A Landscape of Stories by Barnaby Baker

A L ANDSCAPE OF STORIES AN EXPLORATION OF THE REL ATIONSHIP BET WEEN FOLKLORE & L ANDSCAPE WITHIN THE FENS

BARNABY BAKER

Conceptual image of fenland

CONTENTS

Chapter 1

Introduction

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Chapter 2

The Dreaming of a Place

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Chapter 3

Site Introduction & Sketch Design

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Chapter 4

Concept Design

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Chapter 5

Conclusion

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Bibliography & References

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Black Shuck sketch. A story that is stuck in my mind of a ghost dog. The version my granny told me had this omen â&#x20AC;&#x2DC;padpad-paddingâ&#x20AC;&#x2122; down the Norfolk

beaches at night. We would then go for a walk on the beach in the dark after the story was told.

CHAPTER 1 : INTRODUCTION

My influence for this project comes from my childhood. I grew up in Norfolk where the tales from this region were told to me and continue to be in my mind. Many of these tales have a direct connection to local places. I was told of shadowy black dogs, accidental summoning of ghosts and other superstitions from the area around me. These stories suited their landscapes and the landscapes suited the stories. This has recently given me an interest in the way in which the landscape and local folklore are connected. This project begins with an exploration of folklore, stories and poems within a landscape. It is a loop of ideas based around landscape and story, and the cyclical relationship they may have. The project area is the fens, seen by many as deprived and frequently dismissed as dull, yet it is an enigmatic place - rich with folklore and history from past to present. This is a place I too dismissed as merely an inconvenience to get through on my frequent journeys to Norfolk, until my personal discovery of its richness. In response to this study through a process of research, walks, photography and drawing, a design is generated for a site in Kings Lynn.

Images of the fens (1).

PROJECT AREA

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1. The Fens (blue hatch) 2. Wisbech 3. Kings Lynn 4. The Wash

This project is based in the fens of East Anglia and Lincolnshire. The fens are a flat-land that has been reclaimed from swamp and marsh over hundreds of years. Man and machine are constantly at work to keep the area dry to this day. It is said to be the most artificial landscape in Britain. Whilst the area is predominantly agricultural there are a few pockets of true fen restored or preserved for conservation and ecology. The main focus of this project lies in the area around Kings Lynn and Wisbech, and the rivers that run through them respectively: the Great Ouse and the Nene.

THE DRAINING OF THE FENS

“A hideous fenne of huge biggeness” St Guthlac (8th Century) The fens were once a completely different place to what is seen today. This area was a vast swamp stretching for as far as the eye can see. A landscape of mud, water, trees and reeds, rich in wildlife and lawless inside. Fen folk were known to be wild and lived off the land, from the birds, eels and fish they caught. Within this swamp islands of clay rose above upon which monasteries were constructed, isolated from the rest of the country. Ely Cathedral stands high on Ely island, which used to be a real island in the wetlands. The fen was as mysterious as it has ever been, it could not be crossed without the help of fen folk, and communities were isolated. Strong bonded families all telling the stories from their past, and from the generations before them, perhaps the beginning of much of the folklore that is told today. It was a place of marsh lights, ‘Will o’ the Wisp’, flickering, carried by old ghosts, leading unsuspecting night walkers into bottomless pools (2). Fen draining began in roman times, but it was not until the 17th Century that this was taken on as a large all encompassing venture when the profit from these potentially rich fertile lands was realised. With draining came a change in the way of life for fen people, draining of the land was a form of enclosure and was met with resistance. The Fen Tigers, as they were known, are told to have crept up on the people working on draining in the dead of night, strangle them and drop their bodies into the cold black fen waters (3).

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As these lands have been drained over the centuries rivers have been moved straightened and new ones cut, machines have developed to run on wind, through to the modern electric and diesel pumping stations seen in the landscape today. The channels are still dredged and the work is never ending. This is a basin draining much of the Midlands and of East Anglia, with almost no change in level between the hills on the outside to the sea at the end. A result of the draining is shrinking of the land. The peat much of this area is made up of shrinks as it dries, this has caused much of the land to drop in level - as much as three metres in places (4). The rivers used as great drains here are above the height of he fields below, as is the sea. Although this landscape has been transformed from swamp to fields it is still surrounded in mystery for outsiders. Perhaps this is from word of mouth, passed on generation to generation for hundreds of years? The stories that originate in the swamp are told today, and will always be a part of this landscape, no matter how much man alters it.

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FOLKLORE, STORIES, POEMS, & L ANDSCAPE

The relationship between the folklore and the landscape, to me, is an obvious one. All story and history has happened within the landscape and often the land provides the backdrop of the tale, or can be at the forefront. Emotion provided by landscape types is used in fairy tales, for example dark woods are often used to set evil beings within. Stories will often use emotive landscape references such as wizened gnarly trees, misty marshes or hills in the distance to frame characters with. Each country, county or town has its own local folklore that has been passed down by word of mouth or in written form, which has been inspired by or set in its own location. Often similar stories are adapted to the landscape they are told in. One example of this is the story of Old Shuck: Within Norfolk alone there are many interpretations set to their landscape, and also to time. On the east coast of Norfolk this story tells of a ship becoming wrecked on the shore. This version is set in a time when boats were plundered for their goods when wrecked. The captain was found drowned holding his dog, who had also perished. The local villagers buried the captain in the graveyard and the dog elsewhere. The ghost of this dog is said to wander the beach at night searching for its master; In the fenland version, which was a place ruled by bishops and dotted with monasteries, Old Shuck is said to have been brought to the area to protect the monks from the local wild men, instead the dog ate all of the monks and was eventually killed by bow and arrow. It is said the howls of this creature can still be heard on windy nights; A modern tale is from a man cycling home one dark night when the largest dog he had ever seen was in front of him, the man cycled past but the huge rank dog chased and blocked the road. At this moment a car driven by a drunk came down the road towards them both, the man jumped in the ditch to get out of the way and when he got up again the dog was still in the road unharmed (8). There are many more, just from this county, each one defined in its unique landscape. Other folklore tells stories of how the landscape was formed. This can sometimes be connected or adapted from religion, gods, or creationism - other times just local. The Giants Causeway is said to have once stretched continuously from Ireland to Scotland - until the giants living at each end had an argument and destroyed the middle. In Norfolk some of the few hills are said to have been created by the devil. He dug a pit in Neatishead and filled his barrow with gravel and earth. The devil tripped and stumbled with his barrow and dropped a little out each time, the mounds of earth he dropped have formed these hills. When he tripped for the last time and his barrow emptied he exclaimed â&#x20AC;&#x153;How?â&#x20AC;?, this mound is now known as How Hill (9). These stories tell of the land, or are set within it, and continue to be today. Poets write of the landscape, writers adapt old folklore and bring it to the present day. Many people experience the feeling and emotion created by these stories in the landscape they individually know. This project aims to create that feeling of the stories, whether the visitor knows them or not, with the intention that they will discover the stories and be inspired by the landscape they have come from.

