Yearbook 2015

University of Brighton Architecture Department Yearbook 2014/15

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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

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_Kate Cheyne _Academic Programme Leader

INTRODUCTION

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Here at Brighton we are building a community of minds to develop a culture of architecture where curiosity, enquiry and investigation are our currency. We encourage ideas that interrogate the status quo, and ideas that lead to more questions. This means that the strongest work in the school lies in the explorative processes designed to develop these inquiries and is true for both staff and students alike.

It allows us to build a school based on research-led design, where feedback works as a way of forming a knowledge loop and where learning becomes the basis for richer consideration and exploration.

This is our 2nd year of running vertical studio systems in both the undergraduate and postgraduate courses. With staff research interests leading the briefs and peer to peer learning embedded into the system, our studios have consistently produced excellent quality work. The results can be seen in the ever increasing number of first-class degrees and distinctions, as well as in the awards our students have been winning. Oliver Riviere won the RIBA Serjeant Drawing Prize for his ‘Institute of Concrete Poetry’ and Kirsty McMullan jointly won the RIBA Journal Eye Line drawing prize for her ‘Everyday Museum of Portland’.

Our school employs a mix of practitioners and academics that gives the school a distinctive flavour of experimental design while being underpinned by theoretical and technical expertise. The studio system is set up to encourage research-led teaching with each design brief being developed from the staff research interests and practice expertise. The dedication of the staff underpins every success in the school.

This dedication can be seen in our staff successes both in research bids and practice awards. The University live project ‘The Waste House’, that our students helped build out, has now won a multitude of awards while the architectural practices that many of our part-time staff direct, have between them, won dozens of awards. Our academic staff have had over 40 papers accepted at conferences across the world as well as publishing books, running symposia and exhibiting a wide range of work.

The energy amongst our student body is best seen in their student society BIAAS. This year they were awarded the “Excellence Award” for Academic Society of the Year. They continued to organise a fantastic lecture series given by young, up-and-coming architects as well as run studentled tutorials and workshops for first years, fund raised for the end of year show, self-published a book, designed and built the set for the Green Party Comedy fund-raiser and hosted the Architecture Student Network (ASN) summer conference. An impressive array of achievements that gives the programme its distinctive, inclusive and supportive character.

For the second year running we have ended the year exhibiting all of our work in the redundant Municipal Fruit and Vegetable Market on Circus Street. The building – a huge brick warehouse, has been a wonderful resource for us throughout the year. First Year students used it as a builder’s yard to experiment with constructing brick vaults and arches while one Masters studio used it as the site for their thesis project. Sadly this will be the last year we can use it - as it will be demolished this August. In its place we gain a mix of student housing, an arts library and the South East Dance headquarters all built around a set of public squares.

As a programme we are keen to develop a strong relationship with the City of Brighton & Hove. It is uniquely placed in the UK, with a proximity to London, France and the surrounding South Downs National Park. As a consequence, we are constantly developing responses not only to our urban surroundings, but our coastline and surrounding countryside.

Having Sussex as our backdrop offers so much potential for students and staff to follow lines of research that engage with the relationship between historic, contemporary and future scenarios of city and town, country and coast.

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_BA (hons) Architecture _RIBA part I _Dr Ben Sweeting

UNDERGRADUATE STUDIES

Brighton’s undergraduate Architecture course is a creative and challenging community of students and staff. Our work in all subject areas is characterised by hands-on learning: working through the tangible qualities of physical drawings and models in design; live construction projects and situated self-reflection in technology and professional practice; and editorial and teamwork in humanities complementing writing and research. In design, our culture of exploratory and inventive drawing goes from strength to strength, with recognition in last year’s RIBA Bronze Medal Awards (Ollie Riviere

winning the The Serjeant Award for Excellence in Drawing) and the RIBA Journal Eye Line Competition (jointly won by Kirsty McMullan).

This graduating cohort will be the first to have come through two years of the vertical studio system (following recent changes) and we value the increasing variety of approach and content this system has enabled. We have however maintained the sense of overall community from our previous year-system, with group projects, peer reviews, shared studio space and our student society key aspects of the course.

