Staff Thanks - University of Brighton

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Introduction
Undergraduate studies
Year one
Undergraduate studios
Pavilion gardens
Seafronting Brighton
Flight of fancy
Contested heritages
The spaces of cultural perception
Unknown pleasures: Enigma, timelessness & the potential of nothing
How to build an obsession
Undergraduate architectural technology
Architects’ writings
Professional practices
Option studies
BIAAS
Study trips
Lectures
Awards
Postgraduate studies
Designing the Peckham micro city
Mise-en-abyme: Looking into the hospital clinic
The geography of the dispossessed
Re-figuring grounds
Architectural humanities
Part 3
Professional studies
Postgraduate architectural technology
Research
Thanks
Staff
// 3
6 \\
// 7
_Year one
_Michael Howe
Year one
In Year 1 of the Architecture
BA students are taught in a yearwide group in a shared studio space,
exploring the fundamentals of design
practice.
Our students are introduced to
technological questions through handson projects. This includes large, oneto-one scale installations of structural
and building construction systems which
students develop through physical and
digital modelling techniques, based on
their own designs.
10 \\
Students are given a sound grounding
in Architectural History and Cultural
Context through lecture and seminar series,
both within a dedicated Architectural
Humanities module and through additional
lectures and field trips.
Knowledge and insight gained through
the study of precedent are tested and
developed in studio in the two Design
Projects undertaken in the second and
third terms of the year. This year these
projects were set in four sites on the
banks of the River Thames in London.
// 11
_Year one
_Michael Howe
Techniques
The intention of the first year
of the Architecture BA at Brighton
University is to provide fundamental
skills and knowledge in a number of key
areas essential to every architectural
student. We place great emphasis on
the skills of looking, recording,
interpretation, and exploration through
drawing and modelling.
This year our studio commenced
with Techniques: Five Representational
Exercises, a module designed to
support and supplement design studio
learning. It is delivered through a
series of ‘technique’ based projects
and develops fundamental professional
skills around drawing, including an
introduction to architectural drawing
protocols, measured drawing, and survey
and modelling techniques.
Students’
representational
vocabulary is enlarged through techniques
of collage, photography and computer
generated imagery.
12 \\
// 13
_Year one
_Michael Howe
Technology
Alongside first term technology
lectures, which introduced students to
environmental, structural, and material
principles in architecture, our technology
workshops commenced in the third week of
the first term.
This year, the students have been
working on group projects to design,
construct, and record the development
of a number of brick structures such
as vaults, arches and deformed walls –
structures which are usually produced by
highly skilled crafts people or robotic
construction. Our students were tasked
to make formwork, often with the aid
of computers, and draw up a manual of
their work in pdf format, with the idea
of enabling semi-skilled builders with
a minimum of craft training, and using
simple and cheap materials such as packing
cardboard, to produce high performance
brick building components, anywhere in
the world.
The formwork was tested over
the last weeks of the second term at
our ‘building site’ at Circus Street
Brighton. An accompanying reflective
document, describing the process of
design and construction, with reference
to technological insights, methodology,
resourcing and project timetabling was
produced by each student group in an
effort to emulate actual architectural
practice work.
14 \\
// 15
_Year one
_Michael Howe
Design
project 01
Each student was tasked with
designing a New Speakers’ Corner on
one of four sites on the River Thames.
Some of these were quiet locations,
such as the Strand on the Green near
Kew Bridge; others were set in the heart
of the City, such as St. Katherine’s
Pier by Tower Bridge. Each site had been
scrupulously recorded and modelled as
part of the Techniques module in the
first term, giving students a firm grasp
of some of the site conditions when
developing their project brief.
During this process each student was
introduced to the fundamentals of what
may constitute architectural design, with
reference to existing social constructs
and precedents. Cultural context and
formal invention were key themes during
this simple introductory design project.
16 \\
// 17
_Year one
_Michael Howe
Design
project 02
Site specific design issues were
explored in greater detail during Design
Project II, Theatre Space – Craft Space.
The students were tasked to design
a building or buildings for a small
performance space and a supporting ‘back
of house’ workshop.
This module introduced the students
to the stages of the design process,
with an emphasis on investigation when
developing project briefs based on user
requirements. The students were required
to apply fundamental principles in the
development of a moderately complex
architectural intervention suited to
their respective Thames-side sites.
18 \\
// 19
_Studio 01
_Dr Ben Sweeting & Tim Norman
Pavilion gardens
Following last year’s exploration of London’s
Regent Street, Studio 01 has been investigating the
related Regency context of Brighton’s Royal Pavilion,
a seaside retreat for George, Prince of Wales, built
in several stages from 1787, culminating in the 18151822 designs by John Nash.
The Pavilion is one of Brighton’s most famous
landmarks and a key part in its development as a
popular seaside resort. The wider complex of spaces
around the Pavilion and Valley Gardens is one of the
most convincingly civic spaces in Brighton and Hove,
which became a city only in 2001. As well as having
the quality of an urban set piece, it is also an
intensification of various public cultural programmes,
from entertainment to education and the setting for
institutions such as the Town Hall.
Studio 01 are ­–
Year 3: Florence Fathers, Arshia Hatami,
The studio began by making close studies of the
interior spaces of the Pavilion and of public places
within Brighton with a memorable urban character.
Students went on to propose an addition to their own
house in Brighton on the pretext of receiving a guest,
reflecting the Pavilion’s original social function.
From these studies, they then developed proposals
for a new public building within this complex, as an
intensification of Brighton’s urban character.