C HAPTER 2 : THE DREAMING OF A PL ACE

“All the events that have happened in a place, all the geological and historical interactions, are held in the grain of a landscape. They are memories that lurk under the surface of the soil. Where they meet the human mind, they become something new. The Australian Aborigines would call this marriage of mind and land the ‘Dreaming’ of a place. It is not quite conscious. It is never altogether stable. It lies underneath the sunlit, familiar, waking world of the twenty-first century” Hugh Lupton (10)

“The sense of being in a place exists at the same moment the story is being told... We have a mystery here, the story has to be connected up with the past and it has to be right here in front of us... A story is an action that’s now, and speaks of ancient things.” Dennis Tedlock (11)

Explorations of the relationship between folklore and landscape began with my own photography and drawings of places I found to have a significant relationship to the relevant texts. Alongside folklore, I read stories and poems that have particular connections to the landscape of the project area.* During this project I have also read the about historical and present draining of the fens, and personal accounts of this constant process. The draining process itself has generated many tales alongside the facts. After researching folklore of the area I discovered writers that had undertaken similar projects in the fens, by producing their own stories that have built on existing folklore and put it into the context of the places they knew. One writer of influence is Deborah Curtis and her book Voices of the Fens. Storyteller Hugh Lupton has also been a large influence in this project with his book Norfolk Folk Tales, and the stories he has told and recorded. The following photography and drawing exercises were key in discovering ways to portray stories through graphic media. This was the first step in order to understand how to represent the stories through design. The images are intended to contain the atmosphere of the relevant text.

*The titles of the books these stories came from can be found in the bibliography.

PHOTOGRAPHY EXPERIMENTS

Back Lane, Lincolnshire.

Mill Fleet, Kings Lynn.

River Nar, Kings Lynn.

Back Lane, Norfolk.

WA L K I N G , W R I T I N G & I M AG E S

In continuation of this exploration I went for a walk in the fen landscape in order to take some photographs. I have documented this walk with my own writing and photographic images. The images are intended to capture the atmosphere of the landscape which has inspired the stories and folklore from the area and the feelings I experienced walking across the marshes.

Stuck on the A17 for hours with closures, meaning endless diversions through the fens. Winding around field after field, on my way from Leeds into the fens. I arrived in Terrington St.Clement, a small town in the fens. This town has a stone in the churchyard thrown there from Kings Lynn, by a man called Tom Hickathrift hundreds of years ago, a man who fought and won a battle with a giant. Here I had lunch with a friend, and got directions to head out to the local marshes, after getting lost trying to find them before. Although Terrington is so close to the sea, the latter is near impossible to find. These lowlands are protected by a high bank of earth to protect them from the sea. Driving around here, unless you know, you cannot find where you are going after leaving the main road. The lanes (or droves as they are called here) follow field boundaries and have high banks and ditches either side. To me (as an outsider) there are no landmarks (although it is not an empty landscape). On a previous attempt to find the sea without directions before I was unsuccessful, each drove I went down eventually turned into a dusty farm track, I would see people looking from their buildings hundreds of meters away at the other end of these perfectly straight and flat driveways. The area I was heading to is a salt marsh, on the banks of the Great Ouse, close to where this river enters the Wash and the North Sea. The Ouse is a natural river that has had its course manipulated over hundreds of years to drain vast amounts of water from the fens in the most efficient way possible. With my directions I arrived at the marshes and parked the car on a bank and could still not see the sea from here. Between me and the next larger bank was a field with its dried out crop of oil seed rape, with a path running through the middle with a ditch down the side. I headed along the path towards the huge wall of earth protecting the fens from the sea. This bank is around 4 or 5 metres high and runs along the edges of all the fields around, giving a real feel of enclosure to the land. These banks and sea defences have been needed since the fens were drained for agriculture. As the water has been pumped out of them over the years the level of the land has sunk and continues to do so. The land is now below sea level and below the level of the rivers that drain it. A constant pumping of water takes place from ditches to rivers and rivers to the sea.

At the top of this bank you really can see a long way. This is the highest point in the landscape in sight. The view opened up to the salt marshes on the other side - a rich landscape of wind, birds, grasses, reeds and mud. The sky here is huge, with the land just a thin slither below the bank. The area is so flat and you can see for miles, and feel you can be seen. After reading folklore and stories from the area for the last few weeks these were thick in my mind as I headed down the marsh side of the bank. The path is narrow and cannot be seen unless you are on it. This crosses crevasses hidden in the grass that need jumping over and looking out for. You have to watch your feet as you walk. At a point heading further across the marsh alone, about halfway from the Ouse and the bank, I could hear an eerie sound in the distance. This was a haunting sound, unlike anything else, and for a second I had no idea what it could be, nearly heading back to the car.. ..and then realised it was the sound of seals barking and moaning in the Ouse. At this point I could fully understand how this landscape has inspired and bred so many stories of odd beings and ghostly creatures. I continued out towards these sounds and the river. Whilst walking across you can hear the thick mud bubbling as tides change and it drains the heavy rain from the day before. It is hard to tell which way the water is draining here with the network of the natural ditches and drainage channels in the marsh. When I got to the edge of the Ouse I could finally see the sea where the river enters the wash. The river channel is wide here and is dredged for ships to enter the port of Kings Lynn, in sight of me now. The seals were rolling in the mud on the far side, and sea birds were flying overhead. The water, this water which has drained fields to ditches, flowed into the wider cuts and pumped up to height of the river, is brown in colour carrying the mud from land miles away and with it lowering the land further. The Great Ouse meeting The Wash here is a symbol of the draining of the fens and the vastness of work undertaken over hundreds of years to do so. Although the journey I made here is a salt marsh, not the peaty marsh of the inland fen, this is a landscape I could associate with the fen land before it was drained. Much of the land which is agriculture close to the sea now, was salt marsh similar to this, slowly merging to brackish waters inland.

1. Photograph of stuck in traffic getting there, a repetitive scene in the fens. 2. The journey back.

EN ROUTE TO THE MARSH: 1. One of the back lanes, typical of this area 2. Dry, oil seed rape field and the large sky above. 3. The earth bank protecting the fens from the sea.

A NEW ROOM WITHIN THE LANDSCAPE:1. View from top of the bank, the flat landscape and vast sky. 2. View from top of the bank, the landscape is a totally different scene from one side to the other - between the protected farmland and the wild marsh. At the top of the bank you are greeted with the bright green flatland.

HORIZON LINES: 1 & 2.Looking out across the marsh. 3. The horizon line from ground level.

LARGE SKIES: Water on the path & the ever changing sky.

THE OUSE: 1 & 2. The mouth of The Ouse at The Wash. 3. Channels in the mud.

