My final year project concerns the conflict that occurs on the boundary of the digital and physical worlds.
In line with this idea I proposed a project titled “The Architectural Algorithm” containing the design for a HM Land Registry Dispute Resolution Centre. This building would be set up to explore the way that territory and boundaries constantly reshape each other within the context of formal ownership boundaries, while throughout the project subtly referencing similar conflicts between digital and analogue interactions.
While studying my Part 2 at Brighton I developed an interest in constructing instruments that utilise electronics in order to generate various outputs. In particular I was keen to develop a series of drawing machines that took code generated form a variety of inputs and translated it into some form of imagery. These drawings, while being constructed from elements often associated with an essence of humanity (pen and paper), have a very ‘digital’ aesthetic.
When setting out to work on a drawing I would consider questions like ‘what would a four hour scribble look like?’ with the idea that while a scribble is a very ‘human’ thing to do, yet to do it intensely for four hours straight is uncommon, therefore I ask myself would the scribbling, after being performed for such a length of time, begin to take on an aesthetic of its own? Would it eventually draw order out of chaos?
How did you find studying MArch Brighton?
While studying at Brighton with the guidance of my fantastic tutors, in particular Sarah Stevens, the phenomenal technical staff and my talented fellow colleagues I have been encouraged to look at a wide range of precedents. In Studio 3 we have a focus early on in the year to look at both the work of artists and architects, and I feel this is a important as for me artists drive the culture of a society. Artists are at the forefronts of movements, of eras and I like to believe that Architecture has the potential to reach over into this field and play its own part in shaping our world, both culturally and physically.
I feel that under Sarah’s tutelage I have developed significantly as a designer, furthering the skills I learned in another university studying for my Part 1, while developing refined ways of thinking about and presenting my work. I would also like to thank Karin Jaschke whose guidance pushed me to write a research study I could be proud of.
One of the best features of studying at Brighton, and I think many of my colleagues would agree, is the technical staff who are extremely helpful and take a keen interest in our areas of study. I also enjoyed the studio environment and felt my colleagues and I worked well together, often seeking to help each other out, which made the experience of what is a very demanding course more enjoyable.
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