P30026
Research Methods For Design Daniel Lam 16040151
Contents 07
Research Methods for Design: Essay 35
Essay Bibliography and Figures 43
Research Methods for Design: Diary 47
Photography as a Research Method for Design 65
Film as a Research Method for Design 75
Somatics as a Research Method for Design 85
Walking as a Research Method for Design 88
Diary Bibliography, Images and Filmography 91
Appendix 120
Submission Cover Sheet and Dyslexia Marking Card
Research Methods For Design:
Essay Idyllic Interpretations of an Atmosphere
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t is considered that to experience a space one must engage their emotions and senses, only then can they understand the atmosphere (Zumthor, 2006; p13). This poses to the questions: what constitutes an atmosphere, and is it the architectural elements of a space that create it? Furthermore, if one’s emotions are required to understand an atmosphere, then therefore their interpretation must affect what one perceives. To answer these questions, this paper will study literature from architectural practitioners to provide the principles of what constitutes an atmosphere, and therefore how to create one. Due to the scope of the essay, atmosphere will be defined based on the research literature alone. It should be considered that outside of this paper the definition of atmosphere may vary. In addition to this, theories of perception and interpretation are to be incorporated. Although hypothesising, these will been included as one’s perception is expected to have a considerable impact on the findings. The independent, first hand, research of this text will employ photography as a research method. This intends to provide an understanding of how photography can be used as a design tool, in this case, to learn how to create an atmosphere. The technicality of the method will take precedent from architectural photographers who practice the theories of the architectural practitioners. This paper will use The Tithe Barn at Sullington Manor Farm,
Fig 01 - Great Tithe Barn, West End. 1992 (Ham and Roberts, 1992)
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West Sussex as an case study to answer the research questions. As a space described as ‘idyllic’ (Kittle, 2014), one could assume it is considered to have beauty and character and therefore its own atmosphere. The historical context of the barn will be incorporated, as it may provide qualitative findings that will show how opinions and interpretations relate to its character. To hypothesise; through employment of the photography and literature, the research will potentially uncover information that would allow a designer to understand what an atmosphere is, how one’s interpretation is related to it and a photographic method of recording it. This has the potential to prepare a designer to create their own atmosphere.
Fig 02 - Great Tithe Barn, Interior. 1992 (Ham and Roberts, 1992)
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Chapter 1:
The Principles of Atmospheric Design
T
his chapter aims to outline how key architectural practitioners achieve atmospheric design through their own principles. Firstly, Zumthor’s Atmospheres (2006), which could be considered a seminal text on this subject, has been incorporated not only because of its relevance, but because of how its principles have the potential to be applied to design. In the text, Zumthor describes how experiencing spaces that move someone add to their palette of atmospheres. From this it can be understood that the more spaces encountered the more knowledge they have of atmospheres. These spaces are what constitute good design and can drive you to achieve this in your own work (Zumthor, 2006; p11). Light is considered to be a crucial pillar in the construction of an atmosphere, it is what makes it stand the test of time (Lobell and Kahn, 2008). In an example, Zumthor explains that where light falls into a space to create shadows, the shadows in turn express the depth of the space (2006). They highlight the quality of the physical architecture itself (Zumthor, 2006). How light achieves and produces visibly unique characteristics is to be explored as part of this research. On this basis, Zumthor works with this phenomenon to produce spatial arrangements that allow for the materials to react to the light (2006). Kahn would
Fig 03 - Zumthor - Bruder Klaus Kapelle, Germany (Leighingram, 2013)
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describe this as the place ‘Between the Silence and Light’ (Lobell and Kahn, 2008). For the physical architecture to work the light and atmosphere must first be understood (Pallasmaa, 2014). Pallasmaa considers how this physical geometric architecture is a framework, in which an emotional experience sits within (2014). When beautiful architecture is created, it must incorporate human endeavour to create the intrigue to explore (Lobell and Kahn, 2008) (Caruso, 2008). To apply this statement into the context of this essay: If one creates a beautiful architecture, then one is encouraging the exploration of it. If exposure is a method of learning (Pallasmaa, 2014), then can one learn the principles of that particular atmospheric design through exposure. It is understood that the character and condition of materials can create, and tell a story of, an architecture (Caruso, 2008) (Lobell and Kahn, 2008). This idea that shows architecture evolves and adapts through time (Caruso, 2008), Maudlin and Vellinga concur with this in Consuming Architecture (2014). Which states; architecture collects different materials to create atmosphere (Mauldin and Vellinga, 2014). It is also understood that different combinations and quantities of materials create different compositions, as they react with each other (Zumthor, 2006). Assuming, that all spaces have a unique composition
