of architectural practice. With speakers ranging from Smout Allen and 6a Architects to Assemble Studio and Carl Turner. New this year there has been an additional lunchtime lecture series where members of staff where invited to speak about their current architectural preoccupations and research projects. BIAAS also has another important role - to fund raise for the end of year degree show. The students are always inventive in their ways to make money. Apart from the obligatory club nights where staff and students DJ alongside each other, there was the annual pub quiz with architectural gossip as the specialized subject, a series of illustrated T-shirts featuring strange hybrids such as ‘Le Corpussier’ and ‘Mies Panda Rohe,’ and working with the publisher Lawrence King - several arts and architecture book sales were set up to replenish students bookcases. There have also been a number of BIAAS exhibitions showcasing their work throughout the year. An incredibly successful postcard exhibition was held at Gallery 40 in the heart of the Brighton Lanes, whilst at the end of the year the ‘BIAAS Presents’ exhibition ran for 4 days. Reusing the Degree Show pavilion in Circus Street they curated an inter-disciplinary show of photography, architecture and interiors with the work shown coming from a broad range of students, staff and practices.

Events & exhibitions

Postgraduate course

MASTER OF ARCHITECTURE (M.ARCH) RIBA PART II We aim to develop a research-led education, where practices of rigorous inquiry permeate every part of what we do. The Master of Architecture (MArch) RIBA Part II Course embodies the core concerns of the Architecture programme overall. We are a highly creative, research-led two year professional course based in Studio Laboratories driven by individual focused research agendas. This distinct research-led approach permeates all aspects of the course, with rigorous inquiry aiming simultaneously at innovation, professional standards and social responsibility. The Studio Laboratories are driven by tutorsâ&#x20AC;&#x2122; personal research interests and their active engagement in academia and professional practice. The stimulating mix of academics and professionals across the course builds conversations, with visiting lecturers and critics further feeding the dialogue. This year the five Studio Laboratories conducted their research across diverse fields of inquiry with projects taking them to Brighton, Finland, Portugal, Germany and Italy. Students took part in collaborative workshops in Turin, Utrecht and Rome. The range of investigations shown in this yearbook reveals the creativity and richness at the heart of the course. The student-led approach at Brighton offers the opportunity for our students to define their own personal agenda and challenges them to develop a critical perspective and specific design language prior to entry into the profession. Students are asked to critically engage with and reflect upon issues, ideas and design work and to learn through research. One to one tutorials, group discussions, seminars and lectures by academic staff and visiting practitioners all help students evolve their ideas. We wish our students to emerge from the course as assured designers, confident in their approach, ideals and aspirations and with the ability to communicate this to the wider world.

Postgraduate course

In the first year of the course students embrace a critical engagement with design and develop a research-based approach to their work. An understanding of the possibilities of digital and analogue production techniques are built through the technology thread of the course. This year our students designed and constructed a series of 1:1 pavilions, learning through experimentation, testing, making and innovation. In Architectural Humanities students were asked to position their own work in relation to significant contemporary debates in architectural design theory and practice, and to develop an awareness of the wider political, disciplinary and professional concerns and agendas that drive these debates. The second and final year of the course is anchored in the self-directed research-based Design Thesis that runs throughout the whole year. The students conduct rigorous research, exploring their own architectural position informed by their Studio Laboratoryâ&#x20AC;&#x2122;s research agenda. Visual, oral and written media are all used to test, analyse, critically appraise and explain design proposals. Technology and design intertwine in this final year, foregrounding their intimate relationship and the opportunities and inspiration this offers. Further testing of proposals by regulatory, financial and professional controls builds skills, knowledge and understanding of professional practice. Individual inquiry is furthered through the Architectural Humanities Research Study that seeks to integrate historical, theoretical and critical studies with studentsâ&#x20AC;&#x2122; wider architectural practice. Students develop an understanding of the nature and scope of architectural research at the intersections of creative practices and humanities-based investigations and gain further experience in conducting research-intensive projects. The course provides the tools with which to critically reflect upon design strategies and to navigate the wider contemporary debate on architecture. Upon successful completion students have formed a systematic understanding of architecture, a critical awareness of a wide range of current issues relevant to architectural practice and a comprehensive understanding of techniques, methodologies and forms of practice. This rigorous and critically engaged curriculum forms a solid foundation for students to build their professional architectural career upon.