D R AW I N G E X P E R I M E N T S

1. Text interpreted from Deborah Curtisâ&#x20AC;&#x2122;s poem Land Lines 2. Watercolour lines 3. Watercolour lines 4. Charcoal on postal paper.

1. Charcoal, pastel & paints on postal paper. 2 & 3. Text interpreted from Deborah Curtisâ&#x20AC;&#x2122;s poem Land Lines.

C HARACTERIS TICS OF THE L ANDSC APE W H I C H M AY I N F L U E N C E S T O R I E S

These words and descriptions are records of elements of the landscape I believe may have influenced and contributed to the creation and telling of stories from the fens. I have found these through reading the stories and history and from my journeys in and around the fen on foot and by car. These words and descriptions will be used to influence the design for the site.

ATMOSPHERE OF THE LANDSCAPE Open. The feeling of being seen. The feeling of not knowing what else is there. Eerie. Peaceful. Serene.

PLANTS AND WILDLIFE

SOCIAL

Wildlife only you, or people you know, know about • Catching fish or birds in certain places. • Fen folk lived off birds, fish and mammals they caught before the area was drained.

Isolation as communities.

Eels • Traditional fen catch and food. • Eels are mysterious and have many unknowns said to still twitch with nerves when dead even when they are served on the plate after cooking. I have heard a story of a man who was bitten by one after cutting its head off. Plants • Dynamic plants that move in the wind, willows, poplar, reeds, grasses. • Long grasses and reed hide the uncertain ground below.

Isolation as individuals within spaces. Closeness within communities. Mystery of landscapes for outsiders. Mystery of communities for outsiders.

ROUTES

L ANDSC APE C HARACTERISTICS

Pathways that are uncertain • Marsh, water and clay have formed a landscape of varying certainty.

Large open space • Flat landscapes. • Open landscapes.

Pathways that are certain • Knowing pathways that only you, or people you know, know about.

Hidden landscapes • Hidden rooms within the larger landscapes (created by banks, ditches etc. The flatness of the land makes enclosed spaces special).

Roads that you can get lost down easily • The roads all look very similar to an outsider, creating confusion. Uncertainty of what is at the end of roads • The long straight roads give you the sense of being watched as they appear endless.

Changing landscapes • The large sky. • The draining and flooding of the land. • The sinking of the land. • The rising of the water. Water • Ditches, dykes and rivers on the edge of every field, road, property. • Brown muddy water that cannot be seen into.

CHAPTER 5 : SITE INTRODUCTION & SKETCH DESIGN

The site used for the design is the Nar Loop in Kings Lynn, Norfolk. This site is a dammed and silted up loop of the river Nar, with a dry centre and walkway around the edge. The site is on the edge of the town centre and the popular development area of South Quay. Kings Lynn is on the edge of the fens and is historically a port, a fishing town, and a whaling town with its situation on the edge of the river Ouse, close to the mouth at the Wash. This project will connect Lynn with the fens and their waters that drain through it. This site has been chosen as it is in the centre of an urban area, yet has many characteristics of the fen and rural landscape.

1. Kings Lynn town 2. Salt marshes visited earlier in project 3. The Great Ouse 4. Site 5. The Great Ouse 6. Nar Valley Way / Sustrans Cycle Route 1 7. The River Nar & Nar sluice 8. Housing 9. Public car park 10. Fishermans quay 11. Towards town

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Dry brown fields in the west of the image are the flat lands of the fen, whereas the green areas in the east are â&#x20AC;&#x2DC;hillsâ&#x20AC;&#x2122; of Norfolk.

2.1 ha approx.

50m

12. Wet area (blue) 13. Dry area (green) The wet area is tidal, but does not get inundated every tide, more just boggy. Spring tides will fill the wet area with water, and storm surges, such as the one in 2013, will flood the entire area (12).

SITE PHOTOS

PEOPLE OBSERVED USING THE SITE Walkers, runners, cyclists, dog walkers, people parking adjacent to the site to get to town, fishermen also next to the site on the Ouse, drinkers, someone who lives on the boat within the reeds with her dogs. Houses look over the site with a closed road / cycle route between. All people seen in or around the site were either outside it or on the outer quayside closest to town - no one was using the centre. Site visits so far have all been on weekdays. KEY CHARACTERISTICS OF THE SITE The site is dominated by two main areas - the wet and the dry. The wet area is a silted up bend of the river Nar in a horseshoe shape, historically used for moorings, now straightened with one end of the horseshoe dammed up for a road. This wet area is tidal and would flood in spring tides and become damp in ordinary high tides. The wet area is dominated with reeds. The dry area is in the centre of the site and bordered by a concrete barrier around 1m high to prevent high tide flooding. Access to the site is possible either from the cycle and pedestrian route to the east, or from the quay to the north west. There is currently a path running along the edge of the tidal area between the barrier and the quay-side, and informal paths in the dry area. There is no crossing within the tidal area. The site is has a car park to the north, the Great Ouse to the west, housing estates to the east and the river Nar to the south.

SITE COMPARISONS: 1. Grasses collected from different areas in the salt marsh visited earlier in the project. 2. The same selection of grasses but collected from the site. 3. All. The site and the salt marsh share many of the same plant species, and they share many of the same qualities: Large skies, proximity to the Ouse, and both are tidal are to name a few. The eeriness, and mysterious nature of the marsh that inspires stories, and holds ghosts of them (possibly literally and defiantly metaphorically) can be brought onto the site through design.

K I N G S L Y N N : A rt , C ities and L andscape

Art, Cities and Landscape is project across France and England, specifically between Amiens and Kings Lynn. Supported by the European Regional Development Fund, it uses art, landscape architecture and visual installations to promote the natural, historic and man made treasures of both locations. The project is an exchange of artists and designers. Both English and French are invited to propose ideas to be installed in either town or both. The project address young people or recent graduates to participate and aims to allow local people to reclaim their heritage of their town and enhance their living environment, whilst also increasing tourism in both locations (13). Much of the work for Art, Cities and Landscape is focused on Kings Lynns maritime heritage and connects the town with its historically prosperous port, although some such as Vanishing (pictured below) intend to connect with mystery and folklore. The project I am proposing has potential to tie in with Art, Cities and Landscape, and would provide a new outlook from Kings Lynn, inland towards the fens.

INITIAL SKETCH DESIGN

Prospect & refuge theory // THE FEELING OF BEING WATCHED The theory of prospect and refuge, originally proposed by Jay Appleton, suggests that humans are drawn to certain places by their primitive instincts, dating back to our days of pre-agriculture. Prospect is being able to see over a large expanse, relating to our ancient desire to view hunting grounds. The theory suggests viewing a landscape such as this conjures excitement, from times of when there would be prospects in the hunting ground. Refuge is not being seen, relating back to when we were prey of other predators and or in danger of other humans. The theory suggests we feel safe and relaxed when we are obscured from view (14). Prospect and refuge theory can be used in this design in order to create feelings that relate to the stories of the area. By applying the practices of the theory in some areas and using it in reverse in others, different emotion, or comfortableness can be created in different places. Some places will intend to be unsettling, by creating feeling such as being seen or watched, other areas will be more comforting with shelter or â&#x20AC;&#x2DC;refugeâ&#x20AC;&#x2122; being used.