Fig 04 - Louis Kahn - Indian Institute of Management, India (Vassella, 2013)
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and quantity of materials. Then these ideas could conclude that all atmospheres are unique. If so, then one can only interpret a singular atmosphere at one time. Moreover, Zumthor states that one’s own emotions, familiarities and expectations have a strong impact on their interpretation of a space, this implies that one’s individuality and opinion affects their experience (Zumthor, 2006; p17) (Mather, 2009). In a statement explaining how this affects how he himself understands space, this implies that one can become skilled at interpreting what is creating an atmosphere (Zumthor, 2006). This theory creates potential for designers wanting to learn how to apply principles, learnt from exposure, to their own work. Furthermore, one’s sensorial use of, and how they associate, with a space is what creates an atmosphere (Zumthor, 2006). In his own words: ‘The magic of the real’ (2006). This engagement with meanings ‘underlies reality’ (Caruso, 2008) (Caruso and St John, 2008). Caruso and St John use the example of building typologies and how they create familiar environments (2008). Pallasmaa’s example of this is how the Parthenon, Athens can only be interpreted through experience meaning; one must visit a space to understand it (2014). How one’s culture adds meaning to a space is what gives it its character, it is interpretation (Lobell and Kahn, 2008).
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In summary, the term atmosphere can be understood as when an architectural and an experiential element that combine to become the atmosphere. Furthermore, the architectural elements that contribute to an atmosphere are: light, materiality, human perspective, interaction, associations and emotions. These principles provide are the criteria requested from the initial question. Furthermore, the literature somewhat answers the question of how to design atmospheric spaces. This chapter concludes, thourgh theory, that an atmosphere is determined by one’s individuality and existing experience. However the lack of detailed evidence and detailed report from a case study without visual explanation provides a gap within the research, this is where the photographic methodology will be applied. Before this can be applied, the historic context of the barn needs to be understood in relation to the literature’s concepts.
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Chapter 2:
Historical Context
S
ullington Manor Tithe barn is proudly presented as Grade II listed and having been constructed in 1685 (Kittle, 2014). Kittle describes the barn and its scenery as ‘idyllic’ shows an appreciation of the farmstead and countryside (2014). By doing this Kittle is giving the barn a character. This description can provide evidence to the theory of; how one’s interpretation of a space is what forms a unique atmosphere (Zumthor, 2006) (Caruso, 2008) (Caruso and St John, 2008). It is how one applies meanings and values to an object (Mauldin and Vellinga, 2014), forming her own interpreted atmosphere. Hughes describes anecdotes of past users of the barn during the 1920’s (2002). These also show how one can reminisce about a space by applying personal meanings and values from memories to an architecture. It is considered that the creator of an object manifests their culture within the object (Hall, 1997). From experiencing the barn, one can visibly see the development of harvesting over centuries (Kittle, 2014). For example, threshing floors for corn from medieval periods are visible upon entering the barn (Kittle, 2014). A strong example of Caruso’s theory of how all buildings contain clues to their construction (2008), can be seen from Fig 02. Carpenter’s marks on the oak
Fig 05 - Sullington Manor Farm, Sullington (Hughes et al., 2002)
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column are literal construction marks communicating the builder’s methods. Another example is how the stone and oak materiality of the barn speak about the plentiful resources in Sussex (Kittle, 2016) (Hughes et al., 2002). Zumthor and Pallasmaa believe that one cannot experience atmosphere without the architectural framework that creates the space around it (Zumthor, 2006) (Pallasmaa, 2014). This provides theory of how the physical architecture itself can provide an understanding of the atmosphere. Considering architecture in its more traditional sense as the definition of space through physical elements (Adam, 2012), one could then at least interpret the physical side of an architecture through experience. The qualities of architecture can only exist once they have been physically experienced (Dewey, 1934). However, the notion of individuality still needs to be taken into consideration, as not everyone’s interpretation of the barn will be the same.
