Gilada Benjamin by Research Led Design an Major Study Oxford Brookes

The Emergence of a Hybrid Culture: Coptic Orthodox Christians in Brighton

This Research-led-Design Project is presented to the School of Architecture, Oxford Brookes University inpart fulfilment of the regulations for the Master in Architectural Design’ ‘Statement of Originality This Research-led-Design Project is an original piece of work which is madeavailable for copying with permission of the Head of the School of Architecture’. Signed ..................

Benjamin Nazeer Gilada Research – Led Design Module P30032 11030823 30/04/2012

Abstract The Copts as the successors of the ancient Egyptians are defined as the modern sons of the Pharaohs. They played an essential role in the whole Christian world, especially during the first five centuries. As we enter the 21st Century the 2nd generation, my generation, of Coptic Orthodox Christians being brought up within 21st Century Britain, living and conversing with diverse cultures other than their own, are being influenced by alternate ways of life, beliefs and traditions that differ from their own. Although the culture of Copitc Orthodoxy

cknowledgements

To my supervisor Dr. Nick Beech, I am entirely grateful for the level of support and encouragement you have shown me. Your continued interest into this project and belief in me, allowed the project to excel all my expectations. i would like to thank Dr. Igea Troiani for her continued pursuit in challenging me to explore unfamiliar methods of research and design, allowing me to grow intellectually and creatively. To my parents, friends and the Coptic Orthodox Community of Brighton you are a very reliable panel of consultants, and as ever, I am indebted to you all.

is practiced frequently within the home and church, the complexity of a Diasporic community continuing its ‘known’ way of life within a new context is evident within the 2nd generation. The new context, in which the Coptic culture has been exposed to, has undoubtedly influenced the 2nd generation of Orthodoxy Christians, in terms of social, economic and materialisations. The first group of Copitc Orthodox Christians to come to Britain was in 1979, the first generation. The emergence of the 2nd generation of Coptic Orthodox Christians will be the first generation of Copts to be brought up, from birth, in a Western environment but with a continued practice of their Eastern ways of life at home and church.

The thesis aims to use information, knowledge, understanding and experiences in theories of cultural diasporas to speculate the application of the British context onto the Coptic Orthodox culture and it’s architecture. Through research methods into theoretical material, historical and sociological methods the research will comment on the present state of the Copitc Orthodox Church within Brighton, identify the conditions as to which hybrid cultures are formed, within existing cultures and how the emergence of new ideas, philosophies and traditions can be represented architecturally. The research will be most beneficial for 2nd generation Coptic Orthodox Christians but will also interest those enquiring into diverse cultures living within the same context and the implications these may have on to not only the involved cultures but also the place in which they resigned.

The current literature available gives great detail as to the migration of Coptic Orthodox Christians from Egypt to England and other countries around the world, however this information is more beneficial for the purpose of ‘movement’ and not a great deal as to the process of settlement and integration of this community into its new context. As a member of the 2nd generation of Coptic Orthodox Christians, I have an invested interest in finding my own identity; I cannot say I am solely part of an Eastern nor Western culture a notion that is widely shared amongst many of my friends and family. i

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hapter our: ntervening with ultures Process of Transformation Interventions: Transformations within the Church Material Intervention Form Intervention Representation of Insertion of the Iconostasis Representation of Progression Representing Connections through Breaks Representation of the Religion

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The Earth has evolved greatly since its birth, we are now able to travel across to the various sectors of the planet, we have the ability to circulate the planet within twenty-four hours, England to Australia. We are able to use our immediate landscape to travel, whether its air, ground or water, methods of transportation are vast enabling us to enter foreign environments. The purpose of this project is to analyse the implications associated when differing cultures are present within the same space. Specifically this thesis will look at the Coptic Orthodox branch of

fluctuations can alter a specific culture, Coptic Orthodoxy, in terms of its members perceptions of their self’s, the subsequent result of these perceptions onto the community of Coptic Orthodoxy and what is formed in-between these perceptions. I will target a specific community of the Coptic Orthodox faith living in England, the Coptic Orthodox church of Brighton; will be the site in which the research shall be based upon. The site is located in my hometown, allowing great involvement in the project for my community and myself. The Coptic Orthodox church of Brighton is the place of worship for one hundred and fifty families of the Coptic Orthodox faith.

deconsecrated in 1993; shortly thereafter the Coptic Orthodox faith purchased the building with intentions of transforming the building to a representation of their faith. However due to laws and regulations of historical listed buildings, members of the faith where unable to alter the exterior form to a more recognisable form from their Eastern origin. Thus the most impactful pf transformations can only been seen within the interior of the building, 2000 marked the installation of the iconostasis, a crucial object required in all Coptic Orthodox Churches to be situated with the Eastern sector of the building. The 25 foot tall structure is constructed of mahogany and oak. Many

the columns of the building using nails, screws, glue and in some places rebar’s have been used. This forceful means of connection symbolises imposition rather than integration, the two cultures have not integrated with one another but rather attached. One of the architectural interventions to be explored within this project will be finding a means of enabling the iconostasis to integrate with the existing building, then subsequently with the immediate landscape. Looking at the works of such architects as Carlo Scarpa and Aldo Van Eyck as well as artists mentioned in Jane Rendell’s book, ‘art and architecture’, would allow the project to explore the various methods of creating

Christianity, the relocation of the religion and the culture from its Eastern origin, in Egypt to its present status within the Western culture, in Britain. Being part of this minority, I have an invested interest in understanding my culture, subsequently understanding more of myself and heritage, understanding how the culture has evolved from its migration in 1979 until the present date, the emergence of a second generation of Coptic Orthodoxy and how this ‘sub-minority’ is being implicated by both its Eastern heritage of Coptic Orthodoxy and Western context of Britain. I am more concerned with the emergence of the second generation, being part of this

These families are spread across the city of Brighton and Hove, with the church being the central point of this array. The church was originally built in 1909, for the purpose of being a place of worship for the Anglican branch of Christianity, a faith with little presence within Egypt but regarded as a great presence within Britain. The 20th Century was a period in which English Gothic architecture was at its prime, defined by its pointed arches, vaulted roofs, buttresses, large windows, and spires, aspects that are evident in the said building. The church is constructed of block and brickwork; red clay bricks exposed to external environment, forged together by mortar and arranged using a stretcher

of the small pieces where individually carved in Egypt, then shipped to England for assembly. Iconography is another key aspect of Coptic culture; these paintings are primarily situated on the iconostasis, in bigger churches these paintings are also placed around the church. The creation of a near-resemblance of Coptic Orthodox interior, within the confines of an Anglican church is symbolic of the state of Coptic Orthodox identity within Brighton. Coptic Orthodox culture is alive within Brighton but similar to the Coptic Orthodox Church of Brighton it is hidden within its context. The exterior of the building is representative of the landscape which is Brighton, whilst the changes which have

relationships between objects. How the use of materials can create illusions, connections, regenerations and remembrance, exploring what types of materialistic alterations would be required to allow differing faith representations to be present within the same space, more specifically the representation of an emergent culture living between two established ones, how can this ‘new’ culture manifest an identity of its own whilst still respecting its subsequent cultures of Eastern Coptic Orthodoxy and its new context of Britain. The proposed interventions made within the church will be the starting point to a larger project in which the emergent

emergence; I want to understand how we can integrate with both, Coptic culture and Western environment, subsequently producing a hybrid culture, highlighting the notion that we are not required to choose an existing culture, which does not represent us but rather we have the ability to create a hybrid culture which respects both cultures but is more representative of our present selves. Looking at theories and concepts of cultural identity, migration, diversity and hybridity will give the project a greater understanding of the implications of time and location onto a culture and how these

bond method. The Eastern façade shows a large pointed-arched window, with two smaller ones beneath it. The Northern and Southern façades show five smaller arched windows, running parallel to one another. There are two entrances to the church both situated on the Northern façade of the building. The first is integrated as part of the original building design, situated at the middle of the North elevation; the second was introduced to the edge of the façade adjoining to the West elevation, in the latter part of the buildings life, when the new faith took over. The Anglican Church was made

occurred within the Church is representative of the Coptic culture trying to adapt itself within its new context. The way in which these changes are fixed to the existing elements of the building is a representation as to the current state of Coptic Orthodox Christians in Brighton. It is the fixings of the iconostasis and iconographies to the existing building in which I am interested in, they way in which these objects have been fixed to the building, the symbol of which these implications represent and how they can be altered in order to distinguish a new meaning. The iconostasis has been merged with

culture rises from its confines within the church and manifests within the immediate landscape. The knowledge and understanding gained from materialistic and form interventions, accompanied by the existing structure, the iconostasis; present within the church space will originate the transition from ‘interior to exterior’, producing an alteration of the immediate landscape and subsequently the formation of a structure representative of this new hybrid culture. Through analyses and recognition into the Churches legal possession of land it

