2015 2016
School of Architecture & Design University of Brighton Mithras House Lewes Road Brighton BN2 4AT
CONTENTS
INTRODUCTION
UNDERGRADUATE STUDIES
EXTRAMURAL ACTIVITIES
Introduction
04
Architecture & politics
20
Talks & lectures
90
BA(hons) Architecture
06
Studio 01
22
Study trips
94
First year
08
Studio 02
28
BIAAS
Studio 06
34
Awards
Studio 07
40
Studio 09
46
PAGE 02
Studio 12
52
Studio 14
58
Studio 15
64
Studio 55
70
Architectural technology
76
Architectural humanities
80
Practices
84
Option modules
86
CONTENTS
98 100
POSTGRADUATE STUDIES
RESEARCH AND PRACTICE
CREDITS
Master of Architecture
102
Research culture
150
Thanks
166
Studio laboratory 01
106
Synergies
152
Staff
168
Studio laboratory 02
114
Convergences
154
Studio laboratory 03
122
Professorial appointments
156
Studio laboratory 04
130
PhD’s
156
Architectural technology
138
Awards
162
Architectural humanities
140
Book & Research Award
164
Professional practices
144
Part 3
146
CONTENTS
PAGE 03
TEXT: KATE CHEYNE
REPORTING FROM THE EDGE: PEOPLE, PLACE, SCALE The Architecture Programme is constantly exploring the edge. The edge of the arts, the edge of humanities, the edge of science and technology. In the new School of Architecture and Design we now join with Product Design, Sustainable Design, Interior Architecture and Urban Planning. Together we will interweave these edges, through the discipline of design. Our ground condition will be made up of three key ingredients common to all design thinking - people, place and scale. People remain central to the success of the programme. Our staff continue to pour energy and ideas into the courses and the students understand this, responding in kind. An exciting recognition of this is that we continue to win prizes at the RIBA President’s Medals & Awards. In 2016, academics Katrin Bohn and Andre Viljoen received the award for Outstanding Universitylocated Research for their book ‘Second Nature Urban Agriculture: Designing Productive Cities’, outlining their leading research on Continuous Productive Urban Landscapes. For the 2016 students’ awards, our MArch student, Irene Klokkari received a commendation for her dissertation titled ‘Memories of Famagusta: Recapturing the image of the city through the memories of refugees’. This builds on awards won in previous years such as Oliver Riviere’s RIBA 2014 Serjeant Drawing Prize and Kirsty McMullan’s 2014 RIBA Journal Eye Line Drawing Prize.
current and past tutors, listed in the New Architects 3 book that showcases innovative and talented young architectural practices. Our student society, BIAAS, continues to thrive. This year they added to their on-going lecture series and fundraising events by working with the Architecture Student Network (ASN) to put forward a manifesto to the RIBA and Heads of Schools of Architecture (SCHOSA) on architectural education and health issues. This included a list of recommendations to challenge the culture of all-nighters and to promote architectural studies being balanced between life and play. Adding to our ever growing studio culture, each year we have several lecture series. Over lunch you find students and staff taking their sandwiches into the gallery space to hear the tutors present their research and practice work. BIAAS run their own evening lecture series, this year focusing on the issue of ‘Women in Architecture’ including architects such as Alison Brooks (founder of ABA) and Julia Dwyer(co-founder of Matrix). Our international lecture series invites architects and designers to talk to us about the ‘non-finito’ or work in progress and has the likes of Perry Kulper, Mark West, NaJa & deOstos and Magma Architecture come and talk to us. One of the highlights this year was the BIAAS presents lecture by Mark Kermode on ‘The Auteur: Film Director and Architect’.
The architectural practitioners that teach at Brighton also continue to win awards for their buildings including from the Civic Trust, Architects Journal, Stephen Lawrence Charitable Trust and RIBA Regional Awards. It is wonderful to see so many practices, founded by
Designerly thinking lies at the core of our new School. The conscience of an architect and the consequence of designing ‘stuff ’ or ‘things’ lies at the heart of the work in our programme. We ask our students to be
PAGE 04
INTRODUCTION
inquisitive of their surroundings and the people that inhabit them. We want them to consider what exists, why it exists and where it exists. This is true for both the current context and any future context. We want our students to understand that they are part of a wider culture of place making and material development. It is their designs that will influence society and impact on our environment. It is they that will make the future. Our courses focus on research-led teaching in all of our subject areas. The studio system allows this to evolve by asking both practitioners and academics to use their own expertise and interests to instigate briefs. This enables us to offer a greater variety and diversity of content and methodology. Pluralism makes for a lively debate in the School. We have found that friendly competition amongst staff and studios gives students the space to start developing their own positions within the world of architecture. This is true at all levels of learning, but the expectation is that at undergraduate a student will learn to synthesise their own thinking and learning, whilst
INTRODUCTION
at postgraduate the student will have the capability to understand how their thinking fits in the wider world. Whilst encouraging students to take ownership of their work and ideas, we emphasise that architects always work as part of a diverse group of people. As such, the students need to grow their ideas through collective and interactive thinking. Within the programme you will see many signs of group work in design studios (master planning, site models, peer-to-peer reviews), but also in the technology (1:1 group builds, shared report writing) and humanities (collective books of essays). This ability to work together successfully as well as independently is important within the school and to the profession. We invite you to see the work shown here as being part of one of the longest conversations – the importance of designerly thinking. And we look forward to seeing this conversation grow with other design students and colleagues in our new School of Architecture and Design. Please join in.
PAGE 05
BA(HONS) ARCHITECTURE
PAGE 06
BA(HONS) ARCHITECTURE
TEXT: DR. BEN SWEETING
Architecture is all around us. It shapes the world we inhabit from the scale of our bodies to that of the cities and landscapes through which we move. The profession of architecture is increasingly engaged across all these scales, concerned not just with how to design but also with what and why. Amidst these concerns sits architecture’s traditional focus: the building. A thing so intimate that it impacts on our everyday life, yet so substantial and central to our lives that we cannot avoid them even if we try. Studying the BA(Hons) Architecture course is an introduction to the opportunities, delights and responsibilities that come with this.
each other, as well as our Option Studies module which allows students to study subjects from other parts of the university, such as languages, chair design, printmaking and bookbinding amongst others. This is part of the vibrancy that led the examiners to recognise Brighton’s BA(Hons) Architecture as amongst the top undergraduate architecture courses in the country.
Students explore the world through drawing, modelling and writing. They grappling with the physical qualities of materials, study existing places and invent new ones. They speculate on new possibilities and dreams, and also how they might be realised through technologies and the procedures of professional practice. Above all, they learn to appreciate their work - their drawings, models, texts and collaborations - as themselves being small pieces of the world - as spaces, constructions and conversations that they have contributed to it and which they present here. This year our external examiners commented in particular on the cross fertilisation and holistic learning that takes place between the different subject areas of the course - with modules in Technology, Professional Practice, Architectural Humanities and Design Studio all being contextualised by and providing context for
Highlights this year include: Studio 55’s collaboration with the Carnaval del Pueblo and the Latin American community in Elephant and Castle for whom they have constructed 1:1 installations for the festival, one of Dezeen’s top 10 picks for this year’s London Festival of Architecture; fantastic results in the Nation Student Survey, with overall student satisfaction at 95% for the second year running, well above the sector average; success in College wide prizes, with Michael Robinson winning the Seoul National University Prize, Beth Rodway receiving a Commendation in the Waste House Prize and an Honorable Mention going to Katerina Demetriou in the Nagoya University of Art Prize; and annual Mock Interviews day, with students having the chance to meet up to 25 different practitioners in quick succession. The array of knowledge our students gain at Brighton allows them to go on to work at some of the very best, internationally acclaimed architectural practices such as Allies & Morrison, Rick Mather Architects, Sauerbruch & Hutton in Berlin and Studio Bow Wow, Junya Ishigami Assoicates and Kengo Kuma & Associates in Japan.
BA(HONS) ARCHITECTURE
PAGE 07
PAGE 08
FIRST YEAR
FIRST YEAR
FIRST YEAR
PAGE 09
TEXT: TONY ROBERTS, ELIZABETH BLUNDELL, MICHAEL HOWE
“Studying architecture could be viewed as a movement through a succession of formative stages, with first year as the novice year.” With this in mind, first year at Brighton was set up to act as a collective studio. Each student moves between several of the tutors’ groups during the Design, Technology, Humanities, and Techniques modules. These modules run alongside each other through the year, allowing students to gain a range of opinions and methods. Students learn to make a coherent whole of these different modes of working so as to begin a synthesis of their ideas. This year our First Year design projects have been situated between the seaside and the capital city; we started with an extended exercise in making observation drawings in Brighton. These reconsidered essential (but often unnoticed) architectural elements – doors, windows, walls, floors, stairs… – examning these elements in their contexts. The students then visited the RIBA Architecture Study Rooms at the Victoria & Albert Museum in London. There they examined original drawings of buildings such as St. Mary Le Bow Church and the Economist Plaza that are kept in the RIBA archive. Returning to the seaside, the drawings for the De La Warr Pavilion in Bexhill were obtained from publications and cross-referenced on site.
architecture - from the scale of an intimate meal for two to more complex programmes, such as a Homeless Soup Kitchen, a formal Burns Night Supper, and a sustainably conscious Slow Food Festival. Students explored the nature of what it means to grow, prepare, share and celebrate a meal, actions that add up to a culturally significant event. Their design propositions considered the choreography of their chosen dining event. The proposals were encouraged to be sensitive to context, considerate of their occupants and neighbours, ambitious in form, intentionally political, and, at times, delightfully playful. The selected work in this book shows the results of our students’ newly learnt enjoyment of the creative process. TUTORS:
Libby Blundell, Alex Chalmers, Michael Howe, Anuschka Kutz, Tarek Merlin, Tony Roberts, Sophie Yetton
From these studies they then made survey visits to the buildings related to those drawings and produced large scale models and a series of hard and soft surveys, carefully registering each building in its context. Each building provided the armature for the design projects, the generating scenario for which was food and
PAGE 10
FIRST YEAR
FIRST YEAR
PAGE 11
PAGE 12
FIRST YEAR
FIRST YEAR
PAGE 13
PAGE 14
FIRST YEAR
FIRST YEAR
PAGE 15
PAGE 16
FIRST YEAR
FIRST YEAR
PAGE 17
UNDERGRADUATE STUDIOS
PAGE 18
UNDERGRADUATE STUDIO WORK
Above: Beth Rodway - “Sustainable Carnival”
UNDERGRADUATE STUDIO WORK
PAGE 19
ARCHITECTURE & POLITICS
PAGE 20
UNDERGRADUATE STUDIO BRIEF
STUDIO BRIEF 2016 TEXT: DR. BEN SWEETING & LUIS DIAZ
Each year a different member of staff sets the point of departure for all the studios. This year Luis Diaz chose ‘Architecture and Politics’ in response to an election year. The theme asked the question: How and to what extent is architecture political? Is architecture, like Lefebvre’s definition of space, merely the secreted by-product of a society’s politics? Does architecture have the potential to be actively political? Or does architecture have the capacity to be critical of politics but incapable of being political in and of itself? As architects and designers, there are many ways we can think about these questions. Architecture, operating within contemporary economics is part and parcel of contemporary political ideologies of finance. Architecture is also subject to numerous political processes – planning approval, council review along with other laws and regulations. For example, if we consider labour laws, is it possible to question the operation of a design practice in political terms? Other labour relations could look at the relationship between client, architect, contractor and builders (e.g. self-built as critique of these separate systems).
concept of ‘the public’ as a vital component of the polis is still viable or requires redefinition or re-conceptualisation. Each studio examined this theme through the above questions and proposed answers from within their own specialty and architectural methodology. The following pages show how any and every, site, community, typology, program and material choice comes with a potential to be examined politically.
We can also consider space and spatial politics. This can take on the form of geographical power relationships (borders and boundaries, ownership of land, tax havens, and territorial disputes). We buy land, take it out of the public sphere and put architecture on it which in turn invites some to use it while excluding others. We can question conscious versus unconscious bias in politics when taking on literal political programs such as a new Houses of Parliament or Town Halls, detention centres or border controls. Whilst questioning spatial politics we can investigate the power relations within the private realm of a home, for example, examining the way spaces might be gendered. It is even possible to look at whether the
Projects have included the investigation of contested political territories at all scales: from the intimate enclosures of the body (Studio 02) to the politically exposed spaces of the city, with Studio 15 exploring alternatives to controversial developments planned in Lewes’s Phoenix Quarter and Studios 01 and 06 proposing new public spaces and buildings in central Brighton in response to the council’s current plans. More programmatic approaches have included focuses on housing (Studio 12), death (Studio 7) and symbiotic relationships (Studio 09). Studio 55 have worked collaboratively with the Carnaval del Pueblo and Latin American community in Elephant and Castle and, as well as the festival facilities which they have focused on in their main design projects, they have constructed 1:1 installations for the festival, one of Dezeen’s top 10 picks for this year’s London Festival of Architecture.
UNDERGRADUATE STUDIO BRIEF
PAGE 21
STUDIO 01: DR. BEN SWEETING
& SARAH CASTLE
BRIGHTON: CENTRE
The Brighton Centre and Churchill Square Shopping Centre dominate a large part of central Brighton. Through interrogating the existing character of this part of the city, and through engaging with current ideas and policies for its redevelopment, Studio 01 has explored the potential for radically realigning its urban form. This area saw major developments during the 1960s and 1970s, with a number of large new buildings climaxing in 1977 with the Brighton Centre. While many of these buildings were by the same architects (Russell Diplock & Associates), there is little consideration of the spaces and connections that are created between them.
