Colours of Autumn by Caroline Jane Walsh

Colours of Autumn

Images with no reference have been created by the author. All other images have been referenced as appropiate. Front cover: 161031 Image 1165 Edit 01 This digital document is best viewed in an Adobe Acrobat reader with the pages set to two pages with cover page. To activate videos, please hover over the image and click for it to start playing. A controller is available upon moving the cursor onto the frame. Caroline Jane Walsh, 2016. Oxford Brookes University MArchD Applied Design in Architecture RIBA Part 2

Colours of Autumn

Caroline Jane Walsh

Critical Essay & Research Methods Diary

Oxford Brookes University MArchD Applied Design in Architecture P30026 Research Methods for Design

Content On Autumnâ&#x20AC;&#x2122;s Colours and Space

p. 07

Methodologies Film Photography Walking Painting

p. 39 p. 49 p. 59 p. 69

Sources Bibliography Filmography Figures

p. 79 p. 83 p. 84

Appendix Lecture notes & workshops

p. 89

Colour modifies space

Colour classifies objects

Colour acts physiologically upon us and reacts strongly upon our sensitivies

3 Les Couleurs Suisse AG

On Autumnâ&#x20AC;&#x2122;s Colour and Space

The effect of seasonal colours on our daily lives

Figs. 1 (above) & 2 (below)

Autumn’s Colours and Space Colour is something that humans take for granted, surrounded by it continuously. Every day we are blessed to experience colour. For the United Kingdom, we are enclosed by nature that transforms with each season. Along the route from a home to the workplace or to university, our daily commute, you can experience the colours produced by nature. The colours give a variety and vitality that breaks up the organised tones of buildings and appeals to humanities innate desires. ‘…modern man is still motivated by basic needs which include an urge for colour in his everyday life.’ (Casson, 1976, p.16)

For hundreds of years, people have theorised about colour as well as researched into how it affects our lives. In the 21st century, we know about from the multiple ways of producing colour and how we see colour to the effects of colour upon our different physiological senses. Within architecture there has been a new surge of the use of colours by architects in collaboration with interior designers and painters. Examples of this can be seen in the interiors of schemes such as the renovation of the Everyman Theatre in Liverpool by Haworth Tompkins (figs. 1 – 2) and schools completed by Hampshire County Council (figs. 3 – 4). However, the architect remains detached from the decisions of the use of colour within a building. More often than not, it’s up to an interior designer or another design discipline where ‘colour occupies a natural and intuitive part of the process’ (Casson, 1976, p.10), rather than the architect themselves. This divide from colour is not new to architecture. The divide can be traced back to the Renaissance of Italy where the painter, architect and sculptor became distinct disciplines from one another, drawing into themselves and begun development in segregation (Faulkner, 1973, p.2-4). The divorce of these three disciplines that forms the bases of art in humanity were further enhanced with the gradually evaporation of colour from architecture and sculptures (Faulkner, 1973, p.3). The divorce was further enhanced during the 20th century with the introduction of Purism by Le Corbusier and the painter, Amédée Ozenfant. Together, the two developed theories on architecture and colour, rejecting colour for decorative purposes while stating their belief that colour is ‘secondary to form’ (Braham, 2002, p.2). With Purism set Le Corbusier, alongside other architects such as Ludwig Mies Van Der Rohe, went on to lead the way with Modernist architecture and its white walls. It is ironic that an architect with a background in fine and art and painting would enhance the divide between colour and the design of the built environment. The irony increases with the rejection of colour by the painter Ozenfant. Through paintings we can see the work of the colour theories developed during the renaissance alongside the work of ‘painters who used colour with extraordinary skill to represent the world about them or to codify significance beyond the visible’ (Bomford & Roy, 2000, p.5) The painter is deemed the expert of colour, the architect as the expert of the line (Faulkner, 1972, p.1). However, it is most likely due to the work Le Corbusier produced with Ozenfant as well as his paintings that he was able to develop the colour keyboard and wallpaper series for Salubra wallpaper range. Consisting of two sets, the complete set of 63 colours is divided between the set of 43 from 1931 and the set of 20 one from 1959; the colours in each set co-ordinate perfectly with each other, easily completed through the keyboard tool Corbusier also developed (AG, 2015). ‘…the ideal tool for masterful architectural design, with only 63 fascinating colours out of 9 colour groups…’ Les Couleurs (AG, 2015, p. Architectural Colour Design)

The polychromatic colours chosen by Le Corbusier are aesthetically appealing to the architectural notions of designers. Both keyboards offer a limited palette and provide numerous colour combinations that always delight. One can rely on this ‘standardised palette’ which creates a ‘clear and consistent system’ with humane characteristics as it ‘embodies the familiar colours of nature which are harmoniously combinable in every respect’ (AG, 2015, p. Architectural Colour Design). The polychromy of nature has been tamed and adapted for modern use within architecture. ‘Based on nature, all colours are naturally harmonious. Each colour can be impressively combined with each other colour. …All nuances are eminently architectural and possess the

Colour is... an incredibly effective triggering tool. Colour is a factor of our existence.

Le Corbusier

(quoted from Les Couleurs Suisse AG, 2015, p. Architectural Colour Design)

Figs. 3 (above) & 4 (below)

highest qualification regarding colour significance and colour richness.’ Les Couleurs (AG, 2015,

p. Architectural Colour Design)

In spite of the high praise given by others – such as by Gerry McLean (1998, p. 53) and the wallcoverings company, Arte (2015) – alongside Les Couleurs, of Le Corbusier’s polychromy, his theories were not at all referenced to by one of the great colourists, Faber Birren. Siding with the well-known theories developed by De Stijl, Joseph Itten and Josef Albers (collaborated and influenced by the Bauhaus alongside many other (Blaszczyk, 2014, p. 204)) to name a few, Birren choose the functionality of colour, relating it to psychology and human emotional reaction: he preferred and ‘perfected an American version of functional architectural colour’ (Blaszczyk, 2011, p. 407). Evidence of his support and trajectory of thinking found in the variety of books he published in addition to book contributions, such as Colour Psychology and Colour Therapy: A Factual Study of The Influence of Colour On Human Life (1961) or his essays featured in Tom Porter and Byron Mikellides’ Colour for Architecture (1977). When one sees Le Corbusier’s realised designs in person, an awareness of his skilled application of colour even during his Purist beginnings awakens. “All of the photos of Villa Savoye were in black and white… That’s all that I remember. Then when you enter the house, no, even before that, BAM: you’re hit with colour in spite of the large amount of white… It’s an incredible colourful house. Beautifully coloured...” Colin Jackson, Senior

Design Manger at Hampshire County Council, March Half House Meeting, 2016. [Paraphrased]