22 \\
Nikolaos Kofopoulos, Maria Mavrikou,
Samrita Mudher, Eve Olsen, Andreani
Papaioannou, Samuel Plank, Joe Randall,
Thomas Thornton, Myy Tran, Glenn Turner
Year 2: Rachel Chee, Niki Chouvarda,
Katerina Demetriou, Thalia Girerd, Alex Parry,
Nikol Polykarpou, Kathryn Rackett, Neda
Soltani, Eugenia Trias, Meri Ulmane, David
Waldren, Jordan Winzer
// 23
_Studio 06
_Graham Perring & Andrew Paine
Seafronting Brighton
Maintaining the ethos that we have developed over
a number of years, Studio 06 examines how natural
processes meet with culture, politics and history to
allow the creation of architecture that is specific
to a particular place and time. We continue to be
interested in exploring the relationship between us
(our individual and varied lives) and the landscape,
and how architecture links between these realms.
This year we have moved to the multi-layered terrain
of Brighton and Hove’s seafront, a landscape that has
seen the growth and decline of varied and sometimes
competing industries including fishing, tourism, health,
and recreation, to name but a few.
The projects were initially developed through
studies of individual people (past and present) and
their connections to our locality, leading to large
scale representational drawings – sometimes described by
cartographers as ‘deep maps’. Bridging between subject and
landscape, students then created functioning ‘devices’
to reveal or reinterpret particular characteristics or
stories relating to a specifically chosen place.
Studio 06 are ­–
Year 3: Jack Carlisle, Ezer Han, Marina
Kafantari, Freya Laing, Misbah Mahmood,
These investigations into particularity,
responsiveness and the experiential have been executed
through drawing and making. They have subsequently led
to students’ becoming actively engaged in proposing
new and exciting architectures: architectures that look
beyond merely creating objects of visual beauty to the
experimental design of multi-sensorial environments
which are meaningfully rooted in the local landscape.
28 \\
Katya Nikitova, Risha Patel, James Purchon,
Jaime Tam, Shabnam Zamanpour
Year 2: Chantal Barnes, Dayne Coley,
Richard Fairley, Johannah Fening, Alexandra
Gamrot, Lois Innes, Katie Wai Lam, Davis
Ming Mak, Benjamin Munday, Alfie Peacock,
James Ralston, Rebecca Rose, Jacky Kwok
Sung, James Tyrrell
// 29
Previous page: _James Purchon - Institute
of coastal dynamics This page clockwise
from top: _Ezer Han - Hydrodynamic spaces
activated in time and experience _Marina
Kafantari -Fishing quarter revival _James
Top: _Jaime Tam - Syn-aes-the-studio.
Purchon - Institute of coastal dynamics
Bottom: _Jaime Tam - Syn-aes-the-studio.
30 \\
// 31
Left page clockwise from top left: _Misbah
Mahmood - The Dandelion Laboratory for
Forensics and Pathology _Marina Kafantari
- Fishing Quarter Revival _Ezer Han,
Hydrodynamic spaces activated in time and
experience Top: _Freya Laing, Inter-species
Mewsings Left: _Jaime Tam, Syn-aes-the-studio
32 \\
// 33
_Studio 09
_Stefan Lengen & Kyriakos Katsaros
Flight of fancy
Studio 09’s emphasis is on method and interactive
design processes. We cultivate a fascination with the
crafting of delicate models and complex hybrid drawings.
Our design process is informed by the studio’s focus
on spatial investigations through intelligent devices
and videos that initially relate to the human body and
ultimately reinterpret everyday situations.
This year, the studio proposed a ‘new building’ for
Broadway Market, a gentrified urban street in the London
Borough of Hackney, East London that runs from London
Fields to the Regent’s Canal in Haggerston. Based on
the results of individual enquiries in the early stages
of the project, students engaged in systematic spatial
investigations, leading to architectural propositions
informed by the author’s specific research ambition.
The studio’s main intention was to unearth the
latent qualities of the street market and to foster
an intelligent exchange between user and environment
that would be strongly informed by uncertainty and
the unexpected. To achieve this, we encouraged the
rigorous dialogue between drawings and prototyping,
the real and the fantastical, the static and the
interactive. The studio works aimed to open up new
spatial experiences and market typologies.
34 \\
Studio 09 are ­–
Year 3: Anna Kupriyanova, Antigoni
Goutakoli, Ariane Boogaard, Bella Konig,
Ben Spong, Henrik Cheung Lok, Jason Ka Kit
Tin, Justin Clarke, Matthew Holmes, Sadek
Ahmed, Stuart Goldsworthy-Trapp
Year 2: Berfin Tel, Buse Gurbuz, Charles
Chiu, Connor Keen, Kavika Lau, Kutluh Unalir,
Mandy Wong, Nurul Idris, Olubunmi Fagbenro,
Samson Mui, Satwant Benipal, Tony Graham
// 35
_Studio 10
_Katy Beinart & Cordula Weisser
Contested heritages
Our projects this year explore the idea of heritage
and memory in relation to architecture, and what happens
when there are contested views of how ‘heritage’ should
be preserved, presented or refashioned in the built
environment. How can architectural design work with
memory and heritage to offer communities an ongoing
part of the future of their home, whilst also allowing
places to be open to change?
The studio investigated two sites, Venice and
Brixton. Venice has a long history as a pleasure island
and a tourist destination, but has recently been
increasingly commodified. Brixton is an area of South
London which has a reputation for its multiculturalism,
with its market being listed for its cultural heritage.
However, regeneration plans are in danger of eroding the
communities that gave the area its unique atmosphere.
Our first project looked at ‘typologies’ of
architectural details and communities of users in both
sites. This lead to an intervention design for both
sites, which was built as a live project in Brixton.
