Metropolitan Sepulchure: A Counterfactual History of London

| Visual Storytelling: Narrative and Sequence |

Trip Preparation Before undertaking my initial research trip, I chose to note down everything I could think of associated with London. Obviously I did not think this through as I soon ran out of room on my mind map. This made me realise how broad the subject was. Before visiting the city I would need to decide exactly what I wanted to look at.knowing what to visually record and would hopfully help me find inspiration for a potential narrative.

Often with previous projects, I have tried to keep my initial research as open as possible. However, approaching a topic as expansive as ‘London’ I decided the opposite would be appropriate. From looking at my mind map I could see that the majority of my thoughts focused on physical places; how have the history of these spaces formed present day London? I considered how narrative relates to architecture and construction; I could see many possibilities from exploring the stories behind buildings, the lives of people who use the buildings to the continuously changing developmental state of London.

Reflecting back at this stage of the module, I failed to do any extensive research into London. It could be seen that I was a little close-minded at the early stages of the project. Even though I have grown up close to the city and already have a good knowledge of it, I could have benefited from doing some secondary research such as reading books on my chosen area. I think although crucial to draw upon past knowledge, it is important for a design researcher to be able to back this knowledge up through citing secondary sources. In failing to do this, it can be seen that my progress into selecting a focus was hindered. Perhaps if I had considered doing more research prior to the trip I would have had a better understanding of what to look for. | DE7 401 |

| Visual Storytelling: Narrative and Sequence |

Social Spaces Already establishing that I had an interest and enjoy illustrating architectural spaces, I wanted to explore how this could be a starting point for a sequential or non-sequential narrative. The notion of social spaces I determined to be of relevance as I envisaged this would allow me to look at the wider topic of social behaviour and how we interact with spaces.

Additionally, this would allow me to consider a contemporary discourse such as the exploration of virtual social spaces like Facebook and Twitter. As noted in Landscape Narratives, a building, space, or area becomes defined by the events that occur at that location; it can therefore be seen that landscapes are defined by narrative: ‘It is through narrative that we interpret the processes and events of a place. We come to know a place because we know its stories ‘ Potteiger/ Purinton (1998, pg. 6)

I think even though I had initially come up with quite a well-defined field of study. I did not follow this through fully when completing primary research in London. It was not until I started exploring social spaces in London that I realised I would need to be a lot more specific if I wanted determine a narrative from the theme. If I had done more preliminary research before the trip, looking into the kind of social space I wanted to explore, then this might have become a more successful path to follow.

However, reflecting back now on the project, I can see that my final concept does relate back to this initial starting point. It can be seen that my final piece looks at how we interact with cemeteries’ and macabre ‘heritage sites’, both of which can be seen as social/public spaces. I think from one perspective, I arrived back at my initial thought through taking a more complex journey. | DE7 401 |

| Visual Storytelling: Narrative and Sequence |

Primary Observations Illustrations and photographs produced on my initial research trip: 5th February 2015

On the trip I thought I would look at either churches or pubs, or the link between them both as spaces for communities. However, throughout the day I realised that what I found interesting was not how the buildings were used, but their place in history and architectural aesthetic. I also noticed on our journey the amount of unusual street names. Combining both of these thoughts I decided that I would focus on finding out about the history of London street names and the narratives that these may uphold or inspire. | DE7 401 |

| Visual Storytelling: Narrative and Sequence |

Recording Colour Whilst on our trip to London, I decided to record the colours I saw through selecting matching Pantone swatches. I thought this would be an interesting way to produce a visual response for each location due to the restrictions of selecting block colour.

Some of these (Little Britain and Arnold Circus) I felt were more effective than others as from looking at them now the colour palette ties in well with the photograph.

I think this was my most successful outcome of the trip. Producing these responses made me realise I had previously lacked creativity when recording visual information. I therefore tried to reflect on this when approaching a way to structure my narrative. I realised that similar to this task, a narrative could be approached in a non-linear structure and simplified down. Colours can also dictate a moment in time, or time passing, and could be employed as a narrative device to suggest this.

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| Visual Storytelling: Narrative and Sequence |

Place Names I discovered many of the cities street name origins were unusual. Knowing the rich history of the London, these might inspire or have unusual plots behind their meanings. I also thought that the etymology of London place names, and how the meanings of words might have changed could provide clues to events and a hidden narrative for the city.

In terms of my initial ideas generation, I found for this project I produced a lot of mind maps as a way of exploring all possible avenues. This allowed me to physically see all my thoughts on a topic in one place. I think (although messy) this method of working can be quite visual and help to envisage the connections between ideas.