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_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.

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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.

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_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.

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_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.

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_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.

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_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.

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_Second & third year studios _Dr Ben Sweeting

Vertical studios This year's second and third year students have explored different aspects of pleasure, a theme that intersects with architecture in many ways. Some buildings (and indeed some cities, such as Brighton) take pleasure as their programme: in theatres, lidos, piers, pubs. Learning can be thought of in terms of architectural pleasure too, such as in Cedric Price and Joan Littlewood's Fun Palace.

More generally, that a building is enjoyable is one of the key qualities of all architecture, a claim and conviction dating back to Vitruvius. This idea can be pushed to extremes in buildings such as follies and in the exuberance of various contemporary and historical styles.

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It is an equally important consideration in the context of more sober or mournful buildings. Perhaps most significantly though, pleasure is a quality of what designers do. Design is a way of investigating, speculating and inventing; a playful way of thinking through which designers can explore the sorts of complex and changing situations that they commonly encounter, where they need to create new ideas, not just replicate existing ones.

Studios have worked on projects sited in London (Broadway Market, Brixton, Bermondsey) and in and around Brighton (the Royal Pavilion, the Seafront, Stanmer Park, Seaford). Each has adopted working methods to suit their interests, ranging from large scale physical model making to direct public engagement, finding pleasure in different things along the way.

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_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.

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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

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Previous page: _Andreani Papaioannou – Brighton Pavilion ‘Draw everything' Above: _ Andreani Papaioannou – Brighton Baths Right: _Samrita Mudher - Institute of Restoration Far right: _Eve Olsen - Dog bench Overleaf clockwise from top left: _Eve Olsen – Front Room in the Park _Joe Randal – The Luthiers' Workshops _Florence Fathers – Building to Age _Katerina Demetriou – Brighton Pavilion ‘Draw everything' _Arshia Hatami - Memory of the Ballroom _Eve Olsen – Front Room in the Park

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_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.

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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

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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 Purchon - Institute of coastal dynamics

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Top: _Jaime Tam - Syn-aes-the-studio.

Bottom: _Jaime Tam - Syn-aes-the-studio.

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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

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_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.

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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

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Previous page: _Justin Clarke - The Mariner And His Tea Factory This spread clockwise from top left: _Antigoni Goutakoli - Expandable Market Spaces _Stuart Goldsworthy-Trapp_Tony's Palace _Ben Spong - Designing A Dialogue _Henrik Cheung_Vertical Fruit & Vegetable Market _Stuart Goldsworthy-Trapp_Tony's Palace

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Clockwise from top left: _Matthew Holmes - British Chess Championships _Ariane Boogaard - A Dialogue Between Anatomy And Design _Ben Spong - Designing A Dialogue _Henrik Cheung_Vertical Fruit & Vegetable Market _Jason Kakittin - Clockmakers Society

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_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

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Previous page: _Dagmar Zvonickova Contested Cultural Heritages Left page clockwise from top left: _Maria Mouyiasi - Displacement: Recreating the past _Ben Davies - An Archive of Cultural Preservation _Georgia Antonopoulou - Sensory park Smell and Sound Archive _Ben Davies - An Archive of Cultural Preservation This page clockwise: _Hannah Bradley - Preservation and Transformation Beth Rodway - Venice Intervention Fragment _Georgia Antonopoulou - Sensory park - Smell and Sound Archive

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Left page clockwise from top left: _Niki Stavrou - Intervention _Oliver Carter Activists Archive _Oliver Carter - Activists Archive This page clockwise from top: _Katarzyna Soltysiak -You are Observed _Miranda Nicolaou - Intervention

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_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.

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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

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Previous: _Alex de Caires - Settlement Above: _Celine Battola - Cancer Recuperation Centre Right clockwise from top: _Reuben Harris - Retreat To, Retreat From _Reuben Harris - Retreat To, Retreat From _To Lok - Funeral and Wedding Venue _Alex de Caires - Settlement

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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

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_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.