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is evident that the community also owns a semi-detached house to the Southern side of the church. Once again, an example of Coptic culture being in possession of an object representative of its new context, however unlike the Church building, these houses do not have any laws prohibiting alteration to occur to its exterior, thus this will be the location in which the greater design project shall take place, this will be described in “Chapter Four” of this project. The works of Carlo Scarpa and Aldo Van Eyck will become particularly useful in finding methods of creating a dialogue between old and new structures, allowing imposed forms to connect with existing forms without physically connecting, creating a visual relationship rather than that of a physical one. Their works will also allow the project to understand how the immediate landscape can also be used to aid in the creation of this dialect, through alteration, adaptation and extrusion of the landscape, the desired dialect can be enhanced. Looking at Coptic architecture will also be key in this project, understanding its movement from rural environments to urban environments and how this has directly implicated the construction of the churches’, in terms of space, form and materiality.

Figure 1: Fixings of iconostasis to column (images taken by camera)

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Figure 2: Location of Coptic Churches in Egypt leading to its relocation in Brighton (Source of images from Google)

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Architecture and Religion One of the most dominant religions in the world is Christianity, branching out to all sectors of the Earth. After the ascension of Christ, the remaining eleven Disciples of Christ scouted Earth, each of them travelling to differing countries, preaching the teachings of Christ within various types of communities. During the period of the 2nd Century the fastest and main type of communication was word and mouth, information was transferred, translated and reiterated by means of word and

The notion of ‘gaps’ within the story of Christ, the concept of these ‘gaps’ being filled in by the native tongue has a strong relationship to that of the representation of the religion in the form of a church. The Bible does not give any specific guidance to which form the church should uphold, thus giving man full creativity onto which form the church should uphold. The following pages will show how Coptic architecture has adapted over the years to its context, filling in those gaps to adhere to its immediate landscape and subsequently altering/adapting the form of the church.

mouth. The transfer of information by mouth meant that the likelihood of information being altered or distorted was high. Unfortunately during the period of Christ his Disciples main principle of communication was by mouth, each Disciple communicated their experiences in a different way, giving their personal account of the story of Christ. Contributing to this was the reiteration of the story from person to person, once a person heard the story their interoperation of the story will contribute to how the story is told to the next. Finally the translation of the story of Christ, being told in many languages, persons from varying languages where keen to know what was being said in another language. A direct translation of the story would produce an account with ‘gaps’, these ‘gaps’ would be filled with words from the native tongue, thus further altering the Story of Christ. All these factors contributed to the various branches of Christianity, inhabiting various sectors of the planet, Catholic, Protestant, Anglican, all examples of Western branches of Christianity, Eastern Orthodox, Greek Orthodox are examples of Eastern branches of Christianity. As previously mentioned this project is concerned with the specific branch of Christianity known as Coptic Orthodoxy. Figure 3: Coptic Church in Alexandria (Source of images from Goofle)

Coptic Architecture: Exterior Early Coptic architecture originated from the deserts of Egypt; through the use of available material from the landscape, members of the faith began the construction of, what would be knows today as monastic Coptic architecture. These buildings where up of such materials as rock hermitages, mud bricks; twigs and palm branches, hand crafted as shown in figure 4. As well as the construction of the main church, many smaller â&#x20AC;&#x2DC;cellsâ&#x20AC;&#x2122; where also constructed for individual monks, these where placed in solitude spaces around the monasteries made up of hermitage rock, to allow privacy for prayer as well as providing shade from the searing hot sun of the desert.

Figure 4: Early monastic Coptic architecture (Source of images from Google)

Figure 5: Hermintage rock (Source of images from Google)

With the increasing size of followers and alteration of monastic churches to accommodate such a following, and the standardization of some of their features, the cupola or dome was introduced. The dome in Coptic architecture was constructed of dried mud brick, rubble-stone and also wood when it was available. During the 5th century the dome was built above three apses, thus offering three cupolas, representing the Holy Trinity, as shown in figure 6. Later in the 6th and 7th centuries five cupolas were often built, the larger one is located in the centre representing our Lord Jesus Christ, and the four smaller ones surrounding it represent the four evangelists: Matthew, Mark, Luke and John.

Figure 6: Dome forms used in Coptic architecture (Source of images from Google)

Towards the 8th Century, Coptic architecture began to emerge more frequently within the urban sectors of the country, figure 7 shows the first Coptic Orthodox church to be built in Cairo, Egypt. The church still upholds the familiar form of the copula but with the progression in time and location new features where also added to the architecture, the most noticeable being the two towers. The concept was to symbol the church as a ship on a voyage with the towers guiding its course to heaven. The church towers include a belfry, where the bells are hung, ringing at specific times of the service to indicate to the immediate landscape that something important is happening within the church.

Figure 7: Urbanisation of Coptic Churches, Archangels Micheal Coptic Orthodox Cathedral, Asswan, Egypt (Source of images from Google)

Figure 8: Iconostasis (images taken by camera)

Figure 9: The nave (images taken by camera)

Coptic Architecture: Interior

Heaven, a sight only to be admired on occasions.

The interior spaces of the Coptic Church is rich which symbolism, meaning and purpose. Ranks or levels, in the Coptic Church, determine the various hierarchies’ within the church. There are three levels which are evident within the church, the first being the nave, this is the position where the congregation is located, the central part of the church is reserved for baptized Christians, while a third section at the entrance was left open for the unbaptized Catechumens. However, at an unknown date, the Catechumens began to disappear, and with it the divisions of the church gave way to the perpendicular triple sections of nave and aisles. The next raised level; further East of the Church is just outside

Coptic Architecture: Art

Another influential aspect, created by man within the Coptic church, is the Coptic Iconographies, spreading across the church and making their ways to the homes of Coptic Christians. “An icon is meant to be a window into the spiritual world, used to help the believer to contemplate on spiritual matters and to put him into a prayerful frame of mind, as a reminder of events in the Bible, and of the life of Christ and the saints” (Angaelos, 2002). As shown within the images on this page, there are three main characteristics relating to these icons, which are based upon phrases within the Bible: Large and wide eyes, symbolising the spiritual eye, which looks beyond the material world, “the light of the body is the eye” (Mark 6:22). Large ears symbolising the teaching of God being accepted by the person, “if anyone has ears to hear, let him hear” (4:23). Gentle lips to glorify and praise the Lord, “my mouth shall praise You with joyful lips” (Psalm 63:5). Each part of the church is created based on symbolism and meaning to represent various aspects of the religion and thus manifests into a culture, used within the church and home.The dome interior is usually painted with the icon of our Lord or in a bright blue color decorated with angels and stars. This resembles Jesus Christ as the Head of the Church who is seated in the heavens.

the sanctuary where the choir is located. This is considered a higher level from the rest of the world. The final raised level above the choir is the sanctuary, which represents the heavenly world, guarded by the iconostasis. The innermost part of the church, behind the iconostasis, is where the priests and deacons, alone, are admitted to commemorate the mystery of the Holy Eucharist. The iconostasis represents one of the most important architectural features of Orthodox churches. It is a rigid screen made of wood or marble, containing icons of our Lord, His angels and his saints. It lies between the sanctuary and the nave of the church. The iconostasis, which is derived from the Byzantine churches, contains three doors: the Royal door, which is the entrance to the main sanctuary; and a door on each of the other side for the side sanctuaries. On the inner side of the sanctuary curtains are fitted, which are drawn open or closed depending on the church service. In ancient times and in some of today’s monasteries, curtains are placed behind the doors which are locked, in which the key would be kept with the archdeacon, only be opened during the Liturgy, symbolising the preservation of 14