Postgraduate course

VERTICAL STUDIOS M.ARCH 1&2 72

Postgraduate course

LAYERED FIELDS STUDIO 01: KATRIN BOHN, ANDRĂ&#x2030; VILJOEN & KONSTANTINOS CHALARIS M.Arch 2: Trisha Chauhan, Alexandra Cleovoulou, Stella Evelthontos, Sebastian Lee, Kimberly Mah, Thomas Mullally, Kyriaki Pouangare, Tanveer Rahman, Heidi Swinyard, Liu Zihuan

IIn 2011, the UN Decade on Biodiversity began. For a period of ten years, people all over the world are asked to focus their actions within their areas of expertise and interest to establish durable strategies for the safeguarding of all life forms on Earth. Concentrating on the coexistence of architecture and landscape, our studio explored how this interdependency can enrich architectural production as well as architectural experience.

M.Arch 1: Mariya Banderova, Chris Doyle, William Emmett, Roselle Goacher, Toine Hodgkiss, Constantinos Iniotis, Ally Kaziunaite, John Kipling, Tony Oladeji, Omonike Teidi, Angelina Zittis

The studio focused on uncovering the architectural meanings and consequences of productive urban landscapes, urban agriculture and, this year, significantly, biodiversity. Throughout the year, we conducted thorough investigations into ways in which architecture can become part of Cradle-to-Cradle systems through sustaining and fostering complex relationships between building and landscape, enclosure and openness, productivity and pleasure. As part of this, we ran programmes in Brighton and Berlin using a brief for the forthcoming Berlin International Garden Exhibition, IGA 2017, in order to test and substantiate an architectural tactics that uses prestigious international festivals as vehicles for innovative urban space production.

Postgraduate course

EXCHANGE IN THE AIR STUDIO 02: IVANA WINGHAM, NICK HAYHURST & MEHRAN GHARLEGHI

M.Arch 2: Nicholas Panayiotis Koumbarides, Tom Scopes, Tim Stephens, Irina Dashkovsky, Maria Toulopou, Wentung Wu M.Arch 1: Anne-Lise Crouche, Katherine Ryan, Olivia Murphy, Irene Klokkari, Sam Wildig,

We are interested in exchange in the air and an architecture that is both fuelled by the air and that is in the relationship between the ground and the sky. We recognize that there may be different kinds of air architecture â&#x20AC;&#x201C; architecture of filled space, fogs, clouds, and disappearance but also architecture of air bubbles, airdrops and wind. Whatever type of air architecture we consider, the creation of it evokes a happy space, space of possibilities, a social space characterised by physical experience.

Liliana Giagmaridou

Our site of research is Teatro di Marcello in Rome. Its peculiarity lies in the departure from the centrality of the classical theatre, a history of appropriated occupation and its scale that offers a potential for a speculative and optimistic future for the city locally and globally. We would like to question the relationship with the ground and the sky, the consequential occupation for this site and what may be the relationship between the everyday life and performance in the context of the future? The projects will be speculative and will vary from a design for a day to a 100-year plan...