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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

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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

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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

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_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.

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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

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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

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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

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_Architectural technology _Duncan Baker-Brown _Kirstie Sutherland _Harry Paticas _Adrian Priestman _Dr.Ryan Southall

Technology Within the BA Architecture course at Brighton the Technologies modules have been linked closely with studio teaching. The programme is designed to bring decisions around environment and sustainability into the early stages of the design process.

This has helped students make intelligent and articulate responses to technological issues raised within their design studios.

The Technologies modules allow students the opportunity to work on ‘live’ construction projects such as the multi-award winning Brighton Waste House (built by over 365 students). We are also including a Passivhaus 'fundamentals' one-day course for all second and third year students. This intense introduction to Passivhaus design is led by Harry Paticas with input from the Technologies teaching team and an invited speaker from the Passivhaus Institute to talk about the designPH software plug-in for sketchup.

The Technologies team responsible for delivering this module includes a structural engineer, two practicing architects focusing on sustainable design, and an environmental scientist.

All members of the tech team helped to deliver a comprehensive lecture series, accompanied for the first time this year by a popular seminar series that was

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tailored specifically to the needs of Level 5 students in the Autumn Term and Level 6 students in the Spring Term. Students attend all lectures, but had to choose two (from eight) seminars to attend. They were asked to think strategically and make sure that their studio would be represented at each seminar by one or more students from the studio. This encouraged students to learn from each other and to assemble a collective knowledge database.

All students were required to prepare studies before attending seminars.

Lectures introduced into the already established programme covered topics considering sustainable development strategies and themes as diverse as Passivhaus design standards, Permaculture, issues of building physics, material meanings and whole-life material processes such as methods of re-using material formerly considered as waste.

This year we have altered the emphasis of the Level 5 Technologies project to focus on building performance. The project was divided into two sequential parts.

The first was a building performance precedent study delivered as a studio group, the second a technological design 'improvement' to the original building study developed by students working individually or in pairs.

At the beginning of the Autumn the tech team asked studio tutors to pick a building precedent that pertained to the issues occupying the thoughts of their studio. We had a wide range of precedents to works with such as the Royal Pavilion and the Royal Festival Hall, the Serpentine Pavilion and the Saw Swee Hock Student Centre. Students were asked to work in studio teams to prepare a critique of the building that considered a wide range of issues, from the ideas informing the original architectural design and issues (if any) of sustainable design to structural strategies and material considerations.

With the support of the tech team students were also asked to consider other aspects

Above: Misbah Mahmood - Production information section

of environmental performance, such as thermal performance, acoustic performance, and ventilation and lighting, both natural and artificial. We believe this work has been hugely beneficial to students, raising their overall awareness of the complexities involved in successfully designing, delivering and occupying a building.

Level 6 students are tutored on a more one-to-one basis whereby the tech team act as 'consultants', assisting with developing the design strategies and what we call the ‘production information’ of

students' final design projects. The Level 6 Technologies project is divided into two distinct sections to reflect this process.

The first part encourages students to think strategically, and specifically to develop techniques that clearly describe their strategies in relation to sustainable design, structural design, construction and materials. Students then proceed to develop a detailed section – the production information – through their thesis design, with ideas informing this second part guided by the strategic premises set out in the earlier part.

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_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,

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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.

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Student texts

Architects of Japan's Second Restoration

Through analysis of the space created, the dissertation investigated the women’s creativity and inventiveness to design a space. A space was here seen not only as physical but also socially constructed, the embodiment of an area for a given purpose.

_Derin Fadina While in the first restoration, Japan tried to impose its ideals on the rest of the world by expanding outwards through belligerence and hegemony, in the second restoration they looked inwards, inviting the rest of the world to join them.

Tange’s and the Metabolists’ international exposure following Expo'70 is seen as a reflection of the paradigm shift that the nation was experiencing at the time, that which it had struggled to attain since the start of the Meiji restoration. Japan had again matched the Western world, and had gone from being passively modernised to become the ardent moderniser. The event represents the culmination of the Metabolist era, and Japan’s resplendent entry into the world stage would reverberate beyond its shores for decades to come.

