Manipulating Perception, An Architecture of Disruption by HUGO GALLUCCI

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Manipulating Perception, an Architecture of Disruption: Communicating the Hidden Reality of Belfast Through a Critical Study into Architectural Representation By Hugo Gallucci

Manipulating Perception, an Architecture of Disruption: Communicating the Hidden Reality of Belfast Through a Critical Study into Architectural Representation. Hugo Gallucci Belfast Excavations

Preface_

Introduction

Theoretical Background_ Belfast - A Post Conflict City Memory - Forming Cognitive Maps Victor Sloan - Artisit Production from thr Troubles Dark Tourism - The Tourist Gaze + Forced Perspective Parallax - Shifting Cognitive Imprints of Space Through Architectural Tools The [parallax] Gap - The position of the Architect

Drawing the [parallax] Gap_ Adopting Critical Practice The Drawing Apparatus Developing a Notational Language Sites of Tourism Extracting the [parallax] Gap Anamorphosis - Disrupting the Tourist Gaze Adressing the Sites of Tourism Constructing a Memory Locus -

Bobby Sands Mural Peace Wall

Titanic, Belfast Clonard Memorial Garden Belfast City Hall

Contents_

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Embodying the [parallax] Gap_ A Change in Practice Axonometry - Drawing Production Removing The Perspective Veil - Alberti’s Window The Productive Process

Bobby Sands Mural

The Tourist Map

Peace Wall

Belfast City Hall

Epilogue_

Reflections on Production

Bibliography

Image Credits

Titanic, Belfast

Clonard Memorial Garden

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Preface_

01 Introduction

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Preface

Michael Webb’s Temple Island study is an obsessive exploration in representing architectural conditions. The study comprises of Webb attempting to capture his personal inward perceptions of the Henley regatta course through drawing studies. In his own words, “What began as a wish to recall through the act of drawing a dear landscape, that of the River Thames at Henley, soon transformed itself into a study of what might be termed the outer limits of perspective projection” 1 This study is a near perfect example of an architect attempting to understand and the desire capture the limits of architectural representation. What began as Webb states as an architectural study of memory and place, transformed, through the act of drawing itself into a critical reflection on what drawings can achieve. Webb himself describes the work as a ‘never ending study’, which I think shows the power drawing can have in the exploration of ideas, they are always generative and are performative in nature even if there is no end point to the study. This brings me onto the subject capturing a phenomenon. I have always

been interested in how far is it possible to go in capturing and representing invisible ideas or conditions through drawing practices, how is it possible to quantify and codify phenomena or through personal perception represent invisible and unfathomable conditions through expressive, artistic endeavour has always, even if not been explored a deep interest of mine through architectural education and my own personal practice. Lebbeus Woods comments on Webb’s work that his own “perceptions are transformed inwardly, becoming the central reality”2. The power and extents of architectural representations are conveyed here, the limitations are exposed but the drawings are “a performative act that interprets and itself generates

architectural entities and events”3.

1 Michael Webb et al., Temple Island : A Study (Architectural Association, 1987). 2 Michael Webb et al., Temple Island : A Study (Architectural Association, 1987). 3 M Ozga-Lawn, “The Duke in His Domain,” Https://Eprints.Ncl.Ac.Uk, 2014.

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01 Michael Webb_Temple Island Study

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“What began as a wish to recall through the act of drawing a dear landscape, that of the River Thames at Henley, soon transformed itself into a study of what might be termed the outer limits of perspective projection -Michael Webb

Preface

The ability of architectural representation to explore and provide answers to these issues is at the core of this study. Not only does it become a practice is pushing representational work to achieve these ideas but also understanding and adhering to the paradoxical impossibility of the study – which begins to bleed into the work itself. – understanding and representing the paradoxical gap within the study. The gap between architect and subject, the gap between object and representation, the fundamental gap between drawing and reality. This project fundamentally became a way of understanding myself, the limits of architectural drawing. The context of Belfast as a site, carries with it a weight of historical events that have left imprints upon the landscape of the city. The events of the Troubles have led to a city being formed from violence that is at odds with the current outward perception. Desires to hide Belfast’s past through ‘normalisation strategies’, present a danger of forgetting the history of conflict. The desire to progress requires a degree of

remembering, the historical narratives that are embedded within the city cannot be forgotten. Yet, to some, remembering the violence of the Troubles can negate ability to ‘move on’ needed for progression of the collective memory of the city. When visiting Belfast, the architect can only understand the imprints that the troubles have had from a distance. Without experiencing a place’s historical events the ability to comprehend them cannot be fully achieved. An architectural response that does not adhere to the trauma of the past cannot be deemed successful, nor too does a response that enforces a way of being and seeks to ‘answer’ the issues of the past. Nat Chard and Perry Kulper [02] aim to address issues such as these is to

“provide neutrality which denies any predetermined behaviours”4.

4 Nat Chard and Perry Kulper, Fathoming the Unfathomable, n.d.

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My thesis seeks to examine how, through means of architectural representation, can the cognitive maps and historical narratives of Belfast be recorded and communicated to reveal the deeper reality of the city and the limitations and extents of architectural representation. In between realities of Belfast will be addressed, like Webb’s Temple Island study acknowledging the impossibility of reaching an ‘end point’ or providing an answer or architectural solution must be addressed, so too the issue of the site’s history and the contentious nature of approaching it through an architectural lens. The notion of the irreconcilable gap between the architect and site and the object and representation will focused upon.

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02 Nat Chard_ Fathoming the unfathomable

Theoretical Background_

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01 Belfast - A Post Conflict City Memory - Forming Cognitive Maps Victor Sloan - Artisit Production from the Troubles Dark Tourism - The Tourist Gaze + Forced Perspective

02 Parallax - Shifting Cognitive Imprints of Space Through Architectural Tools The [parallax] Gap - The Position of the Architect

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Belfast is a post-conflict city. Traces of the Troubles have left imprints upon the memories of the inhabitants and the narrative history upon the physical landscape. These traces of violence have shaped the City’s current context, sites of violence have been wiped from history through new developments whilst the Peace Walls along the Falls and Shankhill Road present stark reminders of the existing tensions and segregation that is still prevalent throughout the city. A multitude of conditions exist within Belfast, reinforced by the Peace Walls and social division these layers of identity and memory embed themselves within the social history and narrative of the city. Territories and conditions are formed from these memories of the Troubles, despite the desire of the tourist board and developers to present Belfast away from the associated violence of the Troubles it is impossible to currently escape. The current desire for large scale developments and further segregation does in no way respond to the repression the Troubles but instead can be seen to intensify the issues resulting from this.

Belfast _ Post-Conflict City

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p 03 Jonathan Olley_Castles of Ulster

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p Map of Belfast

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By attempting to understand and interrogate the violent narrative traces surrounding Belfast as a post-conflict City a response to the conditions of the city that better deals with the complexities of trauma than the current strategy of development. The difficulty of expressing these memories highlights the challenge of dealing with sites of trauma, an inward look at the nature of the architects work as a mode of translating a sites layered complexities into a response will be critiqued in an attempt to critically understand the architect and the studio’s practice.