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Chapter 3:
Theories of Perception and Interpretation
T
his chapter aims to gather theories of how one’s perception can influence their experience of an atmosphere. Shaping the Environments that Shape our Brains provides a scientific connection between cognitive functions and environments (2010). It states that the human brain’s neurological development is fundamentally dependant on what the body senses through experience (Wexler, 2010). Postnatal neurodevelopment make this brain-environment interaction particularly powerful in human beings’ (Wexler, 2010). Wexler believes that the psychological and cognitive processes such as perception, memory and thinking are properties of the brain’s functionality (Wexler, 2010). An accumulation of environmental experience result in a strong neurological structure (Wexler, 2010).
Moreover, Wexler’s theories of cultural evolution can also be compared with Ingold’s understanding of encultration (2010) (2011), both are cultural evolutions from experience. Although, the The Perception of the Environment mainly focuses on the social exposure of humans whereas Ingold describes how humans learn through interaction with their environment and how what they learn creates their individuality (Ingold, 2011). This comparison relates to the ideas of the evolutionary behaviourologists Boyd and Richerson. As discussed in
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Robert Adam’s Defining Tradition (2008), the concept of ‘dual inheritance’ shows how humans pass down not only genetic inheritance, but also cultural evolutionary traits (Boyd and Richerson, 2005). Furthermore, Pallasmaa believes that their are two levels of architectural imagination; simply isolated geometric objects and sensory environments that are derived from real existential experiences (Pallasmaa, 2014). His theories are developed from that of his mentor Aulis Blomstedt who stresses the value of imagining ‘human situations’ (Blomstedt cited in Pallasmaa, 2014). Pallasmaa goes on to cite Paul Valery who believes that one’s perception of an event depends upon their cultural background and personal identity (Valery cited in Pallasmaa, 2014) (Mather, 2009). On this basis, Kottak considers that one’s culture is from nurture not nature (Kottak 2013). Pallasmaa explains how the process of imagining atmospheres before their creation is the key to creating successful spaces, however ‘mental simulation’ is an extremely challenging methodology (2014). Empathetic Imagination, as a text, provides an extremely diverse scope, with its concepts being applied to the music of Mozart, the writing of Scarry, the sculptures of Moore the architecture of Zumthor. Although speculative, these figures could be described as seminal within their field. Although speculative, the theories above could conclude that
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one’s experience dictates their culture, as it is accumulated over time. This shows how one can interpret a space. In addition, the opposite can also be understood: one’s culture influences their experience of a space. This section has provided a counter argument to the idea that one can recreate an atmosphere, having been exposed to it. This is because of the element of interpretation during the process. Mauldin and Vellinga provide a counter argument to the counter argument by saying that one can be exposed to a space through an expressive art medium (Mauldin and Vellinga, 2014).