This can also prove of use when reflecting on where an idea might have stemmed from, or if during the process of the project you need to go back and re-consider an idea. Looking back at this process however I think when producing visual research such as mind maps or moodboards it is important to be able to easily recall information through looking at it.

For me, I often approach note-making tasks too quickly, meaning I either produce something which is illegible or inappropriately spaced. I think by highlighting this now, and improving the way I produce written research will help when working on my final major project. I imagine I will be producing a lot of notes in the future so a good task for me to next consider would be looking into methods of information collection; researching mind-map techniques, layouts for producing notes and other ways to visually collect research.

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| Visual Storytelling: Narrative and Sequence |

Place Names Using books such as Dictionary of London Place Names by A.D Mills and online resources I found that there were a range of different reasons as to why street names were chosen. Some of these had immediate visual appeal; initially I envisaged I would produce a final outcome which could present how the street looked in reality and interweave the story behind its name into the road.

Reflecting on methods of research, I found that through sourcing a book which contained a lot of the information I would require was a lot more time effective than searching online. I think for me, I have learnt I find it important to be able to easily re-access information. Websites which contained many of the stories in the book were poorly constructed so I realised than we looking at them again it might prove challenging to seek out the information I would need. Alongside this, I found using books a more immersive and tactile research experience contributing to the enjoyable nature of the task.

Pages taken from A Dictionary of London Place-Names (2010)

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| Visual Storytelling: Narrative and Sequence |

The Story:

Street Name Narratives

The word ‘Pudding’ derives from medieval times meaning offal. Before being the epicentre for the fire of London in 1666, pudding lane was used by the local Butchers to transport their waste down to the Thames for disposal. It was common for the entrails to fall of the butchers cart and be left in the street.

Pudding Lane: EC3R 8BQ

On visiting Pudding Lane I was disappointed by how contemporary the street was; any indications of its history were long gone (apart from a plaque). This could be interesting as I would be able to show the contrast between the past and the present day, producing a sequential narrative which would look at the destruction and development of the street. As sequential narrative theory dictates, modes to suggest a temporal juncture (such as the points in time where the aesthetic of Pudding Lane changed) are crucial to the indication of the passing and direction of time. | DE7 401 |

| Visual Storytelling: Narrative and Sequence |

Street Name Narratives Bleeding Heart Yard: EC1N 8SJ

464 // 445 // Cool Grey 11 // 207

The Story:

The courtyard is thought to have been named after an old London tale about the murder of Lady Elizabeth Hatton in the 1600’s. It is rumoured her body was found down the alley ‘Torn limb from limb, but with her heart still pumping blood.’

Bleeding Heart Yard is also mentioned in Charles Dickens’ Little Dorrit: ‘A place much changed in feature and in fortune, yet with some relish of ancient greatness about it. Two or three mighty stacks of chimneys, and a few large dark rooms which had escaped being walled and subdivided out of the recognition of their old proportions, gave the Yard a character.

It was inhabited by poor people, who set up their rest among its faded glories, as Arabs of the desert pitch their tents among the fallen stones of the Pyramids; but there was a family sentimental feeling prevalent in the Yard, that it had a character.’

DICKENS (1855-57)

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The Story:

Street Name Narratives

Many of London’s street names denote past events or uses. Cloth Fair for example, refers to its past history of being a street which was regularly the location for the selling of cloth.’ Merchants would often gather here being close to Smithfield Market and the annual Bartholomew Fair’ was held here from the 1100’s until 1855. Additionally the street is home to the oldest house in London, built between 1597 and 1614.

Cloth Fair: EC1A 7JQ

Looking back at this stage of the project, I can now see that the reason I did not feel inspired by looking at the history of London’s street names was due to the way I chose to approach them. I initially thought that what appealed to me was the meanings behind the words, but on visiting the sites and putting together composite photographs I determined that my interest only went as far as the architectural structures themselves. I think for me, I could not comprehend how I would translate the stories into a narrative structure and failed to see the potential in development from this idea. This has highlighted a weakness in my creative practice as I now realise that sometimes I can be impatient with ideas if I cannot immediately imagine how the project will progress. This also emphasises the importance of selecting a topic which is of genuine interest when working to a self-led brief; it can be hard to find motivation to progress an idea if you are not passionate about it. In realising this, I have learnt that when approaching visual storytelling, for me the method of representing a narrative is as important as the discourse. I need to be fully engaged with the subject matter and the creative approach from the outset to become motivated.