Plan of typical self-help group

As the groups are specifically intended for women only, the design of the space will also inform whether gender positioning is enhanced by spatial qualities.created by women of the self-help groups set up in Nyamagabe. The groups are part of a scheme introduced after the genocide by African Evangelistic Enterprise to help empower those in poverty.

A Critique of Defensible Space Theory _Matthew Holmes

Women's Space in Nyamagabe _Hannah Bradley From July to September 2014, I was a volunteer with the British-governmentfunded organization, International Citizens Service in Rwanda. The purpose of this dissertation was to explore the spaces created by women of the self-help groups set up in Nyamagabe. The groups are part of a scheme introduced after the genocide

by African Evangelistic Enterprise to help empower those in poverty.

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In 1972, Canadian architect and city planner Oscar Newman released his influential thesis Defensible Space, intending to demonstrate that the manipulation of the physical environment through the four elements of design: territory, surveillance, image and milieu acting both individually and in concert could aid the prevention of crime.

This dissertation interrogates the territorial aspect of Defensible Space and the related arguments made by its critics. Are these arguments

credible, or merely misconceptions or manipulations of Newman’s thesis and are these indicative of a broader debate?

Defensible Space

A critical analysis of the discourse between Oscar Newman, Bill Hillier and Alice Coleman establishes their respective opinions concerning the role of territoriality in Defensible Space, conjuring debates when the underlying premises of their studies are in conflict with their recommendations.

working class. Hence, a new class system creates new class spaces. However, WMC's still offer unique places that are very different from other public drinking spaces. The organizations themselves encourage social mixing above spending money, as they are not trying to make a profit. Most members of the Dick Collins Hall for instance moved around frequently to talk to people at other tables yet rarely approached the bar.

Becoming a member is a symbolic act rather than a sign of wealth like in more elitist clubs. It creates an automatic camaraderie between people and is a sign of inclusion. Members are far more likely to converse with one another than they might in a normal bar. In this way they are similar to London’s elitist private members clubs but also the opposite.

Churches into Mosques _Niki Stavrou

Pride of Place _Freya Laing Working Men's Clubs were initially established in the mid 19th century as an alternative space, either to pubs or as an escape from the homes. In my research I have found that WMC's are more abundant than I would have first imagined. It's a shame for them to be overlooked by designers and architects, as some of them are fantastic examples of grass roots projects. They offer protective places for vulnerable working class people who have not been eradicated from London, but quieted. There is a sense of pride to these clubs, which stems from the independence of relying on local people rather than an external expert.

Nowadays only a small number of people will recognize themselves as

The dissertation analyses the conversion of the Christian Byzantine churches in the North of Cyprus into mosques after the Turkish invasion in 1974. The conversions of the Cypriot churches have some level of continuity with the adaptation of the Hagia Sophia in Constantinople in the 14th century.

However, the specific political situations determined the character of the different conversions, which aimed at a complete change of the interior settings and the atmosphere.

The conversion of Cypriot churches was approached by comparison with that of the Hagia Sophia, analysing the interior changes and the effects on their setting in the landscape. As there was a lack of historical sources, the analysis and research of the Cypriot conversions has been made by personal visits to those churches.

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_Architectural practices _Duncan Baker-Brown

Students are expected to utilise the latest prescription, at present the RIBA Plan of Work 2013, for navigating this route from start to finish.

Practices

These are exciting times for all architects, whether students, practitioners or academics. The practice and learning of architecture is rapidly changing. The RIBA Education Review will ensure that there are different routes into studying architecture and the teaching of ‘practices’ is looking especially interesting.

It is the ambition of our undergraduate Practices module to keep our Level 6 architecture students abreast of these changes, whether it is the complete re-write of the RIBA Plan of Work or the abolishment of the CDM Coordinator who is now replaced by a Principle Designer and Principle Contractor.

Architecture Practices is devoted to teaching the fundamentals of becoming a professional architect in practice.