Our final project Arc-hive is both an archive and social
space in Brixton that asked students to think about the
preservation and future of the place and its varied
communities, developing their own brief in response to
research. Students worked with drawing, collage, mapping,
photography, model making, and interventions on site.
Studio 10 are ­–
Year 3: Georgia Antonopolou, Hannah
Bradley, Oliver Carter, Ben Davies, Maria
Mouyiasi, Laura Olivier, Katarzyna Soltysiak,
Niki Stavrou, Tommy Tullis, Dagmar Zvonickova,
Miranda Nicolaou
Year 2: Kai Alexander, Anesa Cana, Jack
Cottrell, Georgios Kokkotis, Chir Wey Lim, Jayson
Molina Veras, Louise Morley, Ben Mullan, Beth
Rodway, Kevin Tipchu, Jake Watkins
40 \\
// 41
_Studio 12
_Luis Diaz & Sean Albuquerque
The spaces of
cultural perception
Studio 12 looks at architecture from a social and
political perspective. This is explored by focusing
on the ritual and repetitive everyday routines that we
employ to ‘get by’ in space. We see people’s actions in
space as a negotiation between their need for expression
and belonging and the given structure of existing space
as conceived by architects. As such we look at the
potential in the ordinary, the banal and repetitive.
The programme arena for these investigations alternates
between housing and public programmes in order to explore
these in the domestic and cultural sphere.
We often approach projects by taking specific,
detailed and physical things as carrying the conceptual
and abstract potential of a project. That is, we believe
that the richest concepts and ideas come from the most
ordinary of sources – how and where one prepares a
meal, how we converse, how we enter and acclimatise to
both familiar and unfamiliar spaces.
This year the brief was set in Stanmer Park in
the first of a series of projects that will look at
the problems of designing for semi-rural and suburban
spaces. Students were asked to develop their own
programmes by reading the texture of uses and spaces
over a series of site visits. The project both begins
and ends with a small scale detail meant to frame a
chosen routine or experience.
46 \\
Studio 12 are ­–
Year 3: Celine Battolla, Ying Cheung,
Alexander De Caires, Derin Fadina, Chris Long,
Chloe Ma, Terry Tai, To Tsz Lok, Aliya Yerkaliyeva
Year 2: Ilia Bykov, Jennifer Cheung, Myrto
Gatou, Ivona Gregor, Reuben Harris, Poppy
Keenor, Myrsini Kocheila, Devin Maisuria, Eve
McKenzie-Scotson, Niamh Poole, Michael
Robinson, Chloe Simons, Angus Taylor
// 47
Spread clockwise from top left: _Alex de
Caires - Settlement _To Lok - Funeral and
Wedding Venue _To Lok - Funeral and
Wedding Venue _Michael Robinson - LiveWork Units _Angus Taylor - Environmental
Centre _Angus Taylor - Environmental Centre
_Ying Cheung - Physical and Mental Exercise
50 \\
// 51
_Studio 14
_Stephen Ryan & Nick Wood
Unknown pleasures
Enigma, timelessness &
the potential of nothing
Studio 14 adopts nonlinear, initially nomadic,
abstract methods of investigation focused on encounter,
experience and intuition. Working between nothing
and something, sense and substance, and from space
to place, we strive toward an architecture that is
responsive, intelligent and environmentally appropriate.
We therefore take a holistic approach to design,
seeking beauty in the balance between poetic ambition
and technical performance. Yet the process is open,
collaborative and fully allows students to determine
the ambition of their work.
This year, based on the theme of ‘pleasure’, we
set out in search of ‘unknown pleasures’ – delight,
wonder, enigma, timelessness – fleeting moments of captured
imagination. In studies of lightness, transparency and
saturation we identified simple complex abstractions. These
we developed as research-based spatial propositions in
the first term, and applied, in the second term, through
interaction with the specifics of a particular place and
location: Seaford. Here, in this relatively unknown,
unloved English seaside town, we attempted to evolve
credible, relevant design projects in which the elemental,
the enigmatic, and metaphysical qualities of architecture
might inform, enable, or empower, the potential for new
thinking, for change, rejuvenation and regeneration.
52 \\
Studio 14 are ­–
Year 3: Zachary Macpherson, Afifah
Othman, Artyom Popov, James Thompson
Year 2: Narmeen Adnan-Khan, Kai Yan
Chan, Euan Dorward, Kaz Dzielak, Rory Hay,
Adam Hudec, Nina Kaiser, Meera Lad, Maria
Muskova, Elodie Nunn, Annette Saavedra,
Diana Saienko, Andreea Schiteanu, Petra
Sebova, Marek Svoboda, Angie Wong
// 53
Previous: _Maria Muskova - Carpet
Metaphor Left page clockwise from top:
_Afifah Othman - Shadow of abstraction
_Afifah Othman - Shadow of abstraction
_James Thompson - Seaford Camera: An
investigation into image and space This
page clockwise from top: _Adam Hudec
- Exit Point _James Thompson - Seaford
Camera _Petra Sebova - Seaford’s Lounge
54 \\
// 55
Left page clockwise from top: _Adam Hudec
- Exit Point _Artem Popov - Purgatory of
isolation and loneliness _Annette Saavaedra
- Writer’s Retreat in Seaford _Maria Muska
- Floating emotion Top: _Artem Popov
- Purgatory of isolation and loneliness
Bottom: _James Thompson - Seaford Camera
56 \\
// 57
_Studio 55
_Pedro Gil, Christo Meyer & Kevin Widger
How to build
an obsession
Studio 55 explores a design development primarily
through the making / crafting of physical models which
lead into the crafting of drawings and spaces. In this
Studio, the act of making sophisticated models and
drawings is the premise and method used to test ideas,
explore solutions, and communicate our designs.