Figure 10: Collage of Coptic art and its location within the church (Source of images from Church archive and Google)

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1979 marks the earliest date in which Coptic Orthodox Christians began their migration to Britain, due to the Islamic domination of Egypt in the 17th Century. Moving forward to the 21st Century, a new generation of Coptic Orthodox Christians has begun to emerge, one, which is subject to both its heritage of Coptic Orthodoxy and its new location of Britain. Being part of this emergent generation, I am interested to understand the relationship between the former generation and the emergent one, understanding as to whether they can be classified as the same culture of differing ones with strong similarities. Since their migration in 1979, Coptic Orthodox Christians began to spread across Britain, inhabiting various sectors of the country. I live within the Coptic Orthodox community of Brighton and it is this community in which this research will be based upon. The former generation of Coptic Orthodox Christians has only integrated, to a limited extent, within the context of Brighton, due to language and cultural differences, limiting them to fully interact with the locals of the community. In comparison the emergent generation has been brought up within a differing context to that of the former, attending public schools, being exposed to and conversing with an array of

both generations which share the view of the other and its this small group which finds the need to be represented as a culture of its own. This ‘in-between’ group is largely exposed to the context of Brighton but parallel to this is frequently exposed to its Coptic heritage within the home and church, food, language, art and music are all aspects which represent the culture of the former generation. Key to this is that some members of the emergent generation are accepting and understanding of the culture of the former generation as well as, being integral within the context of Brighton. Adapting to varied foods, languages, art and music to that of their Coptic culture. Thus producing a new ‘whole’ culture, one that lives in-between two dominating worlds, “What is theoretically innovative, and politically crucial, is the need to think beyond narratives of originary and initial subjectivities and to focus on those moments or processes that are produced in the articulation of cultural differences” (Bhabha, 2001).

cultures within the context from a young age, has allowed them to be more understanding and adaptable to the current context, thus allowing the emergent generation to become more integral within the context of Brighton. With differing pasts and understandings of the world, the perception in which each generation views their culture is surely altered, thus altering the dynamics of the two relationships within the church. This is not to say that the generations of the church are completely separate, as there are members from Figure 11: First Angelican church to house the Coptic Orthodox faith St Marks Coptic Church, South Kensington, London, Egland (Source of image from Google)

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wo: Theories of Cultural Diaspora

The previous chapter explained the diaspora of Coptic Orthodox Christians from Egypt to Britain, more specifically Brighton and the strides they took in establishing their culture within a new context, representative through the transformation of the interior of the former Anglican Church. The fluctuations of time and location have proven to alter and adapt cultures but when these variables are catalysed how do the different members of the Diasporic Coptic Orthodox community react? How do they define themselves as a culture? Through the presence of sporadic ideas will this allow the emergence of a ‘new’ culture to become more assertive? What are the conditions for a hybrid culture to emerge? These are the questions and theories, in which this chapter aims to understand through theoretical research into cultural studies and architectural history using aspects of cultural identity, migration, diversity and hybridity.

“We all write and speak from a particular place and time, from a history and a culture which is specific. What we say is always ‘in context, positioned’” (Williams & Chrisman, 1994). In order to define ‘cultural identity’ one must first identify the two perspectives associated with ‘cultural identity’, “The first position defines ‘cultural identity’ in terms of one, shared culture, a sort of collective ‘one true self’, hiding inside the many other more superficial or artificially imposed ‘selves’, which people with a shared history and ancestry hold in common. Within the

transformations. Far from being externally fixed in some essentialised past, they are subject to the continuous ‘play’ of history, culture and power. The notion of ‘labelling’ a culture, fixing it into a permanent place within society, is a notion in which post-colonial theorists reject. “Perhaps instead of thinking of identity as an already accomplished fact, which the new cultural practices then represent, we should think, instead, of identity as a ‘production’ which is never complete, as always in process, and always constituted within, not outside, representation. This view problematizes the very authority and authenticity to which the term ‘cultural identity’ lays

increasingly being replaced by ‘identity’. But whether we continue to use the term in the more everyday sense to refer to ways of life, or to the arts and media, or even for a use that encompasses both these meanings, intellectual controversies persist: how, when and in what circumstances is/are ‘culture/s’ produced (and how is, or are culture/s the producer?)” (King, 2005). The continued progression of various cultures living with the same space, allows various members from different cultures to not only respect differing ideas/ways of life etc but also understand them. The increased knowledge of this understanding but more importantly its acceptance within

terms of this definition, our cultural identities reflect the common historical experiences and shared cultural codes which provide us, as ‘one people’, with stable, unchanging and continuous frames of reference and meaning, beneath the shifting divisions and vicissitudes of our actual history” the mutually pasts of individuals, along with common interests such as art, music, rituals are what define the identity of a culture, as Williams and Chrisman (1994) writes. It can be argued that those, within the cultures, who wish to live within the past and who are reluctant to adapt/change, will only validate this perspective of ‘cultural identity’.

claim” (Williams & Chrisman, 1994). In this perspective of ‘cultural identity’ Williams and Chrisman are implying that cultural identity is more like an adaptable process, its constantly learning to adjust and alter itself/being in order to survive or even excel. Assuming cultural identity is adaptive then, theoretically, it never adopts a concrete ‘origin’ but rather a starting point for the subsequent ‘adaptation process’. This perspective view of an ever-changing identity is also viewed in the works of Patrick Williams and Laura Chrisman (1994) who state, “cultural identity is not a fixed essence at all, lying unchanged outside history and

society will essentially allow, to an extent, the incorporation of differing cultures thus making cultural differential increasingly obsolete and the notion of identity differentiation more apparent. The notion of culture and identity being to separate concepts is one in which some contemporary theorists are suggesting, but are these concepts not mutually exclusive? King (2005) also asks the question, “when is a culture produced?” Taking this notion further, does the adaptation of a culture allow it to state itself as a ‘new’ culture or an altered form of it former self? Within their book, ‘Colonial Discourse and

Williams and Chrisman also identify the second perspective of ‘cultural identity’, “This- second position recognizes that, as well as the many points of similarity, there are also critical points of deep and significant difference which constitute ‘what really are’; or rather – since history has intervened – ‘what we have become’ Cultural identity in this second sense, is a matter of ‘becoming’ as well as of ‘being’. It belongs to the future as much as to the past. It is not something which already exists, transcending place, time, history and culture. Cultural identities come from somewhere that have histories. But like everything, which is historical, they undergo constant

culture. It is not some universal and transcendental spirit inside us on which history has made up no fundamental mark. It is not once-and-for-all. It is not a fixed origin to which we can me some final and absolute return . . . Cultural identities are the points of identification, the unstable points of identification or suture, which are made, within discourses of history and culture. Not an essence but a positioning”. In his book, ‘Spaces of Global Culture’, Anthony D. King plays with the idea of identity replacing culture, in means of describing a group of people/s characteristics. “In contemporary academic circles, the word ‘culture’ is

Post-colonial Theory’, Patrick Williams and Laura Chrisman (1994) mention an alternative thought regarding ‘cultural identity’, “The second view of cultural identity is much less familiar, and more unsettling. If identity does not proceed, in a straight unbroken line, from some fixed origin, how are we to understand its formation?” both authors are exploring the notion of identifying a culture in its present state whilst still relating it to its past, a relationship which is not stable in itself. “It is the from instability of cultural signification that the national culture comes to be articulated as dialectic of various temporalities – modern, colonial