The module seeks to integrate issues surrounding professional architectural practice by using the student’s last Level 5 design project from the previous Summer as a vehicle for negotiating a path through the various work stages of a design project, from inception through to completion on site.

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Students attend a series of lectures considering what it is to be a professional architect in the UK in the 21st Century as well as a reflection on the origins of the profession that is architecture.

Lectures are supplemented by seminars and all day workshops delivered, for example, in partnership with the Heads of Planning & Security and Building Control at Brighton & Hove City Council.

Students also receive additional lectures from construction consultants such as CDM-Coordinators and Quantity Surveyors, as well as one-to-one tutorials from other visiting qualified architects.

This learning module allows students to evaluate their own design projects within a professional context by directly applying professional practice and legislation via the medium of short essays. Students are also asked to prepare a programme of work, a Design and Access Statement, as well as drawn overlays discussing Building Regulations issues.

We also ask students to prepare Risk Registers, to consider which procurement route is suitable for their project, to prepare a rough construction budget and finally write a short essay reflecting on the students' own practice and position within the world of architectural practice.

This module of work is designed to help students to develop an understanding of the complexities and variety of issues that present themselves to an individual practicing architecture, as well as a greater conception of their own practice as an architect and designer.

Left to right from top: _Alexander De Caires _Dagmer Zvonickovaq _Dagmer Zvonickovaq _Joe Randall _Marina Kafantari _Stuart Goldsworthy-Trapp _Mirela Maria Fournaridi _Misbah Mahmood

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_Option studies _Stephen Ryan _Dr Karin Jaschke _Andre Viljoen

Above: Klara Svackova: 'Das Erbe' 2015

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Excursions in Immensity The Shape of a Walk

'Excursions in Immensity: The Shape of a Walk' is an Option module that sets out to explore walking as a form of creative practice.

Walking is about time, space, and consciousness of the world, as much as it is about the encounter with our surroundings, when one foot is placed in front of the other. The course examines walking as pilgrimage, protest, poetic meditation, art, situation, and psychogeography.

Arguably, walking is an autonomous form of art that may be understood both in terms of theory and practice.

Students propose, shape and experience individual investigation projects in which they observe, record, map, interpret and reflect on aspects physical, temporal, sensory and perceptual experience.

Photography, film, drawing, painting, or writing, or a combination of these could for be used to construct understandings or reveal new interpretations.

The module is arranged to engage students in three stages of activity: in the first, seminars, walks and talks introduce ideas, strategies and tactics; in the second stage emphasis is placed on individual project excursions, while the final stage focuses on analysis, reflection and presentation.

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BIAAS BIAAS is the University of Brighton’s Interior Architecture & Architecture Society. We are a body of students from both the undergraduate and graduate courses who work together to create and uphold a culture of fun, diverse, collaborative and creative learning.

One of the main responsibilities of BIAAS is fundraising for the end of year Degree Show which is not only an opportunity for the students to exhibit their work, but an essential tool for networking within the design and architectural community.

Most of the fundraising occurs through hosting BIAAS club nights, with four or five nights throughout the year where we can socialise with one another outside of the studio environment. We also raise funds through a variety of sales. This year saw BIAAS selling homemade cakes, cookies and other sweet treats, including a cake rendition of Le Corbusier’s Villa Savoye, as well as a Valentine’s Day special with handmade cards. We have also sold architectural equipment, hosted a number of book sales and designed a range of fun T-shirts and tote bags.

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Alongside the fundraising, BIAAS also works to maintain the ethos of the school; we aim to create a comfortable, friendly and family-like environment for everyone.

We do this by attempting to enrich the learning process so that it is not limited to just studio and tutor contact time, but instead encourages people to look beyond the academic curriculum and have fun learning in ways they may not have expected. BIAAS organises a series of free lectures by guest speakers from the architectural and design industries, as well as lectures by tutors and staff. We run a mentoring scheme for first year students to ensure that their transition into the 'architectural lifestyle' at university is as smooth as possible and that there is someone in the years above whom they can approach for advice.