3RD YEAR STUDENTS:
Katerina Demetriou, Johannah Fening, Myrto Gatou, Mike Jones, Georgios Kokkotis, Shayne Quiseo, Kathryn Rackett, Rebecca Rose, My Tran, Angie Chiou, Zhen Wong 2ND YEAR STUDENTS:
Andrew Belcher, Satwant Benipal, Nur Binti Lockman, Carol Bishay, Shayan Gamouri, Natsi Ina, Helena McFeely, Jayson Molina Veras, Aryana Noorbakhsh, Elodie Nunn, Oliver Shadforth
While the Brighton Centre remains a major asset for the city as a large-scale conference venue, it does not have a sustainable future and cuts Brighton’s seafront away from its city centre. While the council is considering major redevelopments, what form these will take is still up for debate. In this context of these questions about the future of this area, Studio 01 has made proposals for a new conference centre building. Through carefully studying the connections and disconnections of the existing built fabric, Studio 01 has focused on how to position their proposals to create public spaces around them, creating new relationships between the city and sea, inhabitants and visitors, and the public and private realms.
PAGE 22
Right: Group drawing
UNDERGRADUATE STUDIO WORK
UNDERGRADUATE STUDIO WORK
PAGE 23
Clockwise from above: Myy Tran – “A Mundane Comedy”, Katerina Demetriou – “Circa”, Myrto Gatou - “Bridging the Dichotomy of the City: The Cultural vs The Commercial”, Katerina Demetriou – “Circa”,Angie Wong – “The Hidden Conference Centre”, Carol Bishay - “Brighton Fragment”
PAGE 24
UNDERGRADUATE STUDIO WORK
UNDERGRADUATE STUDIO WORK
PAGE 25
Myrto Gatou - “Bridging the Dichotomy of the City: The Cultural vs The Commercial”
Kathryn Rackett - “New Conference Centre: Adjoining the Metropole Hotel and Sussex Heights”
PAGE 26
UNDERGRADUATE STUDIO WORK
Katerina Demetriou – “Circa”
UNDERGRADUATE STUDIO WORK
PAGE 27
STUDIO 02: CHARLOTTE ERCKRATH
& FREDERIK PETERSEN
MAKE DRAW REDRAW: EXPLORING THE LANDSCAPE OF THE SOUTH DOWNS
Studio 02 looks at the politics of appearance and actuality. We examine how the social rules and ideologies that regulate the public and private realm become tangible in architecture. Our work develops in the threshold between the imagined and the materialised. We explore how ideas manifest themselves by making devices and proposing spaces that connect the body to the world. Studio 02’s work develops through shifting in scale and emphasises hand-drawing and making.
3RD YEAR STUDENTS
Kye Wen (Rachel) Chee, Niki Chouvarda, Jack Cottrell, Olubunmi Fagbenro, Alexandra Gamrot, Buse Gurbuz, Deborath Robles, Annette Saavedra, Diana Saienko, Kutluhan Unalir 2ND YEAR STUDENTS
Balzhan Beisenbayeva, Ilia Bykov, Klara Gashi, Ondrej Mraz, Mert Ozbolat, Soloman Anthony Sudi, Berfin Tel
As a culture we expect a concordance between outside appearances and internal reality. But as individuals we intuitively infer that the relationship between what is apparent and what is contained internally is rarely as straightforward. Because we habitually link appearance and reality it is also something we can play around with, challenge and even subvert. The studio explores the politics of appearance by looking at the body and the thin layers that shelter it from climate and from observation. We make our way into this field by establishing fascinations with the interface between the self and the world. In particular we look at the limits, connections, joints, surfaces and assemblages between inside and outside as something that - beyond its utilitarian and aesthetic function - carries social and cultural connotations. We explore how this mixture of materiality and meaning can be made tangible through measuring and mapping. In this process we invent our own meanings and test them against the landscape of the South Downs to establish an architectural reality that balances between literal and imaginary manifestations.
PAGE 28
UNDERGRADUATE STUDIO WORK
Rachel Chee & Ondrej Mraz - “Conceal and Reveal: An Observer’s Playground”
UNDERGRADUATE STUDIO WORK
PAGE 29
PAGE 30
UNDERGRADUATE STUDIO WORK
This page, both: Diana Saienko “Heaviness of Intangibility - Multifaith Columbarium on Devil’s Dyke” Opposite, clockwise from top: Gamrot - “Artificial Lands: Exploring Desires Through an Ever Changing Garden of Pleasure”, Ondrej Mraz - “Tailored for Devils Dyke”, Alexandra Gamrot “Artificial Lands: Exploring Desires Through an Ever Changing Garden of Pleasure”
UNDERGRADUATE STUDIO WORK
PAGE 31
This page, clockwise from top: Ondrej Mraz - “Tailored for Devils Dyke”, Mert Ozbolat “Augmented Landscape”, Alexandra Gamrot - “Artificial Lands: Exploring Desires Through an Ever Changing Garden of Pleasure”, Mert Ozbolat - “Augmented Landscape”
PAGE 32
UNDERGRADUATE STUDIO WORK
Above & left: Diana Saienko - “Heaviness of Intangibility - Multi-faith Columbarium on Devil’s Dyke”
UNDERGRADUATE STUDIO WORK
PAGE 33
STUDIO 06: GRAHAM PERRING
& ANDREW PAINE
(RE)PUBLIC BRIGHTON
Our territory for the year centred around the extensive ‘green corridor’ of Valley Gardens, Brighton’s most significant coherent public space. Students have developed architectural propositions to enhance the planned regeneration of this ‘green mile’ and in doing so, challenge notions of what constitutes ‘public space’ in the contemporary, contested city. Our approach to regeneration has been to reject contemporary master planning approaches, which work from large to smaller scale and risk erasing the rich, varied and delicate blending of urban fabric. Instead, we explore ways to create buildings which make legible connections with specific aspects of the local, and which help build relationships with and bring new insights into understanding the past, present and future of the city. Our studio’s connective architecture stems from drawings and made pieces, which explore notions of place as a set of relationships subject to continuous transformation. In Term 1 students made an experimental full-scale device/ prototype to explore and learn from the site: to reveal the particular relationships of the locality, either as ‘canvas’ to capture and record particular changing characteristics of the site, or as ‘instrument’ to communicate ‘data’ in ‘real time’ as dictated by climate, geography, local materials and local traditions.
expand the relationships articulated by the device between landscape, technology and craft. At the start of Term 2 each student selected an existing residual space adjoining Valley Gardens to explore the potential for reclaiming and repurposing a fragment of the city as a catalyst for regeneration. In many cases, students referenced the operation of their Term 1 device and the specific conditions which it brought to light, as a tool to expose ways to create connective local architectures, through exploratory and experimental engagement with the site alongside developing their own individual building programmes. 3RD YEAR STUDENTS
Dayne Coley, Rich Fairley, Nina Kaiser, Meera Lad, Thalia McGuinness-Girerd, Niamh Poole, Chloe Simons, Neda Soltani, Eugenia Trias, Connor Keen 2ND YEAR STUDENTS
Mário Alcantara Monteiro, Gary Kachun Fung, Tera TzYau Kwong, Chun Bun Lau, Patrick Nnaedozie, James RL Ralston, Marco Wai Cheng UN, Eden Pok-Yeung Wan, Gigi Wong
Earlier observation studies informed the language for the design and crafting of the prototype. The design-make-test operation underwent a number of iterations to refine and
PAGE 34
UNDERGRADUATE STUDIO WORK
Gary Fung - “The Pure Respectful Gateway”
UNDERGRADUATE STUDIO WORK
PAGE 35
PAGE 36
UNDERGRADUATE STUDIO WORK
Far left: Meera Lad - “City Choreography: A Social Dance Event Centre” Left & Below: Neda Soltani “Divine Intervention: Augmentation of St Peters Church”
UNDERGRADUATE STUDIO WORK
PAGE 37
PAGE 38
UNDERGRADUATE STUDIO WORK
Neda Soltani - “Divine Intervention: Augmentation of St Peters Church”, Nina Kaiser - “A Sensorially Challenging Therapy Centre”, James Ralston - “28 Days To Flutter”, Meera Lad - “City Choreography: A Social Dance Event Centre”, Meera Lad - “City Choreography: A Social Dance Event Centre”, James Ralston - “28 Days To Flutter”, Neda Soltani - “Divine Intervention: Augmentation of St Peters Church”
Above: Meera Lad - “City Choreography: A Social Dance Event Centre” Top: Chloe Simons - “The Garden of Shadows”
UNDERGRADUATE STUDIO WORK
PAGE 39
STUDIO 07: NIKKI LINSELL
& NICHOLAS EMBLEM
DEATH IN LEWES
It could be argued as peculiar that in our built environment, little is focused on the least fleeting of occasions, that of our eventual demise. Surely if architecture is to have value, it is here - the point where humans, space and earth re-connect? But, like all things, the way we see and manage death has changed, and our architecture has arguably been slow to adapt with it. How do we bring death back into the architectural landscape, and is there something to be learnt from the funerary architecture of the past? How can architecture better support the dying process? Do we need to reconsider the building’s programmes to include not just the dying but the living as well? How do we design for new ways of burial within the restraints of a scarcely resourced planet, both environmentally and economically? How does architecture reconnect us with our own mortality, help us celebrate life, but without necessarily having to to have a basis in faith? With an ageing population, pressured palliative and care-home provision, a history steeped in war and mass burials, Lewes Cemetery running out of grave places, concerns about Lewes prison having too many suicides and deaths within its walls, the local district hospital running out of morgue space, its mortuary offering biodegradable coffins and woodland burials, and even its own Death Cafe, the landscape in the town of Lewes, its human, physical and political geographies, has arguably got death at its core – and its future.
PAGE 40
And so, the brief for Studio 07 was to design and propose an Architecture of/and Death building programme (be it a new death typology or an altered, updated one), relevant to the context of Lewes... and then design a building in response to this hypothesised programme. 3rd year students
Tony Albert Graham, Jacky Kwok-Ho Sung, Andreea Schiteanu, Jennifer Cheung, Anesa Cana, Kim Kiteculo, Karolina Joanna Dzielak, Michael Robinson, Aliya Yerkaliyeva 2ND YEAR STUDENTS
Luca Cerqueira, Eleonore Champenois, Wojciech Chorzepa, Osarmieme Isokpan, Tania Rosa, Kevin Tipchu, Natalie Tyaba
Opposite: Michael Robinson “The Human Compost Serotonin Factory”
UNDERGRADUATE STUDIO WORK
UNDERGRADUATE STUDIO WORK
PAGE 41
PAGE 42
UNDERGRADUATE STUDIO WORK
Left: Michael Robinson - “The Human Compost Serotonin Factory” Opposite: Tony Graham - “A Digital Necropolis”
Left: Michael Robinson - “The Human Compost Serotonin Factory” Far left: Karolina Joanna Dzielak - “Urban Abattoir” Far right: Andreea Schiteanu - “A Dignified End”
UNDERGRADUATE STUDIO WORK
PAGE 43
PAGE 44
UNDERGRADUATE STUDIO WORK
This spread, clockwise from top left: Michael Robinson - “The Human Compost Serotonin Factory”, Wojciech Chorzepa - “Chalk Cliff Memorial”, Wojciech Chorzepa - “Chalk Cliff Memorial”, Andreea Schiteanu - “A Dignified End”, Michael Robinson - “The Human Compost Serotonin Factory”, Andreea Schiteanu - “A Dignified End”, Michael Robinson - “The Human Compost Serotonin Factory”
UNDERGRADUATE STUDIO WORK
PAGE 45
STUDIO 09: STEFAN LENGEN &
TIM CULVERHOUSE
SYMBIOTIC RELATIONSHIP
We continue to evolve our explorations of theatrical architectures that might be interactive, adaptable and/ or kinetic in the widest sense. We embrace the iterative design process and continue to hone our fascination in the fabrication of delicate models and elaborate hybrid drawings. Our studio is interested in architectures that are affected by place, narrative or speculation and a generated programme. The main focus for the student work this year will be designing a symbiotic relationship, a dialogue between two entities.
Students will invent new building typologies and explore how such propositions may relate to the urban diversity of Islington as a way to empower all cultures within your site. This may generate a building for diversity, a ‘machine’ that can promote an infinite number of possibilities.
Studio 9 is based in Highbury & Islington. The site is a prescribed route between Upper Street and Essex Road with a number of interesting cultural pockets containing small but busy music, art, and fashion communities that have transformed the area from its earlier social deprivation. Students will record, catalogue and map what they find, and develop architectural responses.
2ND YEAR STUDENTS
3RD YEAR STUDENTS
Ben Mullan, Charles Chung Chiu, Kavika Chun-Yin Lau, Kaiyan Chan, Melina Veropoulou, Nurul Idris, Samson Tsz Mui, Trixie Bedwei-Majdoub, Sadek Ahmed
Andreia Gomes, Alexander Rumary, Blen Abebe, Burhanuddin Yusuf Putra, Conley Chun Ma, Haleimah Darwish, Maghfira Tabrani, Ngo Lee, Tin Tsoi, Toby Onwudinjo, Zoe Dong Ko
How can we tease out a symbiotic relationship? Craft is at the heart of the spatial inquiry. Cultures and communities may be defined by a specific behaviour or obsession. A symbiotic relationship can be private or civic, environmental or political, personal or fictional. Invent ‘a new building typology’ for Islington. The investigations may be informed by a series of parallel studies: one that asks questions about an existing urban condition, another into the opening up of a new programme.