Postgraduate course

MYTHIC REALITIES STUDIO 03: SARAH STEVENS & SAM LYNCH

M.Arch 2: Iskrena Rousseva, Kudrah Kaseruuzi, James Hickford, Afi Jamalludin, Rebecca Lee, David Brockman, Sebastian Elliott, Eden Carter, Justine Bourland, John Dowding, Rachel Hogbin, Tara McCloskey, Ryan Cordery M.Arch 1:

This year we ventured out to navigate reality, unveiling along the journey a myriad of ghosts of past minds imprinted on the landscape and into the skies. A stratigraphy of dreams was laid out before us, mementos of often long forgotten pictures drawn of reality. Ideas haunted the land as non-corporeal presences yet were imbued with the power to sculpt it. We built experimental equipment to research our terrain, and with our findings before us began to evolve and test built hypotheses on how architecture might address the multilayered and often personal understandings of reality.

Wing Kin Tam, Tom Hall, Stuart James Wickett, Irene Papyianni, Bhavika Mistry, Agni Kadi, Irianna Dimitriou, Viky Chakide, Evangelia Iliopoulou

We all live within our own personal reality, a view sculpted by experience, memory and beliefs; countless filters lying between us and the world we inhabitâ&#x20AC;Ś so often unnoticed. And yet they inform our decisions and hence our actions, the currency of reality itself. The design work explores the studio concerns for a responsive, site- and time-sensitive architecture that subtly and gently engages the nature of existence.

Postgraduate course

NON-DISCRETE ARCHITECTURES STUDIO 04: JEFFREY P. TURKO, YOTA ADILENIDOU

M.Arch 2: Georgios Konstantinidis, Melina Alexandra Messinezi, Michael Pavlides, Sophie Stylianou, David Valent

This year Studio 4 took on the challenge to explore what NonDiscrete Architecture could be and how it performs in the built environment. We wanted to avoid the making of discrete objects; rather, we pursued the development of an integrated architecture that is constructed of discrete spatial organisations and relations.

M.Arch 1: Aleksandra Bryla, Vilte Grigaityte, Gerasimos Moschlopoylos , James Morrow, Nabilah Mohamed Nordin, Nor Jehan Bt Nor Hisham, Jennifer Otitoloju, Constantine Pithis, Zografoula

The Studioâ&#x20AC;&#x2122;s research agenda is aimed at the exploration, experimentation and use of the primary architectural elements of the Building Envelope and the Ground, with the intent for these elements to actuate a new position on heterogeneous space and culturally, socially and environmentally sustainable built environments.

Spyropolou, Danai Stoupa, Aimi Suraya, Vivian-Parasheri Theodosopoulou, Matthew Walker

This research is bound up with material and spatial performance: performance defined by the interaction of the four domains of active agency, namely spatial organisation, material organisation, the human subject, and the human environment. The aim is to apply this driving concept for design to re-consolidate form and function into a synergetic relation with the dynamics of natural, cultural and social environments.

Postgraduate course

CONTINGENT IDEAS, CONTINGENT ARCHITECTURE STUDIO 05: COLIN HERPERGER & NAT CHARD

M.Arch 2: Trude Bisgaard Haegeland, Sophie Missen, Harry Page, Rachel Shotliff, Steven Smith M.Arch 1: Simas Bobelis, Xenia Konteati, Arun Parmar, Marie Saunes, Thomas Nolte, Manos Kakleidakis

Architecture is adept at supporting those occupations we know will take place but what about the multiple occupations that go beyond the programme – the occurrences out of which much of life is made? Starting with the invention of a measure of the immeasurable to open up this discussion, the studio has been speculating about how to make an architecture that addresses the less predictable aspects of occupation. For many, these measures employed aspects of play to lubricate more familiar research methods. The building projects are located around the piers of the railway viaduct that spans over the London Road in Brighton, which provides a three-dimensional context for the work. The studio field trip was to Helsinki, Jyväskylä and Imatra in Finland to study how Aalto was able to combine careful programmatic organisation with a playful sense of occupation.