It was due to the monochromatic representation of photographs – often limited to a black and white with the greys in-between – as coloured photography only reached accessibility during the 1960s (Archambault, 2015), that the buildings of Le Corbusier would be only seen as toneless, colourless. This was steadily enforced by the ‘achromatic means of visualisation and communication’ which continued within the architectural community (Porter, 1982, p. 98). Even though he originally assigned colour to the ‘simple races, peasants and savages’, degrading colour with his words (Batchelor, 2007, p. 41), through his architecture, Le Corbusier ends up accepting ‘the presence of colour’ with his work (Batchelor, 2007, p. 48). Colour was applied to his buildings as painted polychromy, frequently as ‘a well-arranged’ proposition, and then through the natural polychromy of the building materials (Heer, 2009, p. 97). This connotes a path of Le Corbusier being drawn back towards nature, the mother that birthed the ingredients for the colour dyes of our clothes and the pigments of painters (Bomford & Roy, 2000, p. 24). With the natural landscape and the exterior style, architects tend to make one of two stances. They see the building as something that can be juxtaposed against the landscape, a white building in stark contrast with the surrounding green forest. Otherwise, they blend the building in with its surroundings, using local materials or investigate the colour palette of the current dwellings on the land (Porter & Mikellides, 1976). A tool also known as using associative colour (Heer, 2009, p. 100), a palette can be derived from investigating the existing surroundings. There is the thought of the second collection of polychromy colours for Salubra involving brighter colours due to the invention of man-made pigments. Nevertheless, Le Corbusier still retained his influence from nature, only using the bright colours that he found within the landscape. Adding to this relationship, he warned us of the ‘tones produced by the modern industry that violently shake our nervous system, but fatigue it as quickly’ (McLachlan, 2012, p. 22). From chaos rises order and so from the order of Le Corbusier’s structured colour keyboards we return to the frenzy of colour found within nature. Such landscapes are found in the United Kingdom where they reveal a new palette of nature quarterly throughout the year with the coming of each new season. The colours form harmony amongst the trees and flowers while also fulfilling a functional aesthetic. Our awe of nature comes from the variety it produces and the vibrancy of colour brings joy and happiness into our lives. As a man once said, ‘We usually associate colour with happiness’ (Porter & Mikellides, 1976, p. 13). ‘… man needs – indeed craves – colour’ (Casson, 1976, p. 8) ‘Colour is life; for a world without colours appears to us as dead.’ (Itten, 1988, p. 8)

Figs. 5 (above) & 6 (below)

Figs. 7 (above) & 8 (below)

In the season of autumn we see leaves transform from the bright greens of summer into warm tones of yellow, red and brown. The temperature drops in spite of this colourful embodiment of nature surrounding us, causing people to reach for their wool jumpers and thicker coats; cosy blankets and hot drinks. With the encroaching colder day and nights, nature reveals in this final show of colour before the winter months. Within Oxford, a countryside city, the saturated hues can be seen amongst the urban sprawl of residential areas that surround the city centre dominated by the grand, historical buildings of the University of Oxford.

Figs. 9 (above) & 10 (next page) Fig. 7: as shown on the website of Les Couleurs with names. Fig. 8: taken from Arte catalogue, a diagram of how they have used Le Corbusier’s colours in their development of wallpaper schemes. Fig. 9 : Piet Mondrian, Composition with Red and Blue and Yellow, 1930, oil 20x20cm Fig. 10: Maison La Roche, 1923-1925. Fig. 11: Villa Savoye in black and white. Fig. 12: Le Corbusier’s Villa Savoye.

Moving to the south of Oxford, we can find the initial stages of what is now Cowley Road cutting through what was St. Clement’s in the 1880s, surrounded by fields and the countryside. The road has now developed into a secondary high street for the residential areas that have developed over the course of the early to mid-20th century. It is perpendicular to this road that we can find the route between the house of 16 Ridgefield Road and Oxford Brookes University that cuts through the residential areas now built upon the fields of 1880s. Along this route we find a dispersion of nature between the manmade brick and mortar constructions. Here we can observe how nature’s seasonal palettes still appear in the fabric of our urban daily spaces. Upon initially mapping the colours seen on this route taken via Southfield Road and South Park, there is a wide variety of colours even though the season is often related with browns, reds and oranges. It is also surprising as the area is densely built up with residential houses constructed from brick and stone coloured facades; additionally the gardens are not expansive and where there are large gardens they are often hidden from the walker’s view due to high fences. The fences add to the privacy of the resident practically and spatially yet they simply add more neutral colours to the existing route. The colours from the plants and vegetation had not been as obvious until the initial mapping had taken place. While walking, many of the plants did exist within the confines of the small front gardens of each house but due to this the colour was on the peripheral vision so it would not be registered consciously but mainly subconsciously. Thus, while it is surprising once you stop to take notice of the colour to learn how much there is consciously, the colours are still familiar to you due to your brain absorbing the information while you’re walking along the route. It reinforces the observations of Oscar Newman that ‘people will accept much more intense colour in their environment than architects might predict or a ‘sophisticated’ taste would allow’ (Porter & Mikellides, 1976, p. 16). 15

Colour in architecture - a means as powerful as the groundplan and section. Or better: polychromy, a component of the ground plan and the section itself.

Le Corbusier

(quoted from Les Couleurs Suisse AG, 2015, p. Le Corbusier)

Figs. 11 (above) & 12 (below)

This variety of colour along the route was further enhanced by the numerous iterations of photos taken during each walk along the route. Within the photos it is clear that colour combinations are not always as per the colour harmonies that are prescribed in books such as Colour: how to use colour in art and design by Edith Anderson Feisner or How Artists Use Colour by Paul Flux; both book provide an introduction to colour, the science behind how we perceive colour and other fundamental information to the reader as if they have never thought about the use of colour before. Although often in combinations that are complimentary (in accordance to the common colour wheel theory where opposing colours are complimentary to each other and are often used together to bring out each other’s brightest hues (Sharpe, 1974)) sometimes the colour choices made by nature would seem random and irrational. This is in complete opposition to the control that designers – whether it is a painter, interior designers or commercial users – often implement over the colour palette where the colour palettes would be thought through carefully in order to provoke a message or certain mood within their work. Yet it is nature that uses colour with the most vigour and purpose within our lives: ‘colour in the ‘natural’ world… is used in a purposeful and functional way. Man, on the other hand, appears to be burdened by having to think about colour, to study it, to make an issue of it, to design and plan for its use’ (Esherick, 1977, p. 58) . This supports Ozenfant’s and Le Corbusier’s beliefs that ‘non ornamental colour’ includes those naturally occurring within nature and are the most suited for accompanying the forms and spaces created by the architect or the painter. Often the thought of returning to nature is deemed as stepping away from order and co-ordination of the man-made systems within our world (evidenced by spas in the countryside and the hot springs found in countries such as Japan and Iceland; even more recently by the popular images of ‘wanderlust’ compiled on Instagram). As humans, we are animals first and foremost thus we are a part of nature and the colour that nature produces, ‘we are not just surrounded by colour; we are colour ourselves’ (Batchelor, 2007, p. 70). The colours that form a part of us are not decorative but are filled with rationale and also have the ability to reconnect us with our emotions. It is ‘a fundamental truth: man needs colour’ (Le Corbusier via (Porter, 1982, p. 109)). ‘Man responds to form with his intellect and to colour with his emotions; he can be said to survive by form and to live by colour.’ (Sharpe, 1974, p. 123)

Throughout the variety that was found along 22

Fig. 13 & 14 (page before); Fig. 15 (above) Fig. 13: Autumn Fields; Caroline Jane Walsh 2016 Fig. 14: Cherry Blossom, Liverpool, Caroline Jane Walsh, 2016 Fig. 15: Summer Bouquet II, Caroline Jane Walsh, 2016 Fig. 16: An image of the South of Oxford during the 1930s, curtesy of Anicent Roam by Digimaps. Fig. 17: An image of the South of Oxford during the 2000s, curtesy of Anicent Roam by Digimaps.

