The yearbook showcases a few of the pupil paintings performed in the course of the 2006/2013 educational years – together with undergraduate studios, degree and Masters studios and programmes, and study levels – and likewise offers a picture of our examine and different actions, in addition to the paintings of the RIBA Office-Based exam applicants. Oxford Brookes used to be lately named via the a hundred prime architectural practices within the united kingdom because the top structure university open air London and the quantity institution total. taking a look at the paintings awarded the following it's not difficult to work out why our graduates are so hugely regarded...
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Additional resources for School of Architecture: Yearbook 2013
Product Design / Exploration of Materials (Year 03)—A series of traditional and cutting-edge materials were investigated for their structural potential and aesthetic qualities in the construction of interior components at ‘furnitecture’ scale. Andrea Roe: Cabinet Model, Interior Experience | Claire Lewis: A Moment of Reading Grace Crannis: Spatial Performances | Matjaz Dolnicar: Experiential Model 055 056 Eliz Erdenizci: Materiality and Atmosphere | Camilla Andresen: Product Design: Exploring Copper | Stephanie Phelan: Interior Threshold Postgraduate Studies 058 PART 02: Postgraduate MArchD/Dip Arch Now in its second year, the MArchD programme defines the forward thinking focus of the School of Architecture.
Unit Tutors: Noel Cash, Barti Garibaldo (Technology), Bruno Silvestre Students Year 02: Alistair Backhouse, John Elliot, Christian Fernandez, Anthony Fitheoglou, Joyce Gyimah-Asante, Jonathan Hallam, Dika Terra Lim, Carlos Filipe L S Pinto, Henry Mcneil, George Michelin, Robert Nunn, Daniel Panico, Oliver Williams Students Year 03: Dorota Adamczyk, Richard Bryant, Donata Buzinskaite, Ewan Cashman, Tam Dibley, Christos Erotocritou, Diana Grecu, Guillaume Helleu, Henry K S Sheng, Richard Sansom, Sophie Walker, Ruby Wilson Guest Critics: Prof.
Death was a part of Arcadia: Et in Arcadia ego. The beauty and perfection were tinged with sadness, and the sadness worked not as the destroyer of the beauty, but as poignancy, an addition to it, a melancholy sense of the transience of earthly things, which served, paradoxically, to enhance them. Before the sleek compendium of good taste conquered the world, there was another Arcadia, a knobblier, more complex, more troubled and more vital thing. This is what our students were asked to investigate.