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Memory_ Forming Cognitive Maps

“Memory is the provision of symbolic representations and frames which can influence and organize both our action and our conceptions”5 – Barbara Misztal The concept of memory and its relation to the perception of history is key in approaching Belfast and Northern Ireland as a site. The trauma caused by the Troubles have left lasting scars upon the physical and cognitive landscape of Belfast that in many cases have been repressed through the development of the built environment in attempts to ‘forget’ and ‘move on’ from the impact of the Troubles. A desired collective memory and uniformed perception of its past to be outwardly presented has meant the perception of Belfast as shifted from that of a post-conflict city.

04 Stephen J. Williams_Notes upon the mystic writing pad A piece of work inspired by the essay by Sigmund Frued; ‘Nites upon the mystic writing pad’. A metaphor for memory, perception and consciousness.

Personal and individual memories from these form cognitive maps relating to individual experiences and perception of their own past during the Troubles. These are not outwardly presented within the city but highlight the diverse layers of historical impact events like the Troubles can have within a city. Social interactions, activities and processes all influence how we perceive our environments, our minds intuitively shape our responses to and behaviour in certain spaces.

5 “Theories Of Social Remembering - Misztal, Barbara Google Books,” accessed February 11, 2020, https://books.google.co.uk/ books?hl=en&lr=&id=jW_lAAAAQBAJ&oi=fnd&pg=PP1&dq=barba ra+misztal+theories+of+social+remembering&ots=tEiTHzMhP1&si g=0o8bnaJcBtHXejJiFNyH-q5o9Qw#v=onepage&q=barbara misztal theories of social remembering&f=false.

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The Troubles present a problem in how we cognitively negotiate with the past. Strategies to forget have hidden the cognitive maps that are formed from individuals in Belfast, with only physical manifestations presenting themselves occasionally in the fabric of the city. These cognitive maps of conflict resist the efforts at redrawing the past into an idealised collective perception of history6. This approach to the site of Belfast is understanding how these cognitive maps are formed and how they can be represented. To present the issue of the unification of spaces through architectural development of the city to forget the past highlights the need to remember past trauma to allow for healing of a post-conflict city. The individual perceptions of the city mean the repression of the past can never fully happen. Because of this we must look at how strategies to manage the trauma of the city can negotiate with the past without jarring with the mental geographies of Belfast. “Personal memory retains the potential to undermine efforts to induce historical amnesia”7. The physical manifestations of forced amnesia that are non-places represented by the super modernity of architecture such as shopping malls and high streets hide and somewhat disregard the history of Belfast and the Troubles. This raises the question of how can the subject of trauma can be responded to critically through architectural practice whilst managing the conflict between The Troubles imprint upon the cognitive landscape of the city and the collective desire to progress on from that period.

6 Catherine Switzer and Sara Mcdowell, “Redrawing Cognitive Maps of Conflict: Lost Spaces and Forgetting in the Centre of Belfast,” Memory Studies 2, no. 3 (September 1, 2009): 337–53, https://doi.org/10.1177/1750698008337562. 7 Switzer and Mcdowell.

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p 05 Old Belfast Photographs _ Belfast High Street Victoria Square Shopping Centre

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Victor Sloan_ Artistic Production from the Troubles

“Excessive remembrance may lead to madness, but forgetfulness carries its own inherent dangers”8 - Michael Parker

The Troubles Archive presents works from artists, film makers authors in a variety of different mediums produced during and in response to the troubles in some way. To begin the process of the interrogation and understanding of the site of Belfast we focused on a piece from the archive to begin to formulate a response and to develop our thesis in reference to the context of Belfast and the history of The Troubles. Focusing was on a series of works by Northern Irish artist Victor Sloan. Sloan operates in a medium of photography, etching and screen printing. My focus on Sloan’s work was his manipulation of images taken of sites and events during and post Troubles. The process by which Sloan undertakes of etching and marking into existing images captured through photography offers a questioning of history itself, highlighting the conflict that is often lost or misrepresented in the same medium. The imagery presented forces the viewer to engage in an act of remembrance. The Images no longer have a recording neutrality to them, but insist upon a reaction, shedding the collective ‘social’ memory for an individual one, thus forming new cognitive understandings of history and context for the viewer. Sloan raises the question of how images can act as tools of remembering as well as tools of perception. Our perception of History is vital in the dealing with the complexity of the past. In the case of Northern Ireland, the trauma caused by the Troubles has led to deliberate amnesia resulting in wilful forgetfulness of the past. 8 Michael Parker, Northern Irish Literature, 1956-2006 : The Imprint of History (Palgrave Macmillan, 2007).

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The question Sloan raises is that to heal and

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progress the past cannot be fully forgotten. By skewing the imagery of the past in his work Sloan subverts history, the manipulation of photography can almost notationally represent the personal feelings of the past that linger and is often hidden within the urban fabric of Northern Ireland. Sloan’s work is asking the viewer to excavate from the past by disrupting the images of history it disrupts the perception of history. The work Is not proposing an idea or solution but present the prevalent issue that exists in the context of Northern Ireland. This core concept of representing cognitive perceptions formed from trauma of the Troubles strongly informs the thesis of excavating the history of the context and presenting the issue of repression and deliberate historical amnesia and how through architectural representation this can be critically explored. Belfast as a post-conflict city has to manage its

beyond the impact of the troubles. The projected narratives of the city are in constant conflict between the idealised modernity of progression and the past weight the troubles still carry, with the tourist board offering experience of the city that attempts to rectify these alternate readings of spatial narratives9.

9 Madeleine Leonard, “A Tale of Two Cities: ‘Authentic’ Tourism in Belfast,” Irish Journal of Sociology 19, no. 2 (November 24, 2011): 111–26, https://doi.org/10.7227/IJS.19.2.8.

the trauma of conflict and the desire to progress

06 Victor Sloan_ Londonderry Westbank Loyalists, Derry

juxtaposing narratives of a of a city scarred by

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p 07, 08 Victor Sloan, Magazine Gate, Derry, Resting at st Columbs Catherdral

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There is a forced perspective of Belfast being developed that has moved away from the post-conflict afflictions of the Troubles that presents the City as a one which is ‘safe’ and ‘modern’ that forces a visual shift in cognitive perception through the development of glass architecture and open public spaces from the associated visual language and spatial narratives of fencing, barricades and police vans. Alongside this the associated tourist board promote this identity through different media; the tour buses explore Belfast through a lens of optimism and progression that speaks of the Troubles as something that is now permanently routed in the past and an area or morbid intrigue that verges on ‘Dark Tourism’. Even in this subject matter there is a juxtaposition of identities and perspectives that are at odds with each other; the sanctioned bus tours and the independent black cab tours are present an alternative forced perspective of the City. The black cab tours offer an ‘authentic’ experience of the troubles and its history through tours of the peace walls and murals with a local guide giving their personal interpretation of events. The black cab tours present both perspectives, Nationalist and Unionist whilst the tour buses provide a neutral description of subject matters that is sandwiched between more typical tourist attractions. These alternative perspectives of the same subject provide the viewer with a multiple touristic projection of Belfast. The separation, however, from the tourist to the subject will always remain despite the intention of those forcing the perspective.