Figs. 16 (above) & 17 (below)

Fig. 18, pg. before; Fig. 19, above; Fig. 20, below

Southfield Road and through South Park to Oxford Brookes University there was still an overarching palette. Amongst the texture and depth that can be seen in the photos, the rhythm of light and shadow creates a variety of hues and tones that break up the colours to the walker’s eye. Within paintings of the key views seen along the walk, the palette becomes more demarcated. Combining the maps, the photos and the paintings together, a theme of green, browns and reds with the touch of yellow becomes clearer. Often the colours are warm, the drops of delicately bright colour from the purples and reds mellowed by the neutral tones of the browns and surprisingly by the amount of green found spread along the route. Any cool colours were seen in the shades of green present with blue almost non-existent without the company of the sky on a clear sunny day. By creating the paintings of the walker’s vision and the landscape ambled through, an understanding of what colours are present is developed. For example, if we take the photo of the trees of South Park right at the entrance you can see warm colours present in the photo. You may name them as orange, brown, green and yellow yet upon painting this very same scene the colours shift from orange, brown, green and yellow to red, green, brown and yellow. The colour of orange far too bright for the actual landscape shown before you with red, albeit overwhelming but far more present than you would think. This showcases a subtle shift but one demonstrating how colour can play tricks on our minds. Here in the paintings we can begin to see how colour can influence form. The paintings are produced on the spot and in order to be executed quickly paint is applied directly to the paper without any outlines being drawn beforehand. Colour forms a line of its own, an edge that merges the now ‘multi-layered’ and ‘ambiguous’ distinctions between the art of the line and the art of colour. A theme often explored within the work of Antoni Malinowski and his architectural sized installations and paintings where colour doesn’t simply add to the space but also sculpts and carves ‘negative space’ alongside the line (Malinowski, 2013, p. 140). The paint of the watercolours carves the negative space which is the white space of the paper into the scenery that is presented before the walker. Through this interaction with the space we can empathise in part with Le Corbusier: white dominated his architecture yet the colour he applied enhanced the volumes and shapes he formed through the white – one could say that he was painting a landscape of form in architecture through the interaction of colour and light. This is where colour is drawn from the subtracted palette of nature and light becomes the bearer of colour. ‘A painting is an association of purified, related and architecture elements’; ‘Painting is a question of architecture.’ (Le Corbusier via (Batchelor, 2007, p. 47))

On the thought of light, switching from day to night presents a new mode of looking at colour. When looking at the film Iteration 5 Section 3 (fig. 20), artificial lighting has a profound effect upon the colours seen in the vegetation and shrubbery – blandness, monotonous nature, less invigorating. Looking at the photos of flowers during a photographic study completed in 2011, the colours are not saturated or enhanced which used as a baseline would indicate that the colours of the night, influenced by artificial lighting, would be of the same nature. In fact, without sunlight there is no colour, only shadow and darkness. A world more monochrome than anything Le Corbusier created. More attention should be given to the way that Le Corbusier used colour within his architecture. Many people point towards the De Stijl movement as well as the work of Fabre Birre among many scientific investigations, shunned by the whiteness associated with Le Corbusier’s work. While their contributions have been huge and have shaped most of our understanding, the world of colour is much deeper and sometimes relying on nature and our instinct can be more harmonious than any set guidelines. Admittedly it is difficult with the lack of writing that Le Corbusier produced on using colour and there being hardly any colour plans for the use of colour implemented within his designs, the most extensive research of his use currently contained within the book The Architectonic Colour: Polychromy in the Purist architecture of Le Corbusier by Jan D. Heer. Colour was often applied and decided on site under the supervision of Le Corbusier himself (Heer, 2009), as if a painting was being sculpted into spatiality through architecture. However, not many have touched upon Le Corbusier’s use of colour in other pieces of text and his contributions serves an aesthetic as well as functional approach with a foundation laid in nature’s own use of colour. A guiding principle that may help architects today. The rift between architecture and the other core practices of art, painting and sculpture, appears to have narrowed in the 20th century and the 21st century. In reality, the painters and architects never stopped collaborating. Again, Antoni Malinowski serves as an example of how painters and architects (particularly the 27

architect practice of Haworth Tompkins) have crossed the discipline boundaries that have been forged. Not just within the triage of painters, sculptors and architects but also within the performative arts as well. Association with different disciplines enables one to begin to see through a different lens and taking lessons from painters about colour in order to learn what they spend a lifetime experimenting with would not be such a bad idea. It is hard to escape how broad and wide the subject of colour can be. Through this research it appears that the colours of the seasons and the effects upon our spaces have not truly been investigated. There are many studies on the science of colour and the way we perceive colour in terms of biological mechanics yet the palettes that nature uses have only been investigated by painters. A route of further investigation would be to finalise a palette from the research completed already for the season of autumn before proceeding onto the other seasons that occur within the United Kingdom. Through this, perhaps one may produce a better understanding of how Le Corbusier saw the colours of nature around him and within his work. The options of research do not stop there. From the node that body creates, simply touching briefly on the work of Antoni Malinowski to complement the studies into the theories of Le Corbusier creates a tangent of sight into the world of colour the Malinowski is investigating himself. Line, colour and space are currently being investigated by Malinowski himself at the Architecture Association (AA) alongside its students. Although he does not hesitate to suggest that music, architecture and colour do not have their influences either. (Malinowski & Nyman, 2002) Ozenfant also tied colour, music and architecture in some of his theories but did not pursue them further. Each methodology used for research further bestows us with the choice of simply investigating into each mode of research. Perhaps painting by itself has been done numerous times and continues to enlighten and delight however, past the scientific application of colour in film and photography and the atmospheres created there is no known literature or research. These are both very ‘hands-on’ techniques with many learning the trade as they go or ‘on the job’, in spite of this, in terms of design not much progress has been made. As always, colour will exist in our lives and human will strive to understand it. Like nature around us, it is alive and with a mind of its own each person brings their own reading and insight into the use of or lack of colour within architecture.

Fig. 21, pg. before; Fig. 22, above; Fig. 23, opposite. Fig. 21: Collage of the 3rd iteration map for walking as cartography and the pein-air paintings from the 2nd iteration of painting research. Fig. 22: Image 1168 edit 01,. Fig. 23: Image 1182 edit 02. Fig. 24: Diptych 07. (Next page)

Only by constantly working with and observing colour in the environment can we begin to develop the kind of facility with it that seems so natural...