Postgraduate course

ARCHITECTURAL TECHNOLOGY MARCH 1: TECHNOLOGIES AND FABRICATIONS This module provides the opportunity for first year MArch students to develop strategic knowledge, skills and understanding of the principles of environmental science, structures, materials. Using a design-based research approach that includes the drawing, testing and making of components for complex systems, students developed reflective, critical and analytical skills in the making of architectural components, culminating in fabricating large-scale prototypes.

MARCH 2: TECHNOLOGY MASTERS PROJECT In this module students integrate environmental, structural, constructional and material design strategies into their Master Thesis Project. Students conducted individual and independent technical research through a reflective, critical and analytical technical study, supplementing their critical architectural position developed in the design studio and leading to an integrated and independent approach to tectonic and technical design processes.

Postgraduate course

PROFESSIONAL STUDIES Continuing last year’s structure of ‘Legislation’ and ‘Speculation’, this year’s Professional Studies module comprised a series of visual lectures, seminars and workshop sessions that explored the commercial, legal and statutory frameworks affecting the working role and professional practice of the architect at present and in the foreseeable future. Students were encouraged to consider how they might intellectually, culturally and professionally situate their own future practice and heard from a number of key practitioners who operate on the fringes of conventional practice and have forged their own identity and sense of architectural practice. Pernilla Ohrstedt talked about a number of her professional collaborations such as with music producer Mark Ronson in the design of the Coca Cola Beat Box Pavilion for the 2012 London Olympics. Carl Turner discussed the pains and gains experienced on his self-initiated design and construction projects, including the Manser Award-winning Slip House. Finn Williams of Common Office considered his five years in the Place-Making Team of the London Borough of Croydon and the key role that architects can play in re-structuring urban environments from within the local authority while Daisy Froud presented the innovative models of user participation and consultation techniques that have been deployed in her projects at architectural practice AOC. Students went on to consider their own positions and explored subjects as diverse as the question of open-source design techniques and how it may alter the way architects work, the complexities of architectural research, the benefit that collaborations bring to design projects and, perhaps most critically, the future of architectural education.

Postgraduate course

ARCHITECTURAL HUMANITIES With the start of the new academic year we began teaching our subject area under the heading of Architectural Humanities in order to acknowledge the trans-disciplinary nature of architectural discourse and to account for the increasingly complex and wide-ranging forms of architectural practice that our students are likely to encounter when they enter the profession. In both first and second year of the MArch course we emphasise the importance of discursive inquiry for architectural practice. As we continue to develop the new modules our aim is to increasingly challenge students to marry design- and humanities-based modes of inquiry in their studies and wider design practice, in creative and rigorous ways. At MArch 1 Level, Architectural Humanities initially seeks to create a level playing field amongst students from different backgrounds. Through readings, presentations and discussions, we engage with significant issues in current architectural theory and practice, including themes like digital- and bioarchitecture, globalisation, new materialist and ecological theories, and the changing nature of architectural practice. Students write an Essay on a subject of their choosing and are then asked to formulate a position on the subject matter, in the form of a video manifesto, or Position Piece. Using video as a medium for exploring and articulating architectural ideas encourages students to acquire new technical skills and, importantly, consider new ways of communicating architectural content to professional and other audiences effectively and creatively. In February, as part of the first year module, we organised yet another installment of the critical urban ecology symposia, entitled CUE4: Relational Spaces, with contributions from Lindsay Bremner, Jon Goodbun, Elisa Lega, Mark Smout and Laura Allen, Holger Zschenderlein, Rebecca Lee and Tim Stephens, the latter two MArch 2 students who presented the Research Studies that they had completed during Term one. The second year Architectural Humanities module leads students towards an understanding of the nature and scope of research-oriented architectural work. The emphasis in this final year of study is on studentsâ&#x20AC;&#x2122; ability to develop a coherent agenda and strategy for a Research Study and to follow this through in self-directed study, with tutorial support.