We are interested in the tactilities of architecture,
tectonics, and physicalities of buildings and space.
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 sophisticated way of working
and thinking that can lead to complex propositions and
architectures.
Models are the departure point for Studio 55.
This year Studio 55 has been designing Obsessions.
Obsessions are at the heart of design. All true designers
are obsessed with specific subject matters, nuances,
phenomena, lines of enquiry, or semantics. Some designers
are obsessed with aesthetics, others with theory or
approach, but all share that common trait of Obsession.
Studio 55 are ­–
Year 3: Hanne Barriteau Siiri, Nika Broka,
Dimitra Chatzilouka, Encina Fernandez,
Mirella-Maria Fournaridi, Rosine GibbsStevenson, Louis Hardy, Harrison Lang,
The year was structured such that students would
initially identify an Obsession – either some personal
Obsession or an Obsession derived from this year’s site
– Bermondsey, London. This constituted the departure
point for students to go on to develop ‘their’ Obsession
into complex programmes and spatial propositions.
58 \\
Angharad Webber, Fiona Wong
Year 2: Trixie Bedwei-Afful, James
Goreing, Jillian Hernandez, Kim Kiteculo,
Ngo Lee, Shayne Quiseo, Deborath Robles
Claudio, Eron Sahota, Tin Tsoi, Melina
Veropoulou, Nicholas Woodward, Zhemin Wu
// 59
Previous: _Fiona Wong - The Tea Institute
Left page clockwise from top: _Demitra
Chatzilouka - Experimental Coffee Bean
Laboratory _Demitra Chatzilouka Experimental Coffee Bean Laboratory
_Mirella Fournardi - Herb Apothecary
and Restaurant _Mirella Fournardi Herb Apothecary and Restaurant Below:
_Encina Fernandez - The Animal Hotel
_Louis Hardy - The Silk Factory
60 \\
// 61
Left page: _Harrison Lang - Mr. Wolf’s
Bermondsey Empire This page clockwise
from top left: _Hanne Sirri - Hipster Fabric
and Papyrus Workshop _Hanne Sirri Hipster Fabric and Papyrus Workshop
_Fiona Wong - The Tea Institute
62 \\
// 63
_Architectural humanities
_Tilo Amhoff
_Dr Karin Jaschke
_Dr Emma Cheatle
_Luis Diaz
_Catalina Mejia Moreno
_Tony Roberts
_Dr Ben Sweeting
Most commonly drawing is considered to be
the practice of architects. However, we like to
convince our students that writing is as well. It's
quite obvious that architects write, but it's rarely
considered essential and often suppressed.
As part of their professional practice
architects write building specifications,
describing the material to be used and the
work to be executed; historic building
reports for planning applications of great
listed buildings; or building contracts
and other legal documents. They might
even choose to engage in the writing
of planning policies, and the changing
of building codes and regulations. As
part of their disciplinary practice they
write blogs, lectures, research papers,
66 \\
and books. In the twentieth century that
included the writing of programs and
manifestos. We therefore start the first
year with an investigation of Architects'
Writings.
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. After all, our
architecture course is situated within the
College of Arts & Humanities. This is 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.
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 is a means to develop their
subjectivity.
Today architect's writings are
produced, distributed and consumed by
means of digital technology, written on
computers with various writing software,
published online and in electronic
journals, read on the internet or on
electronic reading devises. What that
exactly does to architect's writings
is still to be examined. However, we
are aware that the future challenge
and opportunity in the teaching of the
humanities will be the digital. In that
respect, the question we are facing
today is what are the humanities in the
digital era? In other words, what are
the Digital Architectural Humanities?
We hope that the answers we find to
this question will further convince our
students that writing is also part of
the practice of architects, and hence
something they will be eager to learn.
// 67
_Annual lecture series
_Prizes & awards
International lecture series
Student awards
The Architecture Programme has continued its external
lecture series this year inviting international design
researchers and theorists to explain their work in the
context of research through practice or theory. The lecture
series showcased work that tests boundaries of Architecture
as a discipline and practice, pedagogy and research.
RIBA Serjeant Award for drawing 2014
_Oliver Riviere - The Institute of Concrete Poetry
RIBA Journal Eye Line drawing competition 2014: Joint winner
_Kirsty McMullan - The Everyday Museum of Everyday Portland
Morgan Carn Prize
_Alexander de Caires - The Settlement
21/10/2014
Dr Guan Lee
Grymsdyke Farm: Ideas and practice
04/11/2014
Ricardo de Ostos
The nature of the city
06/11/2014
Michael Weinstock
Infrastructure and the space of flows
25/11/2014
Professor CJ Lim
Food city
27/11/2014
Liam Young
Justin Bieber and the shadows of technology
20/01/2015
Dr Penelope Haralambidou
Marcel Duchamp and the architecture of desire
22/01/2015
Professor Mario Carpo
The style of big data
12/02/2015
Cristina Díaz Moreno & Efrén Ga Grinda
Rare new species
24/02/2015
Professor Charles Rice
The atrium effect
26/02/2015
Professor Nat Chard
Fathoming the unfathomable
05/03/2015
Professor Tim Ingold
Building knotting joining
19/03/2015
Professor Susannah Hagan
Public spaces and sacred cows
BIAAS lecture series
18/11/2014
Tatiana Von Preussen of vPPR Architects
20/11/2014
Fergus Feilden of Feilden Fowles Architects
13/01/2015
Tristan Sharps of dreamthinkspeak theatre company
29/01/2015
Alex Haw of Atmos Studio
16/03/2015
Alicja Borkowska of you&me
23/04/2015
Phillip Hall-Patch of Heatherwick Studio
82 \\
Nagoya Prize
_Eve Olsen - Front room in the park
Chaplaincy Creative Sustainability Prize
_Miranda Nicolaou - Preservation & Restoration Archive
RIBA SE Prize Undergraduate
_James Thompson - Seaford Camera: An investigation into image and space.