Deboarah Sussman & Paul Prejza, Notes on a Colour Palette (Porter & Mikellides, 1977, p. 72)

Figs. 25 (above) & 26 (below)

Bibliography AG, L. C. S., 2015. Les Couleurs: Architectural Colour Design. [Online] Available at: http://www.lescouleurs.ch/1/architectural-colour-design/architectural-colour-design/ [Accessed 22 November 2016]. AG, L. C. S., 2015. Les Couleurs: Architectural Polychromy. [Online] Available at: http://www.lescouleurs.ch/ [Accessed 21 November 2016]. Ag, L. C. S., 2015. Les Couleurs: Architecture and Colour. [Online] Available at: http://www.lescouleurs.ch/1/le-corbusier/architecture-colours/ [Accessed 22 November 2016]. AG, L. C. S., 2015. Les Couleurs: Le Corbusier. [Online] Available at: http://www.lescouleurs.ch/1/le-corbusier/le-corbusier [Accessed 22 November 2016]. Albers, J., 1963. Interaction of Colour: Unabridge text and selected plates. Revised ed. New Haven: Yale University Press. Anderson Feisner, E., 2006. Colour: how to use colour in art and design. 2nd ed. London: Laurence King. Archambault, M., 2015. PetaPixel: A Brief History of Color Photography, From Dream to Reality. [Online] Available at: http://petapixel.com/2015/10/11/a-brief-history-of-color-photography-from-dream-to-reality/ [Accessed 28 December 2016]. Arte, 2015. Le Corbusier: wallcoverings. [Online] Available at: http://www.arte-international.com/en/collections/le-corbusier [Accessed 25 December 2016]. Batchelor, D., 2007. Chromophobia. London: Reaktion Books. Birren, F., 1982. Light, Colour, and Environment. New York: Van Nostrand Reinhold Company. Blaszczyk, R. L., 2011. The Architectonic Colour: Polychromy in the Purist Architecture of Le Corbusier. Journal of Design History, 24(4), pp. 405 - 407. Blaszczyk, R. L., 2014. Chromophilia: The Design Worldâ&#x20AC;&#x2122;s Passion for Colour. Journal Of Design History, 27(3), pp. 203 - 217. Bomford, D. & Roy, A., 2000. Pocket Guides: Colour. London: National Gallery Company Limited. Braham, W. W., 2002. Modern Colour/Modern Architecture. Aldershot: Ashgate Publishing Limited. Buxton, P., 2000. Blueprint: Architecture, Design and Comtemporary Culture, Unknown: ETP Ltd. Casson, S. H., 1976. Preface. In: T. P. a. B. Mikellides, ed. Colour for Architecture. London: Studio Vista, pp. 8 - 17. Drikolor, Unknown. Le Corbusierâ&#x20AC;&#x2122;s Polychromie Architecturale. PDF ed. s.l.:Drikolor. Esherick, J., 1977. Colour in Buildings. In: T. P. a. B. Mikellides, ed. Colour for Architecture. London: Studio Vista, pp. 58-59. Faulkner, W., 1972. Architecture and Color. New York: John Wiley and Sons Inc.

Feisner, E. A., 2006. Colour: How to use colour in art and design. 2nd ed. London: Laurence King Publishing. Flux, P., 2001. How artists use colour. Chicago: Heinemann Library. Heer, J. d., 2009. The Architectonic Colour: Polychromy in the Purist architecture of Le Corbusier. Rotterdam: OIO Publishers. Itten, J., 1988. The Elements of Colour. London: Van Nostrand Reinhold. Kuehni, R. G., 2005. Colour: An Introduction to Practice and Principles. 2nd ed. Hoboken: John Wiley and Sons Inc. Lesniewska, A., Unknown. Antoni Malinowski&Words: Light Sensitive Refleksions. [Online] Available at: http://www.digital-liquid.co.uk/antoni/antoni-lodz.htm [Accessed 15th December 2016]. Malinowski, A. & Nyman, P. W. w. M., 2002. AA Files No. 48: The Luxor Letters. [Online] Available at: http://www.digital-liquid.co.uk/antoni/antoni-aa.htm [Accessed 10th December 2016]. Malinowski, A., Unknown. Antoni Malinowski. [Online] Available at: http://www.antonimalinowski.co.uk/ [Accessed 3rd December 2016]. Malinowski, I. W. a. A., 2013. Ambiguous Lines: A Conversation with Antoni Malinowski. In: I. Wingman, ed. Mobility of the Line. Basel: Birkhauser, pp. 140-153. McLachlan, F., 2012. Architectural Colour in the Professional Palette. Oxon: Routledge. McLean, G., 1998. Le Corbusier: Polychromie Architecturale, Le Corbusier’s ‘Colour Keyboards’ from 1931 and 1959. The Architect’s Journal, Volume 207, p. 53. Osborne, R., 2004. Colour Influencing Form. London: Universal Publishers. Padgham, C. A. & Saunders, J. E., 1975. The Perception of Light and Colour. London: G. Bell & Sons Ltd. Pearman, H., 2001. Antoni Malinowski&Words: Antoni Malinowski at De La Warr Pavilion. [Online] Available at: http://www.digital-liquid.co.uk/antoni/antoni-dlwp.htm [Accessed 15th December 2016]. Philppi, D., 1997. Antoni Malinoski, London: Camden Arts Centre. Porter, T., 1982. Colour Outside. London: Architectural Press. Porter, T. & Mikellides, B., 1976. Colour for Architecture. London: Studio Vista. Rappolt, M., 2002. Antoni Malinowski&Words: Antoni Malinowski - THRESHOLDscapes. [Online] Available at: http://www.digital-liquid.co.uk/antoni/antoni-threshold.htm [Accessed 15th December 2016]. Samuel, F., 2007. Le Corbusier in Detail. Oxford: Architectural Press. Sharpe, D. T., 1974. The Psychology of Colour and Design. Chicago: Litterfield, Adams & Co.. Slessor, C., 2015. Charles and Ray Eames. Architectural Review, January, 237(1415), pp. 112 - 113. Welsh, J., Unknown. Le Corbusier. [Online] Available at: http://www.drikolor.com/new-page-4/ [Accessed 20th December 2016]. 37

film

Material and Method Analysis

Video 1 (above) & Video 2 (below)

Video 3 (above)

Methodologies |

Film

The thought of using film as an exploration of space had not occurred until starting the MArchD course at Oxford Brookes. From the lecture presented by Dr. Igea Troiani, Visual Research Methods of Architectural Research (October 2016), my mind was opened to the possibility and creative power. Using film for research was also a new concept as I had only truly known about pictorial and literature based research for subjects such as architecture, or perhaps I had not truly understood the breath of what can be included within the realm of research for design. With the theme of the exploration of colour along the route from my current residence in Oxford to University, film is a very apt methodology of research alongside photography due to the visual presence the film can provide. Communicating the idea of colour within the space could easily be done through this method; however how it was imparted would be entirely down to the director of the film. Once the workshop had been completed for the lecture by Dr. Troiani, filming of the route took place immediately as my extraordinary space was something I experienced on a near daily basis. During the first few instances I wasnâ&#x20AC;&#x2122;t sure when to film and ended up with several one minute iterations. (Videos 1 to 4, titled as Iterations.) Thanks to the current technology, much of the filming took place on an iPhone; editing also took place on this mobile device through various applications. Immediate and visual, the range of colours that can be seen within the films shot. Admittedly, my repertoire of experimental film directors was very slim for this being a new world of exploration. Even with pop culture and box office hits, ignorance is very much bliss and advice was needed for finding a precedent which I could study and perhaps imitate. A session was arranged to meet with Dr. Troiani to gain feedback on the films produced and the editing style. Upon showing Dr. Troiani the films, positive feedback was received. The suggestion to look at the work of Charles and Ray Eames was received as the style I had edited in was similar to way they had edited their films. 41

Video 4

Within their work, several examples were found that assisted with developing the skills of communicating through video. The most notable films created by the Eames were the ones that featured various scales of shots of different aspects of the subject covered in the film. House, features such shots of various scales as well as the famous Power of Ten film produced for IBM. However, between the two, House was closer in style to what I had been producing. Other films I took note of are Day of The Dead (1957) and Blacktop (1952). While Blacktop is very different from the Eames’s later films, the Library of Congress calls it “a quintessential Eames product, combining many of their favourite preoccupations—from their ability to see ‘found objects’ in new ways to Ray’s interest in abstract art and Charles’s determination to educate himself in science and other technical matters.” (Congress, n.d.) The poetic nature of this film about a task as simple as washing down the school yard was something I aspired to within the films that I made on the colours of my commute into university.