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postcolonial, ‘native’ –that cannot be a knowledge that is stabilized in its enunciation. It is always contemporaneous with the act of recitation” (Bhabha, 2001). Cultures continue to pursue a path of uncertainty, with their identity based on the time they live within. The path of uncertainty, in relation to time, is one aspect that will force a culture to adapt but what are the implications onto a culture when the forces of time and geographical relocation are combined? As previously mentioned by Williams and Chrisman (1994) “Cultural identity in this second sense, is a matter of ‘becoming’ as well as of ‘being’. It belongs to the future as much as to the past. It is not something which already exists, transcending place, time, history and culture. Cultural identities come from somewhere have histories. But like everything which is historical, they undergo constant transformation”. If we presume a geographical change within a culture, i.e the relocation from East to West, a culture will be forced not only to adapt to the current time but also think about the implications of its future, within the new context. Within the book, “The borders of the nation”, Kristeva (1991) claims, that cultures are constantly faced with a double temporality: the process of identity constituted by historical sedimentation (the pedagogical); and the loss of

phrase, ‘individuals without and anchor, without horizon, colourless, stateless, rootless – a race of angles’ . . . Nevertheless, this idea of otherness as an inner compulsion changes our conception of ‘cultural identity’” (Williams & Chrisman, 1994). Within this phrase Stuart Hall is referring to the fatal couplet of ‘power/knowledge’. Stating that the new knowledge gained by an individual/community is internal rather than external, “it is one thing to position a subject or a set of peoples as the other of a dominant discourse. It is quite another thing to subject them to that ‘knowledge’, not only as a matter of imposed will and domination, by the power of inner compulsion and subjective con-formation to the norm” (Williams & Chrisman, 1994). Accepting that this is referring to apposing cultures living within the same context, the same theory can also be applied to differing generations living within the same culture, within a new context, more specifically it will be relating to the ‘emerging’/2nd generations and the ‘historic’/1st generation.

identity in the signifying process of cultural identification (the performative)” (Bhabha, 2001). Homi K. Bhabha goes on to state that Kristeva’s idea of a nation’s finitude has similar respects to his argument that the figure of people emerges in the narrative ambivalence of disjunctive times and meanings. The concurrent circulation of linear, cursive and monumental time, in the same cultural space, constitutes a new historical temporality. Of the relocation of culture from East to West, Stuart Hall stats that, “This inner expropriation of cultural identity cripples and deforms. If its silences are not 20

“This liminality of migrant experience is no less a transitional phenomenon than a translational one; there is no resolution to it because the two conditions are ambivalently enjoined in the ‘survival’ of migrant life” (Bhabha, 2001). Migration, in the conventional sense, is the movement of a person/s from one location to another. Within the architectural sense the interest lies in what that person/s do once they relocate. King (2005) summarizes the works of Appiah and Gates, ‘construction of global culture (1996)’,

black and white. The hither and thither of the stairwell, the temporal movement and passage that it allows, prevent identities at either end of it from settling into primordial polarities. The interstitial passage between fixed identifications opens up the possibility of a cultural hybridity that entertains difference without an assumed or imposed hierarchy”. The stairwell toys with the motion of a never-ending idea of adaption, through the action of migration, cultures will constantly be adapting and changing. A landing on a staircase, irrelevant of top or bottom, will represent the starting point of the culture, the subject moving from one riser to the other represents the action

Poewe (1997), stating that “a global culture is a tradition that travels the world and takes on local colour. It has both a global, or metacultural, and a local, or situationally distinct, cultural dimension . . . Buddhism, Christianity and Islam, they maintain, have always been global cultures. The idea of these religions, however, was to spread a religious metaculture that was perfectly capable of remaining identifiable while being absorbed by local cultures”. The exposure to diverse cultures, migrating cultural experiences, will affect the ‘traditional way of life’, “All new religions incorporate, often indiscriminately, insights from other cultures and traditions . . . Global

as a means of assembling and accumulating a collection of the various cultural artefacts and practices of culture together without a sense of transformation or change. The prospect of accumulating a variety of cultures within the same geographical location will create a colony, consisting of the original settlers and their descendants and successors. This begs the question; can this form of migration exist within the 21st Century, without conflict between the variety of cultures? Alternatively the works of Hexham and Poewe, ‘New Religions as Global Cultures (1997)’, the authors suggest adopting a process of persistent and continuous

of migration, and the opposite landing represents the current state of the culture. The key word being ‘current’, never the end state of a culture, and once the subject is off that particular stairwell he will continue his journey until the next subsequent action of adaption. A culture is never far from adapting again, it is never settled. “Beyond signifies spatial distance, marks progress, promises the future; but out limitations of exceeding the barrier or boundary – the very act of going beyond – are unknowable, unrepresentable, without a return to the ‘present’ which, in the process of repetition, becomes disjunct and displaced” (Bhabha, 2001).

cultures transcend national, international, ethnic, racial and class boundaries to create a new whole. They are often, then, in effect, local cultures because they always grow and incorporate, local beliefs and practices, their participants self-consciously cultivating openness to diverse cultures. Global cultures are, therefore, meaning networks or transnational webs of culture” (Hexham & Poewe, 1997). On representing global cultures as a means of architecture Anthony D. King (2005) states the following, “We might begin by referring to some of the principle factors that have led to the internationalization of architectural

cultural transformation, “ . . . cultures developing, and coming into existence as an outcome of movement and mobility, whether this applies to people, ideas, media, technologies or particular religious traditions” (King, 2005). The concept of an ever-changing culture, constantly in the motion of adaption is also shared by Homi K. Bhabha (2001), as he translates his idea of migration using the physical operation of a stairwell, “The stairwell as liminal space, in-between the designations of identity, becomes the process of symbolic interaction, the connective tissue that constructs the difference between upper and lower,

The present is thus ‘divorced’ from its relationship to the past and future, the past has allowed the present to exist but does not determine how it ‘lives’, the future is ‘unknown’ to the present. “The present can no longer be simply envisaged as a break or a bonding with the past and the future, no longer a synchronic presence: our proximate self-presence, our public image, comes to be revealed for its discontinuities, its inequalities, its minorities” (Bhabha, 2001). In his book, ‘Spaces of Global Culture (2005), Anthony D. King refers to the relationship between religion and local culture, as analysed by Hexham and

culture. Here, probably the most important have been the changes throughout history in the various forces and social formations which, as patrons, have given distinctive identities to the products and forms of architecture”. When referring to a domestic area with its own architectural style, will a migrating culture adapt to this local architectural style or will it impose its own architectural style? The works of Homi K. Bhabha (2001) and Hexham and Poewe (1997), suggest that both entities should adapt to one another create a ‘new whole’, the localization of architectural culture – the means in which a local culture and a migrating

igration

“At once a vision and construction – that takes you ‘beyond’ yourself in order to return, in a spirit of revision and reconstruction, to the political conditions of the present” (Bhabha, 2001).When analysing the complications associated differing cultures, two words are used to describe these complications; ‘cultural diversity’ and ‘cultural differences’. Within his book, ‘The Location of Culture (2001), Homi K. Bhabha gives us a detailed definition as to the differences within these terms, “Cultural diversity is an epistemological object – culture as an

separation within a specific culture then associated definitions of both terms are combined to explain these complications, ‘cultural differentials’ can be used to describe separation within a culture. “The concept of cultural differences focuses on the problem of the ambivalence of cultural authority: the attempt to dominate in the name of a cultural supremacy which itself produced only in the moment of differentiation. And it is the very authority of culture as a knowledge of referential truth which is a issue in the concept and moment of enunciation” (Bhabha, 2001). When referring to groups of people within a culture, more specifically generations, differentials can

in reference to its past or its subsequent future but rather its present. This is not to say that the past should be dismissed and not take into account the implications of the future but when representing a culture it should be represented ‘how it is’, rather than ‘was’ or ‘to become’. “Beginnings and endings may be the sustaining myths of the middle years; but in the fin de siècle, we find ourselves in the moment of transit where space and time cross to produce complex figures of difference and idetity, past and present, inside and outside, inclusion and exclusion” (Bhabha, 2001). With the occurrence of the separation of a culture, its obvious to analyse the position of the two extremes involved