RIBA SE Prize Postgraduate
_William Emmett - The Retreat: A Recalibration to Reality
2015-16 RIBA Bronze Award Nominations
_Eve Olsen - Front room in the park
_Ben Spong - Designing A Dialogue
2015-16 RIBA Silver Award Nominations
_Leo (Zihuan) Liu - 2050 CPUL infrastructure in Peckham: How the Object becomes the Subject
_Irene Papayianni - Anamnesis of salting works: Harvesting the unseen
Overleaf: _Jim Stephenson - www.clickclickjim.com
// 83
84 \\
// 85
_Studio laboratory 01
_Andre Viljoen & Konstantinos Chalaris
Designing the
Peckham micro city
Studio 1 set out to question how architecture and
urban space respond to three contemporary realities,
in the context of CPULs or Continuous Productive Urban
Landscapes:
Reality No 1 Environmental Crisis -> Environmental
Approach
Reality No 2 Local Needs -> Interdependencies
-> Unlikely Partners -> Public Realm
Reality No 3 Unprecedented Urbanisation
-> Alternative Speculation -> Ecological
Intensification
The studio was particularly interested in the
notion of Unlikely Partners and how this might relate
to the CPUL concept as an urban design instrument for
achieving local sustainability while reducing cities’
ecological footprints. Students were investigating
what Randolph T. Hester describes as "the rule of
interdependent adjacencies in urban ecology...: the more
diversity, and the more collaboration 'between unlikely
partners', the better the chances for biodiversity,
sustainability, and resilience."
Studio laboratory 1 are ­–
MArch 2: Chris Doyle, Roselle Goacher,
Toine Hodgkiss, John Kipling, Zihuan
(Leo) Liu, Bhavika Mistry, Gerasimos
Moschopoulos, Fenia Spyropoulou, Vivian
Theodosopoulou, Angelina Zittis
Peckham, the studio's site in South London,
provided the opportunity to explore these themes in an
ecologically challenging and simultaneously culturally
diverse and economically dynamic environment. A live
initiative, the 'Peckham Co-Design' project, provided
the starting point and backdrop for our explorations.
90 \\
MArch 1: Anas Alsheekhli, Elena Athieniti,
Laura Dinares, Madelena Figueiroa, Liliana
Giagmouridou, Dovydas Krasauskas,
Bergthora Goa Kvaran, Wie Shawn Lee,
William Mondejar, Catherine Radcliffe, Dani
Stoupa, Maria Tzambazidou
Above: _Zihuan Liu - Aquaponic Foundation - Peckham Rye
// 91
92 \\
// 93
Above: _Angelina Zittis - Holdron’s
Department Store - Rye Lane
Top: _Madalena Figueiroa - Flax factory and farm
Above: _Dovydas Krasauskas - Passing Peckha
96 \\
// 97
_Studio laboratory 02
_Dr Emma Cheatle & Frederik Petersen
Mise-en-abyme
Looking into the hospital clinic
Studio 2 is interested in an interrogative form of
architecture: one that asks questions about society,
site, content and programme, and ultimately challenges
definitions of architecture. We are interdisciplinary
and look at crossovers between architecture, art,
landscape and ethics. Ideas are examined through a body
of theory and students develop research questions and
spatial meaning through written and drawn narratives
and material experimentation. This year we have used
the mise-en-abyme – a reflective device that critiques
something from the inside – as a research method to
question and reevaluate the idea of the hospital. With
the results students have proposed new approaches to
sickness and well-being.
In the first term students designed instruments
and interventions to evaluate existing and historical
hospital contexts. These were used as probes to stimulate
insights into relationships between medical settings and
users’ bodies, and develop research topics and design
methods. In the second term students deepened their
research and methods to propose new medical programmes
and architectures. A range of projects was generated
– from yoga clinic, hybridisation of medical and dance
activities, garden, theatre space to women’s refuge – for
a large Brighton site. The projects negotiate the site,
each other, and ultimately use architectural propositions
to question our concepts of the healthy body.
98 \\
Studio laboratory 2 are ­–
MArch 2: Mariya Banderova, Anne-Lise
Crouche, Irene Klokkari, Xenia Konteati, Katie
Ryan, Marie Saunes, Heidi Swinyard, Traian Tuta
MArch 1: Naomi Birks, Marianna Demetriou,
Joanna Hayden, Duncan Law, Charlotte Mace,
Christina Savva, Demetra Voskou, Candy Wong
// 99
Previous page: _Xenia Konteati - Surgical
Deconstruction: a Choreography of
Transformation Top left: _Christina Savva Shyness Device Bottom left: _Marie Saunes
- Body Scribe Above: _Xenia Konteati Surgical Deconstruction: a Choreography of
Transformation Left: _Marie Saunes - The
Astoria Bloodbank
100 \\
// 101
_Studio laboratory 03
_Dr Sarah Stevens & Sam Lynch
_Nadia Chatzigeorgiou - Limina, chapel interior
The geography of
the dispossessed
‘It is in vain to dream of a wildness distant from ourselves.
