Brighton Landmarks - Day 2

Brighton Museum & Art Gallery

Fashion in Brighton

This Regency dress, displayed among traditional and modern outfits, would have been worn by a common Brighton woman—the embroidery reflects the styles of the early 19th century.

Image taken by Elaine Gao

Anna Dumitriu's Make Do And Mend

At first glance, this WWII woman's outfit looks quite ordinary, but the cloth patches have been incubated with E. coli bacteria. The bacteria was first edited via CRISPR and genetically encoded with the phrase "Make Do and Mend."

Image: Link

Forensic Facial Reconstruction

On the left is an image of a reconstruction of an excevated skeleton in the Brighton Museum's exhibit on local history; on the right, a Roman bust of Zeus from the 2nd Century AD. How does this facial reconstruction blur the line between biotechnology and art?

Images taken by Siam Hossain

Bioart in Photography

This forest of fireflies, like many other elements in nature, contains bioluminescence, also known as chemiluminescence. Other forms of luminescence include phosphorescence and fluorescence, such as those found in Green Fluorescent Proteins (GFPs) used in biological research and bioart.

Lights Fantastic by Siriam Murali, Image taken by Elaine Gao

How Do You See the Sea?

Kehan and Lily used strips of silk paper to create their visions of the sea. While they were not working with biomaterials, their art still reflected an integral part of the course—understanding and appreciating both art and nature.

Image taken by Elaine Gao

Royal Pavilion

From a Royal Residence to a Local Landmark

The Royal Pavillion was originally the seaside pleasure palace of then-regent George IV. The prince escaped London to entertain his guests and mistresses in the ballrooms while servants moved furtively through the hidden corridors. The orante interior design, the size of the kitchen, and the extent of the Careme menu showcased the lavishness of his getaways. The Pavilion underwent many modifications under subsequent monarchs. Queen Victoria specifically disliked the place and ultimately sold it to the town of Brighton.

Contrasted with a more traditional palace, the exterior is more akin to the Taj Mahal or the Hagia Sophia. The oriental aesthetic came from British architect John Nash, a man who "never went to China or India." Despite this fact, he took inspiration from Mughal architecture for the exterior, and decorated the interior in the Chinoiserie style. He created illusions with a bamboo staircase, a curled dragon hugging the chandelier, or nodding figures near the entrance. However, the Pavillion can only be aptly described as an inspired-yet-Western aesthetic.

Banquet Room

The banquet room was the center of George IV's lavish parties and festivities, providing a lavish setting for feasting and entertainment. Bucking royal precedent, George IV preferred to sit at the middle of the table instead of the end, placing himself in the middle of the excitement. A central motif is the prevalence of "Chinoiserie," or Chinese-inspired designs interpreted by European architects. Paintings depicting Chinese life and furniture inspired by Chinese mythology line every corner.

Great Kitchen

Every dish served in the banquet room would be prepared in the great kitchen, a well-run, sophisticated, and technologically advanced food service and preparation room. It was designed to compete with French kitchens, featuring water pumps, stewing stoves, spit roasts, and a central steam table. Cooks prepared a whopping seventy separate dishes for the King's guests. The Chinoiserie theme is subtley continued with the inclusion of four palm tree columns.

Music Room

Music was integral to the entertainment at the Royal Pavilion, and this room reflects the great care taken to magnify the experience. The original organ used in 1821 is enhanced by a large, domed ceiling, elaborately painted walls, and a beautifully patterned carpet. The room is sparsely furnished to allow in light and create a feeling of larger space. This room also continues the use of many Chinese elements, with no lack of red and gold, dragons, pagodas, and chandeliers inspired by lotus flowers.

The Pavillion as a Hospital

During the First World War, wounded soldiers from the then-colony of India recieved treatment and convalesced at the Pavilion. This period of dual-use not only highlights often-hidden medical histories, but also the painful colonial history that the Mughal arcitecture evokes. Nowadays, a gate gifted by the 'people of India' is arguably the most authentic Mughal structure on the grounds.

Image from Brighton & Hove Museums

The King's Bed

This specially-crafted bed belonged to George IV. In his later days his size meant that it had special elevators used to raise the overweight King into his bed. The bedroom painted a picture contrary to the dignified, regal aesthetic of the rest of the Pavilion, highlighting the human struggles of a larger-than-life figure.

The Infleunce of Chinoiserie

The architect and interior designers included Chinese design motiffs throughout the Royal Pavillion without any authentic knowledge of Chinese design. In that way, the aim is not to pay homage as much as it is to co-opt design motifs for a Western audience while paying little respect to Chinese culture itself. Similarly, the exterior of the palace is meant to emulate Mughal architecture, but the effect is simmilarly ineffective due to the cultural ignorance and inexperience of the architect. While the unique designs of the Royal Pavillion excemplify grandeur, they fall short of actual Asian architecture and art.

The Adelaide Corridor Wallpaper, 1790 (this piece was originally made in Guangzhou, China - accordingly, it is far less "anglicized").

Arrival to London

At the end of this day, the class departed from Brighton and settled in at the Cumberland Hotel in London!

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