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Chapter 4:
Photographic Methodology
A
s the focus of this essay, photography has been employed as a research method. In the sense that it will be used as a tool to highlight how certain architectural elements create an atmosphere. As noted in Chapter 1, Light and Shadow will be explored because of their important contribution to the atmosphere (Zumthor, 2006) (Caruso, 2008) (Lobell and Kahn, 2008). Since photography can be seen as an art form to express and represent an architecture (Mauldin and Vellinga, 2014), this methodology aims to provide evidence of how light can construct an atmosphere and how photography can represent it. An additional purpose of this method is to provide information on how one can use this method to understand a space’s atmosphere. In contrast, Maudlin and Vellinga discus the position of architectural photography and how it creates idealistic visions of architecture (2014). It is important to note that this approach does not intend to create an idealistic representation of the subject, therefore validating it as a method. Moreover, the approach will take the work of Lucien Hervé and Ursula Schulz-Dornburg as precedents. Their techniques can be understood as follows: Hervé adapted his photographic technique to the climate of the location (Richard, 2011) - he responded to the architectural environment, to incorporate its
Fig 06 - Le Corbusier - La Chapelle du Notre Dame du Haut by Lucien Herve (Dolphin, 2011)
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atmosphere and represent it. He also believed that interpretation was critical, he compares the photographer and an architect to soloist and a conductor (Cali and Hervé, 1956). This relationship is also comparable to the interpreter of an atmosphere (Hervé et al., 2005). Furthermore, Hervé believes you need to take large amounts of photos for the photos to really have meaning (Bajac, 2011) this will be taken into consideration during the research. He also believed that black and white film allows for light to be captured (Bajac, 2011). Hervé’s photographs of Corbusier’s work in Chandigarh and Ahmadabad have received positive review because of their focus on light, contrast, shadows and cropping (Bajac, 2011). In addition, Ursula Schulz-Dornburg’s Sonnenstand considered to incorporate the principles of Louis Kahn (Smith, n.d.). This shows the methodology’s direct relationship with this research. Sonnestand, which translates to ‘position of the sun’, explores the relationship between light and architecture (Smith, n.d.) (Schulz-Dornburg, 1996). More specifically, how it affects the materials to transform the space (Smith, n.d.). The way SchulzDornburg explores the space and studies how the light affects the atmosphere is to be trialed with the research. Although these techniques were not originally intended as design tools, these methods both intended to portray the architectural atmospheres. The employed process will be as follows: interpretation of the atmosphere, capturing the image and portrayal of the idea.
Fig 07 - Sonnestand - Light from the East by Ursula Schulz-Dornburg (Tristan Hoare, 1992)
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Chapter 5:
Findings and Analysis
A
fter conducting the photographic research, a visual link between the precedents and the results can be seen (see figures 00000 and ). This shows the success of applying Hervé and Schulz-Dornburg’s principles. It has also become apparent that Hervé’s theory of taking a large amount of photographs does encourage more imaginative and detailed compositions of photographs. It encourages the photographer to explore the space more intricately. This process can act as a method to study a space. Although partially subjective, the method did portray the atmosphere of the space. The principle of how light affects materials is clear in the photographs and provides the viewer an insight into the atmosphere of the barn. As would be expected when adopting Schulz-Dornburg’s technique, the method revealed how the angle of the sun changes over time. To research this further one would exhaust these methods at different time periods. Theses methods have further emphasised the effect of light in the barn. Therefore linking to the architectural principle of light being able to express the depth of the space. More specifically, the photographs show how light enters the barn and how it contributes to the atmosphere of the space.
Fig 08 - Light in the Tithe Barn (Lam, 2016)
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In addition to Light, Materiality was also studied during the research. This overlap of focus was inevitable due to the nature of what photographs capture. As can be seen from the figures, the texture of the timbers is highlighted through the contrasting light and shadow within the photographs. It has become apparent that from further use of the method, the building’s physical architecture can be explored, thus providing part of what constitutes a specific atmosphere (Pallasmaa, 2014). Therefore the method provides a platform that would allow a designer to study the physical architecture in detail. However, the intangible sensorial aspect in the theory is less accessible as the research did not disprove that one’s interpretation affects the idea of the atmosphere. This has not proven or disproven, if at all possible, substantial research would be required to answer this. However, it should be noted that how one interprets the photographs, already knowing the context affects their opinion. The findings show that Maudlin and Vellinga’s (2014) theory of one being able to interpret a space through an artistic medium is true, but only in this case. Again in this case only, it somewhat disproves Dewey’s theory that one can only understand a space through tangible experience (1934), as it provides another way to interpret a space. It was hypothesised earlier in the paper that all spaces are unique and that due to the subjectivity of interpretation no
Fig 09 - Light in the Tithe Barn (Lam, 2016) Fig 10 - Light in the Tithe Barn (Lam, 2016)
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one space can be recreated from experiencing it. Assuming that this is true, the findings have not produced a counter argument that disproves this. However, from the research it has become apparent that one can interpret an atmosphere through experiencing it (either in person or through photography), although the resulting understand of an atmosphere will be subjective. Furthermore, one has the potential to take their understanding of the physical and experiential atmosphere and apply the same principles to their own design.