There is none such.’ Henry David Thoreau
Increasingly we inhabit a human socio-political
construct engulfed by mass media, as the internet,
apparent conqueror of the ravages of time, streams over
us, amplifying society’s disquiet. Slowly caught in a
net of digital thought, we are distanced and estranged
from the wildness and ourselves. We are the dispossessed.
We slipped through the fissures of our constructed
world to become promoters of the uncertain, unknown,
transitory, temporal and disowned. We embraced
opportunities to become lost and to get waylaid on an
unpredictable journey to an as yet unknown and unseen
destination.
Within our site, artificial land colonised the sea;
wifi, mobile signals and radio waves populated the air;
image-laden streets consumed us in a mirage of timeless
existence, whilst winterbourne streams flowed unseen
through memories of their marshlands. The Brighton coast
from Roedean to the West Pier, embracing the Marina
and bounded to the north by the city centre, was our
area of exploration for the year.
Studio laboratory 3 are ­–
MArch 2: John Dowding, William Emmett,
Tom Hall, Evangelia Iliopoulou, Agni Kadi,
Kudrah Kaseruuzi, Emily Makedonas, Irene
The studio is concerned with responsive, time
sensitive design that engages with reality, experience,
and the nature of existence. We take a critical approach
to design allied with a phenomenological methodology
to capture authentic experience upon which to build
individual investigation.
106 \\
Papayianni, Lesia Syriotuk, Wing Kin Tam,
Ekin Turgay, Stuart Wickett
MArch 1: Ning An, Aleksandra Bryla, Nadia
Chatzigeorgiou, Simona Danielova, Carmy
Khestossen, Azmi Rahim Noor, Jennifer Otitoloju,
Barney Walker, Ryan Watkins, Laura Whitney
// 107
Above: _Agni Kadi - Photogram
transformation study Top left: _ Tom Hall
- Climbing study Bottom left: _Ann Ning Smell visualiser
112 \\
// 113
_Studio laboratory 04
_Jeffrey P. Turko & Yota Adilenidou
_Larry Tate - The Biology Forest
Re-figuring grounds
This year Studio 4 headed back to London and, once
again, to a former industrial site, more specifically to
the former location of the Bishopsgate goods yard in
the East End of London. With the Silicone Roundabout
of Old Street less than one kilometre away, there is
potential to rethink how new industry may have an effect
on the location, reestablishing its industrial roots
and, with this, the livable spaces once available to the
people who were committed to working in the industries.
The Studio's research agenda continues to be aimed
at the exploration, experimentation and use of the
primary architectural elements of the Building Envelope
& the Ground, with the intent to actuate a new position
on heterogeneous space and culturally, socially and
environmentally sustainable built environments. To
introduce the research area, the studio was asked to
look at the Gatehouse: a building type that encloses or
accompanies a gateway for a castle, manor house, fort,
town, city or similar structure of importance. It is
also an architecture that defines a threshold: one does
not enter the Gatehouse, one enters a larger entity
through the Gatehouse. This marks the Gatehouse as a
space of mobility that is part of a greater whole or
fabric. As such, the Gatehouse figured as the initiating
typology and programme for the evolution of a brief
and interrogation of the site and its surroundings.
114 \\
Studio laboratory 4 are ­–
MArch 2: Simas Bobelis, Vicky Chalkide,
Vilte Grigaityte, James Hickford, Nabilah
Mohamed Nordin, James Morrow, Aimi
Suraya Muhamed, Nor Jehan Nor Hisham,
Arun Parmar, Matt Walker, Sam Wildig
MArch 1: Myrto Maria Barbaris, Joanna
Brown, Rodrigo Fernandez Castillo, Irianna
Dimitriou, Nam Hoai Vu, Fatima Issa, Nik Fahmi
Nik Fauzi, Constantine Pithis, Manolis Sampson,
Lawrence Tate, Yuteng Xu, Max Zhang
// 115
Left: _Matthew Walker - New Landscape for
Film _Sam Wildig - Vertical Chicane _Sam
Wildig - Vertical Chicane Above: _ Aimi
Suraya Muhamed - Multi-modal Transit Hub
_ Vilte Grigaityte - Urban Winery
120 \\
// 121
_Nick Hayhurst
_Nick Hayhurst
Part 3
Professional
studies
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
the ongoing changes to sustainability
legislation, the Code for Sustainable
Homes and 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 regional multi-disciplinary
practices and some of the largest multinational consultancies in the world.
124 \\
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
Dani, a keen, young architect who has
taken over her father’s ailing Brighton
practice and with it the refurbishment
of a Grade II-listed farmstead in the
Sussex countryside. Candidates have to
decide how to deal with officious officers
from the local authority, slippery
contractors and, ultimately, the wroth
of farmer Victor Hazell.
Continuing last year’s twofold structure of ‘Legislation’ and
‘Speculation’, this year’s professional
studies module comprised a series of
visual lectures, seminars and workshop
sessions which explored the commercial,
legal and statutory frameworks that
affect the working role of the architect
today as well as the role of the architect
in the future of the profession.
Students were encouraged to
consider how they might intellectually,
culturally and professionally situate
their own future practice and heard from
a number of key practitioners who operate
on the fringes of conventional practice
and in this way have forged a strong
own sense of identity and architectural
practice.
Tarek Merlin talked about how his
practice engages with products, fashion
and branding as a means of creating
new and transportable value-structures.
Graham Perring discussed his experiences
of small and large practices and how this
has informed his position on design and
architectural practice; he also talked
about his recent experience designing
schools in Africa for Article 25. Esther
Everett, Acting Head of Design at the
LLDC, talked about her small public-sector
office of architecturally-trained staff,
working client-side on commissioning
projects in the Queen Elizabeth Olympic
Park. She talked about her interactions
with stakeholders, neighbouring local
authorities and design-led architects
delivering projects on her patch.