PAGE 46
UNDERGRADUATE STUDIO WORK
Studio 09 - “Degree Show”
UNDERGRADUATE STUDIO WORK
PAGE 47
PAGE 48
UNDERGRADUATE STUDIO WORK
This spread, clockwise from top left: Chung Chiu Charles - “Onion Farm”, Idris Nurul - “A Salt Miner And His Water Purification Mound”, Zoe Dong Ko - “Coffee Aroma Mapping”, Tin Tsoi - “A Puppetry Theatre”, Melina Veropoulou - “Mobil Device 1”, Burhanuddin Yusuf Putra - “A Carpenter Workshop”
UNDERGRADUATE STUDIO WORK
PAGE 49
This spread, clockwise from top left: Toby Onwudinjo - “Four Performance Platforms”, Kavika Chun-Yin Lau - “A Tannery Workshop”, Charles Chung Chiu - “Onion Farm”, Alexander Rumary - “Anamorphic Views”, Nurul Idris - “A Salt Miner And His Water Purification Mound”
PAGE 50
UNDERGRADUATE STUDIO WORK
UNDERGRADUATE STUDIO WORK
PAGE 51
STUDIO 12: LUIS DIAZ & SEAN ALBUQUERQUE
THE QUIET REVOLUTION: RECONSIDERING SUBURBAN SPACES
Housing has become (once again) one of the most critical political issues of our time. The economic viability of an entire generation is at stake over the unaffordability of homes, the lack of reasonably priced rental homes and the shortfall in overall housing construction.
3RD YEAR STUDENTS
Jack Aldus, Reuben Harris, Lois Innes, Poppy Keenor, Eve McKenzie-Scotson, Alfie Peacock, Eron Sahota, Angus Taylor, James Tyrell, Nicholas Woodward 2ND YEAR STUDENTS
The premise of Studio 12 is based on the contribution that design can offer through denser yet more spacious and adaptable homes. Working with the Brighton and Hove Community Land Trust we explored housing on a greenfield site in Coldean. The aim was to challenge suburban typologies to establish a stronger connection with the natural terrain.
Tomi Akinyemi, Rebecca Day, Harry Hayes, Andreea Lungu, Jonathan Martin-Thomas, Ellen McCullough, Elena Mourantidi, Richwell Munetsi, Evgenia Papaiakovou, Irvine Toroitich
Term 1 began with the design of an architectural fragment for a domestic routine. In Terms 2 and 3 ideas were developed for various housing types, with each student determining the user group and housing mix. The emphasis at both the site and unit scale was on the way spatial territories are developed as active spaces for sharing, communicating and play. Students were influenced by visits to suburban housing schemes in Amsterdam and London and a strong engagement with British precedents built during the 1960s and 1970s. The intention was to reinvigorate and retest viable housing types in order to build on the tradition of British housing experiments, arguably one of the richest in Europe.
PAGE 52
Opposite: Angus Taylor - “Middle Grounds - perspective�
UNDERGRADUATE STUDIO WORK
UNDERGRADUATE STUDIO WORK
PAGE 53
This spread, clockwise from above: Angus Taylor - “Middle Grounds - section”, Alfie Peacock - “Connective Landscapes - plan”, Nicholas Woodward - “Suburban Obliques -perspective”, Angus Taylor - “Coldean Housing”
PAGE 54
UNDERGRADUATE STUDIO WORK
UNDERGRADUATE STUDIO WORK
PAGE 55
Top, both: Harry Hayes - “Year 2 Project” Above: Reuben Harris - “Vertical Suburbia - model”
PAGE 56
UNDERGRADUATE STUDIO WORK
Top, both: Angus Taylor - “Middle Grounds - model” Above: Jonathan Martin-Thomas “Year 2 Project” Left: Nicholas Woodward “Suburban Obliques - model”
UNDERGRADUATE STUDIO WORK
PAGE 57
STUDIO 14: STEPHEN RYAN
& JACK WATES
NEW LIGHT: WORLDS APART TOGETHER
Studio 14 aspires to develop relevant thought provoking approaches to architecture. We adopt nonlinear, initially nomadic, abstract image based methods of investigation, focused on encounter and experience. This year our principal theme of investigation was the architectural potential of light.
2ND YEAR STUDENTS
Madina Aizhanova, Siti Azni, Petros Christou, HungChen Chu, Joel Erabu, Kristina Goncharov, Tri Ha, Charlotte Honnorat, Leo Kopferschmitt, Narandulam Munkhjargal, Noelle Oyunga, Mariam Samy, Oguzhan Sarikaya, Shannan Syan, Dilem Uzunoglu, Matthew West
We began, in the first term, with the making of speculative image time event based work, for found sites in Brighton. We explored the possibilities of consensus and collaboration. Could architecture be inclusive, or open to participation, both its use and making? This thinking we transferred to London’s Spitalfileds, where in the second and third terms, we considered a specific site in Brushfield Street, and our notional client’s requirements - for the design of two houses, a semi public education facility, and shared semi public garden. We observed the vibrant yet fragile conditions, of the different and everyday urban life, under erosion from corporate formulaic market forces, and asked if there was a role for resistance, or retaliation? In what way might an architectural spatial fabric work authentically, to counter, conceal, or mediate? Could architecture inform, educate, enlighten and empower, yet with common relevance?
PAGE 58
UNDERGRADUATE STUDIO WORK
Narandulam Munkhjargal “Thinking Light / Thinking City”
UNDERGRADUATE STUDIO WORK
PAGE 59
Top: Charlotte Honnorat “Thinking Light / Thinking City” Above: Narandulam Munkhjargal “Moving Light /Moving Shadow” Left: Madina Aizhanova - “Thinking Light / Thinking City”
PAGE 60
UNDERGRADUATE STUDIO WORK
Top: Charlotte Honnorat “Thinking Light / Thinking City” Above: Narandulam Munkhjargal “Moving Light /Moving Shadow”
UNDERGRADUATE STUDIO WORK
PAGE 61
PAGE 62
UNDERGRADUATE STUDIO WORK
This page, clockwise from top left: Narandulam Munkhjargal -”Thinking Light / Thinking City”, Narandulam Munkhjargal -”Thinking Light / Thinking City”, Narandulam Munkhjargal -”Thinking Light / Thinking City”, Matthew West -”Thinking Light / Thinking City”, Narandulam Munkhjargal -”Thinking Light / Thinking City”, Narandulam Munkhjargal -”Thinking Light / Thinking City” Opposite, top: Tri Ha -”Worlds Apart Together” Opposite, bottom: Hung-Chen Chu -”Worlds Apart Together”
UNDERGRADUATE STUDIO WORK
PAGE 63
STUDIO 15: PHILLIP HALL-PATCH
& IAN MCKAY
UNPLUGGED
We are living on the edge – where society’s dependence on fossil fuels and the exploitation of natural resources is leading us to a tipping point of potentially disastrous consequences. And yet, to step outside the confines of our culture of consumption – to make more than a facile and futile nod to notions of ‘sustainability’ - is an intensely political act.
bring real world concerns for flexible work and making spaces in proximity to family and home. 3RD YEAR STUDENTS
Kai Alexander, Rory Hay, Devin Maisuria, Ming Mak, Louise Morley, Ben Munday, Alex Parry, David Waldren 2ND YEAR STUDENTS
‘Unplugged’ looks to come face to face with these forces - social, economic and political, and especially in relation to the material - to imagine new forms and typologies of living and working.
Matthew Bradshaw, Lisa Gronevik, Matthew Pickett, Charles Pinhiero, Hannah Pinsent, Ananya Sharma, Shen Zheyu, Manho Yeung, Jianfei Yin, Chi Yuen
Starting with the physical edge, where ground is literally giving way beneath our feet, our first term project with a live client was for a new visitor centre for the National Trust. This is to replace an existing facility that is being abandoned to an eroding cliff face and encroaching sea - a heightened condition of environmental impact and climate change. Our proposals dance with this edge or respond otherwise poetically to notions of ephemerality and decay. Semester 2 brings us to the political hotbed of the Phoenix North Street Quarter in Lewes, challenging an existing developer-led scheme for commuter belt housing with speculations for new typologies of urban clusters for living and working. Two live clients, Ian Budden of Elucidat (a rapidly growing e-learning company) and William Hardie of William Hardie Studio (the famous company that takes on unusual build projects in TV’s George Clarke’s Amazing Spaces)
PAGE 64
Opposite: Ming Mak - “Edge Condition. Section”
UNDERGRADUATE STUDIO WORK
UNDERGRADUATE STUDIO WORK
PAGE 65
This spread, clockwise from top: Alex Parry - “Places to Live - Places to Work. Render”, Devin Maisuria - “Places to Live - Places to Work. Render”, David Waldren - “Edge Condition. Render”, Ming Mak “Places to Live - Places to Work. Model”, Louise Morley - “Places to Live - Places to Work. Model”
PAGE 66
UNDERGRADUATE STUDIO WORK
UNDERGRADUATE STUDIO WORK
PAGE 67
Above left: Ming Mak - “Edge Condition”
Top: Devin Maisuria - “Places to Live - Places to Work. Section”
Above right: Louise Morley - “Edge Condition”
PAGE 68
UNDERGRADUATE STUDIO WORK
Top: Louise Morley - “Edge Condition. Sketchbook” Above: Hanna Pinsent - “Portfolio Pages”
UNDERGRADUATE STUDIO WORK
PAGE 69
STUDIO 55: PEDRO GIL
& CHRISTO MEYER
CARNAVAL VISIONS
Studio 55 explores a design development primarily through the making/crafting of physical models that lead into the crafting of drawings and spaces. In this studio the act of making sophisticated models and drawings is the premise and method that we use to test ideas, explore solutions, and communicate our designs. We are interested in the tactilities of architecture, tectonics, and physicalities of buildings and space.
their inspirational, logistical, spatial, and aesthetic requirements. Students in Studio 55 designed visions for the Carnaval del Pueblo to be sited in Burgess Park, as a live project, designed and built temporary 1:1 installations that will be exhibited in East Street Market, London, and form part of this year’s prestigious London Festival of Architecture events programme. 3rd YEAR STUDENTS
Students in Studio 55 are encouraged to engage in the physical act of model-making as a primary design tool. We see the model as not just a ‘final presentation’ device, but rather as a highly coveted way of working and thinking that can lead to complex propositions and architectures. The Elephant and Castle area in London has historically enjoyed its status as one of the main hubs for the Latin American community in London. In 2014 Studio 55 undertook research on the Latin American community in Elephant and Castle. This year Studio 55 went back to the Elephant and Castle area, Southwark, to once again understand and design for this community.
Beth Rodway, Vanessa Paldano, Myrsini Kocheila, James Goreing, Zhemin Wu, Selamawit Mengistu, Habibe Bakici 2ND YEAR STUDENTS
Dilara Murzagaliyeva, Flynn Shen Fong, Sheana Taylor, Zirui Wang, Josh Dobson, Rafaela Aristodimou, Mohamud Yusuf, Rachel Thien, Neguine Boumedine, Hsuan Teoh, Luke Squires, Eizabeth Terry, Alisha Gould, Evgeny Kandinsky
We engaged students with a real client – the Carnaval del Pueblo Association, organisers of the largest Latin American carnival in Europe, which attracts in excess of 100,000 people. The Carnaval del Pueblo (People’s Carnival), is scheduled to take place in Burgess Park, Southwark, August 2017. Studio 55 worked in close collaboration with the Carnaval del Pueblo Association in order to understand
PAGE 70
Opposite: James Goreing “Carnival Institute”
UNDERGRADUATE STUDIO WORK
UNDERGRADUATE STUDIO WORK
PAGE 71
Top: “Beth Rodway - “Sustainable Carnival” Right: James Goreing - “Cockail Maker” Opposite: James Goreing - “Carnival Institute”
PAGE 72
UNDERGRADUATE STUDIO WORK
UNDERGRADUATE STUDIO WORK
PAGE 73
Top: Josh Dobson - “Carnaval Village” Mid: Eugene Kandinsky - “Burgess Park Library” Bottom: Josh Dobson - “Carnaval Village”
PAGE 74
UNDERGRADUATE STUDIO WORK
Top: Eugene Kandinsky - “Burgess Park Library” Mid: Josh Dobson - “Alernative Market Stall” Bottom: Eugene Kandinsky - “Burgess Park Library”
UNDERGRADUATE STUDIO WORK
PAGE 75
TEXT: DUNCAN BAKER-BROWN
ARCHITECTURAL TECHNOLOGY
TUTORS:
Duncan Baker-Brown, Ryan Southall, Kirtsy Sutherland, Keir Black, Ian Bailey, Tony Roberts, James Rae
Within the BA Architecture course at Brighton the technology units have been linked closely with studio teaching. The programme is designed to bring decisions around environment and sustainability into the early stages of the design process. This 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 includes a structural engineer, two practicing architects focusing on sustainable design, and an environmental scientist. All members of the team helped to deliver a comprehensive lecture, and for the first time this year, a popular seminar series that was tailored specifically for second year students in the Autumn Term. Students attend all lectures, but had to choose two (from eight) seminars to attend. They were asked to think strategically so that some members from each studio would attend every seminar. This encouraged students to learn from each other and to assemble a collective knowledge database. All students were required to prepare studies before attending seminars. Lectures introduced into the already established programme covered topics considering sustainable development strategies, including issues as diverse as PassivHaus design standards, Permaculture, issues of building physics, material meanings and whole-life material processes such as methods of re-using material formerly considered as waste. This year we have continued the emphasis of the second year technology project to focus on building performance. The project was divided into two sequential parts. The first a building performance precedent study delivered as a studio group. The second a technological design “improvement� to the original building study developed by students working individually or in pairs.
