The Chapel and adjoining Quiet Room is a Christian place of worship, but can be adapted for other religions.

I was commissioned to design both the glasswork and the internal space. The glasswork consists of the window in the Chapel and a small window in the adjacent Quiet Room, two toughened glass panels in the corridor outside the Chapel, and a back-lit panel in the Rainbow Room.

In the Chapel, I designed the floor and the ceiling, selected the text for the windows and chose the furnishings and the sound system.

In addition, I selected a poet, Elsa Corbluth, from whom two poems were commissioned and which were inscribed on two of the chapel walls by professional calligraphers, Xheight Design. The commission was completed in June 2001.

The design depicts enlarged leaves of oak, alder and holly, and ferns. Oak leaves represent the human body and positive human qualities of strength, protection, durability, courage and truth.

They are appropriate for the Chapel, being a Christian symbol of strength, and steadfastness of faith in the face of adversity. Serrated holly leaves signify Christ’s own crown of thorns, whilst the holly is often depicted in the Christian tradition as the tree of the cross.

Equally, the alder is associated with death and resurrection, whilst ferns symbolise solitude, sincerity and humility before God. The windows were installed in February 1997.

The designs for the six Chapel Windows are abstract, but are based broadly on the movement of water.

They refer to Brighton’s geographical location as a seaside City, and act as a metaphor for water as an agent of physical and spiritual regeneration within the Christian tradition. At the base of each window, the whorl symbol is intended to represent the universe and creative force of God.

The design for the Cross uses similar watery imagery whilst the pair of windows on either side of the Communion Platform symbolise the earth and the sea and illustrate the loaves and fishes shared by Christ at the feeding of the 5,000. The five panels that constitute the Sanctuary Screens use the wheat imagery from the northern Communion Platform window.

The window commemorates the life of Captain Robert Charles Todhunter (1903-1999) and his wife Patricia Estelle (-1986), and was commissioned by his family.

The window was designed to complement the Gothic style of the church and the colouration of the existing stained glass windows, (particularly that of Sir Edward Burne-Jones), and to allow plenty of light to permeate through.

The design is based on a symbolic apple tree, and also represents the Tree of Jesse.

Within Christian orthodoxy, the apple tree has traditionally represented the Tree of Life in the Garden of Eden, and suggests Christian concepts of bridehood, marriage and fertility. The window was installed in December 2001.

These windows were originally commissioned to commemorate the centenary of St Joseph’s and its promotion to cathedral status.

However, during their execution, the incumbent, Canon Driscoll, died, and the window became a memorial to his memory.

The windows represent the twelve year-old Christ teaching in the temple (Luke 2 vv 41-52) and stress the importance of the family group.

The windows were installed in 1988.

This window depicts the angel Gabriel who was sent by God to Nazareth to announce to the Virgin Mary the forthcoming birth of the baby Jesus (according to the first book of the Gospel of Saint Luke).

The window was installed in 1983.

The Design illustrates both marriage in general, and that of HRH The Prince of Wales to the Lady Diana Spencer in particular.

The colours of red, white and blue symbolise royalty, purity, fertility and protection.

The left hand, or ‘male’, window focuses upon a stylised face, together with suggestions of royal accoutrements. The lenses symbolise the lasting, eternal nature of the marriage bond.

The right hand, or ‘female’ window parallels the same ideas, but with the addition of flowers to represent the joy of the occasion and the prayer for fertility.

The veil, in both panels, links the two together, as do the joined hands, which are universal symbols, both of marriage and supplication.

The windows were installed in 1982.