LIMINAL The idea of liminal boundaries or liminal space applies to this site and the design idea. The word can be applied to the divide between the two landscape types within the sites - the concrete barrier between the wet and the dry areas. The designs intention to create the feeling of the local stories will also provide a liminality between the ordinary every day realities and the mysterious narratives from the landscape.

PRECEDENTS : MEMORIAL GARDENS

K ennedy M emorial , S ir G eoffrey J ellicoe , R U N N Y M E D E Designed in memory of American President John F Kennedy, this memorial is about the journey made to the top of the hill, rather than the just the stone at the top. Jellicoe was influenced by John Bunyan’s Pilgrim’s Process, an allegory of life as a journey. Visitors begin their journey walking a stepped pathway from an open meadow through the woods, made from 60,000 granite setts, where at the top of the hill they reach a seven ton block of stone with text inscribed that fills the entire face. From here a paved pathway leads visitors to the side of the memorial to a view down over Runnymede. This journey represents a journey of life, death and the human spirit, as in Bunyan’s book. The design intends to portray this to the subconscious mind of visitors walking up this hill. The subconscious and metaphorical journey that is made in this projects is an influence to the journey that will be made through the site for the Kings Lynn design.

M emorial to the M urdered J ews of E urope , P eter E isenman , B E R L I N This memorial space is created in memory of Jewish people killed in the Holocaust. Located on a space of land between the former East and West Berlin the memorial is made up of 2711 concrete slabs each identical in horizontal dimensions and varying in height. These slabs are laid out in a grid formation creating long straight alleyways between them. This project has been heavily criticised for many reasons, such as not ‘Jewish enough’ or ‘too abstract’. It has even used a paint supplier who created one of the gases used in the concentration camps. Despite these criticisms the feeling created with the space appears successful. The concrete blocks, which are reminiscent of coffins, from a repetitive continuous landscape which reflects the number of people affected. The alleyways between the blocks are confusing spaces to be in, with their high sides and long straight lines, yet the outside of the space is always visible. The blocks are a cold use of symbolism, yet children and adults also play amongst them, and jump between them. I believe this is a success of the project, to be able to serve the purpose of the memorial and yet to provide space for people who will use it today. Landscape of stories project for Kings Lynn would intend to be able to also created the same mixed use of symbolism and pleasure use within a space.

PRECEDENTS : STORIES & L ANDSCAPE

T he S torr : U N F O L D I N G L A N D S C A P E , N V A , I s le o f Sk y e

This 42 day installation was on the mountain and rocks of the Old Man of Storr on the Isle of Skye. Created with sound and lights the project engaged with the dramatic landscape and invited visitors to make the journey up the mountain at night. The spoken voices of local poets told stories played alongside singers through speakers across the area, with live performance artists in lit locations. NVA created a lit pathway for people to be guided along with head torches giving each one a personally experience and connection with the landscape, and stories told from it. Landscapes such as these Scottish mountains often already have a connection to their history and folklore in our minds, from the storeys we have been told. This naturally add to the grandeur and impressiveness when we visit them. This project builds on this connect and engages people with the landscape through sounds, stories, and installations, creating unique artwork. The influence in how this project causes people to see the landscape in a different way is what I wish to achieve with the Kings Lynn project.

PRECEDENTS : INS TALL ATIONS

A N O R F O L K S O N G L I N E , li z mcgowan , P E D D E R S W A Y This project was a temporary installation on the Pedders Way in Norfolk. This long distance footpath is on the route of a Roman road. A Norfolk Songline was a multimedia project using story telling, song and sculpture to tell the history, geology and landscape of the route. These sculptures were a response to the straight route over the curve of the land. These installations are an influence in their re-ordering of natural, locally found materials to create striking forms in the landscape. The temporary nature of the sculptures connect with the ever changing landscape.

A N O T H E R P L A C E / / another time / / H O R I Z O N F I E L D A ntony G ormley , M U L T I P L E L O C A T I O N S Gormleys figure shaped installations are landscape altering objects. In Horizon Field the figures are all placed 2,039 meters above sea level, Another Place has the figures all facing twelve degrees south of west and also set to a level plane, for Another time the figures are at many heights facing multiple locations based on individual sites. All of the figures are formed from casts of Gormleys body. The presence these figures have within the landscape alters the way you look at it. The figures truly seem to be staring out into the distance, causing visitors to question them and wonder. People form connections with these figures, possibly due to their literal form and reliance. I have been influenced by their ominous ever watching presence and how this changes the atmosphere of the landscape.

CHAPTER 6 : CONCEPT DESIGN

DESIGN S TATEMENT

The landscape has influenced the stories, the stories influence the landscape.

The design of this landscape will: • Evoke atmosphere and memory from the stories, folklore and poems of the local area. • Create a connection between people and the landscape that has influenced these stories. • Improve access / popular use of the site. • Engage both children and adults. The design of this landscape intends to: • Influence visitors’ perception of the fen landscape, allowing people to see it with its rich history and mysterious tales. • Be low impact and make use of the site specific qualities.

The design is a semi permanent installation with elements that will remain in the landscape, and elements that will evolve and disappear over time. The design is made up of two key elements: • The Hidden Path - the permanent part of the installation, a pathway through the reeds designed to improve access but primarily created to be an engaging and metaphorical walk, crossing the wet area of the site. • Silt Towers- a changing element in the form of a number of short tower shaped objects. These will largely be constructed with natural materials from the fens and will characteristically return to the ground after a number of years. Steel poles within these towers will leave behind a mark of where they were before. They will also leave behind their story. The design is created with the intention and possibility of realising the installation on site as a part of the ‘Art, Cities and Landscape’ project in Kings Lynn, or a similarly funded scheme. At this point in time the design will only be taken to concept stage.