Dark Toursim_ The Tourist Gaze and Forced Perspective

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Opposing photographs from the same point at locations of tourist importance.

Belfast + Derry

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q 09 Willie Doherty, Protecting, Invading

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The tourist gaze will always be interpretive the events of the troubles; formulating their own cognitive maps and narrative understanding of the spatial and physical landscape of the city. Forcing the perspective through the lens of the troubles has the danger of presenting the context of the troubles as a subject that can only be viewed at arm’s length ,through the safety of a tourist vehicle; a bus or taxi window, resulting in The Troubles as something to spectate, rather than understand. The tourist gaze forces a perspective through a specific way of seeing and perceiving a subject and in the case of post-conflict Belfast, presents the Troubles as a internalised cognitive condition of the city that can only be expressed to those who have not been formed through it, through the lens of Tourism.

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Tourist Test 01 A series of linear perspectives from the apposing windows of a tour bus through the same route were taken. A transect of alternate perspectives were recorded.

The Filming process aims to embody the viewer within the tourist transport. A neutral recording of the fixed perspective is the outcome.

The concept of Parallax related to the position of the viewer to an object within a field. The Parallax merges two perspectives views together revealing “the change in arrangement of surfaces that define space as a result in the position of the viewer”10. Through this process linear perspective falls away to reveal enmeshed spatial experience from the merging of the object and field resulting in an overlapping of perspectives. These new perceptions can form new spatial experiences stripping away the rigidity of linear perspective and associated perception of space and place to reveal a new more intangible condition that allows for the “another perceptual way of experiencing landscape and the city”. 11

The linear perspective is flawed, there is a greater weighting on the ocular senses. Our cognitive perception is shifted as our literal, visual perception is altered through a parallax view. If our perception Is transformed through optical means we will begin to enable a new way of experiencing and be able to explore the in between realities12 that greater represent the conditions and spatial narratives of context. The tourist gaze in Belfast forces a literal, linear perspective through bus windows, taxis, the lens of a camera and the words of guides. This results a specific cognitive perception of the city despite the sources that from the perspectival view of Belfast. The link between image and embodies experience of place is inescapable, to reference back to Victor Sloan’s work the manipulation of captured image 10 Steven. Holl, Parallax (Birkhäuser-Publishers for Architecture, 2000). 11 “Architecture Parallax : Vision of Difference, Difference of Vision | Art Souterrain,” accessed February 11, 2020, https:// www.artsouterrain.com/en/activite/architecture-parallax-vision-ofdifference-difference-of-vision-2/. 12 Holl, Parallax.

Parallax_ Shifting Cognitive Imprints of Space Through Architectural Tools

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By manipulating image through a process of parallax the alternated forced perspectives of the city can alter and give way to a greater enmeshed reality formed from the stripping away of linear perspective and monocular vision to reveal the binocular and the peripheral that force an associated merging and shift cognitive experiences that will “facilitate a different kind of seeing, enabling another way of experiencing landscape and the City”13. Belfast requires a new perception. The promotion of tourism and the idealised view of itself and the separation it has from the post-conflict identity of recovery creates a cognitive paradox. The internalised struggle between the past of the Troubles by its inhabitants and the tourist promotion of the City as one happy to forget its past has raised a critical issue of identity and perception. The parallax view of the city is one that merges the contrasting perspectives to reveal a truer reality of the cities spatial and cognitive conditions. A critical approach to develop a methodology or notational codification to record and represent the parallax view of Belfast will be carried out in order to explore how the perception of the city can be represented through the tools of the architect. Referring to the work of Victor Sloan, an investigation into how architectural representation can express the intangible and the invisible experiential qualities of spaces and how can they evoke memory or events through the merging and manipulation of image and recorded perspective to alter the cities external, tourist perception to greater reveal experiential reality of the cities narrative fabric.

13 “Architecture Parallax : Vision of Difference, Difference of Vision | Art Souterrain.”

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attempt to excavate a memory of the subject: The Troubles.

Jacques Androut Du Cerceau , Lecons de Perspective

forces the associated cognitive link to be altered in an

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The [parallax] Gap_

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The Position of The Architect

“The confrontation of two closely linked perspectives between which no neutral common ground is possible” - Slavoj Zizek

Slavoj Zizek refers to the Parallax Gap in his work. “The confrontation of two closely linked perspectives between which no neutral common ground is possible”14. This gap can be said to be present throughout Belfast in the Parallax between the alternate, presented perspectives of the cities contrasting narrative identities. The aim of this work is to reconcile the gap between the perspectives through the process of merging alternate views via the concept of the Parallax whilst exploring the extents and limitations that architectural representation can achieve. The gap presents in the work that cannot be reconciled is the parallel separation between the architect, designer, artist and the subject of The Troubles. Unlike the work from The Troubles archive whereby a number of the works were produced in response or during the events of The Troubles my own response comes from that of a tourist. My personal perspective of the city is inescapable from the lens of a tourist and the position of the architect is one that is coming from a context of ignorance and subjectivity in response to the historical narrative of Belfast. This unreconcilable parallax gap has forced the practice to take strategies in the development of the project. The embodying of the tourist has been accepted and exaggerated as well as the practice of the architect. The work has taken on a representational response to the context of Belfast, not proposing an intervention or architectural solution but to attempt to record and produce visual responses to the site. Like Sloan’s work he is not proposing any agenda through the medium he works in but instead raises an issue in response to the history of The Troubles and endeavour to reveal the Parallax Gap throughout the study through the practice and production of architectural representation.

14 Slavoj. Žižek, The Parallax View (MIT, 2009).

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Parallax Studies - Notional study of Overlapping of fixed Perspectives

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Parallax Studies - Overlapping Fixed Perspectives

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Process 01_ Embodying the Tourist Gaze

p Images of opposing vessel windows

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A literal interpretation of linear perspective of the tourist is an exercise in embodying the Tourist Gaze. The literal, forced views that vessels of tourism present are embodied in the tour buses and political taxi tours of Belfast. They present alternative views of the same subject. In literal cases, covering the same ground, overlapping at points of conversion where the perspectives merge. This point of parallax can be explored through the recording of the fixed Tourist Gaze. The nature of tourism reduces sites to commodities to be consumed, attractions can be understood as optical devices which frame the site within a safe, purified visual domain, whilst displacing the unsightly into a blind zone15. This ‘blind zone’ embodies the Parallax Gap of the touristic experience, and generates the representational gap that endeavours to be represented. The means of representationally conveying the enmeshed experiences of the city’s landscape to better convey a reality of Belfast’s narrative history will start with recording the pure fixed perspective of the tourist. This was achieved by using film to record journeys through the city in opposing mediums of touristic transport: Tour buses, taxi tours and my own personal, repeated routes through the city were captured to represent the literal fixed perspective of the tourist gaze. In an effort to manipulate the pure fixed perspective of Belfast to reveal a truer experiential perception of the city, the Tourist Gaze is explored through representational means.