Postgraduate course

In a series of presentations and discussions, we explored different types of architectural research, examined a range of contemporary architectural research practices through case-studies including Diller Scofidio + Renfro, Crimson Architectual Historians, AMO, Geoff Manaugh and others, and read a selection of recent, trendsetting texts. In parallel to this, students set out their own research agenda. They identified a topic for their Research Study that either related to their studio work or addressed an area of interest that they were keen to explore beyond studio concerns. In many cases this involved a combination of desk based, conceptual and practical research or fieldwork, in ways that effectively expanded studentsâ&#x20AC;&#x2122; notion of architectural research and practice.

Postgraduate course

PART 3 This year’s Part 3 course was centred around 4, intensive 2-day sessions packed with lectures by specialist speakers, case-study seminars and an unfolding role-play scenario led by ABIR architects that followed the trials and tribulations of Mr. Sharp’s ill-fated commercial development in the North Laines. This year, our students came from London, Kent , Oxfordshire and Hampshire – as well as Brighton of course - and work in practices that range from provincial practices with a staff of two, boutique ‘designer’ practices as well as some of the largest multi-national consultancies in the world. Our case studies this year vary in size from a £100k internal fit-out of a hotel lobby, to a £140m tower in central London as well as the obligatory residential extension to a Grade II listed cottage. Finally students are working on the 5-week open-book examination over the summer. This year they are having to pretend to be Matilda: an ambitious, up-and-coming Brighton-based practitioner cutting her teeth on the rundown Crunchem Hall Academy where candidates have to decide how to deal with hostile neighbours, slippery contractors and, ultimately, the wroth of the Headteacher, Miss Trunchbull

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Postgraduate course

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Architecture Brighton

IMAGE CREDITS /14/ Ida Rostlund /19/ Louise Fisher /20/ Toulla Kyriakou, Nicola Charalambides, Oliver Riviere, William Mcdowell, Eva Chee /21/ Francis Naydler, Nicola Charalambides, Monica Serizawa, Nefeli Theiakou /23/ Dimitra Chatzilouka /24/ Matus Peklansky, James Purchon, Nikolaos Kofopoulos /25/ Nicolas Parr, James Purchon /27/ Amy Wong /28/ Alexandra Freeman, Amy Wong, Alfonso Cobo, Nick Brown, Bethany Bird /29/ Rebecca Sturgess, Alexandra Freeman, Jude Dajani /31/ Isaac Leung /32/ Faria Mehmood, Ping Wong, Freddy Thomas, Ping Wong /33/ Freddy Thomas, Isaac Leung /35/ Konstantin Jerosin /36/ Konstantin Jerosin, Joseph Mercer, Joseph Mercer, Daniel Wilkins /37/ Konstantin Jerosin, Jamie Woods, Jamie Woods /39/ Tsz Lok To /40/ Tsz Lok To, Tsz Lok To, Louisa Turner, Nikolas Stagkos, Louisa Turner /41/ Ka Travis Cheuk, Ka Travis Cheuk, Li Xin Khoo, Josephina Chatzigeorgiou, Josephina Chatzigeorgiou /43/ Chloe Ma /44/ Gabija Zakarauskaite, Evripides Mytilineos, Asta Sabaliauskaite, Christopher Webb /45/ Asta Sabaliauskaite, Gabija Zakarauskaite, Barbora Jurickova /47/ Lily Carver /48/ Yasaman Mohsanizadeh, Alexander Mizui, Yasaman Mohsanizadeh /49/ Je-Shae Pace, Alexander Mizui, Daniel Wu, Georgia Grigoriadi /51/ Rebecca Sturgess /53/ Isaac Leung /57/ Bethany Bird /58/ Jeff Turko /66/ Jim Stephenson, Jim Stephenson /72/ Tom Scopes /75/ Thomas Mullally /76/ Trisha Chauhan, John Kipling, Stella Evelthontos /77/ Kyriaki Pouangare, Trisha Chauhan /79/ Tom Scopes /80/ Maria Toulopou, Irina Dashkovsky /81/ Wentung Wu, Maria Toulopou, Irina Dashkovsky, Tim Stephens /83/ Rebecca Lee /84/ Eden Carter, Wing Kin Tam, David Brockman, John Dowding /85/ Evangelia Iliopoulou, Justine Bourland /87/ Michael Pavlides /88/ Melina Alexandra Messinezi, Melina Alexandra Messinezi, David Valent, Sophie Stylianouz /89/ Melina Alexandra Messinezi, Georgios Konstantinidis, Georgios Konstantinidis /91/ Simas Bobelis /92/ Sophie Missen, Steven Smith, Harry Page, Trude Bisgaard Haegeland /93/ Simas Bobelis, Rachel Shotliff, Harry Page /97/ Sebastian Elliott, Tim Stephens All names - Top to Bottom, Left to Right