T H E H I D D E N PAT H

There will be a path hidden within the reeds for people to discover, and tell others about - their own story of a secret path they have found on the site of the old River Nar. The people who decide to walk over this path will be making a short but unknown journey across the tidal land. People will not be able to see the path unless they are on it and will not be able to see exactly where it goes. This journey is intended to evoke memory of the tales of larger journeys across the fens: • During the English Civil War Charles I was led by landlord ‘Mucky Porter’ from Downham Market to Huntingdon whilst on the run from Oliver Cromwell. Mucky Porter was said to know the lie of the land better than any other, and so was chosen to lead Charles I across the ‘treacherous expanse of reed, water and winding causeways’. This gave the king safety, and Mucky Porter was given a purse full of money, two of the Kings horses and several acres of newly drained marsh land for him, and his family that followed him (15); • The legend of Tom Hickathrift tells how he made an uncertain journey making a shortcut whilst delivering beer between Kings Lynn and Wisbech. Tom had been told by his master to avoid the shortcut over the Smeeth for a giant lived there and to take the long way round on the road instead. Tom was a large strong man and after a few weeks of taking the route he was told, Tom decided to make the journey over the Smeeth where he met the giant who blocked the path. Tom fought the giant all day and won, taring the giants head from his shoulders, freeing the route for the local people. Tom Hickathrift was made Sir Thomas Hickathrift, and found enough treasure in the giants cave to build Hickathrift Hall (16); • A less fortunate journey across these uncertain fen lands is the story of King John and his treasure. The King was making his way between Kings Lynn and Lincoln with his baggage train carrying crown jewels, gold and money whilst fleeing rebellion. The Kings treasure was lost in the salty marshlands when, it is thought, the tide came in causing the train to leave the path. Some stories suggest that the King had no guide as a fen man would not have made this error (17). The historically dynamic and mysterious fens held many unknown paths, with uncertain outcomes along them. This has produced a whole range of a stories in connection to these crossings, many of which are still told to this day. The hidden path aims to connect to these tales of mystery in journeys across this landscape. This pathway will cross the wet area, from the quay to the north on the town side, to the quay at the central dry area.

Hidden path concept images

The hidden path will not be visible until you step onto it. In order to achieve this the path is amongst the reeds within the wet area and set to the height of the quay side, and as the reeds are around a foot higher than the concrete edge this will obscure the pathway from view. A second method used to hide the path is to retain a thin layer of water on its surface, creating a mirror when still and visible when walked upon. This water will come from the rain, as an ordinary tide line would not reach the height of the path. The rain water will fill the path and evaporate again in a constant cyclical nature, this determines that the mirror element will come and go, adding a different mystery: â&#x20AC;&#x153;Will the path be full today?â&#x20AC;? When walking on the path you will be seen above the height of the reeds, as if floating across the tops of them, with your feet hidden below. This will create a feeling of exposure to be above the flat tops of the reeds, or will create a feeling of vantage, in this newly discovered area. The mirror of water will reflect the large fen sky and the movement of the reeds in the wind.

1. Path height and access sketch sections. 2. Imagined view of stepping onto the path.

1. Working sketch. 2. 1:20 models of support structures for the path. The legs would most likely be constructed with steel piles (not corten) in the mud for robustness in the tidal land and for some unity with the corten steel. The structure would be made to look as light as possible in order to retain the hidden element of the path. In winter when the reeds are dead and thinner, or if the reeds are cut for management then this path should not appear bulky in form. Short 5cm sides to the path are shown, these would contain rain water to act as a mirror. 2.

3. Corten Material palette. This steel has a thin layer of protecting rust, this means the colour will develop over time. This is a high quality grade of steel that can be rolled and bent to form the upstands that will hold water after rain. The orange colour will contrast with the reeds when green in summer and blend with them in the winter when the dead stems turn dry. 4. CAD working drawings illustrating height and width of the path, and its height relationship with the concrete quay-side. The 1.2m wide path will allow for wheelchair access, although there will be a small 5cm drop to get down from the quay to the corten. These drawings show the path constructed with 3m long sheets. For simple construction the path will be made with 1, 2 and 3m long sheets of the same width, making up a network of straight lines. 3.

Precedent : Corten Steel Paths Crisp lines and rolled edges and shapes can be formed with corten. This will enable edges to simple be folded into the shape, and other features, such as steps, be easily created. The layer of rust will protect the metal from the water standing on its surface.

Precedent : Focussed Views James Turrelâ&#x20AC;&#x2122;s Deer Shelter Skyspace created a room with a hole in the ceiling to view the sky through. This room is within an open air sculpture park, where the sky is constantly visible - yet this invites you to stop, sit down and watch it above. By framing, or focussing people on, a view you entice people to look at it.

FOCUSED VIEWS: 1. A hole in the path, with a lip around it, will produce a window to the mud below, circled by the mirror of sky. The mud itself connects with many folk tales. 2. Steps down to the level of the base of the tidal area will draw people to watch the reeds moving in the wind. This will create a pocket of a space, a hidden landscape within the hidden path. 3. Steps up will point people to look in certain directions, the fen where the stories have come from, or the marsh where they can be experienced. Although a small height difference, any change in level in this landscape will alter perspective.

HIDDEN FEATURES: Taking a closer look at aerial images of the fens amongst the straight lines of fields and rivers, the creeks and serpentine streams of the historical marshland can be seen in the dry crops. Taking these patterns as inspiration, hidden features will also be within the path.

EMBOSSED EELS: Eels can be said to be a symbol of folklore in the fens, and they are surrounded by it. The area used to be a rich habitat for them and fen people would regularly catch them. For these reasons, patterns of eels will be embossed into the steel. This will provide a certain non slip aspect, alongside the aesthetic purpose. The eels will be visible at times when the path is dry after no rain.

1:1 MODELS: These showed that the regular repeated pattern appeared too ordered, and that a much more realistic pattern of eels would be more appropriate.

Image of possible embossing pattern. The method used would be to create a few different eel â&#x20AC;&#x2DC;stampsâ&#x20AC;&#x2122; of their outlines to press into the corten. This method would allow for a different pattern on each sheet, creating short ridges in the steel.

1. Fields and rivers: The pathâ&#x20AC;&#x2122;s form takes inspiration from the very straight lines of the fens. This landscape has been developed from an uncertain swamp to a map of straight lines. The ordered land has been created for productivity and efficiency, yet is almost as confusing to navigate as the swamp that lay here before. This confusing layout will add to the mystery of the path. 2. Sketch layout: Layout taking inspiration from the straight fen roads. 3.PLAN LAYOUT: Layout of Hidden Path and other access: including proposed steps, ramps and bench. Hidden Path: Straight lines and corners that hook round to noware will confuse and mimic the roads and paths of the fens. Retaining the mystery of not knowing what could be at the other end. The Path has loops and forks to chose between, with its setting below the height of the reeds the direct route shall not be obvious. A second corten path exits the site. This second path will be not contain water and will simply create wheelchair access up and down the embankment.

South Quay

b. c. d.

Embankments (Brown) e.