Opposite: Kathryn Rackett
PAGE 76
UNDERGRADUATE STUDIES
UNDERGRADUATE STUDIES
PAGE 77
PAGE 78
UNDERGRADUATE STUDIES
At the beginning of the Autumn, the technology team asked studio tutors to pick a building precedent that pertained to the issues occupying the thoughts of their studio. We had a wide range of precedents to work with such as Holden’s Senate House and Lasdun’s National Theatre, Glyndebourne Opera House, and the Sackler Gallery at the Serpentine and Goldfinger’s Willow Road. Students were asked to work in studio teams to prepare a critique of the building that considered a wide range of issues from the ideas informing the original architectural design, issues (if any) of sustainable design, the structural strategies and material considerations. With the support of the Tech Team students were also asked to consider other aspects of environmental performance. Issues such as thermal performance, acoustic performance, ventilation and lighting: both natural & artificial. We believe this work has been hugely beneficial to students raising their overall awareness of the complexities involved in successfully designing, delivering and occupying a building.
Opposite: -“Myrto Gatou”
Third year students are tutored on a more one to one basis as the technology team act more as technology consultants, assisting with developing the design strategies and detailed ‘production information’ of students final design projects. The third year technology project is divided into two distinct sections to reflect this process. The first part encourages students to think strategically, and specifically to develop techniques that clearly describe their strategies relating to sustainable design, structural design, construction and materials. By getting the strategies clear first of all we believe that the ideas informing the second part of the programme, i.e. a detailed section through their thesis design we describe as ‘production information’, is better understood.
UNDERGRADUATE STUDIES
PAGE 79
TEXT: TILO AMHOFF
ARCHITECTURAL HUMANITIES
TUTORS:
Tilo Amhoff, Konstantinos Chalaris, Luis Diaz, Karin Jaschke, Catalina Mejia Moreno, Tony Roberts, Ben Sweeting, Alex Zambelli
The architectural humanities position themselves in relation to architectural theory and architectural practice, between the discipline and the profession, and further between architecture and building. They relate the professional knowledge of building and the academic knowledge of architecture, with the understanding of global human culture. The architectural humanities are critical, speculative, and experimental, in addition to their strong historical and theoretical foundations. At the University of Brighton they are enriched by creative practices, design research, and explorations in the forms of writing and media of representation. Hence, our students’ work often consists of a compelling textual as well as visual argument and narrative. However, we not only introduce our students to the history and theory of the discipline and the profession, but also a wider set of humanities methodologies that allow them to engage with and make sense of the world around them as well as their position and role within it. This also positions our humanities teaching within the frameworks set by the Architectural Humanities Research Association (AHRA), raising awareness of the social, cultural, economic and political value of research in architectural history, theory, culture, design and urbanism. It allowed us to better respond to the widening concerns of our students, and to situate their education in the increasingly complex conditions of contemporary architectural design and practice. If the first year is all about texts, the second year is all about buildings. Both assignments have an individual component, a separate essay, and a group component, the editing of a journal. We strongly believe that collaboration enables our students not only to help each other, but also to learn from each other. Hence we aim to create situations in which discussions about architecture occur, without the lecturers present, but also where architecture as collaborative work is practiced. In contrast, the third year students work on their own individual research projects, whose topic, questions and method they set themselves. The dissertation, of which you can see a few good examples in the following pages, is the means to develop their subjectivity.
PAGE 80
UNDERGRADUATE STUDIES
IMMUTABLE: HOUSED BY THE COMMUNISTS
THE ECOLOGY OF DESIGN
REUBEN L. V. HARRIS (CATALINA MEJIA MORENO)
RICHARD FAIRLEY (BEN SWEETING)
The research project investigates the question of property and ownership, of the state and of the occupier, and the seemingly immutability of the architecture of public housing of Cuba. It sees these projects as the materialisation of distinct politics and of social realism, and analyses the ideologies that define the housing policy and their implementation. The unstable relationship that state controlled housing policy shares with the societal desire of ownership is further discussed, and it’s argued that the immutable materiality of the housing projects is an actualisation of the stagnant affairs in Cuba.
The essay connects ideas surrounding cybernetics, ontological design and the technium, and explores their notions of systems thinking, interdependency, and the importance of acknowledging circularity as a fundamental quality in which the world adheres to. Architectural examples are evidenced to understand where this circularity can be observed. They are used to explain obscurities apparent within our educational system, and our understanding of the world. These discussions are then related back to architecture’s symbiotic relationship with technology, and thus with ourselves.
UNDERGRADUATE STUDIES
PAGE 81
SOCIAL CONSTRUCTS OF SOCIAL HOUSING
MEMORIES OF A HOLOCAUST SURVIVOR
ALFIE PEACOCK (LUIS DIAZ)
TONY GRAHAM (CATALINA MEJIA MORENO)
This essay discusses the influence of memory and will begin to analyse the point where memory becomes lost in history. Memory presently has a vital role within the built environment through a huge influx in cenotaphs, monuments and museums. However, this essay argues that the true aspect of what memory embodies is lost and that these are more historic representations of the past. It reflects on psychoanalytic theory and critical writings around the perceptions of memory, and crossexamines these with a more personal dialogue between my grandfather’s memories and mine.
This essay discusses the influence of memory and will begin to analyse the point where memory becomes lost in history. Memory presently has a vital role within the built environment through a huge influx in cenotaphs, monuments and museums. However, this essay argues that the true aspect of what memory embodies is lost and that these are more historic representations of the past. It reflects on psychoanalytic theory and critical writings around the perceptions of memory, and crossexamines these with a more personal dialogue between my grandfather’s memories and mine.
PAGE 82
UNDERGRADUATE STUDIES
BUCOLIC DELUSIONS
GEOFFREY BAWA AND THE PICTURESQUE
NICHOLAS WOODWARD (KARIN JASCHKE)
ANGUS TAYLOR (TILO AMHOFF)
The migration from rural to urban areas has changed English cities. The same is true of rural England, a phenomenon not instantly recognisable in conservation villages. They too have experienced rapid social, economic and cultural changes in the last years whilst maintaining a picturesque aesthetic. This investigation looks past the bucolic façade to discover the actual workings of the modern day village, to untangle the apparent disparities between the socio-economic realities of rural England.
This enquiry into the work of the Sri Lankan architect Geoffrey Bawa aims to understand where to situate his architecture and landscapes in theoretical terms. Despite his substantial influence in Asian architecture, Bawa is still rarely cited in theoretical debate and is subject of only few major theoretical papers. This essay hence develops an in-depth and critical understanding of Bawa’s theoretical disposition to enhance his relevance in contemporary architectural discourse. Bawa’s own country estate at Lunuganga and residence at 33rd Lane in Colombo serve
UNDERGRADUATE STUDIES
PAGE 83
TEXT: DUNCAN BAKER-BROWN
PRACTICES
TUTORS:
Duncan Baker-Brown, Graham Perring, James Rae
Practices is devoted to teaching the fundamentals of becoming a professional architect in practice. The module seeks to integrate issues surrounding professional architectural practice by using the student’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 latest prescription, at present the RIBA Plan of Work 2013, for navigating this route from start to finish. Students attend a series of lectures considering what it is to be a professional architect in the UK in the 21st Century as well as a reflection on the origins of the profession that is architecture. Lectures are supplemented by seminars and all-day 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 and Quantity Surveyors, as well as 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. Students are also asked to prepare a programme of work, a Design and Access Statement, as well as drawn overlays discussing Building Regulations issues. We also ask students to prepare Risk Registers, to consider which procurement route is suitable for their project, to prepare a rough construction budget and finally write a short essay reflecting on on their 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 of issues that present themselves to an individual practising architecture, as well as a greater conception of their own practice as an architect and designer.
PAGE 84
UNDERGRADUATE STUDIES
UNDERGRADUATE STUDIES
PAGE 85
PAGE 86
UNDERGRADUATE STUDIES
TEXT: STEPHEN RYAN
OPTION MODULES
Option Studies are a well-established College-wide programme that allows second year undergraduate students to discover new subject areas, beyond their own discipline. Students choose from a variety of module offers, in fine arts, design, performance, media, arts education, languages and many other areas. By nature, these modules have an interdisciplinary character, bringing ideas and skills of students and lecturers from different parts of the College together. As in previous years, Architecture and Interior Architecture participated actively in the programme, offering six option modules all of which explored topics relating to the module tutors’ special expertise. Students produced a range of exceptional work and demonstrated that cross-disciplinary study can be an exciting way to develop new perspectives, insights and, not least, friendships.
UNDERGRADUATE STUDIES
PAGE 87
ARCHITECTURES OF PLAY
REIMAGINING THE HOUSE
KARIN JASCHKE
STEPHEN RYAN
Play ‘transcends the immediate needs of life’, according to J. Huizinga; it has a time and place of its own, away from the everyday. In this module, we engaged with surreal, eccentric, and playful architectures that subvert expectations, speak to our dreams, and call for different ways of being and acting. We looked at these architectures through theories of play, discussed ideas around spatial imagination, symbolism and desire, kitsch and consumption, and examined the means and motives behind playful architectures, whether pedagogic or artistic, therapeutic, political or experimental, or indeed commercial.
The house is a powerful universal idea; yet understanding is limited by normalising conditions and conventions. ‘Reimagining the House’ is an Option module that sets out to examine ways of understanding and experiencing the house. It aims to look beyond its architectural parameters to analyse the house as a place of situated experience, open to creative interpretation.
Students then embarked on their own project, exploring a particular architecture of play and producing a travel guide, curatorial concept or game for the space in question, often drawing on their specific disciplinary skills while developing new ideas and ways to engage with architectural spaces.
PAGE 88
Discussion focuses on transformation of the house from traditional dwelling to modern home; explained and reimagined through writing, painting, film or other forms of media. Students propose, organise and undertake investigation projects aimed at uncovering new understandings based upon direct experience, and contextualised reflection.
UNDERGRADUATE STUDIES
EXCURSIONS IN IMMENSITY: THE SHAPE OF A WALK
EDIBLE CAMPUS
STEPHEN RYAN
ANDRE VILJOEN & KATRIN BOHN
Walking is about time, space, and consciousness of the world, as much as it is about the everyday encounter with our surroundings. Arguably, walking is an autonomous form of art that may be understood both in terms of theory and practice. ‘Excursions in Immensity: The Shape of a Walk’ is an Option module that explores walking as a form of creative practice.
This year, the Edible Campus once again provided (a) space for students to gain hands-on experience growing edibles – herbs, fruit and vegetables – alongside developing an individual project researching more sustainable food systems. We continued previous years’ building work on the Edible Campus Rooftop Garden at Grand Parade to expand the growing areas and ran a joint workshop with students and staff from the University of Kassel’s Sustainable Food Systems course. Special highlights included a talk by filmmaker and campaigner Ella Von Der Haide and a public screening of her documentary ‘Another World is Plantable!’.
The Option examines the potential of walking as promenade, pilgrimage, protest, poetic meditation, or psychogeography; getting lost, getting away, or getting things done. Students propose, shape and undertake investigation projects in which they observe, record, interpret and reflect on aspects of walked experience; with photography, film, drawing, painting, writing, or any combination of these techniques used to construct understandings, or reveal new interpretations.
UNDERGRADUATE STUDIES
PAGE 89
STUDIO LABORATORY 01:
KONSTANTINOS CHALARIS & PROF. ANDRE VILJOEN
TALKS & 2015-16 LECTURES TALKS & LECTURES
THING THINGABOUT ABOUT THINGS THINGS The old English Thedefinition old English of a definition thing (thynge) of aisthing more expansive (thynge) is than more merely expansive a material than object. merely Amongst a others it explains it asmaterial ‘a narrative object. not fully Amongst known’others and ‘the it explains unknowability it as ‘aofnarrative larger chains not of fully events’ known’ leaving andthe possibility of something‘the new unknowability to be discovered of larger or established. chains of events’ leaving the possibility of something new to be discovered or established. This year’s lecture series invited to Brighton architects and designers who are working across a variety of disciplines. They This year’s were asked lecturetoseries discuss invited theirto work Brighton in thearchitects context ofand what designers they make whobeing are working not only a complete piece, but also across a voyage a variety into the of disciplines. unidentified They andwere undetermined asked to discuss – and their whenwork a thing in the is acontext thing. of what they make being not only a complete piece, but also a voyage into the unidentified Di Mainstone, UK
Musical Bridges
19 November 2015
Andrew Cross, UK
AN Architecture and Unexpected Aesthetics
8 December 2015
Magma Architecture, Germany
The Five Point Palm Exploding Box Technique
29 February 2016
Pedro Matos Gameiro, Portugal
In Progress
22 April 2016
Ella Von Der Haide, Germany
Another World Is Plantable!