Students went on to consider their
own positions and explored subjects as
diverse as the nature of open-source
design techniques and how these may alter
the way architects work, the complexities
of architectural research, the benefit
that collaborations bring to design
projects and, perhaps most critically,
the future of architectural education.
// 125
Urban Ecology, Waste and Policy
This theme is explored through
continuous urban landscapes including an
AHRC funded International network (Andre
Viljoen), urban agriculture projects
(Katrin Bohn), the Waste House Project
and cyclical economies (Duncan Baker
Brown), retrofitting and building moisture
(Harry Paticas), critical urban ecologies
(Karin Jaschke), urban housing policy
(Michael Howe), change, environment
and reuse–misuse (Grant Shepherd) and
bespoke programming software as tool for
sustainable research (Ryan Southall).
Drawing, Making & Thinking
This theme is explored through the
critical drawing research of place. It
includes the study of epistemological and
ethical questions (Ben Sweeting), the role
of drawing in scaling the place between
the eye and the solar system (Tim Norman),
drawing as digital diagram in creation
of spatial grounds and envelopes (Jeff
Turko), study of temporal drawing that
captures slipperiness of perception in
architectural space (Sam Lynch), mobility
of drawings lines in space, across
disciplines, technologies and scales (Ivana
Wingham), study of crafting materiality
and drawing out of cultural landscapes
(Kate Cheyne), drawing as a subtle
phenomenological tool (Sarah Stevens),
drawing as a dialogue between practice and
representation (Stefan Lengen), drawing
of architectural elements of occupation
strategies (Pedro Gil), drawing ideas
through tools as technology and from
hand to hand (Claire Hoskin), study of
embodied ideologies in photographs and
drawings as representations (Frederik
Petersen) and how material models convey
the lived experience, and the impact
which Rheumatoid Arthritis has on hand
function (Pete Marsh).
130 \\
// 131
Exhibitions
Publications
Katy Beinart (in collaboration with
Rebecca Beinart) exhibited Navigations, in
Red Gallery, London, 2014 and Saltworks,
at Cities Methodologies, Slade Research
Centre, UCL, London, 2014. Anuschka Kutz
(in collaboration with OFFSEA_Andrea Benze
exhibited in ‘Urban Living. Strategies
for the future’, group exhibition, DAZ
(German Architecture Centrum), Berlin,
Jeffrey P. Turko (with Michael
U. Hensel) is the editor of Grounds
and Envelopes: Reshaping Architecture
and the Built Environment, Routledge,
2015. Catalina Mejía Moreno (with Hugo
Mondragón) is co-editor of Modern South
America: Objects. Buildings. Territories,
ARQ Ediciones, 2015. Tilo Amhoff (with
Katie Lloyd Thomas) is the author of
2015. Ivana Wingham (in collaboration
with Mehran Gharleghi), exhibited design
research installation project Iridescent
Air Architecture, at Venice Biennale
Sessions 2014 at the Salle d’Armi all’
Arsenale, Venice.
‘Writing work: Changing practices of
architectural specification’, in: The
Architect as Worker: Immaterial labour,
the creative class and the politics of
design, edited by Peggy Deamer, Routledge,
2015. Emma Cheatle is the author of
'Part-architecture: the manifest and the
hidden in the Maison de Verre and the
Large Glass', in: Architecture and the
Unconscious, edited by John Hendrix and
Lorens Holm, Ashgate, 2015. Andre Viljoen
and Katrin Bohn are authors of ‘Second
Nature Urban Agriculture: Designing
the productive city’, in: The British
Papers Current thinking on sustainable
city design, edited by Angela Brady,
RIBA Publishing, 2015. Ivana Wingham
is the author of ‘Architecture and its
discontinuities: Crisis, whose crisis?’
in: Radical Pedagogies: Architectural
Education and the British Tradition, edited
by Daisy Froud and Harriet Harris, RIBA
Publishing, 2015.
Digital Publications & Press
Gemma Barton (in collaboration
with Cara Courage) is the editor of
EDGEcondition, online journal and regular
contributor to architectural press like
BD, Architects Journal, Plan, Domus
and many more. Frederik Petersen (in
collaboration with Karen Gamborg Knudsen
and Anne Friis) is curator and editor
of ENTREENTRE, a digital publication
and podcast platform on architecture
and image (supported by Dreyers Fond og
Nationalbankens Jubilæumsfond).
Research Awards
Ben Sweeting won Heinz von Foerster
Award by the American Society for
Cybernetics for contribution to Living in
Cybernetics, 50th Anniversary conference
of the American Society for Cybernetics,
George Washington University, Washington
D.C., USA, 2014. Emma Cheatle won 2014
RIBA President’s Award for Outstanding
PhD Thesis.
Left: _Katy Beinart - Navigations
134 \\
// 135
136 \\
// 137
Practice Awards
Nick Hayhurst, Director of Hayhurst
& Co, has been awarded for his practice
work: Civic Trust Award (Pegasus Academy)
2015 and
(Hayes Primary) 2015, AJ
Retrofit Award Best Education Building
(Pegasus Academy) 2014, FX International
Interior Design Award Public Building
(Pegasus Academy) 2014 and RIBA Regional
Award (Pegasus Academy) 2014.