15 Ricardo Scofidio, Back to the Front: Tourisms of War (Princeton Architectural Press, 1996), http://books.google.com/ books?id=LTN8QgAACAAJ&pgis=1.

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Process 02_ Revealing the Parallax

The Parallax is revealing itself by merging the alternative views of the city. The recorded film is projected either side of a semi-transparent sheet of acrylic. The fixed points of the same route are transposed onto each other. Visually, the definition and perfection of a linear perspective slips away to reveal new forms and visual discourse. Shifts in visual landscape are altered to reveal a new symbolic landscape that shifts the viewer’s cognitive perception of place. The linear view of the film comes away from an overlapping and unfolding as mjultiple objects merge into the same field, revealing and representing peripheral and monocular vision exposing the ‘in between’ realities of the context. This manipulation of existing images through the merging of perspectives creates the parallax that shifts the viewers cognitive perception of space. This revealing of a parallax view of Belfast offers an alternate perception of the city and breaks down the linear perfection of the fixed tourist gaze.

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Tourist Test 01 A series of linear perspectives from the apposing windows of a tour bus through the same route were taken. A transect of alternate perspectives were recorded.

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This section has outlined the intentions and theoretical underpinning on the study. Key thematic elements of tourism, the gaze, embodiment and the invisible and unfathomable conditions of space and the ability and limitations of architectural representation the convey these. Framing concepts such as The Parallax and the resulting gap in between the opposing conditions have been used as catalyst for generative drawing practices. The following section of the study explores the representational processes undergone in embodying the parallax phenomena and reveal the reality of Belfast’s hidden conditions. The drawings aim as a generative process is to disrupt the idealised linear view of Belfast embodied through the forced tourist gaze – exposing the hidden conditions of site and to allow the observer to interpret the work in their way and place their own internal perceptions onto the drawings themselves. The process of embodiment through the production of work will also be examined further, how the site and perspectival phenomena can be brought into the tools of architectural production. The studio as a site of architectural investigation will be critical engaged with and how architectural representation can work in tandem with the studio environment as a generative process of production.

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“Architecture Parallax : Vision of Difference, Difference of Vision | Art Souterrain.” Accessed February 11, 2020. https://www. artsouterrain.com/en/activite/architecture-parallax-vision-ofdifference-difference-of-vision-2/. Chard, Nat, and Perry Kulper. Fathoming the Unfathomable, n.d. Holl, Steven. Parallax. Birkhäuser-Publishers for Architecture, 2000. Leonard, Madeleine. “A Tale of Two Cities: ‘Authentic’ Tourism in Belfast.” Irish Journal of Sociology 19, no. 2 (November 24, 2011): 111–26. https://doi.org/10.7227/IJS.19.2.8. Ozga-Lawn, M. “The Duke in His Domain.” Https://Eprints.Ncl.Ac.Uk, 2014. Parker, Michael. Northern Irish Literature, 1956-2006 : The Imprint of History. Palgrave Macmillan, 2007. Scofidio, Ricardo. Back to the Front: Tourisms of War. Princeton Architectural Press, 1996. http://books.google.com/ books?id=LTN8QgAACAAJ&pgis=1. Switzer, Catherine, and Sara Mcdowell. “Redrawing Cognitive Maps of Conflict: Lost Spaces and Forgetting in the Centre of Belfast.” Memory Studies 2, no. 3 (September 1, 2009): 337–53. https:// doi.org/10.1177/1750698008337562. “Theories Of Social Remembering - Misztal, Barbara - Google Books.” Accessed February 11, 2020. https://books.google.co.uk/ books?hl=en&lr=&id=jW_lAAAAQBAJ&oi=fnd&pg=PP1&dq=bar bara+misztal+theories+of+social+remembering&ots=tEiTHzMhP 1&sig=0o8bnaJcBtHXejJiFNyH-q5o9Qw#v=onepage&q=barbara misztal theories of social remembering&f=false. Webb, Michael, Michael Sorkin, Lebbeus. Woods, and Architectural Association (Great Britain). Temple Island : A Study. Architectural Association, 1987. ———. Temple Island : A Study. Architectural Association, 1987. Žižek, Slavoj. The Parallax View. MIT, 2009.

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Drawing the [parallax] Gap_

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01 Adopting Critical Practice The Drawing Apparatus Developing a Notational Language

02 Sites of Tourism Extracting the [parallax] Gap Anamorphosis - Disrupting the Tourist Gaze Adressing the Sites of Tourism

03 Constructing a Memory Locus -

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066 068 086 100 106 118 122

Bobby Sands Mural Peace Wall Titanic, Belfast Belfast City Hall

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The practice of the architect is critically analysed in the process of revealing the repressed the reality of spatial narratives of Belfast. The tools of the architect have been brought to the front of the thesis, a reflection upon the role of the architect approaching a post-conflict context scrutinised. The discipline of drawings itself is pushed to the point of constraint. Developing a series of rules and limitations through the embodying of experience of Belfast allows the architectural production to adhere to a set of rules.

The development of an apparatus that formalises the translation from experience to drawn output creates an architectural schema in response to the context. The apparatus reflects the parallax phenomena through film and still frame projections on moveable armatures onto a linear drawing plane. The two armatures project alternate fixed perspectives that can be merged at different degrees, from this the distilled, spatial projections help form a combinational visual output which then presents an object to draw from. The drawing plane is a transparent sheet of acrylic with a sheet a paper allowing the viewer, or ‘architect’ to trace moments and forms from the projects. The drawing apparatus too, embodies the nature of the perspective, placing the architect in the chair of the vehicle and the linear plane replicating the windows of the vessel of movement.

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Adopting Critical Practice

11, 12 Unknown Artist_ Camera Lucida, The Photosculpture of Francois Willieme

A number of interactions of drawn outputs can

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be produced through the apparatus, developing a series of representations of The Parallax. The aim of the drawings conveys the spatial and narrative reality of the city, mapping the cognitive constructions of the historical landscape of a post-conflict Belfast.

Linear Plane

- The Architect Embodies The Touristic Gaze

- The Process of the Parallax Shifts the mental Perception to reveal experiential Reality

- The Architect Records This

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The Tourist Gaze

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Position: 02

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Position: 04

Position: 05

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The apparatus embodies the tourist gaze. The amateurs

The armateurs shift projecting film onto the linear pla

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project opposing films from the tourist experience.

ane of abstraction; the drawing board.

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The architect takes the seat of the apparatus. The Pos touristic image.

The manipulation of the fixed views from the film begin experiential reality of the site.

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sition embodies the gaze. The perfect

the revealing the parallax gap. The

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As the frames merge to reveal the parallax, the architect recor A Synthesis of foreground, middleground and distant view fall t

Framents of this new expereintial reality are drawn. The arhite

These Drawings recreate movement of the tourist vessel.

These Drawings moments Present extrations of the parallax itsel

rds this: together. A ‘complete perception’.

ect creates a library of parallax moments.

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Bus Parallax: Two Projectors Side on linear plane Viewer adjacent to drawing plane. ‘Moving with’ film

Taxi Parallax: Two Projectors Side on linear plane Viewer adjacent to Drawing Plane. ‘Moving against’ Film.