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Architecture Brighton

STAFF Adrian Krumins Adrian Priestman Alex Arestis Andre Viljoen Andrew Bayley Anthony Roberts Anuschka Kutz Ben Sweeting Catalina Mejia Moreno Christo Meyer Claire Hoskin Clare Levitt Colin Herperger Cordula Weisser Dale Elliot Dawn Whitaker Duncan Baker-Brown Elizabeth Blundell Gareth Lawrence Graham Perring

Harry Paticas Irene Smith Ivana Wingham Jame McAdam James Fox James Rae Jeff Turko Jim Wilson Karin Jaschke Kate Cheyne Katrin Bohn Katy Beinart Kirstie Sutherland Konstantinos Chalaris Kyriakos Katsaros Luiz Diaz Mark Campbell Mehran Gharleghi Michael Howe Michelle Wright

Nat Chard Nick Hayhurst Nicola Pipe Oliver Wilton Pedro Gil Peter Marsh Peter Rae Phill Earley Ruth Lang Ryan Southall Samantha Lynch Sarah Stevens Sean Albuquerque Stefan Lengen Stephen Ryan Stuart Paine Tilo Amhoff Yota Adilenidou

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Architecture Brighton

THANKS Adrian Stubbs Alan Boldon Alan Cronshaw Alan Powers Aleks Catina Alessandro Ayuso Alex Carron Brown Alicja Borkowska Alison Crowe Amin Taha Andrew Cross Andrew Paine Anne Boddington Ashley Munday Brighton & Hove City Council Carl Turner Carlos Jimenez Cat Fletcher Cathedral Group Catrina Stewart Charles Holland Charles Rice Christina Christodoulidou Claire Osborne Cristian Olmos Dale Elliot Daniel Wilkins Derek Draper Eleanor Brough Elisa Lega Elly Ward Frank Cartledge Frank O’Sullivan

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Freddie Philipson Gemma Barton Glenn Longden-Thurgood Grant Shepherd Harry Paticas Helen Kennedy Hongdi-Li Ifield Watermill and Crawley Museum Igor Marco James McShane James Tasker Jenny Peterson Jess Tang Jim Stephenson Joanne Crotch Joni Steiner Joseph Frame Joseph Henry Judit Pusztaszeri Jyri Kermik Karen Norquay Karen Syrett Katie Beinart Kevin Widger Lee Davies Libby Blundell Lucy Perryman Maria Knutsson-Hall Matt Lambert Michael Wilson Nick Ardill Nick Gant

Owain Williams Pascal Bronner Peter Basham Phil Wells Phoebe Padley Pierre D’Avoine Prue Chiles Rahesh Ram Railway Land Trust Lewes Rusty Murphy Simon Bliss Steven Pippin Sue Robertson Terry Meade The Big Lemon Bus Company The British Academy The Environment Agency The Green Door Store The Royal Academy of Music The Royal College of Physicians Tim Ronalds Tom Bedford Tom Melson Tony Foulger Triennale Lisbon Uwe Schmidt-Hess Will Fisher Yakim Milev YHA Southease Zoe Smith