The Great Ouse Tidal Area (Green)

a. Existing access from South Quay and town centre.

b. Proposed steps over flood barrier from car park. c. Entrance to the hidden path from existing route on quayside. d. Steps rising from level path, view towards to town and aligned to face the mouth of the Ouse. e. View hole down to the mud and the small water channel below in the reeds (channel drains tidal water only). f. Steps down to secluded space within the reeds. g. Steps rising from level path, view across the site and aligned to face to the fen. h. Proposed 1:20 concrete ramp over 1m high tidal barrier, on both sides.

i. Existing steps down to tidal area. j. 6m long, 50cm deep concrete bench cast against tidal barrier. k. Corten steel ramp up embankment. N

l. Existing path on top of embankment. 3.

m. Sustrans cycle route 1 and Nar Valley Way. The Nar Valley Way continues through site along the grey path shown on the edge of the tidal area. 0m

25m

50m

S I LT TOW E R S

A new presence will be created in the landscape in the form of short towers constructed with silt and woven willow. These stationary objects will play tricks on the eye, watch over people within the site, and observe those passing by. They will one day disappear and leave behind a thin reminder of them, 50mm diameter marine grade stainless steel poles, the poles will signify the memory and story of where they once stood, for people to tell over time. The effect of these structures will cause the feeling of being watched. The tale of Old Shuck takes many forms but in many he is said to follow you from behind if you are out at night. You may feel the strange sensation that someone is watching you, the prickling on the back of your neck. You may even hear a noise as his toes clip along the floor but you cannot turn around as you will be cursed by this phantom dog, you or a close family member will be dead within the year (18). These towers do not intend to curse or terrify, as seeing Shuck surely would, but they do intend to maybe give the same prickling feeling on the back of your neck as you pass them by. The towers will be found dotted across all the site, reaching higher density within the dry area.

These ominous presences in the landscape will be made with two local materials, silt dredged from the Ouse and woven willow, and a third inorganic material - steel poles supporting the structure within the centre. Willow weaving is traditional and historical practice in the fens as it can be easily harvested from the plentiful supply, and as there was limited timber this was a useful product. Willow was used for all manner of things, from doors and shutters to baskets and animal traps. The use of willow in the design will echo the shape of eel traps (19). Silt is a by-product of the draining of the fens, all of the rivers need constant dredging to remain flowing in order to keep the area from flooding. The mud that has settled at bottom of the Ouse has been transported possibly from as far as the hills of the midlands, through the fens and into this river. In this case the silt will be used as a metaphor for the stories that have been created and told before drainage and have been flowing through the landscape in the same way the water does now. The stories have come from the days when the fens were a swamp and so has much of the silt, mud and sediment that is dredged today. Willow baskets will be woven into vertical cylindrical hollow shapes and filled with the dredged product (after a short drying period). These vertical cylinders will be at a height representative of the amount the fen land has sunk since draining began. The land is thought to have sunk two to three meters over the hundreds of years of drainage (20). These shapes are used for the purpose of confusion. Vertical lines within a landscape when moving through can play tricks on the eye as the gaps between them change and interact, this can cause the illusion of there being movement where there is none. Alongside the representation of the height, these objects will be in proportional width ratios with a human in order to cause their presence to appear lifelike and observing rather than simply static. These methods are used to create the feeling of being watched and the feeling of being seen. Over time these shapes will sag, rot, collapse and become a part of the ground. The willow will rot and blow away, the silt will erode and form a small mound below. As these organic materials degrade they will slowly reveal the metal poles in the centre. This will provide an element of time to the project and leave behind their own story for people to tell into the future.

1. Initial concept ideas. 2. Sketch of silt towers over time. 3. Initial model (these sketches and models were made prior to steel pole inclusion). 3.

THE FEELING OF BEING WATCHED: Stills for a GIF illustrating the illusion of movement of the objects as you move amongst them. Cyclists on the adjacent route 1 will see these objects at higher speeds and the changing shape of the gaps between them.

1. Sketch development. 2. 1:50 scale models to test tower height. The height had been decided to be between 2-3m to represent land sinkage. A range of heights will be used to different effect at different positions. Some particularly large ones may seem more intimidating, other smaller ones may just poke up above the reeds. The heights used will be 2.0m 2.2m, 2.5m, and 3.0m to different effect in different areas.

2.0m

2.5m 2.2m

2.2m

2.5m

3.0m

Left to right: 3.0m, 1.8m figure, 2.2m, 2.5m, 2.0m

WOVEN BASKETS: 1. Model woven from straw at 1:10 scale. 2. Height to width ratio sketches. These were done by measuring my height and width at the waist and at the shoulder, the numbers were rounded and fractions were made to calculate the ratio. The width at the waist seemed most appropriate to use for scale and size of the objects. The height of this test model is 2.2m, resulting in a 48cm width , or diameter, rounded to 50cm. This same ratio will be used for the towers of varying heights. 1.

3. Woven willow material example. 4. Elijah Wells, his wife and their eel traps. These eel traps are woven from willow and have been made in the same way for hundreds of years (21). 5. 1:10 scale model, with 1.8m figure.

Precedent : Steel Poles Walter de Maria used stainless steel rods for his land art project â&#x20AC;&#x2DC;The Lightning Fieldâ&#x20AC;&#x2122;. This project constructed a grid of 400 rods over a landscape in order to attract lightning. Visitors can stay in a hut at the installation and watch for lightning. Although they may not see lightning strike the poles, this project invites people to watch the landscape. The simple finish and nature of these rods will be used in supports of the silt towers. The stainless steel will reflect the colours of the landscape around. Here Walter de Maria used solid steel rods, in Kings Lynn hollow, wider tubes will be used.

1. Working construction sketch of steel pole support and retaining feature. The simple piling technology and Oak base is a modern version of the construction methods that were used in Medieval and Roman times for causeways and bridges. 2. Engraving of text from folklore or stories from the area in the steel poles (text from Deborah Curtisâ&#x20AC;&#x2122; Land Lines).

PLAN LAYOUT: 1. People from above. In order to reinforce the feeling that the silt towers are a human-like presence in the landscape images of how people stand together and individually and the spaces between them has been studied. There are various formulas and diagrams for self positioning in groups, notably a book by Adam Kendon (22), explaining these interactions. 2. Using these studies as influence the layout of the silt towers takes form.

South Quay

Embankments (Brown)

The Great Ouse

c. Tidal Area (Green)

e. f.

a. A small number of the towers are within the reeds as people cross the path, these just have their tops visible above them. b. Single tower on a high point at â&#x20AC;&#x2DC;headâ&#x20AC;&#x2122; of dry area, this tower will be visible from the car park, Boal Street and the end of South Quay. c. Single tower in reeds on west of site. Less features on this side of the site due to person living on boat here. d. The shapes are in higher density in the central dry area of the site. e. Towers reach their highest density at the exit of the dry area, in an existing gap between the tidal barrier and earth embankment. 2.

f. Space outside of the central dry area, with no towers.