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Chapter 6:
Conclusion
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n summary, the literature from architectural practitioners provided a definition of atmosphere. Which included a physical architecture and an experiential architecture, the combination of which creates the atmosphere. The literature found that one can understand an atmosphere through experience, although the experiential side is subjective to the interpreter’s cultural background. The historical context of the barn then found that the subjectivity is due to the meanings and values one attaches to objects and therefore architecture. The theories of perception and interpretation literature concluded the perpetual cycle of how one’s culture influences their interpretation of an atmosphere, and how one’s experience of an atmosphere can influence their culture. This showed how one could potentially interpret an atmosphere through experience and then attempt to recreate it. However, the section’s counter argument was that the interpretation variable was subjective and therefore one could not be fully conclusive. The methodology sought to clarify these contradictions by applying photographic methods that incorporated the atmospheric theories. It found that one can interpret an the architectural side of an atmosphere through photography, as it encourages detailed studying of the space. The experiential element of an atmosphere however, is intangible and therefore unquantifiable. The results do not
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limit what one can design. What the findings did not show is whether the theory that all spaces are unique is true. However, according to the theory, it can be concluded that one can interpret a space through experience, directly or indirectly, and apply the learnt principles into their own design. In conclusion, further research is required to completely disclose what constitutes an atmosphere, outside of this scope and one’s interpretation of an atmosphere affects the understanding of what it is, but however one can still apply the principles of atmospheres learnt from experience to design.
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Bibliography Adam, R. (2008). Defining Tradition. Adam, R. (2012). The globalisation of modern architecture. 1st ed. Newcastle Upon Tyne, UK: Cambridge Scholars Publishing. Arnold, D. and Ballantyne, A. (2004). Architecture as experience. 1st ed. London: Routledge. Bajac, Q. (2011). Expressing Architecture. In: J. Sbriglio, ed., Le Corbusier & Lucien Hervé, 1st ed. London: Thames & Hudson. Boyd, R. and Richerson, P. (2005). The origin and evolution of cultures. 1st ed. Oxford: Oxford University Press. Cali, F. and Hervé, L. (1956). La plus grande aventure du monde. 1st ed. Paris: Arthaud. Caruso, A. (2008). The Feeling of Things. 1st ed. Barcelona: Ediciones Polígrafa. Caruso, A. and St John, P. (2008). The Feeling of Things. In: A. Caruso, ed., The Feeling of Things, 1st ed. Barcelona: Ediciones Polígrafa. Dewey, J. (1934). Art as experience. 1st ed. New York: Minton, Balch & Company. Hall, S. (1997). Representation. 1st ed. London: Sage in association with the Open University. Hervé, L., Bergdoll, B., Boone, V. and Puttemans, P. (2005). L’oeil de l’architecte. 1st ed. Bruxelles: CIVA. Holl, S., Pallasmaa, J. and Pérez Gómez, A. (1994). Questions of perception. 1st ed. Tokyo: E and o Yu. Hughes, A., Johnston, D. and David Johnston, Governor General of Canada (2002) West Sussex Barns and Farm Buildings. United Kingdom: The Dovecote Press Ingold, T. (2011) The perception of the environment: Essays on livelihood, dwelling