Chair facing drawing plane

Orthographic drawings of drawing apparatus, demonstrating the relationship between viewer and the apparatus and how it embodies the perspective experience of the viewer.

Standard Parallax: Two Projectors Front on linear plane

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q 13, 14 Belfast Black Cab + Bus Tours:

Tourist Test 01 Hop-on-hop-off Bus tours

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Tourist Test 02 Black cab tours - Falls and Shankhill, and memorials.

Developing a Notational Language

In response to the revealing of the parallax through the merging of fixed perspective filming; developing a codified language of fixed moments resulting from this process furthered the visual understanding of the progression of the thesis through a drawn language. Using the tools of the architect the intangibility of visual perception and interpretation can be represented through forms of a notational language. A method of recording the multitude of spatial and visual arrangements helps rationalise the parallax phenomena to be understood in a collective ideology through the notation’s internal logic. The drawings denote; direction, time and the literal process of how frames distil down to create enmeshed visual interpretations of the parallax, the universal codes of direction, time and the vehicle the frames were recorded in allow the notions to be understood to a greater extent than abstracted palimpsest of extracted forms. The notations cover; individual images from merged frames of film as well as personal representations of virtual movement from continuous merged frames from the bus, taxi and walking recordings. The drawings themselves emerged from the architect using the drawing apparatus to extract the Parallax Gap from the recorded media of Belfast.

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15 Richard Hamilton_Trainsition: A study taken from a train window in an effort to capture mobvment and moment from a fixed perspective. This study offered inspirartion in methods of embodyiing the perspectives on tourists.

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p Hand-drawn Motion Parallax Study

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p Hand-drawn Motion Parallax Study

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p Bus + Taxi: Notation of apposing linear abstractions taken from taxi and bus film projection.

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p Walking: Notation of apposing linear abstractions taken from Walking Film Projections

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p Perspectival Cone: Embodiment of parallax motion

Map Of Belfast

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Shankhill Murals

Peace Wall Bombay Street Bobby Sands Mural Clonard Monestary City Hall Victoria Square St George’s Market

University

Great Victoria ST

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HMS Caroline

Titanic Belfast SSE Arena Parliament Belmont Rd Holywood Rd

Custom House Square B. 01 B. 09

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B. 02 B. 10 HMS Caroline B. 03 B. 11 Titanic Belfast B. 04 B. 12 Parliament B. 05 B. 13 Belmont Rd B. 06

Holywood Rd B. 07

Great Victoria ST B. 08

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University

Bobby Sands Mural

City Hall

W. 01

Victoria Square

W. 02

City Hall

Peace Wall

St George’s Market

T. 01

Bobby Sands Mural

T. 02

Bombay Street

T. 03

Peace Wall

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Shankhill Murals

T. 05

Clonard Monestary

Extracting the [parallax] Gap

The next series of drawings that were produced were individual moments that represent the parallax gap. The projected stills overlap each other and the blurs within the images are drawn over. We see here Richard Hamilton’s people [16] painting abstracts a beach scene down to black and white blurs. Through this process we are left with abstracted forms that represent the parallax gap of different key sites.

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p 16 Richard Hamilton_People: A study of a beach scene. All occupants within the scene are abstracted down to black and white blurs.

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p Parallax Gap Extractions: Abstracted blurs from drawing apparatus of individual tourist sites.

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p Parallax Gap Imprints: Abstracted blurs imprinted onto perspectival still of associated sites.

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p Design of a viewing device to embody the nature of the drawings. Anamorphic in nature the apparatus projects a fixed view of Belfast through Film and through pivoting another projector interrupts the images.

Anamorphosis_ Disrupting the Tourist Gaze

The lacanian concept of The Gaze is one which relates the previously discussed concept of Touristic perspective. In Jacque Lacan’s work; ‘Of the Gaze as object Petit a’1 he argues that the object of desire is threatened to be interrupted by the Gaze, and undo the projected perfected reality through the eruption of The Real. The tourist gaze, in relation the City of Belfast, can be interpreted thus. The idealised view of the city is not only projected through but captured through the tourist’s eye. The perfected linear perspective is forced through the touristic vessels projecting an idealised perception of the city. In his reading of the Hans Holbein’s painting, The Ambassadors Lacan brings forth the phenomena of anamorphosis and its link to psychoanalytic perspective. When viewed through ‘ideal lens’ of perspective the painting shows two figures, within the foreground lies an apparent undecipherable blur. The blur when viewed from an oblique position reveals itself to be ‘deaths head’. The painting therefore presents two fixed perspectives: the projected [the figure] and the hidden [the skull]. These can only be perceived fully from different vantage points, as one position changes to reveal itself, the other displaces and blurs the image highlighting how “elements within the optical field must be repressed if clear vision is to be enabled”2.

1 Jacques LACAN, The Seminar of Jacques Lacan, Book XI: The Four Fundamental Concepts of Psychoanalysis, Jacques-Alain Miller, Trans. Alan Sheridan (1977, 1977, http://scholar.google.com/ scholar?hl=en&btnG=Search&q=intitle:The+Four+Fundamental+Concepts+of+Psychoanalysis#1. 2 Maria Scott, “Lacan’s ‘Of the Gaze as Objet Petit a’ as Anamorphic Discourse,” Paragraph (Edinburgh University Press, 2008), https://doi.org/10.2307/43151894.

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17 Hans Holbein the Younger_The Ambassadors:

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As a reading of tourism, it can be said that the repressed psyche of the city cannot be seen whilst the perfected linear perspective that manifests itself as the tourist gaze is present. The projection of an alternate perspective must break through this idealised view of the city to reveal the reality of the city – the skull. This relates greatly to the touristic notions of sightseeing; a single view of a sight can be present to the tourist, but the gaze can be interrupted by a new reality. The recording of the parallax phenomena works as an anamorphic metaphor of how a new reality of a site can be interpreted to convey the hidden reality of an object [site of interest]. Further exploration of how anamorphic projections can relate specific sites will be explored, taking specific tourist attraction, and applying the drawing practices with them to create a new visual tourist language.

Notational Anamorphic Studies

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Bobby Sands Mural

Bombay Street

Titanic Belfast

01 . A

02 . A

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Titanic Belfast

Peace Wall

03 . A

04 . A

05 . A

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The drawings [opposite] are a test of replicating the Afterimage of journey or moment through the tourist lens ‘infected’ with the shadow of the parallax gap from the previous drawings processes. The drawings act as a ‘memory locus’ of a space or place within Belfast; a mental image borrows from the language of the city which formulates a new image that contains traces of memory and cognitive perception that engage the viewer but shifts that perception through visual manipulation, in this case linear perspective through the embodiment of the parallax. This process begins to essentially create a new ‘map’ of Belfast, alternative to the tourist one. The output from the drawing process creates a catalogue of architectural images that represent an alternate view of Belfast. Their viewing presents a ‘clear reading’ of Belfast that displaces the projected perception of the tourist gaze into a series of object images that convey the parallax blur of the city.