25m

50m

SITE PLAN

Concept masterplan displaying existing site with proposed features overlaid. The description below annotates the site as a journey, but the area will be as usable as any other public space or park with the development attracting higher visitor use and public engagement. A1, 2 & 3. Visitors enter the site through existing routes A1 and A3, both a part of the Nar Valley Way which passes through the site, along the edge of the tidal area. Entrance A3 also provides access from Sustrans Route 1, although these users will also be able to lock their bikes up in Boal Street car park and enter through the proposed staircase to the north (A2). B. The Hidden Path. This secret route will take visitors on a journey across and above the tidal land. Walking at a height with your feet just below the tops of the reeds the path will feel exposed in this flat area. The route will only be visible when on it making a direct route hard to find. Forks, corners and loops cause the path to become maze like, with features along the way. Viewpoints and a hidden area can be found whilst making this unknown journey. Scattered amongst the reeds a few of the silt towers will be seen whilst walking here. C. At the end of the path a concrete ramp crosses the tidal barrier into the dry centre of the site. As you enter this space the feeling becomes more enclosed, and you are greeted by many silt towers. D. This large grass area will invite people to maybe stop and sit, or continue walking along - making their own route between the silt structures. E. A long concrete bench cast against the western edge of the tidal barrier provides seating and space for contemplation, with an information panel set into the back explaining the project. This bench will also provide a reference point in the landscape from which the decay and natural processes of decay of the towers can be seen. F. Corten steel ramp provides wheelchair access up or down the earth embankment along the route of existing informal paths. Materials used for the site reflect their purposes: The corten steel path will contrast with the reeds in summer and sit well in their winter colour, the thin profile will maintain a sleek appearance. The natural willow and silt towers will appear unusual in their vertical nature, yet blend with the materials around them - due to their locality. Once these erode, and all remains are the steel poles, they will become light and crisp forms. Steps, ramps and the bench are constructed with concrete in order to appear functional, alongside the concrete tidal barrier and quay-side, this will allow these features to blend into the landscape unobtrusively.

MATERIALS PALLETE: These below are the only materials used in the design, with the exception of Perspex or plastic for an information sign, a different form of steel for the path supports and pilings, and the rain water that will sit on the path. Concrete

Corten Steel

Woven Willow

Ouse Mud / Silt

Stainless steel

A2 B

25m

50m

SITE N ARRATIVE

This writing describes a visitors personal journey through the installation, in their own words. I am cycling on a long distance ride, along Route 1, and today I have travelled from Wisbech, on my way to Fakenham. Along this route I am travelling through Kings Lynn and am thinking about lunch, when I come across an interesting looking area beside the cycle path. I stop beside this area, it is full of reeds and looks like an old river of sorts, and I can see a women walking as if floating, at the tops of these plants and behind her there are these tower like structures, woven and earthy looking. I see signs for bike parking and cycle around the corner and lock my bike in the car park, cross over a concrete wall on some steps and enter this bit of land.

The wall has environment agency signs on it marking it as a part of the Kings Lynn flood prevention scheme, and am now on a small concrete path between it and an old quay-side. The area which looks where a river used to be is full with reeds below this quay-side and I walk round looking to see how the women I saw got to be on the tops of them. I get past the corner of this path and can see an entrance to the reeds, It appears to be a straight line, cutting into them with a thin layer of water on top. This water is a mirror to the sky above, and the tips of the reeds twitching in between. I can still see the same women walking around. She seems to be going back and forth, as if she is lost. I decide to step onto this watery platform and see where it goes. As I step onto this path the surface breaks and the mirror disappears.

I have now been walking on this path for a little while and keep going round but I am enjoying myself, this path has little tricks to it and I am following where it takes me. I have been up steps pointing me to look into the distance, and back towards the fens where I have cycled today. I have even been down into the reeds themselves where I could see one of those structures through the gaps between them. It appeared to be looking at me almost, I felt a slight bit uncomfortable with it there standing alone in the reeds. I keep walking and head down a long straight section of this platform and find a hole. The water on the path is right up to the edge of the hole and through it I can see the mud below, with a small channel of water in it. I sit on a small bench and watch it move for a minute or two, and listen to the mud bubble and pop. I think I notice the shape of eels in the path, but I am not sure. It may be my eyes playing tricks after staring at the mud. It looks as if they may be swimming under the mirrored surface.

After exploring the path for some time and enjoying the spaces along the way I get the other side of the reeds and reach a dry area on the other side. I cross the concrete wall on this side,walking over a ramp and am now in space full of those woven earthy looking structures I saw from the cycle path and came across in the reeds. Now I am a little closer to them I can see behind the weave, these are full of mud. I later read this is silt dredged from the Ouse. The feeling here is odd, yet calm. It feels enclosed after walking on top of the reeds - I felt a little exposed before, with those towers watching me. In here the concrete wall surrounds the space and it is quiet. The towers seem to be watching, yet are still. It is strange yet exciting walking amongst them, I sit on a bench to on the edge where I read a sign explaining that they are built to the height the land has sunk in the fens, and that they are meant to give the impression that they watching are watching you. I read that this spaceâ&#x20AC;&#x2122;s design was inspired by the folklore of the fens, and how I was supposed to get lost in the path, Iâ&#x20AC;&#x2122;m glad I wasnâ&#x20AC;&#x2122;t just getting lost easily. I have been sat here watching people move between the structures and navigate the path over the reeds, and decide it is time to head and find some lunch. I slowly walk through the space, seeing the views and gaps change from tower to tower. I leave this area though a dense circle of the figure like structures and get into the open area again, walking up an embankment to look back over it. I feel in fresh space now, I feel like I have left a bit of a dream. I walk round the edge of the reeds again and back to my bike.

I am back in Kings Lynn. I havenâ&#x20AC;&#x2122;t been here for a few years now and was driving past when I remembered discovering that pathway in the reeds one summer. I decided to head into the town and see if the path is still there. I get to the area where I found the path before and the reeds have a fog above them, it is one of those crisp cold mornings when the fog sits over wet areas after last nights rain. It is early morning and I find the path again, this time I can remember how to get across quicker but I still visit the features I found before, just for fun. But I cannot see those same earthy structures that appeared to watch me last time. I am a bit disappointed but also a slightly relieved, they may have been eerie as I thought I would be alone here this morning, am I not though - there is someone walking their dog and a heron on the wall. I think I can see a much thinner line of a tower in the reeds but it is hard to make out in this fog. When I get to the middle dry area those structures can be seen again, but they have taken on a new form. In their place, or what is left of them, there are steel vertical poles. The fog is thick here and the sun is beginning to burn it off, this light is reflected in the steel and they appear light in the sky. They could be ghosts of the structures that used to be here. They appear to be a peaceful reminder of what was here before. I sit on the same bench again, where I sat before, until the fog has cleared. As I walk back I read inscriptions on the poles as I pass them by. I feel I have read a whole story by the time I reach the embankment and head back to my car.