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and skill. London: Routledge. Kittle, G. (2014). The Tithe Barn, Sullington Manor Farm. Kittle, G. (2016). Sullington Manor’s Barns: a medieval farmstead today. Kottak, C. (2013). Cultural Anthropology: Appreciating Cultural Diversity. 15th ed. McGraw-Hill Companies. Lobell, J. and Kahn, L. (2008). Between Silence and Light. 1st ed. Boston: Shambhala. LucienHerve.com. (2016). Lucien Hervé – Site officiel du photographe. [online] Available at: https://lucienHerve.com/ [Accessed 27 Nov. 2016]. Mather, G. (2009). Foundations of Sensation and Perception. 1st ed. Hove, East Sussex: Psychology Press. Maudlin, D. and Vellinga, M. (2014). Consuming architecture. 1st ed. Abingdon: Routledge. Morton Shand, P. (1987). In: C. Robinson and J. Herschman, ed., Architecture Transformed: A History of the Photography of Building from 1839 to the Present, 1st ed. New York, N.Y: Architectural League of New York, p.118. Pallasmaa, J. (2014). Empathic Imagination: Formal and Experiential Projection. Architectural Design, 84(5), 80-85. Richard, M. (2011). Preface. In: J. Sbriglio, ed., Le Corbusier & Lucien Hervé, 1st ed. London: Thames & Hudson. Sbriglio, J. (2011). Le Corbusier & Lucien Hervé. 1st ed. London: Thames & Hudson. Schulz-Dornburg, U. (1996). Sonnenstand. 1st ed. Düsseldorf: Galerie Wolfgang Wittrock. Schulz-dornburg.info. (2016). Ursula Schulz-Dornburg. [online] Available at: http://www.schulz-dornburg.info/ [Accessed 27 Nov. 2016]. Smith, J. (n.d.). Ursula Schulz-Dornburg - Sonnenstand. [online] Tristan
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Hoare. Available at: http://tristanhoaregallery.co.uk/artists/ursula-schulzdornburg/ [Accessed 19 Dec. 2016]. Wexler, B. (2010). Shaping The Environments That Shape Our Brains: A Long Term Perspective. In: D. Hauptmann and W. Neidich, ed., Cognitive Architecture, 1st ed. Rotterdam: 010 Publishers. Zevi, B. and Barry, J. (1993). Architecture as space. 1st ed. New York: Da Capo Press. Zumthor, P. (2006). Atmospheres. 1st ed. Basel: BirkhaĚˆuser.
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Images Fig 01 Ham, J. and Roberts, M. (1992). Sullington: From Domesday to D-Day. 1st ed. Storrington: J. Ham. Fig 02 Ham, J. and Roberts, M. (1992). Sullington: From Domesday to D-Day. 1st ed. Storrington: J. Ham. Fig 03 Leighingram, (2013). Bruder Klaus Kapelle, Mechernich-Wachendorf, Germany. [image] Available at: https://makingspaceandplace.com/2013/10/16/peterzumthor/ [Accessed 19 Dec. 2016]. Fig 04 Vassella, A. (2013). Indian Institute of Management. [image] Available at: http://www.archdaily.com/362554/light-matters-louis-kahn-and-the-powerof-shadow [Accessed 19 Dec. 2016]. Fig 05 Sullington Manor Farm, Sullington in Hughes, A., Johnston, D. and David Johnston, Governor General of Canada (2002) West Sussex Barns and Farm Buildings. United Kingdom: The Dovecote Press Fig 06 Dolphin, K. (2011). La chapelle du notre dame du haut. [image] Available at: https://katiedolphin.wordpress.com/2011/02/13/la-chapelle-du-notredame-du-haut/ [Accessed 19 Dec. 2016]. Fig 07 Tristan Hoare, (1992). Sonnestand - Light from East. [image] Available at: http:// tristanhoaregallery.co.uk/artists/ursula-schulz-dornburg/ [Accessed 19 Dec. 2016]. Fig 08 - 10 Lam, D. (2016). Light in the Tithe Barn, [image]
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Research Methods For Design:
Research Methods Diary Daniel Lam
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As related to the topic of the Research Methods for Design Essay, this Diary aims to study principle architectural elements that combine to create an atmosphere. Each Method will focus on a different architectural element. The subject of this diary will be Sullington Manor Tithe Barn, West Sussex Photography Light | Shadow Film Sound | Space Somatic Taste | Touch Walking Stalking | Perspective
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Photography: as a Research Method for Design
Light | Shadow
As stated above, photography has been employed to research Light and Shadow. The methodology has been inspired by the photography of Lucien Herve and Ursula Schulz-Dornburg.