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Photograph of Bobby Sands Mural. Painted in 1998, this mural depicts the smiling image, often considered iconic of IRA leader Bobby Sands. Sands led the hunger strike while imprisoned in the H block of Long Kesh Prison. The smiling pose is based upon a photograph taken of him during his imprisonment. The mural is painted on the Sinn Fein political party. Sands was elected to UK parliament during his interment, yet he never served as an MP because he died in prison from the hunger strike of 1981. The mural displays two phrases "Everyone A Republican or Otherwise, has their Own Particular Role to Play," and "Our Revenge Will Be The Laughter Of Our Children." -The Troubles.omeka.net

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Learn about Belfast's troubled history on a 3-hour walking tour with both Republican and Loyalist ex-political

prisoners.

Explore

their neighborhoods and hear their personal stories and the stories of their communities on both sides of the physical wall. - Get Your Guide

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Titanic Belfast is the world’s largest Titanic visitor experience, exploring the Titanic story in a fresh and insightful way.

Make your way through the 9

interactive

galleries

the Titanic

Experience, explore the symbolism of our iconic building with The Discovery Tour, dine in Bistro 401 or browse for an exclusive gift in our Titanic Store. Walk the decks of the last remaining White Star vessel - SS Nomadic or immerse yourself in the historic Slipways as you uncover the true legend of Titanic, in the city where it all began. - Titanic Belfast Website

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Black iron gates with black and red iron phoenix. Signs at the main entrance, one on each side of the gate, reading: “Clonard Martyrs Memorial Garden” and “Gairdin Cuimneacain Mairtiris Cluain Ard”. Garden divided into three separate yards. Central yard – black and white Celtic cross in the middle, with the inscription “Clonard Martyrs i gcuimhme na mairbh dilis”. On the wall behind it – granite plaque featuring a male and a female Volunteer with bowed heads on each side; on top runs the inscription: “i measc laocra na ngaedeal go rab siad go ndeana dia trocaire ar a n-anamaca”; two panels are enframed within a Celtic design with the shields of the four provinces of Ireland, one at each corner; left panel – “Clonard Martyrs C Coy 2nd Battalion Belfast Brigade Oglaigh na hEireann Roll of Honour (list stating name and date of death follows). We also remember all the civilians from the Clonard area who were killed by Crown forces and loyalist murder gangs”. Right panel – “Civilians murdered by loyalists and British forces during the course of the conflict (list stating name, date and age of death follows)”. Right yard – on the boundary walls there are a series of plaques running from left to right as follows: 1)”1921-1922 (list of names follows)”. 2)”In loving memory of the deceased Republican prisoners from the Greater Clonard area 1916 (list of names follows) 1920′s (list of names follows)”. 3)” 1930′s/40′s (list of names follows)”. 4)”1956-62 (list of names follows) 1970 (list of names follows)”. Along the walls there are a series of benches, each one accompanied by a small golden plaque “Dedicated to the memory of” – clockwise – Seamus (Shay) Sullivan, Frank Moyna, Lily, Sam and Tony Lewis; next to the gate small golden plaque reads: “This gate was donated by the Roddy McCorley Club”. Stone pavement depicting a Celtic cross. Left yard – plaque on the wall reads: “This plaque is dedicated to the people of the Greater Clonard who have resisted and still resist the occupation of our country by Britain. We acknowledge with pride the sacrifices they made throughout every decade. Their names would be too numerous to mention, and their deeds of bravery and resistance are un-equalled in the history of our struggle. We, the Republican exprisoners of the Greater Clonard, salute you, and your reward will only be a united Ireland.”; shields of the four provinces of Ireland, one at each corner. Along the walls there are a series of benches, each one accompanied by a small golden plaque “Dedicated to the memory of” – counter-clockwise – Renee & Marie Rosbotham, Alex Comerford, Helena Kelly. Next to the gate – small golden plaque “This gate was donated by the Michael Dwyers G.A.C. (1798)” and small golden plaque “Dedicated to the memory of Maura Meehan”. Stone pavement depicting a Celtic cross. - Northern ireland memorial database

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In 1888 Queen Victoria granted Belfast the status of the city and it was agreed that a grand and magnificent building was required to reflect this new status. City Hall opened its doors on the first of August 1906, at a time of unprecedented prosperity

and

industrial

might

for

the

city.

The new City Hall was designed by Alfred Brumwell Thomas in the Baroque Revival style and constructed in Portland stone. The incredible building cost £369,000 to complete, the equivalent around 128 million pounds today but remains an extraordinary beacon of success and civic pride for Belfast. City Hall has many connections with the famous ocean liner Titanic. Viscount William Pirrie who was Lord Mayor in 1896-1897 just before City Hall’s construction, was also managing director of Harland & Wolff Shipyard. He is the man credited as having the idea for both ambitious builds. He used many of his skilled workmen in the fit-out of City Hall which is why the interiors today are considered an incredible insight into the finish of Titanic’s lounges and suites, the ship’s carving panelling being very similar. - Belfast City Council Website

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Afterimage Transect s

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Embodying the [parallax] Gap_

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01 A Change in Practice Axonometry - Drawing Production Removing The Perspective Veil - Alberti’s Window

02 The Productive Process

The Tourist Map

Bobby Sands Mural Peace Wall Titanic, Belfast Clonard Memorial Garden Belfast City Hall

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The practice of the architect has been critically engaged with throughout the project, specifically how subjects and objects of work relate the production of architectural representation. We began looking how the irreconcilable parallax gap between architect and subject in Belfast lead to a generative practice and architectural schema of drawing production. The concept of ‘studio as the site’ became into play and the development of a drawing apparatus created a methodology of embodiment within the studio. Not only would the architect or designer embody the design concepts of the project, but the viewer would become embodied within the architectural work. As Sophia Banou states in reference to installations, “as a situated experience of drawing, performed as a mediating object between city & spectator, promoting conditions of observation to persistently reconfigure by placing the two in mutually shifting relations”3. The utilisation of the studio as a direct embodiment of the site of Belfast allowed the drawing apparatus and processes to reflect and embody the ‘hidden’ conditions of Belfast in an attempt to fully appreciate the parallax gap between site and architectural output whilst simultaneously presenting the conditions through a medium to embody the viewer within an installation in the studio.

3 Sophina Banou, “The City [within] The Drawing: The Urban in the Space of Representation,” Interstices: Journal of Architecture and Related Arts, March 18, 2015, https://doi.org/10.24135/ijara.v0i0.494.

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My own practice became interrupted through the forced movement of location out of the 201 studio due the global COVID-19 pandemic. The new site became my old bedroom in my parent’s house. This resulted in a change of personal practice, the drawing apparatus could no longer be used to generate representational outputs whilst the embodiment of Belfast within the studio could not be achieved. The bedroom became the new site. The drawing production had to change whilst still maintaining the critical approach to the parallax gap between site and architectural representation. The drawing production as a result took on a ‘traditional’ approach – a drawing board, set square and pencil was used to construct the drawings. The drawings themselves took on objective representations of specific sites, axonometric projections were hand-drawn, in contrast to abstracted blurs of the parallax gap. The site, like the forced constraints of the apparatus have forced the practice to shift the nature of architectural production whilst still critically engaging with the processes of the production.