public health all being connected by means of public transport i.e a subway, “manifesting not only deep economic fissures and contradictions, but also cultural and regional heterogeneities” (King, 2005). Ironically, as stated by King (2005), “If these are the characteristics of what a ‘modern city’ in the West. As we have seen it develop in the last thirty years, then it is evident that cultural modernity, understood in terms of poverty as well as riches, was pre-figured much earlier, in what is generally referred to as the ‘Third World’ city of the 1950’s and 1960’s”. The adaption of theories and methods from not only minority cultures

object of empirical knowledge – whereas cultural difference is the process of the enunciation of culture as ‘knowledgeable’, authoritative, adequate to the construction of systems of cultural identification. If cultural diversity is a category of comparative ethics, aesthetics and ethnology, cultural differences is a process of signification through which statements of culture or on culture differentiate, discriminate and authorize the production of fields of force, reference, applicability and capacity. Cultural diversity is the recognition of pre-given cultural contents and customs; held in a timeframe of relativism its gives rise to

occur due to the pursuit of power and authority, it is this very pursuit in which the articulation of speech to members of the culture becomes distorted, lacking knowledge of the culture. “The enunciative process introduces a split in the performative present of cultural identification; a split between the traditional culturalist demand for a model, a tradition, a community, a stable system of reference, and the necessary negation of the certitude in the articulation of new cultural demands, meanings, strategies in the political present, as a practice of domination, or resistance” (Bhabha, 2001). The separation into groups of people in itself

within the separation, but with the presence of two extremes, there will also be the presence of, what Homi K. Bhabha referes to, as the ‘in-between’. “How are subjects formed ‘in-between’, or in excess of, the sum of the ‘parts’ of difference (usually intoned as race/ class/gender, etc)? How do strategies of representation or empowerment come to be formulated in the completing claims of communities where, despite shared histories of deprivation and discrimination, the exchange of values, meanings and priorities may not always be collaborative and dialogical, but may be profoundly antagonistic, conflictual and even incommensurable?”

but also developed cultures can be used, adapted and altered in order to create, a similar, but new whole in which it will benefit the context, in terms of economic efficiency for example.

liberal notions of multiculturalism, cultural exchange or the culture of humanity. Cultural diversity is also the representation of a radical rhetoric of the separation of totalized cultures that live unsullied by the intertextuality of their historical locations, safe in the Utopianism of a mythic memory of a unique collective identity. Cultural diversity may even emerge as a system of the articulation and can exchange of cultural signs in certain structuralist accounts of anthropology”. Within this definition, of the two terms, the author is refereeing to complications associated with varying cultures, but when analysing the complications of

produces a ‘new culture’, pursuing new ideas, meanings etc. In relation to Coptic Orthodoxy learning to live within Brighton, the separation will occur between the 1st and 2nd generation of the community, “The enunciation of cultural difference problematizes the binary division of past and present, tradition and modernity, at a level of cultural representation and its authorative address” (Bhabha, 2001). The differentials occur due to generations attempting to represent their culture, or their vision of what their ‘culture should be’. Homi K. Bhabha discuess that we should not be thinking about identifying/representing a culture

(Bhabha, 2001). The idetification of the ‘in-between’ in itself provides the emergence of another culture, within a culture, a ‘sub-culture’, a group of individuals born and raised within the West, but also learning and adapting to both Eastern and Western philosophies. How can these minorities, within the dominant culture be represented? “The representation of differences must not be hastily read as the reflection of pre-given ethnic or cultural traits set in the fix tablet of tradition. The social articulation of difference, from the minority perspective, is a complex, on-going negotiation that seeks to authorize cultural hybridities that

culture adapt to one another, in order to create a new style. Anthropologist Arjun Appadurai (1995) states within his book, ‘Modernity at Large: Cultural Dimensions of Globalizations’ that the Nation-state is the key catalyst in social changes, when referring to the relationships between, media, migration and imagination they “offer new disciplines for the construction of imagined selves and imagined worlds . . . (they) are resources for experiments with self-making in all sorts of societies, for all sorts of persons . . . moving images meet deterritorialized viewers. These create diasporic public spheres, phenomena that confound theories that depend on

and transformed to adapt to the Western context but essentially still be Eastern methods. “In this way, the characteristics of cities in the so-called ‘most-advanced’ urban economies increasingly approximate to those of what were once called ‘Third World’ cities, at least in the degree of economic, social and spatial polarization, in the extent and complexity of their ethnic, social and racial mixes, and in the occupational structures of their de-industrialized, or non-industrialized populations” (King, 2005). The production of a modern city holds the characteristic of various spaces, within the city, being available to the subject. From office spaces to residential areas to

the continued salience of the nationstate as the key arbiter of important social changes”. Adaptation opens the barriers of entry for new, creative and innovative ideas/shapes involved within architecture and culture, parallel to the emergence of the ‘new’ aspects of the ‘old’ will be left and forgotten. “Changing forms and identities in architecture have as much to do with the disappearance of particular type of patron as much the appearance of others. And as Smith (1990) suggests, modes of production and ideologies, global in their scope, like capitalists consumerism, or socialism, have replaced the nation state as a major influence of architecture identity” (King, 2005). “As far as large Western metropolises are concerned, the burgeoning increase in the internationalization of capital, international labor migration and technological transformations, as well as increased dependence on tourism, are likely to lead to many of the structural characteristics identified for the socalled global city, though not necessarily to give rise to particular functions” (King, 2005). The West will look into other cultures, such as the East, for methods of satisfying problems experienced within their present state culture. The possible use of Eastern methods maybe adapted

iversity

emerge moments of historical transformation”. Identifying what is happening within a culture within a particular moment of time, this representation will not be the conclusion of a state of a culture but rather an expression of its current position. The notion that Bhabha is pursuing is to represent a culture within its current state. Taking the example of Eastern cultures within Western communities, the diversity in cultures, art, music, beliefs etc are vast and rich. Opposing cultures can gain from the present diversity, and start to think about ‘what the culture is’ rather than ‘what it was’ or ‘should be’, through this train of thought Bhabha suggests that instead of

they may confound our definitions of tradition and modernity, realign the customary boundaries between private and public, high and low; and challenge normative expectations of development and progress” (Bhabha, 2001). The observations of Anthony D. King put the theory of cultural diversity/diffeence into context, speaking on his visit to Binghamton, NY, Anthony D. King talks about the architectural diversity within the city and how it is more relevant within the city centre rather than the residential areas. “The actual cultural and ethnic diversity in the city’s population is less evident in the domestic architecture than it is in the different restaurants and food

identifying a single culture within a diverse environment an attempt should be made to identify a society, with the inclusion of diverse cultures. “What is theoretically innovative, and politically crucial, is the need to think beyond narratives of originary and initial subjectivities and to focus on those moments or processes that are produced in the articulation of cultural differences” (Bhabha, 2001). Bhabha indicates that tradition is one of many agents which identify a culture but similar to culture, tradition is always adapting/transforming based on times and context in which it is exposed to. The constant adaptation of this agent

shops, and especially the religious buildings in and around the city, particularly the gold-leafed domes of a dozen Eastern Orthodox Christian churches”. Spaces are occupied by various cultural representations without the need of integration or transformtion. However this type of relocation of culture is more commonly found within city centres, as “Chapter 3” will indicate can the same process be applied to domestic areas or would the cultural representations need to transform/adapt to the local architectural style? Is it required to transform? Can the minority culture alter the dominant culture around it, within the domestic context?