BIAAS also takes part in wider community projects with some students being members of the Architecture Students Network. A conference for the ASN is to be hosted by BIAAS later this year. In addition, this year, we were approached by the Green Party who commissioned the Society to design and build the stage set for their comedy gig. Such activities give us, as students, an opportunity to enhance our skills and expand our experience, which, in turn, enriches our studio culture and work, and ultimately our University.

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Study trips

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_Annual lecture series

International lecture series 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.

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 DĂ­az Moreno & EfrĂŠn 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

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_Prizes & awards

Student awards 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 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

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Above: Students in our annual mock interviews organised in conjunction with RIBA South East chartered practices

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Above (both): Brighton University hosted the annual Architecture Student Network Conference.

Day two was devoted to discussing mental health and architectural education.

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_Master of Architecture (MArch) _RIBA part II _Dr Sarah Stevens

POSTGRADUATE STUDIES We aim to develop a research-led education, where practices of rigorous inquiry permeate every part of what we do.

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The Master of Architecture (MArch) RIBA Part II course evolves the architecture programme’s key concerns for creative, research-led design to postgraduate level. Over the two year course this distinct research-led approach makes rigorous enquiry central to all aspects of the work and brings together design innovation, social commentary, regulatory frameworks and material exploration.

The design studio is at the heart of the course and each studio is imbued with the ideas of the studio members. The four Studio Laboratories are rooted in the respective studio leaders' area of enquiry and research, within academia and practice. Our students' work is therefore actively informed by ongoing research in their chosen area. Such engagement drives conversations which are further enriched by visiting critics and lecturers. Our aim is to develop each student's individual voice and way of working, so that students are confident in their approach and able to communicate their ideas to the wider world.

Over the course of this year the Studio Laboratories have evolved a diverse range of explorations, and the richness emanating from this is apparent in the following pages. The proposals begin to inhabit Brighton’s city centre and coastline and venture into central London to question and explore current situations and agendas. Independent lines of enquiry have developed into original proposals through a process of research and critical reflection.

We journeyed to Venice and the Architecture Biennale, with the studio groups following individual itineraries during the day and sharing their stories and experiences in the evening. These narratives from Venice subsequently intertwined with the evolving work, informing and proposing approaches.

The course provides the tools with which to critically reflect upon design strategies and to navigate the wider contemporary debate on architecture. Upon successful completion students will have formed a systematic understanding of architecture, a critical awareness of a wide range of current issues relevant to architectural practice and a comprehensive understanding of techniques, methodologies and forms of practice. This rigorous and critically engaged curriculum forms a solid foundation upon which students can build their professional architectural career.

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_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.

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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

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Previous pages clockwise from top left: _John Kipling - Aquatic network and town square _ Catherine Rawcliffe - Clandestine Lives of the City _Roselle Goacher - High Street 2050 _ Zihuan Liu - Aquaponic Foundation - Peckham Rye Top row left to right: _Catherine Rawcliffe - Clandestine Lives of the City _Madalena Figueiroa - Flax factory and farm Middle row left to right: _Chris Doyle - Falling water _William Mondejar - H2O Lab _Toine Hodgkiss - Warrick Gardens seed bank and nursery Left: _John Kipling - Aquatic network and town square

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Above: _Angelina Zittis - Holdron’s Department Store - Rye Lane

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Top: _Madalena Figueiroa - Flax factory and farm Above: _Dovydas Krasauskas - Passing Peckha

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_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.

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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

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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

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Previous page clockwise from top left: _Xenia Konteati - Surgical Deconstruction: a Choreography of Transformation _Irene Klokkari - Homelessness in Theatre: Weaving Reality and Fiction _Katherine Ryan - The SelfTransformation Retreat _Xenia Konteati - Heart Dissection This spread clockwise from top left: _Duncan Law - Obesity Garden _Traian Tuta - The Permeable: Orthopaedic Museum and Clinic - Dancing Room _Xenia Konteati Surgical Deconstruction: a Choreography of Transformation _Irene Klokkari - Homelessness in Theatre: Weaving Reality & Fiction

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_Studio laboratory 03 _Dr Sarah Stevens & Sam Lynch

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.