10 May 2016
THING BIAAS ABOUT PRESENTS THINGS BIAAS continue The old their English annualdefinition evening lecture of a thing series(thynge) inviting is a wide more and expansive varied range than merely of practitioners, a both established and material emerging, object.to Amongst come andothers describe, it explains or perform, it astheir ‘a narrative work to not the fully student known’ society. andThis year they also included‘the a more unknowability focused setofoflarger talks chains concerning of events’ Women leaving in Architecture, the possibility responding of something to the newcurrent global discussion around to be discovered this topic.or established. 7 January 2016 The Work of Architects and designers who are working Ian McChesney This year’s lecture series invited toMcChesney Brighton architects Ed Jarvis
14 January 2016 Camden Council & Urban Procurement across a variety of disciplines. They were askedDesign to discuss their work in the context of
1 February 2016 Bikes & Drums Dave Osbourne what they make being not only a complete piece, but also a voyage into the unidentified Nick Hayhurst
The Work of Hayhurst & Co
11 February 2016
Professor Matthew Cornford
The Art Practice of Cornford & Cross
12 April 2016
Mark Kermode
The Auteur: Film Director & Architect
16 May 2016
PAGE 90
TALKS & LECTURES
WOMEN IN ARCHITECTURE Laura Smith of Make Do & Draw
7 December 2015
Alicjia Borkowska of you&me architecture
28 January 2016
Sophie Goldhill of Liddicoat & Goldhill
4 February 2016
Katy Beinart of the University of Brighton
22 February 2016
Alison Brookes of Alison Brookes Architects
3 March 2016
Julia Dwyer of University of Westminster - Followed by an
13 March 2016
open discussion between Julia Dwyer, Kate Cheyne, Sue Robertson and Libby Blundell
CRITICAL URBAN ECOLOGIES SYMPOSIUM The CUE Critical Urban Ecology events explore the city from an ecological perspective, as an environment that is socially constructed but at the same time arises from ecological and material processes that incorporate and exceed the social and the human. By bringing together theorists and practitioners from architecture and other disciplines, CUE aims to connect theoretical and actual territories, ideas and matter, objects and subjects. Previous events have examined conceptual, interdisciplinary, territorial and spatial dimensions of urban ecologies; this year’s event will consider new ways of understanding rural and urban spaces and processes and question their relationship and geographical and conceptual definitions.
Karin Jaschke
Rethinking the Rural and the Urban
All 22 February
Sandra Jasper
Laborinsel: West Berlin as an Experimental City
2016
Nick Woodward
Bucolic Delusions: Spatial Identity in a Conservation Village
Kate Cheyne & Graham Perring
From Village Workshop to Village Factory: The Need to Develop Progressive Rural Manufacture, Materials, Crafts and Construction
Nick Gant
Community21: Envisioning the Future Village
David Knight
Building Rights: Possibilities and Precedents for Rebalancing the Politics of Development
TALKS & LECTURES
PAGE 91
STAFF SPRING LECTURE SERIES From January onwards the architecture and interiors staff gave a series of talks over lunch to expose to the students the diverse expertise of the tutors that teach them. The work shown ranged from architectural theory to architectural projects, design research to art and design practice. This lecture series encouraged students to talk with tutors from other courses whose work was of interest to them, and broaden their understanding of the architectural discipline. It also allowed tutors to see more of each other’s work and find common areas of interest that may lead to future research or practice collaborations. A happy example of this was that the oldest member of staff and newest member of staff jointly exhibited their drawings. This lunchtime lecture series has now become a regular feature that all staff and students will stop work for.
How I didn’t mean to become an architect, became one,
Michael Howe
1 February 2016
got ill and came here Tarek Merlin
Feix&Merlin: Bravery, aptitude, light-heartedness, love &
8 February 2016
Prof. Andre Viljoen
skills
9 February 2016
Prototyping productive landscapes: cultivating a second Alex Chalmers
nature within the city
15 February 2016
Terry Meade
Try again. Fail again. Fail better
16 February 2016
Stefan Lengen
Uncertain ground: Building conflict in a conflict zone
18 February 2016
Luis Diaz & Dr. Ryan Southall
Making architecture
25 February 2016
Le Corbusier’s Cite de Refuge: historical & technological 29 February 2016
performance of the air exact
Phillip Hall-Patch
The indefinite pleasures of salt: Material explorations, or: 1 March 2016
How far can you take a good idea?
Tony Roberts
A tactic without strategy. Neither pure nor perfect (nor Sophie Yetton
necessarily pretty?)
3 March 2016
Kate Cheyne
Playing the field
7 March 2016
Anuschka Kutz
Deep Mappings. Cultural Landscapes
10 March 2016
The street, the cook, his mother and her dog. Endeavours Ben Sweeting
into spatial ethnography
14 March 2016
John Andrews
Fun Palace as non-trivial machine
15 March 2016
Glenn Longden-Thurgood
Lines of travel. Meditations on thinking through drawing
11 April 2016
Samer Bagaeen
We built that
12 April 2016
Gemma Barton
Urban problems. Urban solutions. Urban problems
14 April 2016
Grant Shepherd
What I do when I’m not here
18 April 2016
Alex Zambelli
Alter & company
19 April 2016
Pedro Gill & Christo Meyer
Practice as theory or: How I learned to stop worrying and love
21 April 2016
Yota Adilenidou
CDM
25 April 2016
Karin Jaschke
Craft-works
26 April 2016
Error as optimization Libby Blundell
“Just a huge amount of work”: Earth-casting in Arizona and
5 May 2016
Sarah Stevens
other dreams
6 May 2016
Humane & inhumane architecture and preservation Anatomy of a studio
PAGE 92
TALKS & LECTURES
TALKS & LECTURES
PAGE 93
STUDY TRIPS
PAGE 94
TALKS & LECTURES
TALKS & LECTURES
PAGE 95
PAGE 96
STUDY TRIPS
STUDY TRIPS
PAGE 97
BIAAS
“Architecture is a profession that can shape and change people’s lives, and should be undertaken with the fire, tenacity and playfulness that it rightly deserves We’ve had a brilliant year and feel honoured to be a part of the society - we look forward to seeing where it is taken in the future. In response to the referendum result on July 24th we will be making a contribution to Médecins Sans Frontières, to help them continue their work in Syria and the Middle East - our profession is one of unity and progression, so we must continue to open doors, not close them.” Reuben Harris, Chair of BIAAS 2015-16
Students regularly tell us that the unique thing about studying here is the strong sense of community and belonging they feel in the studios. Nowhere can this be felt more than in our increasingly vibrant student society Brighton Interior Architecture and Architecture Society (BIAAS). Here architecture, interior architecture and urban studies courses come together to fund raise, intellectually debate and of course have a good time away from the drawing board. BIAAS adds to the culture of the school by engaging all students across different design disciplines, from all years and all backgrounds and is genuinely student led. Its vibrancy and relevance to campus culture were recently recongised when it won the Student Union Excellence Award for Academic Society of the Year. BIAAS’s remit engages not only students, but also staff and the wider architectural world.They do this by setting up events ranging across the cultural spectrum, from a prestigious lecture series to pub quizzes (with an architectural bent, this year students beat the staff ), termly club nights (with staff and students spinning the vinyl), and lots of cake sales (one student took on the persona of ‘The Cake Architect’ weekly making gorgeous cakes that were seasonally themed and supplied everyone with a lunchtime sugar rush) BIAAS’s role in cultivating the culture of Architecture in the School can be best seen in their lecture series ‘ BIAAS Presents’. This year the over-arching theme was ‘Women in Architecture’ coinciding with the debate in the press led by the Architectural Review with their global campaign and awards. The talks and discussions were led by female architects at all stages in their careers ranging from successful practitioners such as Alison Brookes to established academics such as Julia Dwyer who was a co-founder of Matrix Feminist Design Co-operative and emerging architects and academics such as Katy Beinart and Laura Smith. Alongside this other well known people were invited to Brighton including the film critic Mark Kermode. Mark gave a wonderful talk on the auteur – film director vs. architect including the discussion of The Fountainhead, directed by King Vidor with the controlling architect, Howard Roarke as the central protagonist. As a society they also strive to promote a culture of well being across the school. This year they built on the very successful symposium that BIAAS ran last summer for the Architecture Student Network (ASN) around the mental health of architecture students. The students worked with the ASN to put forward a manifesto with a list of recommendations to challenge the culture of all-nighters and to promote architectural studies being balanced with life and play. Back in Brighton, BIAAS would weekly turn our gallery space into a yoga studio for early morning de-stressing before the day commenced.
PAGE 98
BIAAS
BIAAS
PAGE 99
PAGE 100
AWARDS
STUDENT AWARDS 2015 RIBA Presidents Medals, Dissertation Prize Commendation to Irene Klokkari (University of Brighton): ‘Memories of Famagusta: Recapturing the image of the city through the memories of refugees’
Latham’s Innovation In Timber Award Prize Winner: Louise Morley in BA(Hons) Architecture
Make Award For Excellence In Architecture at Masters of Architecture Joint Prize Winners: Stuart Wickett and Madalena Figueiroa Commendation Certificate to Charlotte Mace
Morgan Carn Prize For Design Excellence In Architecture Prize Winner: Louise Morley in BA(Hons) Architecture
Nagoya University Of Art, Japan Honorable mention award to Katerina Demetriou in BA(Hons) Architecture
Perkins+Will, Master Of Architecture Thesis Prize Prize Winner: Dovydas Krasauskas Commendation Certificate: William Mondejar
RIBA (Sussex Branch) Prize: Prize Winner at BA(Hons Architecture level: Michael Robinson Prize winner at Masters of Architecture Level: Madalena Figueiroa
Seoul National University, Korea Prize winner: Michael Robinson in BA(Hons) Architecture
Waste House Prize Commendation to Beth Rodway in BA(Hons) Architecture
Women in Property Award Ellen McCullough winner of Sussex regional heat
The Brighton & Hove Bus and Coach Company Best Urban Planning Project Breakthrough Award Prize Winner: Myrto Gatou
The ZSTa Architecture BA (Hons) Breakthrough Award Prize Winner: Eugene Kandinsky
AWARDS
PAGE 101
MASTER OF ARCHITECTURE
PAGE 102
POSTGRADUATE WORK
INTRODUCTION
DR. SARAH STEVENS & KATE CHEYNE
Our 2 year Masters of Architecture offers a distinct researchled approach that filters through all aspects of the course, with a culture of rigorous enquiry fusing innovation, social commentary and regulation. This approach offers the student the opportunity to investigate their own personal architectural agenda, developing their own critical position and design language. At Masters level we look for the student to emerge from the course as an assured designer, confident in their approach, ideals and aspirations and with the ability to communicate this to the wider world. Over the two years they are challenged to define their own critical position, and evolve their own personal language of design and representation. The design laboratories are the backbone of the course. The other closely linked elements of the course – technology, architectural humanities and professional practice, increasingly intertwine with this over the two years to provide a final systematic understanding of architecture as a holistic entity. In particular, the Architectural Humanities dissertations are carefully evolved alongside the focus of each individual students’ design theses giving a theoretical centre to each project. The success of this module and the integrated thinking within design studio can be seen by Irene Klokkari’s commendation at the RIBA Presidents medals 2015 for the Dissertation Medal. The Masters first year technology module continues to combine digital and analogue forms of making, but this year, these built projects were produced in partnership with the De La Warr Pavilion. Working closely with the institute’s needs and the local environment, four micro-pavilions were created. An exhibition of the work was later held in the Pavilion throughout April and May, while students also led design workshops with local children. This partnership will continue over the next couple of years, concluding in a permanent structure for the De La Warr Pavilion.
with Konstantinos Charlaris’s architectural practice that specializes in brand awareness. The unexpected mix of interests led to a detailed analysis of ‘Brand Nation’ taking Iceland as their case study. Studio Laboratory 02 brought together Simon Beames and Kenny Fraser from architectural practice whose interests lie in the production of ideas, products and buildings. Basing the studio project in Cambridge the students developed architectures that responded to the needs of spin-out companies from Cambridge University - linking intellectual production with manufacture and evolving a new architectural language of fabrication. Studio Laboratory 03, perhaps the most conceptual of the four studios, continues to originate projects that respond to the research work of the tutors Dr. Sarah Stevens and Sam Lynch and their interests in Responsive Architectures, Experiential Architecture and forms of representation. They ask the students to explore intimate details of site through the question of how the choice of representation in the process of architectural design can influence the resulting built form. The fourth studio, Studio Laboratory 04, conjoins Jeff P. Turko’s ongoing development of grounds and envelopes as spatial elements with Yota Adilenidou’s current PhD that, through analysis of computer scripting, focuses on the importance of error in the evolution of form. Both Studio Laboratory 03 & 04 continue to use Brighton as their canvas for questioning architecture, connecting the students’ theoretical concerns back with current issues of our surrounding local built environment.
The studio laboratories are driven by tutors’ personal research agendas with all tutors being research active either through academia or practice. Studio Laboratory 01 combines the leading research work of Professor Andre Viljoen into Continuous Productive Urban Landscapes
The stimulating mix of practitioners and academics across the course builds conversations, with visiting lecturers and critics further feeding the dialogue. We encourage an open discourse so that students leave confident in how their individual theses sit within the wider context of architecture and the built environment. This allows the students choice as to whether they continue developing architectural questions within Universities, through a PhD, or within practice, testing their ideas in the wider built environment.