Plate 1: still taken from the film House (1955) by Charles and Ray Eames.

Video 5 Section 3 (above) & Plate 1 (below)

Plates 2 - 5, in desending order to the left. Plates 2 - 5: further stills taken during study of the film House.

Plates 6 - 9, in desending order to the right. Plates 6 - 9: stills taken during study of the film Day of the Dead (1957) by Charles and Ray Eames.

Plates 10, above; Plates 11 - 14 (anti-clockwise)

Video 6 Plates 10 - 14: stills taken of the film Blacktop (1952)by Charles and Ray Eames. Video 6: iteration 6 of films created along the extraordinary route.

Bibliography Anonymous, n.d. Eames Office. [Online] Available at: http://www.eamesoffice.com [Accessed 1st December 2016]. Anonymous, n.d. The Work: Tops. [Online] Available at: http://www.eamesoffice.com/thework/tops/ [Accessed 3rd December 2016]. Eames, L., 2004. The Eames Foundation. [Online] Available at: http://eamesfoundation.org/ [Accessed 1st December 2016].

Ray Eames: In the spotlight Exhibition at Art Centre. (2014). [film] Pasadena: Eames Office, LLC. Solar Do-Nothing Machine. (1957). [film] Los Angeles: Charles and Ray Eames. SX 70. (1972). [film] Los Angeles: Charles and Ray Eames. Toccata for Toy Trains. (1957). [film] Los Angeles: Charles and Ray Eames.

Troiani, D. I. & Carless, D. T., 2014. Architectural Design Research through Cinematic Collage. Revista Lusófona de Arquitectura e Educação , N11(Fourth International Conference on Architectural Research by Design), pp. 255 - 278.

Tops. (1969). [film] Los Angeles: Charles and Ray Eames.

Filmography

A Communications Primer. (1953). [film] California: Charles and Ray Eames.

A Journey into The World of Charles and Ray Eames. (2016) [video] London: The Barbican, London America Meets Charles and Ray Eames. (1956). [video] New York: NBC: ‘Home Show’. America Meets Charles and Ray Eames. (1956). [video] New York: NBC: ‘Home Show’. Blacktops. (1952) [film] Los Angeles: Charles and Ray Eames. Day of the Dead. (1957). [film] Los Angeles: Charles and Ray Eames. Design Genius of Charles + Ray Eames, The. (2007) [video] Unknown: TED, Eames Demetrios. Eames House Quartet. (2007). [film] Los Angeles: Eames Demetrios. Helena Church. (1998). [film] Los Angeles: Eames Demetrios. House Walkthrough. (1997). [film] Los Angeles: Eames Demetrios. IBM at the Fair. (1964). [film] Los Angeles: Charles and Ray Eames. Introduction to the Films of Charles and Ray Eames. (2014). [video] Los Angeles, CA: Eames Office. 48

Powers of Ten™. (1977). [film] Los Angeles: Charles and Ray Eames.

Toy Film Quartet. (2007). [film] Los Angeles: Eames Demetrios.

photography

Material and Method Analysis

Plates 15, above.

Methodologies |

Photography

With a personal interest in photography, it was quite natural for me to use cameras and photography as a method of research for this thesis. As a very visual means of recording information, it was perfect to observing colour and experimenting with due to the easy access to cameras with todayâ&#x20AC;&#x2122;s technology, particularly with smart phones such as the iPhone. Experimentation was also easy to complete with computer programmes such as photoshop and paint, readily available to those in the design industry. Through using photography digitally gave easy access to creating collages and editing the photos to look at the different effects of the colour upon the space within the composition of the photo. It was interesting to look at the manipulation of the tones and colour through filters and collages as the depth of the space changed with the change of both tone and colour. It revealed how colour could also trick us, whether itâ&#x20AC;&#x2122;s on screen or in real life. Sometimes what was photographed in real life may not reproduce the actual colours seen, which would have to be changed with the process of editing. However, this also presents the problems that what the mindâ&#x20AC;&#x2122;s eye sees cannot be duplicated because the camera is a technological convention that does not have the complexity of the eye and the brain installed into the systems. This is different from using painting because when you are painting you can pick the colours on the spot and paint what you see, whereas with photography there is a longer process of manipulation of the colours seen within the space. Photography can provide true colours however this involves a number of operations either during the process of taking the photo (I.e. adjusting the camera settings, adding filters to the lens if possible etc) or post-processing the photograph (taking the image into an editing software such as photoshop). Thus in some cases it would not be as instantaneous as you would have thought.

Plate 16 , 17, 18 & 19; clock-wise around page.

Plates 20, above; Plate 21, below.

Plate 15: Image by Charles and Ray Eames on their trip to India, taken from the website of the Eames Office. www.eamesoffice.com Plate 16: Image 1166 edit 01. Plate 17: Image 1166 edit 02. Plate 18: Image 1172 edit 01. Plate 19: Image 1172 edit 02. Plate 20: Screen shot of the editing process undertaken for some of the images when exploring the colours, hues and tones. Plate 21: Image 1173 edit 91. Plate 22: Image 1173 edit 02. Plate 22, below.

Plates 23, 24, 25, 26; clockwise around page.

Plate 27, above left; Plate 28, above right. Plate 23: Collage 01. Plate 24: Collage 02. Plate 25: Collage 05. Plate 26: Collage 06. Plate 27: Collage 07-Mono. Experimentations completed with the different photos to see how the colours interacted with each other. Plate 28: Colour Collage 32040. Experiments were carried out with the colours chosen by Le Corbusier and the edited photos.

Plate 29: Diptych 01. Plate 30: Diptych 05. Plate 29, below; Plate 30, opposite.

Plate 31. Plate 31: Diptych 02.

walking

Material and Method Analysis

Plate 32, above; Plate 33, below left; Plate 34, below right.