gives way to new traditions being formed, through the prcess of adaption the bond between ‘origins’ and ‘identity; is staggered. The acknowledgment and adaption of cultural differences, may lead to the formation of bonds between agents on differing ends of a spectrum. “The recognition that tradition bestows is a partial form of identification. In restaging the past it introduces other, incommensurable cultural temporalities into the invention of tradition. This process estranges any immediate access to an originary identity or a ‘received’ tradition . . . The borderline engagements of cultural difference may as often be consensual as conflictual;

ybridity

“Hybridization represents transgression and subversion but it always results in something new, a synthesis of different elements . . . Hybridization, he writes, is the making of global cultures as a global mélange” (King, 2005). The concept of hybridity is to allow for the acceptance of various theories and philosophies from Third World and First World cultures, they should not be on opposing sides of a spectrum but rather understood by one another. Through this knowledgeable understanding of theories, philosophy and cultures, the theory is, this will break down the boundaries of political and social restraints. “It is from hybrid location of cultural value – the transnational and translational – the postcolonial intellectual attempts to elaborate a historical literary project. My growing conviction has been that the encounters and negations of differential meanings and values with ‘colonial’ textuality, its governmental discourses and cultural practices, have anticipated, avant la lettre, many problematics of signification and judgment that have become current in contemporary theory” (Bhabha, 2001). Jan Nederveen Pieterse also views this view of cultural hybridization, as Anthony D. King writes, “Prior to the work of Jan Nederveen Pieterse many theorists believed that cultural differences where ‘long lasting’, “or cultural convergence (‘growing sameness’ or homogenization)”, producing ‘same’ cultures, both of which are rejected by Pieterse, making the argument for, “cultural hybridization as ‘ongoing mixing’ where the cultural outcome of globalization process is open-ended” (King, 2005). Similar to the comments made by Homi K. Bhabha on cultural diversity, hybridity encourages the concept of harmonizing various cultures into ‘one’ or as Bhabha refers to it as a ‘society’. However the differing aspect

between the adaption to diversity and hybridity is that hybridity comes with the notion of creating something ‘new’. This idea of a ‘new whole’ comes from that of a culture emerging from the mist of a cultural difference, when one understands the philosophies associated with both differing cultures, they will then be able to produce a new culture that understands both and interoperates them in an innovative fashion, music, art, design are different mediums in which this hybrid culture can be represented. The greatest example of hybridity, represented by a medium of architecture, is that of a bungalow, which subsequently altered the 20th Century, landscape. Originating from India, an Eastern design that made its way to the West, which eventually shaped suburban spaces. “The introduction of the bungalow at this time and its subsequent development in the twentieth century is probably the single, most geographically widespread illustration of the influence of imperialism – or the imperial phrase of globalization – on the suburban as well as rural landscape of Britain” (King, 2005), a great example of Eastern concepts altering the Western landscape. This same concept of learning and understanding differing methods of construction than that of ones in England and incorporating within a British context will be explored and developed within “Chapter Four”.

hapter hree: Relocating a Culture, a Historical and Sociological Study The previous chapter discussed the various theoretical materials relating to cultural identity, migration, diversity and hybridity, as well as identifying how these concepts are interpolated within the context of this project. This chapter will now use the understanding of the learnt theories to translate the theoretical material into a practical context in order to understand the position of Coptic Orthodoxy in Brighton.

As stated, this paper understands cultural identity as a process, subject to adaptation and change, whilst still respecting its previous stages prior to its alteration. In the present condition of Coptic Orthodox Christians living in Brighton, there is the presence of a dispute in defining the identity of a shared culture. The occurrence of the dispute is due to the accelerated change of the factors; time and demographics, in which these factors can be viewed as the catalysts in the process of cultural identity disputes. The emergence of a second generation of Coptic Orthodox Christians, being subject to not only Eastern Culture traditions but now also Western Culture traditions has prompted

emergent generation from within the culture it can be viewed as a hybrid culture but with only the progression of time, the relational dynamics of the generations is less evident. When the factors of time and demographics are not only altered but also catalysed the relational dynamics between differing generations becomes more evident. Due to the demographic alterations, the process of identity formation becomes difficult as both generations face very different pasts and draw upon very different spatial, temporal and material resources. Homi K. Bhabhas’ (2001) notion of instability of cultural significance

of an object, not strictly related to humans but also media, ideas, technologies and religious traditions. This is symbolised through the metaphorical use of a stairwell, described in Chapter 2. The present state of the members of the Coptic Orthodox community in Brighton can be symbolised through the act of moving from step to step. The first generation can be viewed as being the initial landing; the final landing can be viewed as the emergence of a dominant second generation, the steps within the middle is the process of getting from one landing to the other, this is the current state of the Coptic Orthodox Church of Brighton. Steps within a

the start of the adaptation process for these Christians as a community. The first generation, described by Bhabha (2001), as pedagogical are reluctant to change and which define a concept of cultural identity in which Williams and Chrisman (1994) describe as a, “shared culture, a sort of collective ‘one true self’, hiding inside the many other more superficial or artificially imposed ‘selves’, which people with a shared history and ancestry hold in common. Within the terms of this definition, our cultural identities reflect the common historical experiences and shared cultural codes which provide us, as ‘one people’, with stable, unchanging and continuous

causing continuous temporalities, unable to be stabilised in its enunciation, can be contradicted through due to the presence of religion. Through this presence the differing cultures have a common stability in which their origin is derived, thus the temporalities of time are not in relation to knowledge but rather power. “It is one thing to position a subject or a set of peoples as the other of a dominant discourse. It is quite another thing to subject them to that ‘knowledge’, not only as a matter of imposed will and domination, by the power of inner compulsion and subjective con-formation to the norm”(Williams & Chrisman, 1994). The

stairwell are constructed using a series of risers and treads adjoining together, it can be said that currently the risers and treads are in place but not connected to one another, thus the slightest movement will force the stairwell to collapse. The first generation are not ready for change, unless the second generation makes them feel comfortable that through this change the culture will be able to excel. However, outside of the walls of the Coptic Orthodox Church, the first generation is a minority in comparison to the dominant culture of Brighton and thus change is impacting the culture outside the control of the first

frames of reference and meaning, beneath the shifting divisions and vicissitudes of our actual history”. This definition can only be associated with the first generation in its current position, however when this now known, ‘first generation’, first emerged in Egypt they where viewed, as what Homi K. Bhaba (2001) desicribes as performative, a group of people loosing sight of their past in the process of determining their future. By this it can be said that when the former generation first emerged they where also viewed as a hybrid culture due to the progression of time and differing ways of life from their former generation. Thus with each

continuous pursuit of power by both generations produces a “split” within the community, with both generations imposing their perception of their culture onto the other, however within Brighton Church, the first generation is the dominant (minority) culture due to their depth in numbers, thus the second generation is seen as a sub-minority within its culture, within the walls of the Brighton Coptic Orthodox Church. The first generation is essentially the migrated community, desperate to transfer/keep their way of life from their ‘homeland’ to their new context. Migration, in the context within this paper, is the ever-changing adaptation

generation. Global Religions such as, Buddhism, Christianity and Islam have always been identified as cultures able to remain identifiable while being absorbed by local cultures (Hexham & Poewe, 1997). This project treats religion and culture as mutually exclusive aspects of a community. Religion is the belief of the community whilst culture is the way in which the members of the community perceive the religion, their way of life. The aspects are mutually exclusive because religion does give guidance to the culture but does not determine/ identify it. As Hexham & Poewe (1997) state, all new religions incorporate,

often indiscriminately, insights from other cultures and traditions . . . Global cultures transcend national, international, ethnic, racial and class boundaries to create a new whole. They are often, then, in effect, local cultures because they always grow out of, and incorporate, local beliefs and practices, their participants self-consciously cultivating openness to diverse cultures. Global cultures are, therefore, meaning networks or transnational webs of culture. This is evident through the comparison of the Eastern culture way of life and Western culture of life, Coptic Orthodox Christians in the West are no longer gender separated, males and females are now freely able to

states, “The enunciative process introduces a split in the performative present of cultural identification; a split between the traditional culturalist demand for a model, a tradition, a community, a stable system of reference, and the necessary negation of the certitude in the articulation of new cultural demands, meanings, strategies in the political present, as a practice of domination, or resistance”. The cultural differential present within the church, despite there shared beliefs, faiths, histories, gives prosperity for the emergence of an ‘in-between’ culture, one that is not fully committed to either party but rather incorporates values from each, in order to form a ‘new-whole

socialise in public a notion which seemed impossible in Eastern ways of life. The exposure to different religions, in school, work place and street has also impacted the Coptic Orthodox Culture. Members of the community are learning and understanding the beliefs of contradictory religions but more importantly learning to respect these religions and live in peace with them. A scenario foreign to them due to the hardship experienced in an Islam dominated country in the East, Coptic Orthodox Christians are not forced to hide their beliefs and practices as they once did. The presence of a culturally diverse environment

culture’ living between a cultural differential. “How are subjects formed ‘in-between’, or in excess of, the sum of the ‘parts’ of difference (usually intoned as race/class/gender, etc)? How do strategies of representation or empowerment come to be formulated in the completing claims of communities where, despite shared histories of deprivation and discrimination, the exchange of values, meanings and priorities may not always be collaborative and dialogical, but may be profoundly antagonistic, conflictual and even incommensurable?” (Bhabha, 2001). Rather than focusing on identifying the culture of Coptic

provides great opportunity for the incorporation of knowledge into ones self. Although cultural diversity provides great opportunity for prosperity there are also complications associated with such an environment. The diverse environment in which Coptic Orthodox Christians are subjected to, provides a persons(s) with knowledge in which it initiates them to pursue a higher level of power or authority, this is evident within the second generation of Coptic Orthodox Christians, demanding alterations to traditional methods brought forth by the first generation initially from the Eastern culture. As Homi K. Bhabha (2001)