POSTGRADUATE WORK
PAGE 103
PAGE 104
POSTGRADUATE STUDIO LABORATORIES
POSTGRADUATE STUDIO LABORATORIES
POSTGRADUATE STUDIO LABORATORIES
PAGE 105
STUDIO LABORATORY 01:
KONSTANTINOS CHALARIS & PROF. ANDRE VILJOEN
MICROCITIES 2.0
Studio 01 is a design laboratory, a ‘think and do tank’. This year we explored how branding can be used to decode ethos and experience and how architecture can become its material manifestation. We looked at ‘brandscapes’ and how these provide a lens through which to identify strategies and material components within the built environment, capable of giving meaning to an architectural agenda. Our ‘testing ground’ was the small town of Hveragerði in Iceland. The beautiful Icelandic landscape provided us with the right conditions to use what we learn from branding for the creation of a local identity based on context and place. Our aim was to embrace projects for a new expanded city that would work with natural energy systems, culture, interdependencies and collaborations between unlikely partners. In advancing design research we encouraged an iterative approach exploiting the interplay between thinking, making and drawing. After an initial analysis and understudying of site context, the students focused on how branding can use architecture as a communication tool. They created new spatially branded narratives exploring their own synthesis of ideas by carefully choosing key moments from their research. In order to investigate deeply the chosen site, the studio travelled to Iceland to research and experience Hveragerði. Using experimental devices (which they flat packed and transported), students recorded specific environmental conditions.
PAGE 106
The findings from these investigations, in combination with meetings meetings with the Mayor of Hveragerði, as well as workshops with the Iceland Academy of the Arts Department of Design & Architecture, helped students to create paths for a personal exploration of a strong research-based architectural thesis. The outcome is a diverse range of architectural propositions challenging identity and communicating environmental readings of place. We value work that draws on a firm ‘external’ knowledge base including environmental and social data and that understands how these can provide the basis for a qualitatively rich architecture. STUDENTS:
Madalena Figueiroa, Naomi Birks, Christina Savva, William Mondejar, Danai Stoupa, Catherine Rawcliffe, Bergthora Kvaran, Dovydas Krasauskas, Laura Dinares, Wei Shawn Lee, Bryin Lindoe
Opposite: Madalena Figueiroa - “Observatory of Cosmological Conditions”
POSTGRADUATE STUDIO LABORATORIES
POSTGRADUATE STUDIO LABORATORIES
PAGE 107
PAGE 108
POSTGRADUATE STUDIO LABORATORIES
This spread, clockwise from top left: Bryin Lindoe - “Mycelium + Mythology”, William Mondejar - “Nomadic Pagan Temple”, Madalena Figueiroa “Observatory of Cosmological Conditions”, Danai Stoupa “Deluge”
POSTGRADUATE STUDIO LABORATORIES
PAGE 109
Bryin Lindoe - “Mycelium + Mythology”
Catherine Rawcliffe - “The Biophilic Centre of Aleatory”
PAGE 110
POSTGRADUATE STUDIO LABORATORIES
POSTGRADUATE STUDIO LABORATORIES
PAGE 111
PAGE 112
POSTGRADUATE STUDIO LABORATORIES
Top left: Naomi Birks - “The Biome Necropolis”
Above: Naomi Birks - “The Biome Necropolis”
Bottom left: Dovydas Krasauskas “Evolving Memory Hveragerdi City Hall in Fossflot”
POSTGRADUATE STUDIO LABORATORIES
PAGE 113
STUDIO LABORATORY 02:
SIMON BEAMES & KENNETH FRASER
THE SCIENCE OF CAMBRIDGE PROJECT
The new dynamics of production posit an intriguing possibility for a return to making in the city; a reconsidered retro-innovation with production cohabiting with public, private and civic interests in a context of cleaner production allowing a closer compact between production and the city than previously possible. The year’s agenda pursues a central interest in exploring an architecture which embeds production and research into urban conditions, re-imagining the city as a consortium of alternative productive futures. The speculation is taken this year to Cambridge, to the makerspace of Clive Sinclair and his technical and cultural project ‘Science of Cambridge’.
Researching and developing a material system constitutes a critical aspect of our approach. Each student devises a material system, designing with a considered reciprocity between material, form, structure and space. We have a particular interest in methods of mass customisation, described through speculations into construction process and composite materials to generate emergent designs. Studio 2 work builds on from the typological and technical research of the term 1 ‘Fifth Elevation’ project and uses the investigations as prototypes for the development of strategies to define an envelope and prioritise developing a tectonic and environmental character to the proposal from the outset.
In 1980 Sinclair produced the first mass-market home computer and provided a counterpoint to an era of rampant production by his attention to design and quality standards. Sinclair sold the trademark (Sinclair Radionics) in the mid 1980s and our studio takes up the story 30 years on, with the concept of re-animating Sinclair and reconfiguring Cambridge as an urban framework for analysing how economy and production engage with place.
STUDENTS:
Marianna Demetrio, Yuteng Xu, Christina Shimitra, Farm Fauzi, Louise Fisher, Kosuke Ino, KeFan Yan, Alex Bryla, Demetra Voskou, Peter Roper, Nam Vu, Max Zhang
The agenda anticipates applying research as a methodological approach to form and widens its focus to include inquiries on how the programmatic brief can create relationships with civic, cultural and social spaces. Describing context and constructing a narrative and argument for operating on the context are conducted with equal care and attention to the design of the project.
PAGE 114
POSTGRADUATE STUDIO LABORATORIES
Marianna Demetrio - “Monument to Currency”
POSTGRADUATE STUDIO LABORATORIES
PAGE 115
PAGE 116
POSTGRADUATE STUDIO LABORATORIES
Above: Demetra Voskou - “Sci Brew” Top left: Peter Roper - “The Cambridge Hatchery” Far left: Peter Roper - “The Cambridge Hatchery” Left: Louise Fisher - “The Interactive Innovative Audio Institute”
POSTGRADUATE STUDIO LABORATORIES
PAGE 117
PAGE 118
POSTGRADUATE STUDIO LABORATORIES
Opposite: Aleksandra Bryla “Manufacturing Scale Up” Top: Christina Shimitra - “The Caro Foundation” Left: Kosuke Ino - “The Blurred Boundary”
POSTGRADUATE STUDIO LABORATORIES
PAGE 119
This spread, clockwise from above: Kosuke Ino - “The Blurred Boundary”, Louise Fisher - “The Interactive Innovative Audio Institute”, Nik Fahmi - “Build Upon Vibration”, Nik Fahmi - “Build Upon Vibration”
PAGE 120
POSTGRADUATE STUDIO LABORATORIES
POSTGRADUATE STUDIO LABORATORIES
PAGE 121
STUDIO LABORATORY 03:
DR. SARAH STEVENS & SAM LYNCH
WONDERLAND
“Everything that we call real is made of things that cannot be regarded as real.” - Niels Bohr This year we look at how thoughts build a world, the temporal constructs we inhabit, and their relationship to Wonderland, the inverted cabinet of curiosities that surrounds us, indeed subsumes us. We define our own taxonomies, reveal myths and narratives, categorise ghosts and dispel truths, unhinging the cabinet and entering Wonderland. Instruments aid our navigation as we chart our course, collecting curiosities and holding them up to the light. On foundations of wonder we weave reading rooms from narrative and myth to interpret our newfound worlds and allow others to enter within.
STUDENTS:
Nadia Chatzigeorgiou, Simona Danielova, Charlotte Mace, Jennifer Otitoloju, Stuart Wickett, Fiona Young, An Ning, Oluwatomisin (Tomi) Oladeji-Olanrewaju, Athina Rigopoulou, Xiaoyu Wang, Weijing Zhao
The Brighton and Lewes Downs UNESCO Biosphere is our site for the year, with study areas at Devil’s Dyke, Hollingbury Hill with its Iron Age hill fort, and within central Brighton. Studio Laboratory 3’s design research explores knowledge as a human construct through which we build models in an aim to explain the world. Such models mediate our experience of the world and are reflected in the architecture we build. A critical approach to design is therefore of importance to us and alongside a phenomenological methodology, assists in revealing underlying structures to be explored. Analysis, experimentation and reflection clarify understanding, building clear personal research questions, forming the basis for critical investigation through design.
PAGE 122
Opposite: Nadia Chatzigeorgiou – “Interlude”
POSTGRADUATE STUDIO LABORATORIES
POSTGRADUATE postgraduate STUDIO studio laboratories LABORATORIES
PAGE page 123 123
PAGE 124
POSTGRADUATE STUDIO LABORATORIES
Above: Charlotte Mace “W:UNDERLABEL” Left: Jennifer Otitoloju - “Edge Condition“ Opposite: Duncan Law -” The Interpretation of Narrative”
POSTGRADUATE STUDIO LABORATORIES
PAGE 125
PAGE 126
POSTGRADUATE STUDIO LABORATORIES
Left: Stuart Wickett - “Urban Metamorphosis/ An Architecture Of Discourse” Top: An Ning - “The Movement of Drawing” Above: An Ning - “The Movement of Drawing”
POSTGRADUATE STUDIO LABORATORIES
PAGE 127
PAGE 128
POSTGRADUATE STUDIO LABORATORIES
This spread, clockwise from above: Nadia Chatzigeorgiou – “Interlude”, Carmy Khestossen - “The Living Archive”, Charlotte Mace - “Fabric Acoustic Mirror”, Nadia Chatzigeorgiou – “Interlude”
POSTGRADUATE STUDIO LABORATORIES
PAGE 129
STUDIO LABORATORY 04:
JEFFREY P. TURKO & YOTA ADILENIDOU
RE-FIGURING GROUNDS II
This year Studio 4 continued its interest in the urban condition and its variety of inhabited grounds and varied building envelopes. We shifted focus from the metropolis of London and returned to the City of Brighton and Hove where we intended to take on its status of ‘city’. Brighton and Hove gained city status in 2001 and currently has approximately 273,000 inhabitants.
that act as a civic infrastructure for the city and provide a greater sense of community for all.
Though it has city status and an expanding population, it does not yet live up to the gravitas that it should hold in the south coast region in terms of institutions and infrastructures. Eastbourne has the Towner, Bexhill-onSea has the De La Warr, and Hastings has the Jerwood. Why has Brighton not yet participated in this cultural evolution?
STUDENTS:
This year the studio was to develop building typologies that expand on Brighton’s cultural sensibilities, their institutions and their infrastructure as a way to develop programmatic and theoretical interests..
Myrto Maria Barbaris, Joanna Brown, Vicky Chalkide, Rodrigo Fernandez Castillo, Joanna Hayden, Manolis Sampson, Lawrence Tate, Annabelle Egbunike, Natalie Yue Sum Cheung, Maria Regina Kong, Maria Tzampazidou
With the implementation of the i360 observation tower by Marks Barfield Architects and the recent unveiling of OMA’s Brighton College sports and science facility, is Brighton on the verge of rapid cultural, institutional and infrastructural expansion? This was one of the key questions that the studio has been grappling with and expanding on this year. The culture and population is changing in Brighton and Hove and its metro region, as more of London’s population finds itself priced out of oblivion and looking for the gritty urbanity that it has become accustomed to. Brighton has the grit but the urbanity has yet to mature. Where are the museums, galleries and theatres, the libraries, and schools? Those are the types of institutions
PAGE 130
POSTGRADUATE STUDIO LABORATORIES
Rodrigo Fernandez Castillo -”Castillo Brighton Culture Tower”
POSTGRADUATE STUDIO LABORATORIES
PAGE 131
PAGE 132
POSTGRADUATE STUDIO LABORATORIES
Top: Jo Brown -”Inhabitable Bridge” Bottom left: Manolis Sampson -”The Startup Hub” Bottom right: Jo Brown -”Inhabitable Bridge”
POSTGRADUATE STUDIO LABORATORIES
PAGE 133
Spread, clockwise from top: Myrto Barbaris -”Sky Pier” Manolis Sampson -”The Startup Hub” Manolis Sampson -”The Startup Hub” Jo Brown - “Inhabitable Bridge”
PAGE 134
POSTGRADUATE STUDIO LABORATORIES
POSTGRADUATE STUDIO LABORATORIES
PAGE 135
Top: Rodrigo Fernandez Castillo “Castillo Brighton Culture Tower” Above: Larry Tate -”Ultraviolet Threshold” Jo Brown -”Inhabitable Bridge”
PAGE 136
POSTGRADUATE STUDIO LABORATORIES
POSTGRADUATE STUDIO LABORATORIES
PAGE 137
TEXT: JEFFREY P. TURKO
ARCHITECTURAL TECHNOLOGY
M.ARCH 1 TUTORS:
Jeffrey P. Turko, Omid Kamvari, Mark Goodbrand M.ARCH 2 TUTORS:
Jeffrey P. Turko, Omid Kamvari, Mark Goodbrand, David Patterson, Kyriakos Katsaros, Christo Meyer, Ian McChesney
M-ARCH1: TECHNOLOGIES AND FABRICATIONS This module looks for students to develop strategic knowledge, skills and understanding of the interrelated nature of the principles of environmental science, structural engineering, material consideration, and the development of system and detail design strategies. Using digital modelling, testing and manufacturing techniques students develop reflective, critical and analytical skills in the making of architectural components and large-scale prototypes in resonse to environmental considerations. This is a team-based project, at the end of which they complete a team based strategic technology document alongside a fabricated prototype that demonstrates an understanding of the design and construction process. This year the sitting for the micro-pavilions project was sited at the De La Warr Pavilion. Designed in 1935 by architects Erich Mendelsohn and Serge Chermayeff the pavilion is one of the earliest examples of the modernist architecture in Britain, combining a mix of art deco and the international style. Students were asked to develop Micro-Pavilions that offer secondary spatial provisions and programmatic opportunities that begin to expand on the De La Warr’s current event provisions. They needed to be temporary, selfsupporting and respond to the location’s ever-changing environment. An exhibition of the students work was on display at the De La Warr from 16 April - 12 June 2016. M-ARCH 2: TECHNOLOGY MASTERS PROJECT This module looks to develop final year Part 2 students’ understanding of integrated environmental, structural, constructional and material design strategies into their Master Thesis Project. Through a reflective, critical and analytical technical study they develop individual and independent technical research that they then apply to an architectural design. The module supplements and supports the students’ critical architectural position developed in the design studio and enables the student to develop an integrated and independent approach to tectonic and technical design processes.