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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

_Nadia Chatzigeorgiou - Limina, chapel interior

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Previous page clockwise from top: _William Emmett - The Retreat _Ekin Turgay - The House of Perception _Irene Papayianni Fishing nets This spread clockwise from top: _Tom Hall - Exploratory drawing _ Irene Papayianni - Plan _Agni Kadi - Layered histories _William Emmett - The Retreat

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Above: _Agni Kadi - Photogram transformation study Top left: _ Tom Hall - Climbing study Bottom left: _Ann Ning Smell visualiser

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_Studio laboratory 04 _Jeffrey P. Turko & Yota Adilenidou

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.

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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

_Larry Tate - The Biology Forest

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Previous spread clockwise from top left: _Matthew Walker - New Landscape for Film _Joanna Brown - Library Through Stacks _Matthew Walker - New Landscape for Film Top: _Vilte Grigaityte - Urban Winery _Joanna Brown - Library Through Stacks Right: _Vilte Grigaityte - Urban Winery

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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

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_Dr Karin Jaschke _Dr Emma Cheatle _Tilo Amhoff _Dr Mark Campbell

Architectural humanities The Architectural Humanities modules address architecture's multi-dimensional and multi-disciplinary culture, a culture that may be explored in historical and theoretical terms but extends to other discourses and practices, from art, philosophy and politics to geography, sociology and ethnography. We encourage students to appreciate the breadth and width of architecture's cultural reach and develop their ideas and own approach to architectural practice within this wider territory.

Like the Studio Laboratories, we understand architectural practice as research practice. Innovative practice – no other kind of practice will be economically, ecologically and ethically viable in future – is necessarily exploratory and research based. In their Architectural Humanities work students set their own research agenda and develop appropriate strategies and methods to follow through with their investigations, in a structured yet openended way. Often this involves a combination of literature-based enquiry and other working methods, whether traditionally architectural, for example drawing based, or using a wider range of approaches such

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as fieldwork, interviews, archival work and practical experiments.

We encourage students to work on themes that resonate with their studio design and cultivate an open and synergetic relationship with Studio Laboratories through the course work itself and through links between studio and humanities teaching.

We are eager for students to become aware not just of a wide range of ideas and ways of thinking about architecture, but to experience and experiment with different media and formats that we consider part and parcel of architectural practice.

Students work in various media including video and design high-spec presentations of their written work and other research material. An annual one-day event, the Critical Urban Ecology symposium with guest speakers, panel discussion and student contributions, involves students in live academic discourse.

In the first year module, we introduce students to significant ideas and approaches in current architectural theory and related disciplinary fields such as art, urbanism and landscape architecture and explore their social, political, technological and ecological dimensions. Students write an academic essay on a subject matter that is of specific interest to them and often, though not necessarily, related to their studio projects. Based on this, they go on to make a video manifesto for an idea or position related to contemporary architectural culture that they feel strongly about.

In their second year module, students examine important areas and forms of contemporary architectural research and ways in which such research is disseminated, through reading, discussions and case-studies of architectural practitioners with a strong research base. Students then develop their own Architectural Humanities Research Study at the intersections of design practice and humanities-based enquiry.

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_Nick Hayhurst

Part 3

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.

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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.

_Nick Hayhurst

Professional studies

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.

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_Jeffrey P Turko _Stephanie Chaitel _Oliver Wilton

Technology Technologies & Fabrications This module is aimed at March1 students to develop strategic knowledge, skills and understanding of the interrelated nature of the principles of environmental science, structural engineering, material consideration, and the development of system and detail design strategies. Via the use of various digital modelling, testing and manufacturing techniques utilising DigiHub facilities available both within the Architecture programme and the Faculty of Arts. Students developed reflective, critical and analytical skills in the making of architectural components and large-scale prototypes where the strategic importance of environmental considerations is explored through digital and analogue modelling and testing. This is a team-based project, at the end of which they complete a team based strategic technology document along side a fabricated prototype that will demonstrate an understanding of the design and construction process.