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It has been noted that Herve is known for his use of contrast to ccreate dramatic images. When undergoing the research this was incoporated as a technique (Richard, 2011). SecrĂŠteriat Ă Chandigarh (Herve, 1955)
Schulz-Dornburg is mainly known for her photography of brutalist structures (Smith, n.d.) (SchulzDornburg, 1996), this is why she was originally used as a precedent. It was because of the way the materials were captured. After this, her Sonnestand collection provided an ideal technique for capturing light inside buildings.
Sonnestand - Ursula Schulz-Dornburg (Tristan Hoare, 1992)
It should be noted that after exploring the space through photography the findings show more than light and shadow. The findings also touch upon texture and space.
Advantages / Disadvantages The ability to capture a range of architectural elements. The techniques of Herve and Schulz-Dornburg have provided very forgiving. For example, the black and white photographs naturally highlight the light in the image and therefore the contrast. As will be stated later on, an advantage is the scope of the method, large amounts of photographs can be taken with DSLR’s. Although the method encourages one to explore the subject, one can easily take an abudance of photos without really considering the composition, lighting etc To produce high grade photos one must develop their photography skills, which can take a considerable amount of time. However, it is also a very accessible medium.
The contact sheets of this site visit have been incorporated to exclaim the link of this method and that of Lucien Herve’s Bajac states in Le Corbusier & Lucien Herve (2011) that Herve takes a considerable amount of photographs to really give the photos meaning.
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Film: as a Research Method for Design
Sound | Space
As stated above, film has been employed to research Sound and Space. The methodology has been inspired by the John Smith’s Leading Light film and architecture of Louis Kahn.
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Spa
This film has taken inspiration from John Smith into the context of this diary. Space has been method. The principle of light from
ace
h’s Leading Light. It has applied his methodology employed as one of the focuses of Film as a m the precedent is replaced by space.
John Smith’s Leading Light (1975), shows how film can be used to explore a space in detail. Space is applying the same approach. Leading Light. (Smith, 1975).
Space uses some of the techniques by Smith such as focusing on light. This has been included to express the full depth of the barn. Leading Light. (Smith, 1975).
As can be seen from the film, a long clip from the east end to west end of the barn is presented to express the size and depth of the barn. This method utilises film’s ability to draw the audience into the scene.
Leading Light. (Smith, 1975).
Sou
This film has taken inspiration from John Smith into the context of this diary. Sound has been method. The principle of light from
und
h’s Leading Light. It has applied his methodology n employed as one of the focuses of Film as a m the precedent is replaced by sound.
The film aims to highlilght the difference in sound and atmosphere between outside and inside. The music added is to show how music can transform a space, this again relates to how Zumthor explains the sound-space relationship (2006).
Leading Light. (Smith, 1975).
Advantages / Disadvantages It is a valuble tool when expressing an atmosphere to an audience. Because of how it combines visuals and sound. Although it can be time consuming to edit, the results are rewarding. Technical skills required Time consuming in comparison to photography
‘The sound of Space’ is how Zumthor describes sound’s ability to fill a space. (2006). Although the terms above are separated into the two films, each explores their element in depth.
Smith’s visually contrasting clip technique, as seen below, has been included to work alonside the sound. Between clips the visuals and contrasted along with the south. Both are from Leading Light but have been used to highlight the sound differences over time and in different parts of the barn.
Leading Light. (Smith, 1975).
Somatics: as a Research Method for Design
Taste | Touch
As stated above, Somatics has been employed to research Touch and Taste and how they can effect one’s impression of a space. The methodology has been inspired by the art of MaryJo Gilligan.