Orthodoxy in Brighton in terms of generations, or demographics, the identity of it present condition lies ‘in-between’ the differentials, not looking at the culture as an imposition onto a new environment but a society with the inclusion of diverse culture, “What is theoretically innovative, and politically crucial, is the need to think beyond narratives of originary and initial subjectivities and to focus on those moments or processes that are produced in the articulation of cultural differences” (Bhabha, 2001). The relationship between culture and context is open; both impact the other, altering former ways of life. 28

Figure 12: Middle Eastern cuisine in Brighton

Figure 13: Shisha bar in Brighton town center

The culture of Coptic Orthodoxy has impacted the Brighton landscape, Middle Eastern food shops are available, objects such as shisha pipes (a form of smoking) are now available in Brighton, schools are now teaching the Arabic language as an option part of their curriculum. Coptic Orthodox culture has been able to insert itself within its context, representing its Eastern culture in forms of domestic architecture, food shops, restaurants and education. With these variables of integration, the prosperity for emerging hybrid cultures is evident not only within the Coptic Orthodox Culture but also to the landscape of Brighton. As previously stated, hybridization is the acceptance of various theories and

design becomes essential in producing a representation for this new hybrid culture, with explanations as to the forms, materials and objects used.

philosophies from a variety of cultures, understanding one another thus breaking down the boundaries of political and social restraints. Through the emergence of an ‘in-between’ culture within the Coptic Orthodox culture in Brighton, this new emergence can be seen as a hybrid culture formed from the source of Coptic Orthodoxy but also accepting and understanding theories, philosophies and cultures associated within the society they all share with other cultures. The emergence of this new hybrid culture needs to be represented as its own identity, a new whole, rather than just a branch from a former culture. This leads the paper to the next chapter in which

Figure 14: Middle Eastern take-aways in Brighton

(Images taken by camera)

rocess of

ransformation

The process of transformation of the church occurred seven years after Coptic Orthodox Christians acquired the church in 1993. The process began with the installation of the greatest architectural feature, relevant to Coptic Orthodoxy, the iconostasis. As previously mentioned the 25 foot structure was crafted of mahogany wood in Egypt and then sent to the UK, in small pieces for installation, as shown in these images.

hapter our: Intervening with Cultures (Design Project) The intervention with cultures begins within the confines of the church; essentially the intervention have already begun, and as previously mentioned the intervention is representative of one culture forced within another. This chapter will identify the various interventions that will occur within the church, the purpose of these changes and the meaning of their representation. The project will look at precedents such as Carlo Scarpa, Aldo Van Eyck and various artists mentioned in Jane Rendells’ book, ‘Site-Writing’ and “Art and Architecture – A Place Between’.

Figure 15: Collection of images showing the transformation of the church (Images taken from church archive)

Figure 16: Collection of images showing the church after its transformation (Images taken by camera)

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Figure 17: Exterior image of Coptic Orthodox Church, Brighton, Engalnd (Image taken from church archive)

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nterventions: Transformations within the Church: The representation of two cultures living within the same space, forcefully, is most evident by the fixing of the iconostasis to the existing church columns. As shown by figure 18 mahogany wood, constructed and crafted in Egypt, has been imported to England and nailed to the block work columns of the former Anglican Church. The start of my interventions will begin with this junction within the church, finding a method in which the iconostasis can harmonise with its new Western context. The emergence of a hybrid culture, a 2nd generation of Coptic Orthodox Christians, belong to an Eastern culture origin as much as they belong to a Western culture present, an incorporation and understanding of both philosophies is what the new culture is subject to and thus becoming the joining factor between the two cultures, the old and the new. The Plazzo Abatellis is a great example of how Carlo Scarpa used materials to not only restore a historic fabric but to also introduce new fabrics in a harmonistic manner. “His patient, almost archival attention to the historic fabric of the existing structure shows remarkable judgement. With almost

project, ‘Vegetation VIII and Vegetation X’, figure 20. “Iglesias describes the Vegetation Rooms as carrying ‘the motif of an inverted nature’; the elements are ‘pure fiction’, she says, constructed by mixing motifs from nature in impossible combinations, or with ‘elements and impressions alien to nature’. In copying or reproducing nature, it has been argued that these works ‘challenge not only our concept of “nature”, but the “natural” itself” (Rendell, Site-Writing, 2010). The iconostasis is predominantly constructed of either mahogany wood or marble, if wood if is to be used as the main material, this will imply that painted iconographies will be inserted into the screen. By contrast if marble is to be the main material to be used then iconographies will be carved into the screen, absent of any colours, as shown in figure 21.

every surgical accuracy, he moved from space to space restoring some elements and adding new ones, integrating the two in a fusion so seamless the observer is hard pressed to find the juncture between them” (Olsberg, Ranalli, Bedard, Polano, Di Lieto, & Friedman, 1999). As shown in figure 19 the difference between the existing fabric and the intervened fabric is hard to distinguish, creating a positive dialogue between old and new, existing and emerging. Cristina Iglesias, a artist named in Jane Rendell’s book, ‘Site-Writing’, uses materialistic manipulation in order create which challenge our conception of nature, this concept is shown in her 36

Figure 18: Images showing connection of iconostasis to church column (Images taken by camera)

Figure 19: Carlo Scarpa, Palazzo Abatellis (Source of image from Google)

Figure 20: Cristina Iglesias, Vegetation VIII and Vegetation (Source of image from Google)

Figure 21: Coptic Orthodox marble work (Source of image from Google)

aterial

ntervention:

The two materials present at the junction between the iconostasis and the existing column are wood and concrete block work. It must be noted that the purpose of the intervention is not to represent the hybrid culture by taking the form of an existing culture but rather combining elements from two varied cultures to create a new form, which respects each culture but does not fully take the form of either one. Figure 22 shows the culmination of marble with concrete texture, carving and wall paint. The marble material, respects the architecture of the Coptic culture but with the addition of the concrete texture it given respect to the existing culture in which the Coptic culture resides. The texture of concrete varies from the texture of the existing concrete block work of the columns in order to represent the hybrid culture emerging between the existing cultures. Carvings used for marble made iconostasis where predominantly used for Coptic architecture within rural places, whilst iconographies as a Contemporary or Neo-Coptic medium was introduced in the 20th Century. A combination of these two methods of icon representation, painted carvings, will be used to represent the evolution of Coptic Orthodoxy.