The Axonometric Addressing Drawing Practices

“observers, who know their place in perspective are unmoored in the axonometric. It is if we are floating” – Robin Evans 4

The drawings now produced within the new site are forms of axonometric projections. Axonometric drawings by their nature subvert the trappings of traditional linear perspective. The perfected single – view images of perspectival constructions are exposed by “placing the observer in a position that is otherwise impossible in nature”. These drawings begin the bring together elements of previous drawing outputs by revealing the reality of space through representational practices. The axonometric as a representational tool allows the observer to “wonder inside the picture”, the viewer can begin exploring the drawings to a greater experiential quality exposing the nature of the object. Examples of going further to explore or communicative qualities of the axonometric can be seen is work such as El Lissitzky’s Proun drawings, projecting an “impossible three-dimensional space”5.

4 Robin Evans, The Projective Cast: Architecture and Its Three Geometries, The Projective Cast: Architecture and Its Three Geometries, 1995, https://doi.org/4 GT 1544. 5 Evans.

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18 El Lissitzky_Proun Room Axonometric

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By taking individual tourist sites and representing them objectively through axonometric projections the architectural practice is embodied through the drawing process. The tools of the architect in this case are literally utilised – drawing board, set square, mechanical pencil and pen, to produce the drawings. The nature of the subversion, the original application of the embodying apparatus, will need to be achieved through other representational means post the creation of the measured, cartesian projections. The architect will have to embody the drawing production process that the apparatus would have fulfilled. The architect will produce numerous hand drawings for each site, these are then photographed using the architect’s mobile phone. The individual drawings are then brought into photoshop and layered over each other. The drawings utilise multi-projections of the sites as well as a 1:1 speculative reproduction of the viewing apparatus in relation the movement, representing the shifting of the embodied viewer perspective. The drawings themselves act as a framing device of the representational processes, creating an “abstract realm of architectural geometry rather than a specific and potential built reality”6. As a result, the drawings are an architectural end in themselves, exposing the processes of generating a new abstracted, architectural reality which aims to occupy the in between conditions between the subject and representation that fall outside of traditional cartesian space. The result is an endeavour to communicate the parallax gap, exposing the limitations of conventional drawing which has been furthered by the removal of the studio site.

6 Denis Derycke, “Morphosis Drawings and Models in the Mid 1980s: Graphic Description of Graphic Thinking,” Communicating Speculative and Creative Thinking, n.d.

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p 19 Morphosis_Sixth Street House: Drawing shows multiprojected representation of ‘objects’ that are placed within the house.

Removing the Perspective Veil Alberti’s veil was a “perspective devices for surveying Alberti’s Window

vision and the first physical embodiment of the picture plane”7. The concept of the veil presupposes a correctness of spatial construction that forces a linear tracing of the viewed object. The device itself is was described by Leon Battista Alberti as a metaphorical window that acts a “matrix through which space is projected”8 not just viewed. The viewers subject is boiled down onto a singular, two-dimensional picture plane to which the artist draws the subject. The perfected construction of these drawings presents the subjects as perfect linear perspectives. The ‘correctness’ of these constructions present the idealised view of the subject, the deeper understanding of the subject itself is lost as a scaled reconstruction of the image. The veil therefore is an apt metaphor for the touristic images that are presented within Belfast. The images we see of a as touristic consumers present a two-dimensional view of the city. The tourist vessel: the bus and the taxi’s window act as the literal interpretation of Alberti’s veil. The window forces a fixed perspective and subsequent perception of the city to which all visual and spatial information passes through as a twodimensional commodity. The window itself therefore acts as a figurative veil, a perfect perspectival image that hides all depth and meaning of what lies beyond presenting the trappings of linear perspective.

7 Penelope Haralambidou, “Marcel Duchamp and the Architecture of Desire | Introduction,” n.d. 8 Haralambidou.

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p 20 Gemma Frisius_ The Radio Astronomico:

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Albrecht Dürer’s print, Draughtsman Making a Perspective Drawing of a Reclining Woman depicts the process of an artist utilising Alberti’s veil to construct a drawing. This image begins to break down the perfected image revealing the process of the drawing itself. By showing the process of the work the subject of the drawings begins to exist in a non-cartesian space of representation away from the trappings of linear perspective. The ‘bus window veil’ can hide a number of deeper realities, An anamorphic projection can appear as a perfected perspective through the ‘correct’ vantage point of a tourist vessel, but away from the fixed vantage point it can reveal a multi-projected spatial construction. There is a careful desire to ensure that all drawn outputs exist against traditional cartesian constructions and are at no point presenting themselves as final or complete objects – they aim to occupy an in between reality between the subject and representation.

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p 21 Albert Druer_ Draughtsman Making a Perspective Drawing of a Reclining Woman

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The architect takes out the drawing board from under t

The architect sits on the bed to draw.

The sites are drawn as an architect would - representi orographic projections.

the bed.

ing the objective view of the sites through

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The architect photographs the hand drawings - there is

The drawings will be layered together to create the mu

The process of drawing construcution is exposed.

The Architect Becomes part of the Apparatus

s no scanner.

ulti-projected compostition

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04:36.12 32

A. Hand-drawn axonometric of sites

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B. Drawing/Perspectival Apparatus

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C. Parallax Blur + Personal Practice

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Bobby Sands Mural - 01

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01. A

02. C

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01. A

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04. A

02. A

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01. B

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01. A

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05. A 05. B

03. A

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01 . A

02 . A

05 . A

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03 . A

07 . A

04 . A

08 . A

09 . A

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03 . C

03 . A

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01 . B

02 . B

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04 . A

05 . A

06 . C

05 . C

06 . A

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The Tourist Map

The tourist map itself is a representational device for projecting the tourist perspective outwardly. Maps often represent sites of interest outside of literal reproduction. This can often be through forms of illustraions or enlarged perspectival photographs of the ‘key image’. By bringing the constructed drawings together the observer sees what can be another tourist map of Belfast. However, like the vessel window projecting the curated sites of the city the disruption through representational means presents the map as another reading of the city.

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Epilogue_

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01 Epilogue_ Drawing as a Generative Process

02 Bibliography

03 Image Credits

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Epilogue _ Drawing as a Generative Process

We end with the same quote by Michael Webb from the beginning, “What began as a wish to recall through the act of drawing a dear landscape, that of the River Thames at Henley, soon transformed itself into a study of what might be termed the outer limits of perspective projection”.9 Likewise, what began as a study of exploring how the hidden realities of Belfast can be represented through architectural studies, soon became an exploration into the limits of architectural representation itself. The concept of the Parallax Gap manifested itself as a framing device in exploring paradoxical nature of the study, the gap was revealed through the drawings – a representation of the gap between myself and the subject matter and the drawings to their subject. Like Webb, as the project progressed it became clear there was no literal end-point or goal to be achieved. The generative nature of the drawings however aimed to allow the observers to read the city of Belfast differently. The study presents an alternate view of Belfast that disrupts from the trapping of linear touristic perspective, the inherent desire to alter the viewers cognitive perception of site has been prevalent from the beginning to the end. As such the study itself goes some way in achieving supposed ‘success’.