100

CONCLUSION

This book been for the process of my own personal discovery of the fen folklore and landscape, and through this I have learnt much about the history and culture of the area. I have seen the elements of the landscape and history that have inspired folklore of the past and present, and how this inspires many artists and writers today. I have heard how many people have become involved in projects to do with the fens and due to this immersed themselves in the fen culture. It is a fascinating place and I would recommend to anyone to visit the area to discover this for themselves. Alongside this, the book has been for the development of the design. Through this development I have learnt about how to create feelings and atmosphere, and how to engage people with the space they are in. The design here has reached a concept stage, and will need further refinement for presentation to the Arts, Cities, Landscape team in order to propose this as a part of their project. Elements of the whole process will be condensed to presentation boards for this purpose. I have learnt about the relationship between folklore and landscape, and I believe that there is a strong one. I believe that any place in the world has this relationship because the landscape is naturally inspirational. Stories are framed by, or set within the landscape, and elements of it form the stories. Folklore continues to develop in the modern day, still influenced by the landscape. As children we forge stories from times when we have seen things or places we do not understand, and from adventures we have had. As adults we do the same: modern folklore tells of unusual big cats people have seen whilst walking their dog or driving at night. Unusual forms we find in the landscape such as bones, stones or plants, or even human made structures we do not understand, we may question and add stories to. As adults and as children we tell the story of places we have been, maybe adding a bit more to the story to tell it: trees we have climbed may become giant structures, and when the story is passed on the tree may slowly become legendary in size. Things we have seen become more magical with the story. I think that we enjoy the mysterious nature of folklore and by setting it within the landscape we know, the stories become real. This project has taught me how to apply this mystery to design of the landscape.

101

BIBLIOGRAPHY

These books have been used for reference and inspiration. Other sources of information and inspiration include Wisbech and Fenland Museum and Kings Lynn Arts Centre. Art and the Natural Environment. London: Academy Editions, 1994. Print. Crossley-Holland, Kevin, and Margaret Gordon. The Callow Pit Coffer. New York: Seabury, 1969. Print. Curtis, Deborah. Land Lines: Voices of the Fens. Ely: Hare in the Gate, 2014. Print. Drabble, Margaret, and Jorge Lewinski. A Writer’s Britain: Landscape in Literature. London: Thames And Hudson, 1987. Print. Foxley, Alice. Distance & Engagement: Walking, Thinking and Making Landscape. Baden, Switzerland: Lars Müller, 2010. Print. Glyde, John. The Norfolk Garland: A Collection of the Superstitious Beliefs and Practices, Proverbs, Curious Customs, Ballads and Songs, of the People of Norfolk, as Well as Anecdotes Illustrative of the Genius or Peculiarities of Norfolk Celebrities. London: Jarrold and Sons, 1872. Print. Gordon, John, and Gary Blythe. Fen Runners. London: Orion Children’s, 2009. Print. Gordon, John. The House on the Brink. N.p.: Harper & Row, 1971. Print. Hewitt, Peter. Fenland: A Landscape Made by Man: A Brief History of Fen Drainage. Wisbech: Wisbech Society and Preservation Trust, 2000. Print. Lupton, Hugh, and Liz McGowan. A Norfolk Songline: Walking the Peddars Way. Aylsham: Hickathrift, 1999. Print. Lupton, Hugh. Norfolk Folk Tales. N.p.: n.p., n.d. Print. Martins, Susanna Wade. A History of Norfolk. Chichester: Phillimore, 1984. Print. Mottram, R. H. East Anglia. London: Published for the Festival of Britain Office Collins, 1951. Print. Muir, Richard, and Richard Muir. The New Reading the Landscape: Fieldwork in Landscape History. Exeter, UK: U of Exeter, 2000. Print. Storey, Neil R. Norfolk at Work. Stroud: Sutton, 1997. Print. Swift, Graham. Waterland. New York: Poseidon, 1983. Print. Wells, Elijah. The Fens as I Saw Them: The Illustrated Memoirs of a Local Fenman. Mildenhall: Mildenhall Museum Publications, 1976. Print.

102

REFERENCES

References are listed here alphabetically , and marked in the book numerically from the beginning to the end. 1. (IMAGES) Mottram, R. H. East Anglia. London: Published for the Festival of Britain Office Collins, 1951. Print. 2. Curtis, Deborah. Land Lines: Voices of the Fens. Ely: Hare in the Gate, 2014. Print. 3. Curtis, Deborah. Land Lines: Voices of the Fens. Ely: Hare in the Gate, 2014. Print. 4. Natural England. National Character Area Profile: 46. The Fens. 2015 5. (IMAGES) Hewitt, Peter. Fenland: A Landscape Made by Man: A Brief History of Fen Drainage. Wisbech: Wisbech Society and Preservation Trust, 2000. Print. 6. (IMAGES) Hewitt, Peter. Fenland: A Landscape Made by Man: A Brief History of Fen Drainage. Wisbech: Wisbech Society and Preservation Trust, 2000. Print. 7. (IMAGES) Wells, Elijah. The Fens as I Saw Them: The Illustrated Memoirs of a Local Fenman. Mildenhall: Mildenhall Museum Publications, 1976. Print. 8. Lupton, Hugh. Norfolk Folk Tales. N.p.: n.p., n.d. Print. 9. Lupton, Hugh. Norfolk Folk Tales. N.p.: n.p., n.d. Print. 10. Lupton, Hugh. Norfolk Folk Tales. N.p.: n.p., n.d. Print. 11. Lupton, Hugh. Norfolk Folk Tales. N.p.: n.p., n.d. Print. 12. Faulkner, Doug. “West Norfolk Area: Photo Gallery, Video, See How the Storm Surge Left Parts of King’s Lynn and Hunstanton Flooded.” Eastern Daily Press. N.p., 05 Dec. 2013. Web. 13 Sept. 2015. 13. “Art Cities Landscape.” Art Cities Landscape. N.p., 2013. Web. 13 Sept. 2015. 14. Ramanujam, Priti. Prospect-refuge Theory Revisited A Search for Safety in Dynamic Public Spaces with a Reference to Design. Diss. The U of Texas at Arlington, n.d. N.p.: n.p., n.d. Print. 15. Lupton, Hugh. Norfolk Folk Tales. N.p.: n.p., n.d. Print. 16. Lupton, Hugh. Norfolk Folk Tales. N.p.: n.p., n.d. Print. 17. “Magna Carta: Lasers Help Reveal Clues behind King John’s Lost Treasure.” BBC News. BBC, 29 Jan. 2015. Web. 13 Sept. 2015. 18. Local Norfolk folklore 19. Wells, Elijah. The Fens as I Saw Them: The Illustrated Memoirs of a Local Fenman. Mildenhall: Mildenhall Museum Publications, 1976. Print. 20. Natural England. National Character Area Profile: 46. The Fens. 2015 21.(IMAGE & TEXT) Wells, Elijah. The Fens as I Saw Them: The Illustrated Memoirs of a Local Fenman. Mildenhall: Mildenhall Museum Publications, 1976. Print. 22. Burgoon, Judee K., and Adam Kendon. “Conducting Interaction: Patterns of Behavior in Focused Encounters.” Contemporary Sociology 21.2 (1992): 209-17. Web.