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Timber Column
Ta
This method aimed to explore the barn in an ex that can only be obtained through sensorial wo Tastes Like Lego (Mary-Jo Gilligan,
Text The feeling of each material provide
Tempe Each material was a d
Flav The timber was bitter a
Material p
This method is hard to compare with others bec they are interprative, the other methods
aste
xperimental way, hoping to uncover information ork. The method is based on Mary-Jo Gilligan’s 2016). The findings are as follows:
ture ed a detailed analysis of the surfaces.
erature different temperature
vour and concrete was earthy
properties
cause of its obscurity. The findings are unique as s did not allow for a scope of this type.
Concrete Blocks
Concrete Floor
Glass Window
Tou
Inspired by Mary-Jo Gilligan’s Alternative Arc method sought to explore the barn through sen other senses like touch ar
uch
chitectural Tour (Mary-Jo Gilligan, 2016). This nse of touch. With the removal of one’s sight, re focused and relised on.
Advantages / D
Because this method was limited t element, if further research was to more connection to perception wo example, the use of other senses i
Provides an alternative method a
Touch alone, elim
To further this method of sensor their hearing through exploring spa
As an alternative method it is di method. Although from first pe search, the public find it har
Disadvantages
to only texture as an architectural o be carried out with this method ould need to be incorporated. For in the work of Mary-Jo Gilligan.
and therefore alternative findings.
minates visual bias
ry experience, one could engage how music travels through the ace.
ifficult to explain and justify the erson experience and limited rerd to agree with the findings.
Walking: as a Research Method for Design
Stalking | Perspective
The purpose of this method is to understand a person’s own interpretation of a space and therefore how they interpret an atmosphere. The film process was a development from Koolhaas Houselife by Living Architectures (Koolhaas Houselife, 2013). It was used to display the concept of atmospheres.
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Walking a
This method has taken inspiration from the work of Stalker (Spatial Agency, 2016). The ba they focused on. The hypothesis was that the researcher could interpret what caught the a Combining Dewey’s and Valery’s ideas it can be understood that through experiencing thi in Pallasmaa, 201 This method is limited in terms of its scope, it cannot be applied to all research. Bu
as Stalking
arn was explored through stalking a farm worker and what visual and atmospheric stumuli attention of the user in the barn. This film aims to present the findings and interpretations. is space though someone’s culture, their opinions provide qualitative information. (Valery 14) (Dewey, 1934) ut however in this particular case it provided a good interpretation of an experience.
Bibliography Bajac, Q. (2011). Expressing Architecture. In: J. Sbriglio, ed., Le Corbusier & Lucien HervĂŠ, 1st ed. London: Thames & Hudson. Cali, F. and HervĂŠ, L. (1956). La plus grande aventure du monde. 1st ed. Paris: Arthaud. Dewey, J. (1934). Art as experience. 1st ed. New York: Minton, Balch & Company. Mary-Jo Gilligan. (2016). Tastes Like Lego. [online] Available at: http://www. maryjogilligan.com/tastes-like-lego#3 [Accessed 21 Dec. 2016]. Mary-Jo Gilligan. (2016). Alternative Architectural Tour. [online] Available at: http://www.maryjogilligan.com/alternative-architectural-tour#7 [Accessed 21 Dec. 2016]. Pallasmaa, J. (2014). Empathic Imagination: Formal and Experiential Projection. Architectural Design, 84(5), 80-85. Spatial Agency. (2016). Stalker/Osservatorio Nomade. [online] Available at: http://spatialagency.net/database/stalkerosservatorio.nomade [Accessed 21 Dec. 2016].
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Images Herve, L. (1955). SecrĂŠteriat Ă Chandigarh. [image] Available at: https:// lucienherve.com/lh_corb.html [Accessed 21 Dec. 2016]. Leading Light. (1975). [film] England: John Smith. Tristan Hoare, (1992). Sonnestand - Light from East. [image] Available at: http:// tristanhoaregallery.co.uk/artists/ursula-schulz-dornburg/ [Accessed 19 Dec. 2016].
Filmography Koolhaas Houselife. (2013). [film] Italy: Living Architectures. Leading Light. (1975). [film] England: John Smith.
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