9 Michael Webb et al., Temple Island : A Study (Architectural Association, 1987).

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The study however began to develop into a inwardly looking study on my own personal practice and architectural production. In an endeavour to represent the hidden realities of site the production of drawings had to be pushed in the aim to achieve this. The development of embodiment within the drawings and the building of an apparatus to achieve this helped develop my own personal understanding of how far architectural representation can go. The drawings therefore become a manifestation of the Parallax Gap, not only between the reality of Belfast and its projected ideal but also of my own working between subject and its representation. The project is no longer a hermetic study of site but has been a critical reflection of my own working and the subject of drawing itself. So like Temple island there is no end point – the drawings are a generative process that will constantly fuel the study.

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Bibliography

Banou, Sophina. “The City [within] The Drawing: The Urban in the Space of Representation.” Interstices: Journal of Architecture and Related Arts, March 18, 2015. https://doi. org/10.24135/ijara.v0i0.494.

Chard, Nat, and Perry Kulper. Fathoming the Unfathomable, n.d.

Derycke, Denis. “Morphosis Drawings and Models in the Mid 1980s: Graphic Description of Graphic Thinking.” Communicating Speculative and Creative Thinking, n.d.

Evans, Robin. The Projective Cast: Architecture and Its Three Geometries. The Projective Cast: Architecture and Its Three Geometries, 1995. https://doi.org/4 GT 1544.

Haralambidou, Penelope. “Marcel Duchamp and the Architecture of Desire | Introduction,” n.d.

Holl, Steven. Parallax. Birkhäuser-Publishers for Architecture, 2000.

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LACAN, Jacques. The Seminar of Jacques Lacan, Book XI: The Four Fundamental Concepts of Psychoanalysis. Jacques-Alain Miller, Trans. Alan Sheridan (1977, 1977. http://scholar.google.com/ scholar?hl=en&btnG=Search&q=intitle:The+Four+Fundamental+Concepts+of+Psychoanalysis#1. Leonard, Madeleine. “A Tale of Two Cities: ‘Authentic’ Tourism in Belfast.” Irish Journal of Sociology 19, no. 2 (November 24, 2011): 111–26. https://doi.org/10.7227/IJS.19.2.8. Ozga-Lawn, M. “The Duke in His Domain.” Https://Eprints.Ncl.Ac.Uk, 2014. Parker, Michael. Northern Irish Literature, 1956-2006 : The Imprint of History. Palgrave Macmillan, 2007. Scofidio, Ricardo. Back to the Front: Tourisms of War. Princeton Architectural Press, 1996. http://books.google.com/books?id=LTN8QgAACAAJ&pgis=1. Scott, Maria. “Lacan’s ‘Of the Gaze as Objet Petit a’ as Anamorphic Discourse.” Paragraph. Edinburgh University Press, 2008. https://doi.org/10.2307/43151894. Switzer, Catherine, and Sara Mcdowell. “Redrawing Cognitive Maps of Conflict: Lost Spaces and Forgetting in the Centre of Belfast.” Memory Studies 2, no. 3 (September 1, 2009): 337–53. https://doi.org/10.1177/1750698008337562. “Theories Of Social Remembering - Misztal, Barbara - Google Books.” Accessed February 11, 2020. https://books.google.co.uk/books?hl=en&lr=&id=jW_lAAAAQBAJ&o i=fnd&pg=PP1&dq=barbara+misztal+theories+of+social+remembering&ots=tEiTHzM hP1&sig=0o8bnaJcBtHXejJiFNyH-q5o9Qw#v=onepage&q=barbara misztal theories of social remembering&f=false. Webb, Michael, Michael Sorkin, Lebbeus. Woods, and Architectural Association (Great Britain). Temple Island : A Study. Architectural Association, 1987. ———. Temple Island : A Study. Architectural Association, 1987. Žižek, Slavoj. The Parallax View. MIT, 2009.

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Image Credits

01. Michael Webb_ Temple Island 290 http://archigram.westminster.ac.uk/project.php?id=236&src=9 02. Nat Chard_ Fathoming the Unfathomable https://natchard.com/ 03. Jonathan Olley_ Castles of Ulster https://www.phillips.com/detail/jonathan-olley/UK040209/90 04. Stephen J Williams_ Notes upon the mystic writing pad https://stephenjwilliams.com/2018/05/20/mystic-writing-pad/ 05. Old Belfast Photographs_ Belfast high Street https://www.belfastlive.co.uk/news/history/showing-steelpowerful-images-resilience-12648690 06. Victor Sloan_ Londonderry Westbank Loyalists, Derry http://www.victorsloan.com/2010/05/return-to-works-walls-market-street.html 07. Victor Sloan_ Magazine Gate, Derry http://www.victorsloan.com/2010/05/return-to-works-walls-market-street.html 08. Victor Sloan_ Resting at St Columbs Cathedral http://www.victorsloan.com/2010/05/return-to-works-walls-market-street.html 09. Willie Doherty_ Protecting, Invading http://www.kerlingallery.com/artists/willie-doherty 10. Jacques Androut Du Cerceau, Lecons de Perspective https://www.christies.com/lotfinder/Lot/androuet-du-cerceaujacques-lecons-de-5698259-details.aspx 11. Unknown Artist_ Camera Lucida https://en.wikipedia.org/wiki/Camera_lucida#/media/ File:Camera_Lucida_in_use_drawing_small_figurine.jpg 12. The Photosculpture of Francois Willieme http://users. telenet.be/thomasweynants/photosculpture.html 13. Hop-on-hop-off Bus https://www.hop-on-hop-off-bus.com/belfast/giants-causewaytour-and-belfast-hop-on-hop-off-tour_27169 14. Black Cab Tour https://wildrovertours.com/activity/black-taxi-tours/ 16. Richard Hamilton_ People https://www.tate.org.uk/art/artworks/hamilton-people-p01019 15. Richard Hamilton_ Trainsition

https://imageobjecttext.com/2014/07/12/direction-of-travel/ https:// www.tate.org.uk/art/artworks/hamilton-trainsition-iiii-t01201 17. Hans Holbein the younger_ The Ambassadors https://www.nationalgallery.org.uk/paintings/hans-holbein-theyounger-the-ambassadors 18. El Lissitzky_ Proun Room http://www.artnet.com/artists/el-lissitzky/der-prounenraum-blatt-5der-i-kestnermappe-proun-fQCTcMDvUj9BtiiRyQk2Yw2 19. Morphosis_ Sixth Street House https://www.moma.org/collection/works/299 20. Gemma Frisica_ Radio Astronomico https://www.dartmouth.edu/~matc/math5.geometry/unit15/unit15.html 21. Albrecht Dürer_ Draughtsman Making a Perspective Drawing of a Reclining Woman https://www.metmuseum.org/art/collection/search/366555

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Manipulating Perception, an Architecture of Disruption: Communicating the Hidden Reality of Belfast Through a Critical Study into Architectural Representation. Hugo Gallucci Belfast Excavations

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