PAGE 138
POSTGRADUATE STUDIES
POSTGRADUATE STUDIES
PAGE 139
TEXT: DR KARIN JASCHKE
ARCHITECTURAL HUMANITIES
TUTORS:
Tilo Amhoff, Karin Jaschke, Catalina Mejia Moreno, Alex Zambelli
The Architectural Humanities modules address architecture’s multidimensional and multi-disciplinary culture, a culture that may be explored in historical and theoretical terms but extends to other discourses and practices, from the arts, philosophy and politics to geography, sociology and ethnography. We encourage students to appreciate the breadth and width of architecture’s cultural reach and develop their ideas and own approach to architectural practice within this wider territory. Like the Studio Laboratories, we understand architectural practice as research practice. Innovative practice, and we would claim that no other kind of practice will be economically, ecologically and ethically viable in future, is necessarily exploratory and research oriented. In their Architectural Humanities work students set their own research agenda and develop appropriate strategies and methods to follow through with their investigations. Often this involves a combination of literature-based enquiry and other working methods, whether traditionally architectural, for example drawing based, or using a wider range of approaches such as fieldwork, interviews, archival work and practical experiments. We encourage students to work on themes that resonate with their studio work and cultivate an open and synergetic relationship with the design studios, through the course work and through links between studio and humanities teaching. In the first year MArch module, we introduce students to significant ideas and approaches in current architectural theory and related disciplinary fields such as art, urbanism, and landscape architecture, and explore their social, political, technological and ecological dimensions. Students work on a topic of specific interest to them, producing an academic essay and then, based on this, a video manifesto where they make the case for a particular idea or position related to contemporary architectural debate. In their second year MArch module, students examine important areas and types of contemporary architectural research and ways in which such research is disseminated. They go on to develop their own Architectural Humanities Research Study at the intersections of design practice and humanities-based enquiry.
PAGE 140
POSTGRADUATE STUDIES
CONTEMPORARY ROMANTICISM
RECONSTRUCTING A MEMORY OF GUERNICA
MARIANNA DEMETRIOU
WILLIAM MONDEJAR
Many an attempt has been made to explain the pleasure we take in ruins. This study retraces this history by focusing on the evolution of ruins from the 18th century until today. It investigates the nature of contemporary ruins in relation to the ruins of romanticism and argues for the legitimacy of a contemporary ruin lust, or a ‘contemporary romanticism’, including by drawing on practical experiments carried out by the author. It concludes that, alas, in a world marked by rapidly advancing technology, ruin lust will be ever harder to satisfy.
Following on from last year’s essay ‘Making Mies Visible’ this research project reveals the ‘back of house’ of the village of Guernica or, what lies hidden behind the facades of this symbol of Basque and Spanish history. Using a Latourian approach of treating objects, both human and non-human, as part of social networks, it uncovers the ongoing socio-political debates in a village that lives in the shadow of the famous eponymous painting by Picasso. It shows that the interplay between front and back of house occurs at multiple levels and seeks to reconstruct a memory of Guernica as it was before the tragic events of 1937.
POSTGRADUATE STUDIES
PAGE 141
and functional, between inhabitant and architecture. It is argued that the study of organic housing forms and their potential benefits may act as a diagnostic tool and corrective when considering contemporary commercialised and developer led forms of housing design and production.
THE ‘BILBAO EFFECT’ GONE WRONG: THE CITY OF CULTURE, SANTIAGO DE COMPOSTELA
LAURA DINARES The City of Culture, located in Santiago de Compostela, Spain, is an extraordinary project by Peter Eisenman, conceived in 1999 with the aim to rebrand the city. However, 17 years on, it has become an unfinished ghost town. This research study seeks to identify the different reasons why the City of Culture has not been the success it intended to be. In particular it reflects on the relationship between the new project and the city’s historical and religious identity, or ‘branding’, embodied in the Santiago Cathedral, the destination of the Camino de Santiago pilgrimage.
FROM NOWHERE TO NOW HERE: URBAN ISOLATION AND THE ROLE OF ‘URBAN ACUPUNCTURE’ IN EXPRESSING THE IDENTITY OF KINGSTON UPON HULL
CATHERINE RAWCLIFFE The poet Philip Larkin described Hull as, “in the world yet sufficiently on the edge of it to have a different resonance.” This is evident in the particularities of its people and urban fabric. The self-defined ‘Hullness’ helped the city increase investment after claiming the title UK City of Culture 2017. Through analysis and conceptual testing of the Fruit Market area, this study explores the role of ‘urban acupuncture’ in regeneration. It evaluates the suitability of a method that envisions cities as living organisms, whereby interventions at specific ‘pinpoints’ are able to revitalise an entire urban environment.pilgrimage. an actualisation of the stagnant affairs in Cuba.
SHELLS AS BESPOKE ARCHITECTURE: THE MEANING OF HOME
DEMETRA VOSKOU Through a study of shells, this thesis explores notions of home and the domestic environment, and suggests approaches to the contemporary architectural design of such environments. A shell is a bespoke shelter for its inhabitant insofar as its structure fits the organic form and functions of the latter. By extension, such bespoke quality might allow for a harmonisation, both aesthetic
PAGE 142
POSTGRADUATE STUDIES
THE INHABITATION OF ‘IMMERSIVE PLACIALITY’: AN ANALYSIS OF
LIFE IN MINIATURE: EXAMINING PHENOMENOLOGICAL
THE TEMPORAL CONSTRUCT OF PLACE
PERCEPTION OF SCALE IN ARCHITECTURAL MINIATURES
DUNCAN LAW
DOVYDAS KRASAUSKAS
Drawing on the concepts of Place and Non-Place, his thesis explores how physical architectural spaces as ‘constructs’ allow us to interact with our environment on a cognitive level. Through analyses of the Sir John Soane Museum as well as St Pancras International Station, the study argues that the boundaries between Place and Non-Place are far less categorical than often assumed, and that their expansion would allow for a deeper understanding of how we engage with our built environment.
The relationship between scale and perception is part of our unconscious travel through life, and our understanding of spaces is an accumulation of our whole life’s experiences. This thesis follows a maze-like art installation Absent by Dreamthinkspeak which uses scale to convey ideas of ‘genericity’, time, and the self. It tries to unravel how we understand architectural models on a psychological level and how they are able to subvert and distort perceptions of ourselves culturally and personally.
RETHINKING ARCHITECTURE: ENCOUNTERING TRADITION AND
BLUE LAGOON: FROM LAVA FIELD TO MEGABRAND
CONTEMPORARY TECHNOLOGY
BERGTHORA KVARAN
RODRIGO FERNÁNDEZ CASTILLO The study draws on a set of largely forgotten insights into the ways in which architecture is being produced through technical and mechanical dispositions. It considers work by Plato, Vitruvius, and Albrecht Dürer and relates architectural traditions to recent parametric and making techniques and ideas. It argues that the use of parametric design software and CNC machinery is precisely where contemporary architecture is able to relate back to the classical tradition.
POSTGRADUATE STUDIES
Iceland´s identity lies first and foremost in its natural environment. The country possesses an extraordinary wealth of natural sites that attract tourists from all over the world. One of the most well-known places is the Blue Lagoon, a geothermal spa that was created when a nearby power plant leaked its wastewater into a nearby lava field. Over the years the site has developed from an informal destination for psoriasis patients who benefit from the healing properties of the lagoon’s mineralised mud into a massive tourist operation. Since then, and after major architectural and technological interventions, the Blue Lagoon has become a megabrand. The study asks how this is impacting on and reflected in Iceland’s identity.
PAGE 143
TEXT: NICK HAYHURST
PROFESSIONAL PRACTICES
TUTORS:
Duncan Baker-Brown, Graham Perring, James Rae
Practices is devoted to teaching the fundamentals of becoming a professional architect in practice. The module seeks to integrate issues surrounding professional architectural practice by using the student’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 latest prescription, at present the RIBA Plan of Work 2013, for navigating this route from start to finish. Students attend a series of lectures considering what it is to be a professional architect in the UK in the 21st Century as well as a reflection on the origins of the profession that is architecture. Lectures are supplemented by seminars and all-day 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 and Quantity Surveyors, as well as 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. Students are also asked to prepare a programme of work, a Design and Access Statement, as well as drawn overlays discussing Building Regulations issues. We also ask students to prepare Risk Registers, to consider which procurement route is suitable for their project, to prepare a rough construction budget and finally write a short essay reflecting on on their 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 of issues that present themselves to an individual practising architecture, as well as a greater conception of their own practice as an architect and designer.
PAGE 144
POSTGRADUATE STUDIES
POSTGRADUATE STUDIES
PAGE 145
TEXT: NICK HAYHURST
PART 3
COURSE LEADER:
Nick Hayhurst CONTRIBUTORS:
Luke Carter, Stephen Cheesman, Peter Garnett Cox, Marcus Goddard, Kyriakos Katsaros, Christo Meyer, Giles Ings, Elaine Stowell, Matthew Richardson, Tom Taylor
This year’s Part 3 course was centred around four intensive 2-day sessions packed with lectures by specialist speakers, case-study seminars and an unfolding role-play scenario led by ABIR architects. We had a series of new speakers talking specifically about BIM, the ongoing changes to sustainability legislation and the Construction Design and Management Regulations. The course brought together students from London, Kent, Oxfordshire and Hampshire – as well as Brighton of course - and who work in practices that range from local practices with a staff of two to well-known London practices. Our case studies this year varied in size from £100k domestic extensions to overseas projects delivered using sophisticated BIM software and 3D packages that generate complex geometries. Students complete the course working on the 5-week open-book examination over the summer. This year they will be asked to pretend to be Charlie, a keen, young Brighton-based architect who has just won a major international competition and quickly needs to familiarize with the realities of building on Brighton’s seafront and setting up a fledgling practice. Candidates have to decide how to deal with a power outage on Brighton seafront, a burglary and a talk on post-Brexit issues thrown in for good measure.
PAGE 146
POSTGRADUATE STUDIES
POSTGRADUATE STUDIES
PAGE 147
RESEARCH & PRACTICE
PAGE 148
STAFF RESEARCH & PRACTICE
STAFF RESEARCH & PRACTICE
PAGE 149
RESEARCH CULTURE
PAGE 150
STAFF RESEARCH & PRACTICE
TEXT: DR. KARIN JASCHKE
This year has been one of openings and opportunities for the Architecture programme: we are now part of the new School of Architecture and Design, with newly forged links to related design disciplines that have joined us to form SoAD. The new structure offers the potential for greater internal cohesion and closer relations with colleagues from other design disciplines within, and at the same time a sharper focus on our relationship with other parts of the University, the wider architectural and academic community, local communities, and, in a post-Brexit future, with friends and partners in Europe and the rest of the world. We aim for our collective research efforts to feed into and benefit from these new constellations, sitting at the intersections of scholarly research, design research, and building practice. During this year, overlapping research interests amongst staff within the programme have become ever more evident and while we cherish the diversity of our research, we are excited to see the convergence and consolidation of a number of significant research areas across the programme. In addition, we are pleased that our research increasingly inflects, and draws on, our teaching practice, at both undergraduate and postgraduate levels. In the following a wide-ranging overview will give you a flavour of the thriving and continuously evolving research culture within the programme and beyond.
STAFF RESEARCH & PRACTICE
PAGE 151
SYNERGIES
Over the past years we have sought to strengthen the synergies between our teaching, our research activities, and our public engagement, wherever this promised to be fruitful for both students and staff. The results of these efforts are beginning to show across the programme: Pedro Gill and Christo Meyer have been running a successful and widely published Live Project around themes of the Market and the Carnivalesque, in South London, based on their own research interests in urban themes and their students’ design work in Studio 55.
And Luis Diaz has continued his exploration of housing and the development of new residential models with students in Studio 12 and presented the results of this studio-based research at an academic conference in Liverpool, together with the students. Looking at our teaching practices ‘from the other side’, through the lens of a pedagogical research project, Libby Blundell has been considering how students perceive, and benefit from understanding more clearly, the pedagogic approaches that underpin their learning processes and our teaching efforts.
Jeff Turko has taken his MArch students’ projects on structural prototyping, based in his own work on Grounds and Envelopes, to Bexhill’s De La Warr Pavillion in a noted public exhibition.