Figure 22: Material intervention

F I orm

ntervention:

The key concept which needs to be represented within the church, is that cultures must be able to understand and respect varied philosophies from other cultures, in order to create a society, this does not imply that they need to be fully adjoined to one another. It’s this separation of ideas/philosophies in which makes our world unique. The works of Carlo Scarpa again become useful as a precedent for the representation of various objects respecting and creating dialogues between one another but with separation/breaks in their construction. Figure 23 shows an example of how Carlo Scarpa relates various object together, without physically connecting them, in the conventional sense of physical conneciton, how various forms appear to meet at their junctions but never actually connect. The columns of the former Anglican Church are representative of the Western culture whilst the iconostasis can be seen as a representation of the Eastern culture. With the adjoining of these two entities it will imply that one has taken the form of the other, a false representation of what is happening within the church. The emerging hybrid culture is learning and understands the

and the iconostasis. The immediate columns to the iconostasis have been identified as representations of the Western culture, however in Britain’s current state, culture is greatly diverse and broadens to more than just Western philosophies. Other columns circulating the interior of the church are representations of other culture present in Britain’s current landscape in which Coptic Orthodoxy is required to understand in order to move a step closer to creating a society with its context of Brighton. Thus the other columns will relate to the immediate column through form alteration, the bottom of the column will be altered to the same thickness as that of the iconostasis, which will extend up to the column to the same height reference as the iconostasis, H and Z.

philosophies of both existing cultures and thus does not belong to one but rather to itself, with respects to both, figure 24 shows a sketch of this concept. As shown by figure 24 the iconostasis never meets the column, but rather its ‘shadow’ is indented into the column. The indent into the column is the same height and depth of the iconostasis; this is represented as symbols H and Z respectively. Around the indent onto the column, there is a splash of marble with concrete texture, the same material used for the making of the proposed iconostasis, a further aspect to show the relation of the existing column 42

Figure 23: Carlo Scarpa, Chapel (Source of image from Google)

The final intervention to the existing church building, from the iconostasis, will involve alerting the exterior South façade of the church, as shown in figure 24, 25 and 26. The previously mentioned interventions have revolved around altering the interior of the church, only being seen by Coptic Orthodox Christians within. This intervention will be the first step to creating a dialogue between the interior and exterior that will ultimately affect the immediate landscape of the church. This concept of creating dialogues between the inner and the outer came from the works of Robert Smithson, speaking on the outer Jane Rendell (2006) states, “According to Smithson, sites have ‘open limits’, ‘outer

not being confined into one particular space but breaking through and attempting to create their own identity within their new context and their new understanding of themselves. Figures 25 and 26 indicate how the construction and positioning of the iconostasis has been adopted in order to create the design foundation for the proposed building.

limits’, ‘outer coordinates’, and include processes of subtraction or the removal of material, combining a physical place with ‘indeterminate certainty’” and on the inner, “Non-sites, on the other hand, have closed limits, inner coordinates and ‘contained information’; they include processes of addition, combining abstraction or ‘no place’ with a ‘determinate certainty’”. Smithson’s project of the Spiral Jetty (1970) aimed to create a dialogue between those two entities of which he states, “I was sort of interested in the dialogue between the indoor and the outdoor and . . . I developed a method or a dialect that involved what I call site and non-site . . . (it’s a back and forth rhythm that moves between indoors and outdoors) (Smithson, Earth (1969) symposium at White Musuem, Cornell University, 1996). This very same dialogue is what figure 23 aims to begin to achieve. As shown the in figure 24 the South façade has been extruded to produce a rectangular form, same height and depth as that of the iconostasis. The purpose of this intervention is to represent the impact of the migrating culture, of Coptic Orthodoxy, to the landscape of Britain, how this Eastern culture is integrating within the present Brighton landscape, the concept of the hybrid culture Figure 24: Sketch of form intervention

A. The extruded object shown in A. represents the thickness and height of the iconostasis (500mm x 7500mm), ‘bleeding’ its way through the South façade of the church and entering the immediate landscape.

15000mm x 7500mm

2184mm x 3759mm

1143mm x 2717mm

500mm x 7500mm

Figure 25: Illustration showing how the construction of the interior has formed the construction of the proposed design

As shown the in figures 25 and 26 the South faรงade has been extruded to produce a rectangular form, same height and depth as that of the iconostasis. The purpose of this intervention is represent the impact the migrating culture of Coptic Orthodoxy has had onto the landscape of Britain, how this Eastern culture is integrating within the present Brighton landscape, the concept of the hybrid culture not being confined into one particular space but breaking through and attempting to create their own identity within their new context and a new understanding of themselves.

B. This is representative of the smaller screen relating to the iconostasis, its height and width has been used to alter the south faรงade of the church and subsequently manifest as the North and South elevation of the proposed building.

4673mm x 2970mm

Figure 26: Illustration showing how the construction of the interior has formed the construction of the proposed design

1016mm x 2500mm

Figure 27: Aerial view of proposal

R I

epresentation of

nsertion of the

conostasis

Following from pages 50 - 53 the edge of the iconostasis continues to pass through the immediate landscape until it meets the edge of the semi-detached houses as shown in the plan on page 54. At this point the houses are split, at this point of insertion the metaphorical line present manifests into the side of the proposed building as shown in figure 29. The image shows how the width and height of the iconostasis proceeds, in a single line throughout the proposed building, creating a connection between the interior of the church, the immediate landscape and subsequently the proposed design. Standing at the point of insertion, looking West towards the church, the subsequent view will be that of the iconostasis, figure 30, and this is evident at every point of insertion within the building.

Figure 29: Point of intersection Figure 28: Representation of a hybrid culture

Figure 30: View from intersection

Figure 31: Section showing meeting of iconostasis and proposed building

Figure 32: East Elevation

epresentation of

R B

rogression

epresenting

This building is intended to represent the emergence of a hybrid culture and thus the progression of this hybrid needs to be paid homage to. The stairwell is a representation of progression, moving from one place to another, as stated within this phrase, “The stairwell as liminal space, in-between the designations of identity, becomes the process of symbolic interaction, the connective tissue that constructs the difference between upper and lower, black and white. The hither and thither of the stairwell, the temporal movement and

onnections through

reaks

The iconostasis within the Coptic Orthodox church of Brighton has three alters behind it, the middle one being the most frequently used one and this has been represented by allowing it to extend to the full height of the iconostasis, as shown in figure 35, the lesser height is the same height as that of the adjoining houses whilst still indicating where the height of “B” on page 52 would meet the proposed building. As previously stated only the middle building extends to the full height of the iconostasis but within the church the full length of the iconostasis screen is of one height, thus dents within certain sectors of the building represent areas of adjustment in terms of subtraction, this is indicated in figure 35. The works of Carlo Scarpa have been key in this has he frequently uses breaks in his work to represent metaphorical connections. As figure 34 shows the screen has been broken at the point of height differentiation, thus producing three ‘separate’ buildings, which connect in a different form than that of a physical means. The three buildings represent the Coptic Orthodox culture, the culture

passage that it allows, prevent identities at either end of it from settling into primordial polarities. The interstitial passage between fixed identifications opens up the possibility of a cultural hybridity that entertains difference without an assumed or imposed hierarchy” Homi K. Bhabha (2001). As the design of the building did not require the inclusion of a staircase, the building uses the accumulation of steps to its exterior to represent the progression of a culture, as shown in figure 33.

Figure 34: Connecting through breaking

of Western civilization and the members of the community who are subject to both cultures, living within a singular space respecting and understanding each others views and ways of life thus producing a hybrid culture.

Figure 33: Representation of progression

Figure 35: Variations in height

epresentation of the

eligion

A key symbol, part of the iconostasis is the representation of the cross, the representation of the hybrid culture is still very much linked to its religion and thus the symbol of the cross is still crucial within its representation. Incorporating the symbol of the cross as a transparent object allows for the inclusion of the context, allowing the sunlight from the environment to create a new cross from within the building, subsequently creating a dialogue between the environment and the religion. Again the forms of progression have been used behind the cross to represent the progression of the religion it self. Through the addition of the English language within the services, it shows progression to the religion by adapting to its immediate context, a notion that would have not been carried out if it was still resident in Egypt.

Figure 36: Light reflection

Figure 37: Glazed crucifix

D P

iagramic

W T alk-

hrough of

roposal, from North sector to South sector

Figure 38: North Elevation

Figure 39: North Section

Figure 40: First room

Figure 41: Reflections of crucifix and progression

Figure 42: Pathway to second room

Figure 43: Cross detail

Figure 44: Pathway to third room

Figure 45: Third room

Figure 46: Exit into the immediate landscape

Figure 47: South elevation

Hussey, J. M., & Louth, A. (2010). The Orthodox Church in the Byzantine Empire . Oxford: Oxford University Press.

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