Methodologies |

Walking as cartography

Initially, walking as a derive was the only methodology that I knew of within the category of walking methods introduced in the module lecture in the second week of university (2016). My knowledge was down to a design project completed at Liverpool John Moores where I had completed my BA (Hons) in Architecture. Although research in the method had not been in depth, the concept and idea of walking as research had not been new. In fact, it seemed most logical. For years, humans have mapped the earth and their cities. Maps trace the paths that a man travels in order to reach a new destination, or even a well-known one. Walking is man’s basic method of transport and foremost used method of exploration of space since birth. Famous pocket guides have been created through the act of walking and cartography such as the London A-Z Pocket Atlas by Phyllis Pearsall (1935), where she ‘walked 23,000 streets and a distance of nearly 3,000 miles’ simply to resolve ‘a personal dilemma: finding an individual address without an adequate street guide of London’ (Cosgrove, 2008, p. 155). A major achievement by Pearsall, this cartography represents the most pragmatic style in cartography that we can find with the majority of maps. However, if you’re looking for a more ‘human touch’ that appeals to the hidden illustrator, a look at Alfred Wainwright and his guides for walkers will be worth the investment. Wainwright’s drawings and diagrams provide a wonderful illustrated cartography of the routes that you can take across the various parks as well as bits of countryside that the United Kingdom has to offer. Seven books in total form the series that Wainwright originally drew and then published himself (Davis, 2004-16). The detail in the drawings annotated by fastidiously neat handwriting offers a delightful companion that’s visually appealing and wonderfully informative. ‘The guides bears the familiar hallmarks and the visual nomenclature of visual information design – charts, maps, diagrams – but delivered with the warmth of handwritten texts and lovingly executed drawings, all set out on pages composed by eye’ (Lewis, 2010, p. 48).

Although beautiful, the guides by Wainwright are completely in black and white, providing only the style of drawing and form as a guide for creating a map based upon the colours of the route from 16 Ridgefield Road to Oxford Brookes University. (The drawings are nonetheless still something to aspire to with my own line drawings.) So, I continued with my efforts to map the colour along the route, certain that it would reveal new information to me regarding colour and space. The first map produced was simply a recording of colour as I saw it – no real thought was put into how it represents a route let alone how it could be akin to Wainwright’s own style. It was difficult to record the colours quickly as I walked the path, most likely made more difficult by my choice of medium, watercolours. I found I had to complete more of the map after the route had been finished. A second attempt was made, this time beginning with Wainwright’s drawings to the side of me; I decided that I would redraw the first map completed. It provided a lot of the colour that was seen along the route but it did not provide any distance or clarity in terms of where the colour was located. Admittedly, once one part of the map was completed, it paled in comparison to what I was imitating in skill alongside not communicating what was observed along the traversing space. In the end, the third time was in luck: more conventional in drawing but it did convey the distribution of colour along the route. As a standalone drawing, it does not explain to a stranger how the colour affects the space nor does it have the wit and humour of Wainwright. Further improvement is needed – perhaps later on I could combine the map with my paintings and add my own handwritten narrative.

Plate 32 - 26: Fragments of the first map created during iteration one of walking as cartography. Plate 37: a prime example of one of the delicate and detailed drawings completed by Wainwright. Plate 35, below.

Plate 36, above; Plate 37, below.

Plate 38: iteration two map. An attemp to mimick the work of Wainwright. Plate 39: another example of Wainwrightâ&#x20AC;&#x2122;s work. Plate 40: Part 1 of 3 paintings completed for iteration three. Plate 41 & Plate 42: Part 2 of 3 and part 3 of 3 (pages 66 and 67 respectively). Plate 38, above; Plate 39, below; Plate 40, opp.

Bibliography Cosgrove, D., 2008. CARTO-CITY. In: P. H. Janet Abrams, ed. ELSE/WHERE: Mapping. New Cartographies of Networks and Territories.. Minneapolis: University of Minnesota, pp. 148-165. Davis, H., 2004-16. Wainwright, Alfred (1907 1991), walker and writer. [Online] Available at: http://www.oxforddnb.com. oxfordbrookes.idm.oclc.org/view/printable/50495 [Accessed 21 November 2016]. Lewis, A., 2010. Drawn to the Land. The International Review of Graphic Design, 29(78), pp. 48-49.

painting

Material and Method Analysis

Methodologies |

Painting

Paintings have surrounded me since I was born with my father having a long term hobby in oil paints. Exploration of painting begun in secondary school which led into specialising of portraiture for the final years of sixth form when my A levels were completed. An interest in colour occurred then and it did not occur to me at that time painting can be interwoven into the design process of architecture. It is truly enlightening to be able to have such involvement with painting from a young age and to be able to understand art, even at a basic level through painting which Iâ&#x20AC;&#x2122;m sure will enrich my architecture in the future. Upon choosing the theme of colour for the research project, it was obvious that painting should be used as one of the methods due to the ties that painters as artists have always had with colour in order to represent the environment and people around them. Unfortunately we were not able to have a lecture with Dr. Tonia Carless on the act of painting as a research method. However, Dr. Igea Troiani sent us the lecture notes with the chance to undertake the workshop and interpret the readings given to us by Dr. Carless. The first piece of literature by Agnieszka Mlicka gave a thorough look into using painting as a method of interviewing people and drawing out the images in their heads about a space or cityscape. When the workshop was completed with other members of my course about different spaces around Oxford and the colours of the season they see, it was difficult to convince them not to try and paint a â&#x20AC;&#x2DC;good paintingâ&#x20AC;&#x2122; such as those by Monet or landscapes by Tuner but to simply express themselves. This method did not tell me much about how the colours interacted with the space but provided a great tool of analysis for looking at what colours and scenes impacted people the most. Another reading offered to us was an article on the website frieze.com by Josephine New that covered plein-air painting, a technique used by the Impressionists. The article showed an interesting way of interacting with the landscape through painting as did some of the images made available by Dr. Carless in her previous lecture in 2015. This seemed more appropriate for recording the colour along within the chosen extraordinary space between 16 Ridgefield Road and Oxford Brookes University. Through painting plein-air, I had to closely pay attention to the colours that I was forming on the canvas and how the colour created the form as well as lines on the space that is the paper. A time limit 70

Plate 43: a painting of the forest completed by John L. Walsh. Date unknown. Medium, oil. Plate 44: Studies of colour in the human skin inspired by Jenny Saville. Caroline Jane Walsh, 2010. Plate 45: First pein-air painting completed for research. Iteration one. Plate 43, above; Plate 44, below; Plate 45, next page.

Plate 46: Pein-air painting, one of five, iteration two. Plate 47: Pein-air painting, two of five, iteration two. Plate 48: Pein-air painting, three of five, iteration two. Plate 49: Pein-air painting, four of five, iteration two. Plate 50: Pein-air painting, five of five, iteration two. Plates. 46, opp. above, right & 47, opp. below, right.

was set each time a painting was created along the route (although sometimes I would forget the time and continue painting, this perhaps skewed some of the amount of detail and effort unequally spent on each painting) to ensure that numerous paintings were taken instead of simply focusing on creating a perfect representation of what was seen. The paintings allowed me to focus on the spaces and colours. With the time limit also in place, I was forced to simply pick out the most important features in the landscape concerning the colour and the forms seen. In addition, having to match the colours from the paints to the landscape around me caused me to really observe the colours and look at how they interact in the environment. It was a very effective tool in analysis of the space and colour.