Technology Masters Project This module is aimed at M-Arch2 students, their knowledge, critical method, skills and understanding to integrate environmental, structural, constructional and material design strategies into their Master Thesis Project. As well as develop individual and independent technical research through a reflective, critical and analytical technical study that can then apply to an architectural design. The module supplements and supports the students’ critical architectural position developed in the design studio and enables the student to develop an integrated and independent approach to tectonic and technical design processes.

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_Research _Dr Ivana Wingham _Andre Viljoen

Every year our Architecture School organizes a series of in-house Research Conversations. These talks act as a platform for exchanging staff interests that can inform both their research and teaching. The work is presented either through design research, humanities research or practice achievements. The following is a snapshot of architectural staff activity produced as lectures, papers, books, exhibitions and buildings.

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Above: _Kate Cheyne - Seismic Shifts

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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).

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PhD Students

Image Text Building

Students supervised by Andre Viljoen include Mikey Tomkins, who studied Everyday community food gardening and the contribution to Urban Agriculture.

Students supervised by Ivana Wingham include: Kimberly Chandler (supported

by AHRC grant) studies Transitional Terrain of Practice: An Examination of Skeuomorphism in Contemporary Design; Sam

This theme is explored in historical and theoretical research of the techniques and technologies of the production of architecture, the social relations of labour and the material relations of building (Tilo Amhoff), modernist utopias (Luis Diaz), histories of wordimage relations in architecture and of photography as architectural criticism

Lynch (supported by University of Brighton Doctoral College grant) works on design research Thinking Through Drawing: Engaging Multiple Temporalities and James O’Leary (supported by TECHNE Design Star grant) studies Interface Architecture: Defining new modes of architectural representation and proposition for politically contested architectural sites.

(Catalina Mejia Moreno), the relationships between the verbal and the visual, as well as communicating through air and embodied materiality (Emma Cheatle).

Urban Interiors, Narratives and Memories This theme explores poetics of mobility and place through salt-making (Katy Beinart), mediated city through film and journalism (Gemma Barton), urban narratives and prosthetic memory (Glenn Longden-Thurgood), informal urbanism (Elisa Lega), urban mobilities (Sue Robertson) and ethnographic urban research on urban streets (Sophie Yetton).

Previous page: _Duncan Baker-Brown Waste House Right clockwise from top left: _Tilo Amhoff - AHRA conference _ Jeffrey P. Turko - Grounds & Envelopes _Katrin Bohn - Playing/Field Urban Architecture _ Sophie Yetton - Ordinary Streets _ Ivana Wingham Architecture and its discontinuities _ Catalina MejĂ­a Moreno - Modern South America _Andre Viljoen & Katrin Bohn - Second Nature Urban Agriculture _Luis Diaz - Mondrian's Mirror

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Exhibitions 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, 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.

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.

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Publications 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 ‘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.

Left: _Katy Beinart - Navigations

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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

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Photo: _Jim Stephenson - www.clickclickjim.com

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Staff Yota Adilenidou Sean Alburquerque Tilo Amhoff Duncan Baker-Brown Andrew Bayley Katie Beinart Elizabeth Blundell Katrin Bohn

Peter Marsh James Mcadam Catalina Mejia Moreno Tarek Merlin Christo Meyer Tim Norman Andrew Paine Harry Paticas

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

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

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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

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

Tom Taylor Nahdya Thebault Kate Theophilus Jo Tomlinson Carl Turner Corinne Turner Nick Tyson Cassandra Varty Peckham Vision Jenny Vouilloz Ping Wang Damon Webb

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

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

Phil Wells Victoria Whenray Dawn Whitaker Kevin Widger Owain Williams Kerrill Winters The Wood Store Tom Wright Michelle Wright Alessandro Zambelli Paul Zara

Peter Marsh Jim Mayor James McAdam James McRae Lyn Mendleson Neil Messenger Millimetre

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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

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