PAGE 152
STAFF RESEARCH & PRACTICE
STAFF RESEARCH & PRACTICE
PAGE 153
CONVERGENCES
Research interests and activities in the programme are manifold and played out in a wide range of contexts, from archival work to community projects, in exhibitions and conferences, and, of course, through publications. One broad thematic field has, quite literally, emerged as a common denominator of our research, namely an intense curiosity about the dynamic relationship between the urban and the rural in all its dimensions, spatial, material, political, and so on. Thus, while André Viljoen and Katrin Bohn examine the potential of bringing farming to the city, Kate Cheyne and Graham Perring investigate ways in which new ‘rural industries’ might reinvigorate the countryside. Charles Holland’s research looks at the role of self-building and new forms of housing in territories that straddle the rural and the urban. And our yearly CUE Critical Urban Ecologies symposium provided a forum for debating some of these themes with guest speakers from other programmes and Universities. A number of colleagues approach the intersections of the rural and the urban through questions of materiality: Michael Howe’s work focuses on the architectural and structural qualities of waste material from Portuguese marble quarries. This has led to an experimental installation at the London Festival of Architecture, in cooperation with colleagues from Oxford Brookes University. Dr Karin Jaschke carried on with her research on Paolo Soleri’s experimental silt-casting techniques, in his building laboratories Cosanti and Arcosanti, in the Arizona desert, while not one but two colleagues continued to investigate salt as an architectural material: Phillip HallPatch worked on his proposal for a public art installation
PAGE 154
for the Lincolnshire coastline, Salt Licks, testing the limits of salt as a building material from both structural and cultural points of view while Katy Beinhart’s ongoing research, Salted Earth, uses histories of salt production and the material qualities of salt in metaphorical and experimental ways to examine cultures of migration and the concomitant urban and territorial transformations. The interest in ecological themes that underpins all of the above is also present, and indeed central, to a number of more technical and practice-oriented projects, in particular Dr Ryan Southall and Luis Diaz’s collaborative efforts to evaluate Le Corbusier’s claims for the environmental performance of his Salvation Army building in Paris against their own studies of the building with the aid of digital simulation tools; Duncan Baker Brown’s ongoing research into circular material economies in architecture that builds on the success of his experimental ‘Waste House’ at our Grand Parade campus; and the latter’s contribution to a funded knowledge transfer partnership (KTP) project that looks at the market potential for organic green roof systems.
Opposite top: Studio Gil -”Camden House” Below: Studio Gil -”Carnaval Visions live project”
STAFF RESEARCH & PRACTICE
STAFF RESEARCH & PRACTICE
PAGE 155
PROFESSORIAL APPOINTMENTS
PHD’S
Charles Holland has been appointed Adjunct Professor of Architecture. His work explores the relationship between practice and design with particular attention to the rural and the urban as mentioned above, with particular attention to housing and questions of identity. We are excited to see these interests, which are also at the heart of Charles’s current practice Ordinary Architecture (and his former office, FAT: Fashion, Architecture, Taste) play into the wider debates within the programme and across the School. We are looking forward to Charles’ continued involvement in the programme on many levels, including and in particular our research activities.
We are continuing to build our post-graduate research activities, with a number of staff having completed or being close to completing their PhDs, in Brighton and beyond, as well as new PhD students joining us.
Andre Viljoen has been appointed Professor of Architecture and together with Katrin Bohn will continue to advance their concept of ‘Continuous Productive Urban Landscapes’ for which they won the 2015 RIBA President’s Award for Outstanding University Located Research.
PAGE 156
PhD candidates Kimberley Chandler, supported by an AHRC grant, and Sam Lynch, supported by a University of Brighton Doctoral College grant, will both be submitting their thesis documents later this year. A new PhD candidate, Magda Rich, whose research will examine the role of Therapeutic Horticulture within urban developments, has joined our programme. And earlier this year, Alex Zambelli completed his PhD, entitled Scandalous Artefacts: Visual and Analogical Practice Between Architecture and Archaeology, at the Bartlett School of Architecture UCL. Tilo Amhoff will be submitting his PhD Thesis later this year, also at the Bartlett School. In conjunction with his PhD research, he also co-edited a reader entitled Industries of Architecture, published by Routledge.
STAFF RESEARCH & PRACTICE
Opposite: Charles Holland and FAT, in conjunction with the artist Grayson Perry - “House for Essex” Above: BBM Architects
STAFF RESEARCH & PRACTICE
PAGE 157
Above: Michael Howe & Christina Godiksen - “Cultural Geometeries Right: Phillip Hall-Patch - “Salt“
PAGE 158
STAFF RESEARCH & PRACTICE
STAFF RESEARCH & PRACTICE
PAGE 159
Top & Opposite: Studio 102 - “Rebel Gym” Above: Sophie Yetton - “Pavilion“
PAGE 160
STAFF RESEARCH & PRACTICE
STAFF RESEARCH & PRACTICE
PAGE 161
AWARDS
Andre Viljoen has been concluding the final year of an Arts and Humanities Research Council (AHRC) funded international network exploring pathways from practice to policy for activist- / designer-led productive urban landscapes while Kate Cheyne is taking her collaborative project with Kirsty McDougall (lecturer in woven textiles) through its final stages, towards dissemination of their findings on the use of structural fabrics as part of monitoring systems for buildings in earthquake zones. Two of our colleagues have received grants from the Mellon Foundation to conduct research at the Canadian Centre for Architecture (CCA) in Montreal. Dr Ben Sweeting has completed extensive archival research on the British architect Cedric Price and Price’s engagement with cybernetician Gordon Pask, as part of a collaborative research project entitled ‘1945-1975: British Culture for Architecture’, and against the background of his own broader body of research and publications on second order cybernetics (including the co-editing of a special issue of Constructivist Foundations). Catalina MejiaMoreno will be travelling to Canada during the year, to continue her PhD research into the relationship between image, text, and architectural discourse. As part of this she has co-edited and contributed to a special issue of the European Architectural Histories Network (EAHN) journal Architectural Histories, on ‘Building Word Image: Printing Architecture 1800-1950’. Closer to home, Sophie Yetton was awarded a residency at The Foundling Museum, to continue a series of projects centered on archives and collections in which she and
PAGE 162
her practice partner Gabriel Birch seek to create and explore alternative mythologies for the spaces that house such archives. Duncan Baker-Brown’s practice BBM won the RIBA’s Stephen Lawrence Prize ‘Special Award’ 2015. BBM also received multiple awards for the recent completion of their sustainable master plan for a country estate in Hadlow Down East Sussex, including a RIBA Regional Award, a Regional RIBA Award for Sustainability and an LABC Building Excellence Award. Nick Hayhurst’s practice received several awards for their ‘Garden House’ including the RIBA London Regional Award and was shortlisted for BD Education Architect of the Year 2016 whilst winning AR School Award 2015. Stefan Lengen’s practice Felt Architecture was awarded third place in an international ideas competition for a Community market in Istanbul. And last but not least, Nick Hayhurst’s practice, (Hayhurst and Co), Pedro Gil and Christo Meyer (Studio Gil) and Tarek Merlin (Feix & Merlin Architects) have all been selected to feature in New Architects 3: Britain’s Best Emerging Practices, the definitive survey of the best of young architectural practices in the UK.
Right: Hayhurst and Co. -”Garden House”
STAFF RESEARCH & PRACTICE
STAFF RESEARCH & PRACTICE
PAGE 163
PROF. ANDRE VILJOEN & KATRIN BOHN: BOOK & RESEARCH AWARD
“We start from our experience of the dense European / Western urban area and attempt to enrich the qualities of urban life whilst, at the same time, reducing the negative environmental impact of current urban food systems. We have developed the CPULS City concept to address this. CPUL City describes an urban future based on the planned and designed introduction of what we call Continuous Productive Urban Landscapes –landscapes defined by urban agriculture- into existing and emerging cities. CPUL City has fundamental physical and social implications. It follows a systematic approach and proposes that urban agriculture can contribute to more sustainable and resilient food systems while also adding beneficially to the urban realm. It is an environmental design strategy and provides a strategic framework for the theoretical and practical exploration of ways to implement such landscapes within contemporary urban design.” Extract from chapter titled ‘Urban Agriculture on the Map: The CPUL CITY Concept’ – Katrin Bohn and Andre Viljoen The RIBA award recognises a body research, started in the late 1990ies, encapsulated in their 2014 book, Second Nature Urban Agriculture: Designing Productive Cities. Using primary field work field in Cuba, North America and Europe, underpinned by quantitative environmental impact assessments and qualitative design studies, exhibitions and prototype installations, they define the “Continuous Productive Urban Landscapes (CPULs)” concept, advocating the coherent integration of urban agriculture into cities. The CPUL concept has been cited as a “powerful design instrument for achieving local sustainability while reducing cities’ ecological footprint” in a 2010 report on urban biodiversity by the United Nations Universities Institute for advanced studies. Second Nature Urban Agriculture documents research and developments since 2005 and show how Bohn and Viljoen have utilised practical and theoretical ‘prototyping’ to test and advance the CPUL concept, together with international co-researchers. The book presents strategies for design development, theoretical concepts, and examples of international prototype projects tested in real live urban scenarios, work that it presently being continued in projects in the UK and in Germany.
PAGE 164
STAFF RESEARCH & PRACTICE
Above: RIBA President’s Award for Outstanding University Located Research 2015, Prof Flora Samuel, Professor of Architecture and the Built Environment, University of Reading, Chair of RIBA Research and Innovation Group, Prof. Andre Viljoen, Katrin Bohn, Jane Duncan, President of the RIBA.
STAFF RESEARCH & PRACTICE
PAGE 165
THANKS THE SCHOOL OF ARCHITECTURE & DESIGN WOULD LIKE TO THANK:
AWARD SPONSORS Make Architects Perkins+Will Architects RIBA South East Morgan Carn Partnership Architects ZST Architects James Lathams Timber Ltd Brighton & Hove Buses
EXHIBITION SPONSORSHIP UTC @Harbourside Technical College Zoltan Rutter of Exhibit Printing Andrew Bayley of WOW! SIGNAL Lathams Ltd Gosdens Removals J.G.Coates & Cotel Brighton Tools & Fixings
PAGE 166
THANKS
Rodolfo Acevedo Rodriguez Nick Ardill Alex Arestis Ian Bailey Alexandra Bailie Alexandra Bailiem Libby Blundell Katrin Bohn Steve Bolton Patrick Bonfield Sarah Borowieska Oscar Brito Jacob Brown Thomas Bryans Hester Buck Ian Budden Carnaval del Pueblo Association Jane Cecil Nat Chard Henrik Cheung Kate Cheyne Catriona Cheyne Georgina Chimarides Justin Clarke Peter Clarke Dave Cooper Luis Diaz East Street Market and Traders Florence Fathers Louise Fischer Cat Fletcher Tim Gibbons Georgie Gibbons Greater London Authority Aldís Hafsteinsdóttir Phill Hall-Patch Ezer Han Ezer Han William Hardie Adrian Harrison Anna Hastings Amanda Hastings
THANKS
Holly Hayward Michael Howe Michael Hudson Francis Hunt Vanessa Inggs Carlos Jimenez Anisha Jogani Natalie Johns Steve Johnson Kerri Jones Andrew Lavella Tom Lea Stefan Lengen Isaac Leung Hondi Li Hannah Lilley Nikki Linsell To Lok London Festival of Architecture Glenn Longden Thurgood Glenn Longden-Thurgood Sam Lynch Emma-Kate Matthews Jim Mayor Jim Mayor James McAdam Christo Meyer Jack Morton-Gransmore Ashley Munday Evripides Mytilineos Stuart Page Jon Paley Matt Pattenden David Patterson Peabody Graham Perring Frederik Petersen James Rae Joe Randall Ted Randall Cat Rawcliffe Nuala Ridell Morales
Nuala Ridell-Morales Tony Roberts Gavin Robotham Jessica Rostron Stephen Ryan Asta Sabaliauskaite David Saunders Chris Seaber Ed Sharland Natasha Sharma Southwark Markets and Street Trading Tea Trading Team Tommy Spitters Ben Spong Nikolaos Stagkos Sarah Stevens Sarah Stevens Kirstie Sutherland Hjálmar Sveinsson Hildigunnur Sverrisdóttir Amin Taha Jessica Tang Josh Thomas James Thompson Uieong To Lisbet Tonner Jeff Turko Cassandra Varty Jonathan Walker Carrie Walsh Martin Walsh Jack Wates Kevin Widger Chris Williams Owain Williams Jonathan Wilson Tom Wright Lisa York Alex Zambelli
PAGE 167
STAFF
Yota Adilenidou Sean Alburquerque Tilo Amhoff Duncan Baker-Brown Ian Bailey Andrew Bayley Simon Beames Keir Black Libby Blundell Katy Beinart Katrin Bohn Sarah Castle Alex Chalmers Konstantinos Charlaris Kate Cheyne Tim Culverhouse Justine Devenney Charlotte Eckrath Nick Emblem Iveta Enina Kenny Fraser Pedro Gill
PAGE 168
Mark Goodbrand Phil Hall-Patch Nick Hayhurst Claire Hoskin Michael Howe Karin Jaschke Omid Kamvari Kyriakos Katsaros Adrian Krumins Anuschka Kutz Gareth Lawrence Stefan Lengen Niikki Linsell Sam Lynch Peter Marsh James Mcadam Ian Mcchesney Ian Mckay Catalina Mejia Moreno Tarek Merlin Christo Meyer Dave Osbourne
David Paterson Andrew Paine Graham Perring Frederik Petersen Judit Pusztaszeri James Rae Tony Roberts Natalie Rose Stephen Ryan Ryan Southall Sarah Stevens Kirstie Sutherland Ben Sweeting Jeff Turko Andre Viljoen Jenny Vouilloz Jack Wates Dawn Whittaker Michelle Wright Sophie Yetton Alex Zambelli
STAFF