Bibliography Mlicka, A., 2014. Painting Architecture: Towards a Practice-Led Research Methodology, Auckland: Faculty of Design and Creative Technology, Auckland University of Technology. New, J., 2015. Local Colour: Simon Ling and plein-air painting in east London. [Online] Available at: https://frieze.com/article/local-colour/ [Accessed 20 December 2016].

Plates. 48, pg. before; 49, above; 50, below.

Sources Bibliography Filmography Figures

Bibliography AG, L. C. S., 2015. Les Couleurs: Architectural Colour Design. [Online] Available at: http://www.lescouleurs.ch/1/architectural-colour-design/architectural-colour-design/ [Accessed 22 November 2016]. AG, L. C. S., 2015. Les Couleurs: Architectural Polychromy. [Online] Available at: http://www.lescouleurs.ch/ [Accessed 21 November 2016]. Ag, L. C. S., 2015. Les Couleurs: Architecture and Colour. [Online] Available at: http://www.lescouleurs.ch/1/le-corbusier/architecture-colours/ [Accessed 22 November 2016]. AG, L. C. S., 2015. Les Couleurs: Le Corbusier. [Online] Available at: http://www.lescouleurs.ch/1/le-corbusier/le-corbusier [Accessed 22 November 2016]. Anonymous, n.d. Eames Office. [Online] Available at: http://www.eamesoffice.com [Accessed 1st December 2016]. Anonymous, n.d. The Work: Tops. [Online] Available at: http://www.eamesoffice.com/the-work/tops/ [Accessed 3rd December 2016]. Anonymous, n.d. The Works: Blacktops. [Online] Available at: http://www.eamesoffice.com/the-work/blacktop/ [Accessed 20 December 2016]. Albers, J., 1963. Interaction of Colour: Unabridge text and selected plates. Revised ed. New Haven: Yale University Press. Anderson Feisner, E., 2006. Colour: how to use colour is art and design. 2nd ed. London: Laurence King. Archambault, M., 2015. PetaPixel: A Brief History of Color Photography, From Dream to Reality. [Online] Available at: http://petapixel.com/2015/10/11/a-brief-history-of-color-photography-from-dream-to-reality/ [Accessed 28 December 2016]. Arte, 2015. Le Corbusier: wallcoverings. [Online] Available at: http://www.arte-international.com/en/collections/le-corbusier [Accessed 25 December 2016]. Batchelor, D., 2007. Chromophobia. London: Reaktion Books. Birren, F., 1982. Light, Colour, and Environment. New York: Van Nostrand Reinhold Company. Blaszczyk, R. L., 2011. The Architectonic Colour: Polychromy in the Purist Architecture of Le Corbusier. Journal of Design History, 24(4), pp. 405 - 407. Blaszczyk, R. L., 2014. Chromophilia: The Design Worldâ&#x20AC;&#x2122;s Passion for Colour. Journal Of Design History, 27(3), pp. 203 - 217. Bomford, D. & Roy, A., 2000. Pocket Guides: Colour. London: National Gallery Company Limited. Braham, W. W., 2002. Modern Colour/Modern Architecture. Aldershot: Ashgate Publishing Limited. Buxton, P., 2000. Blueprint: Architecture, Design and Comtemporary Culture, Unknown: ETP Ltd. Casson, S. H., 1976. Preface. In: T. P. a. B. Mikellides, ed. Colour for Architecture. London: Studio Vista, pp. 8 - 17. 80

Cosgrove, D., 2008. CARTO-CITY. In: P. H. Janet Abrams, ed. ELSE/WHERE: Mapping. New Cartographies of Networks and Territories.. Minneapolis: University of Minnesota, pp. 148-165. Davis, H., 2004-16. Wainwright, Alfred (1907 - 1991), walker and writer. [Online] Available at: http://www.oxforddnb.com.oxfordbrookes.idm.oclc.org/view/printable/50495 [Accessed 21 November 2016]. Drikolor, Unknown. Le Corbusier’s Polychromie Architecturale. PDF ed. s.l.:Drikolor. Eames, L., 2004. The Eames Foundation. [Online] Available at: http://eamesfoundation.org/ [Accessed 1st December 2016]. Esherick, J., 1977. Colour in Buildings. In: T. P. a. B. Mikellides, ed. Colour for Architecture. London: Studio Vista, pp. 58-59. Faulkner, W., 1972. Architecture and Color. New York: John Wiley and Sons Inc. Feisner, E. A., 2006. Colour: How to use colour in art and design. 2nd ed. London: Laurence King Publishing. Flux, P., 2001. How artists use colour. Chicago: Heinemann Library. Heer, J. d., 2009. The Architectonic Colour: Polychromy in the Purist architecture of Le Corbusier. Rotterdam: OIO Publishers. Itten, J., 1988. The Elements of Colour. London: Van Nostrand Reinhold. Kuehni, R. G., 2005. Colour: An Introduction to Practice and Principles. 2nd ed. Hoboken: John Wiley and Sons Inc. Lesniewska, A., Unknown. Antoni Malinowski&Words: Light Sensitive Refleksions. [Online] Available at: http://www.digital-liquid.co.uk/antoni/antoni-lodz.htm [Accessed 15th December 2016]. Lewis, A., 2010. Drawn to the Land. The International Review of Graphic Design, 29(78), pp. 48-49. Malinowski, A. & Nyman, P. W. w. M., 2002. AA Files No. 48: The Luxor Letters. [Online] Available at: http://www.digital-liquid.co.uk/antoni/antoni-aa.htm [Accessed 10th December 2016]. Malinowski, A., Unknown. Antoni Malinowski. [Online] Available at: http://www.antonimalinowski.co.uk/ [Accessed 3rd December 2016]. Malinowski, I. W. a. A., 2013. Ambiguous Lines: A Conversation with Antoni Malinowski. In: I. Wingman, ed. Mobility of the Line. Basel: Birkhauser, pp. 140-153. McLachlan, F., 2012. Architectural Colour in the Professional Palette. Oxon: Routledge. McLean, G., 1998. Le Corbusier: Polychromie Architecturale, Le Corbusier’s ‘Colour Keyboards’ from 1931 and 1959. The Architect’s Journal, Volume 207, p. 53. McLean, G., 1998. Le Corbusier: Polychromie Architecturale, Le Corbusier’s ‘Colour Keyboards’ from 1931 and 1959. Architects’ Journal, 207(9), p. 53. Mlicka, A., 2014. Painting Architecture: Towards a Practice-Led Research Methodology, Auckland: Faculty of Design and Creative Technology, Auckland University of Technology. New, J., 2015. Local Colour: Simon Ling and plein-air painting in east London. [Online] Available at: https://frieze.com/article/local-colour/ [Accessed 20 December 2016]. 81