Duncan Baker Brown, Director of
BBM Sustainable Design Ltd, has been
awarded for his Waste House Project:
in 2015 RIBA South East Regional Award,
RIBA South East Regional Sustainability
Award, International Green Apple Awards
and in 2014 PEA (People Environment
Achievement) Award for ‘Best Echo Project
Working with Schools’, Brighton Argus
‘Community Star’ Award for ‘Best Green
Project or Person of the Year’, and
2degrees Sustainable Business Champions
Awards ‘Best Building or Property
Project’. Katrin Bohn was awarded The
Environmental Award of the Berlin borough
of Marzahn-Hellersdorf, 2014.
Previous page: _Hayhurst & Co - Hayes
Primary This page: _Studio Gill - Concrete
House _ Hayhurst & Co
138 \\
// 139
Photo: _Jim Stephenson - www.clickclickjim.com
140 \\
// 141
Staff
Yota Adilenidou
Sean Alburquerque
Tilo Amhoff
Duncan Baker-Brown
Andrew Bayley
Katie Beinart
Elizabeth Blundell
Katrin Bohn
Mark Campbell
Stephanie Chaitel
Konstantinis Chalaris
Emma Cheatle
Kate Cheyne
Luis Diaz
James Fox
Pedro Gil
Nick Hayhurst
Clare Hoskin
Michael Howe
Karin Jaschke
Kyriakos Katsaros
Adrian Krumins
Anuschka Kutz
Stefan Lengen
Nikkli Linsell
Sam Lynch
Peter Marsh
James Mcadam
Catalina Mejia Moreno
Tarek Merlin
Christo Meyer
Tim Norman
Andrew Paine
Harry Paticas
Graham Perring
Frederick Petersen
Adrian Priestman
Anthony Roberts
Stephen Ryan
Amiin Sadeghy
Ryan Southall
Sarah Stevens
Kirstie Sutherland
Ben Sweeting
Jeff Turko
Andre Viljoen
Cordula Weisser
Dawn Whitaker
Oliver Wilton
Ivana Wingham
Nick Woods
Sophie Yetton
Thanks
Jose Alfredo Ramirez
Rosa Appleby Alis
Nick Ardill
Barby Asante
Ash Ash Sakula Architects
Mark Bagguley
George Barer
Andrew Bayley
Tom Bedford
BIAAS
Bethany Bird
Simon Bliss
142 \\
The Booth Museum of Natural
History
Justine Bourland
David Brockman
Alice Brownfield
Mark Campbell
Roger Carsons
Luke Carter
Frank Cartledge
Lily Carver
Sarah Castle
Cathedral Group
Nat Chard
Trish Chauhan
Stephen Cheesman
Rachel Clarks
Peckham Co-Design
Eileen Conn
Sir Peter Cook
Ellie Cook
Tim Culverhouse
Richard Davies
Elizabeth Dow
Lestyn Edwards
Sebastian Elliott
Esther Everett
James Fox
Daisy Froud
Peter Garnett Cox
Herb Garret
Marcus Goddard
Evan Greenburg
Mohamed Hafeda
Jonathan Hales
Joseph Hamblin
Penelope Haralambidou
Amanda Hastings
Kieran Hawkins
Sarah Herbert
Mel Hickford
Jemma Hollyoak
Michael Holms Coats
Brian Horton
Glenys Horton
Claire Hoskin
Giles Ings
Welcome Institute
Carlos Jimenez
Jodie Jones
Hugh Jones
Omid Kamvari-Moghaddam
Jan Kattein Jenny Kilbride
Berwyn Kinsey
Nate Kolbe
Adrian Krumins
Matt Lambert
Tim Lane
Gareth Lawrence
Tom Lea
Sam Leach
Chris Lemka
U Leong To
Isaac Leung Alexandra Loske
Rob Marks
Peter Marsh
Jim Mayor
James McAdam
James McRae
Lyn Mendleson
Neil Messenger
Millimetre
Morgan Carn Partnership
Liam Morrissey
Jack Morton-Gransmore
Tom Mullally
Evripides Mytilineos
Jon Newman
Chris Norris
Old
Operating Theatre
Southwark
John Owens
Gonca Ozer
Phoebe Padley
Stuart Paine
Jon Paley
Charlotte Parsons
Andy Parsons
Matt Pattenden
David Patterson
Jenny Peterson
The Posture People
Louise Prentice
Nathan Preston
James Rae
Alfredo Ramirez
Martin Randall
Jane Rayner
Sophie Read
Heidi Rhodes
RIBA South East
Matthew Richardson
Stefanos Roimpas Natalie Rose
Richard Rose-Casemore
Royal College of Physicians
Simon Royer
Matthew Rust
Zoltan Rutter
Asta Sabaliauskaite
Mike Sansom
David Saunders
Chris Seaber
Ed Sharland
Jennifer Smith
Irene Smith
Nikolas Stagkos
Jim Stephenson
Ulrike Stevens
Elaine Stowell
Sirus Taghan
Jessica Tang
Tom Taylor
Nahdya Thebault
Kate Theophilus
Jo Tomlinson
Carl Turner
Corinne Turner
Nick Tyson
Cassandra Varty
Peckham Vision
Jenny Vouilloz
Ping Wang
Damon Webb
Phil Wells
Victoria Whenray
Dawn Whitaker
Kevin Widger
Owain Williams
Kerrill Winters
The Wood Store
Tom Wright
Michelle Wright
Alessandro Zambelli
Paul Zara
// 143
Publisher
University of Brighton
Architecture Department
Editors
Tilo Amhoff , Andrew Bayley,
Kate Cheyne, Karin Jaschke
Graphic design
Wow! Signal Ltd
Photography
Jim Stephenson
Jeffrey P Turko
Telephone
+44 (0)1273 642 332
Address
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Brighton
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