Osborne, R., 2004. Colour Influencing Form. London: Universal Publishers. Padgham, C. A. & Saunders, J. E., 1975. The Perception of Light and Colour. London: G. Bell & Sons Ltd. Pearman, H., 2001. Antoni Malinowski&Words: Antoni Malinowski at De La Warr Pavilion. [Online] Available at: http://www.digital-liquid.co.uk/antoni/antoni-dlwp.htm [Accessed 15th December 2016]. Philppi, D., 1997. Antoni Malinoski, London: Camden Arts Centre. Porter, T., 1982. Colour Outside. London: Architectural Press. Porter, T. & Mikellides, B., 1976. Colour for Architecture. London: Studio Vista. Rappolt, M., 2002. Antoni Malinowski&Words: Antoni Malinowski - THRESHOLDscapes. [Online] Available at: http://www.digital-liquid.co.uk/antoni/antoni-threshold.htm [Accessed 15th December 2016]. Samuel, F., 2007. Le Corbusier in Detail. Oxford: Architectural Press. Sharpe, D. T., 1974. The Psychology of Colour and Design. Chicago: Litterfield, Adams & Co.. Slessor, C., 2015. Charles and Ray Eames. Architectural Review, January, 237(1415), pp. 112 - 113. Troiani, D. I. & Carless, D. T., 2014. Architectural Design Research through Cinematic Collage. Revista Lusófona de Arquitectura e Educação , N11(Fourth International Conference on Architectural Research by Design), pp. 255 - 278. Welsh, J., Unknown. Le Corbusier. [Online] Available at: http://www.drikolor.com/new-page-4/ [Accessed 20th December 2016].

Filmography A Journey into The World of Charles and Ray Eames.(2016) [video] London: The Barbican, London America Meets Charles and Ray Eames. (1956). [video] New York: NBC: ‘Home Show’. America Meets Charles and Ray Eames. (1956). [video] New York: NBC: ‘Home Show’. Blacktops. (1952) [film] Los Angeles: Charles and Ray Eames. Day of the Dead. (1957). [film] Los Angeles: Charles and Ray Eames. Design Genius of Charles + Ray Eames, The. (2007) [video] Unknown: TED, Eames Demetrios. Eames House Quartet. (2007). [film] Los Angeles: Eames Demetrios. Helena Church. (1998). [film] Los Angeles: Eames Demetrios. House Walkthrough. (1997). [film] Los Angeles: Eames Demetrios. IBM at the Fair. (1964). [film] Los Angeles: Charles and Ray Eames. Introduction to the Films of Charles and Ray Eames. (2014). [video] Los Angeles, CA: Eames Office. Powers of Ten™. (1977). [film] Los Angeles: Charles and Ray Eames. Ray Eames: In the spotlight Exhibition at Art Centre. (2014). [film] Pasadena: Eames Office, LLC. Solar Do-Nothing Machine. (1957). [film] Los Angeles: Charles and Ray Eames. SX 70. (1972). [film] Los Angeles: Charles and Ray Eames. Toccata for Toy Trains. (1957). [film] Los Angeles: Charles and Ray Eames. Tops. (1969). [film] Los Angeles: Charles and Ray Eames. Toy Film Quartet. (2007). [film] Los Angeles: Eames Demetrios. A Communications Primer. (1953). [film] California: Charles and Ray Eames.

Figures Fig. 1: Everyman Theatre in Liverpool renovated by Haworth Tompkins. (Tompkins, Unknown) Fig. 2: Everyman Theatre in Liverpool renovated by Haworth Tompkins. (Tompkins, Unknown) Fig. 3: Photo of the completed reception desk in New Town Primary School. Taken by Graham Anderson of Hampshire County Council. Fig. 4: The ‘Flagellation’, (c. 1455-60), tempura on panel. Urbino, Palazzo Ducale. Lewis, F. A., 1943. The Intellectual Life of the Early Renaissance Artist. London: Yale University Press, p. 294 Fig. 5: Keyboard from 1931, Heer, J. d., 2009. The Architectonic Colour: Polychromy in the Purist architecture of Le Corbusier. Rotterdam: OIO Publishers, p. 154-155. Fig. 6: Keyboard from 1959, Heer, J. d., 2009. The Architectonic Colour: Polychromy in the Purist architecture of Le Corbusier. Rotterdam: OIO Publishers, p. 187. Fig. 7: as shown on the website of Les Couleurs with names. AG, L. C. S., 2015. Les Couleurs: Architectural Polychromy. [Online] Available at: http://www.lescouleurs.ch/ [Accessed 21 November 2016]. Fig. 8: taken from Arte catalogue, a diagram of how they have used Le Corbusier’s colours in their development of wallpaper schemes. Arte, 2015. Le Corbusier: wallcoverings. [Online] Available at: http://www.arte-international.com/en/collections/le-corbusier [Accessed 25 December 2016]. Fig. 9 : Piet Mondrian, Composition with Red and Blue and Yellow, 1930, oil 20x20cm, accessed via : https:// rosswolfe.files.wordpress.com/2015/09/composition-with-red-blue-and-yellow-1930-oil-20x20-in-51-c39751-cm-a-p-bartos-collection-new-york.jpg Fig. 10: Maison La Roche, 1923-1925. Drikolor, Unknown. Le Corbusier’s Polychromie Architecturale. PDF ed. s.l.:Drikolor, p. 3. Fig. 11: Villa Savoye in black and white. Found via Google search of the Villa Savoye, Author, date and publication unknown. https://classconnection.s3.amazonaws.com/751/flashcards/2935751/jpg /picture18-13E9FF9CFFD257982D3.jpg Fig. 12: Le Corbusier’s Villa Savoye. As Fig. 10 but shown in colour. Found via Google search of the Villa Savoye, Author, date and publication unknown. https://s-media-cache-ak0.pinimg.com/originals/aa/7b/64/aa7b64b60bb169939366a50e08d08bf8.jpg Fig. 13: Autumn Fields; Caroline Jane Walsh 2016 Fig. 14: Cherry Blossom, Liverpool, Caroline Jane Walsh, 2016 Fig. 15: Summer Bouquet II, Caroline Jane Walsh, 2016 Fig. 16: An image of the South of Oxford during the 1930s, curtesy of Anicent Roam by Digimaps. Fig. 17: An image of the South of Oxford during the 2000s, curtesy of Anicent Roam by Digimaps. Fig. 18: Initial mapping of colours as part of the first iteration of walking as cartography research method; Caroline Jane Walsh, 2016. Watercolour on watercolour paper. 84

Fig. 19: Pein-air painting of South Park during a sun set. First iteration watercolour painting on watercolour paper. Fig. 20: Pein-air painting of South Park entrance along route. No. 4 of 5 during the 2nd iteration of painting as a research method. Fig. 21: Collage of the 3rd iteration map for walking as cartography and the pein-air paintings from the 2nd iteration of painting research. Fig. 22: Image 1168 edit 01, Caroline Jane Walsh 2016 Fig. 23: Image 1182 edit 02, Caroline Jane Walsh 2016 Fig. 24: Diptych 07, Caroline Jane Walsh 2016 Fig. 25: Colours of Autumn, film iteration 5 section 3, Caroline Jane Walsh 2016. Fig. 26: Motherâ&#x20AC;&#x2122;s Day Bouquet III, part of a set of photographic studies of flowers, Caroline Jane Walsh 2011. Fig. 27: Colour Collage 32100, Caroline Jane Walsh, 2016 , p. 38.

Appendix

Lecture notes & workshops

Spatialitea Week 5 Workshop Output Nur Aisyah Khairuddin Syafiqa Hanimk Sharuddin Caroline Jane Walsh

100

101

102

103

104

105

106

107

108