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| Visual Storytelling: Narrative and Sequence |

Peer Feedback Engaging in the critical reflection of the work of others I think can help both parties. As an outsider looking at someone else’s work, areas of strength or weakness might be easier to notice. Similar to this I think the practice of analysing other peoples work can help when reflecting on your own practice critically by using the same method of emotionally detachment.The first thing I noticed from the pin up was the broad range of ideas that had been produced from us all taking the same journey; this highlights the subjective nature of the design brief.

Looking back at the peer review, I realise that I did not get as many comments as some of the other students. This might have been down to my idea not being very clear or how I chose to present the work. I could have included text to explain what the idea was.

Additionally, I noticed a lack of illustrations; I presented mainly photographs and only two drawings. If I had presented a wider variety of visual material this might have been of more interest to my peers. In the future I will think about how I am presenting my work to others; it is important to remember that proximity to a project will effect understanding of it. I will try to therefore detach myself from my work more when looking at it critically and when preparing presentations. I should aim to see how it is viewed by someone with no knowledge of the work up until that point.

It has become apparent to me through this task that communication of work at the ideas stage is something I could greatly improve. If I am to do this then hopefully presentation of my work should be improved across all areas, which will be beneficial when producing portfolios and presenting work to potential clients and employers in the future.

Post it note peer responses to my pin up of work | DE7 401 |

| Visual Storytelling: Narrative and Sequence |

Hidden London Not being confident in my choices, I decided I needed to re-think what I wanted to focus on. Reflecting on what I found interesting about street names I came to the conclusion I was interested in the hidden. London itself is a city defined by the hidden, either through the physical (tunnels, alleyways, buildings) or the metaphorical ( hidden histories, narratives) On my second journey to London I attempted to look at the city through being more observant; I think when you know a place well you tend not to notice things.

I became interested in the side of the city you can’t see and the way as humans we impose a meaning on a visual through our already existing knowledge of visual signs and signifiers.

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London as it Might Have Been Architecture can tell a story about the world we live in. The size and status of a building can suggest the economic situation of an area, historical buildings can reflect on the past and construction sites indicate at what the future city may be like.

This made me think about sequential narrative in a non-linear format.

Why do we always reflect on the past, present or future? What about the narratives that we have not had the chance to explore, the things that never were? As highlighted by Felix Barker and Ralph Hyde in London as it might have been: ‘Discarded designs and rejected plans lurk like unhappy ghosts behind every important building in London. Our streets are lined with unfulfilled good intentions.’ (1982, pg. 9)

Unbuilt plans, discarded ideas and the unexecuted, offer an insight into a different history. It can be seen that abandoned ideas are as important in shaping our social, economic and architectural heritage as the ideas that were selected to be built. The unbuilt can tells us a lot about the zeitgeist of an era and help us to understand therefore why certain proposals were chosen and how this has ultimately shaped the present, and will shape the future.

Notes made from watching Unbuilt Britain, a television series on BBC 4 about the construction of our cites

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London as it might have been Transport

Reflecting back at this stage of the project, it has become apparent that I felt overwhelmed about the amount of material I had discovered. I was unsure how to collate all of this. As a result I decided to focus on one of the proposals I had found. I think if I had spent a bit more time organising my resources at the beginning, I would not have felt selecting a couple of proposals to be a daunting task.

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I found that there was a lot of material online for proposed ideas, particularly in relation to transport and bridges. Concepts ranged from a car park to be built over Trafalgar square in the 1930’s, a glass tunnel ringroad in the Victorian era to city airports and monorails. This proves that the human interest in city development is inherent across generations, as is the narrative setting of an alternative reality. The unbuilt being free from the limitations of reality resulted in many of the propositions I found feeling fictitious, employing the fantastical as a mode of inspiration.

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At the time I decided to bookmark all the images on my computer, however I did not realise until later on in the project that this made it difficult to look at all the information as a body of work.

I could have spent more time at the image sourcing and research stage analysing the material I had found and properly categorised it.

It might have also been a good idea to print off the images/narratives and form a mood board.

Looking at my practice as a design researcher I think I sometimes lack organisational skills which could be improved through taking the time to manage my resources better. Tasks such as file naming and folder creation on my computer would save a lot of time in the later stages when looking for a particular image.

Additionally, I think I would gain a greater understanding of the images I have sourced by translating them from digital files to physical copies. By pinning the work up or producing a moodboard I would then be able to look at all my research at once. In my opinion this would be a more creative and effective method of working.

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London as it might have been

‘Who can doubt that they have also spared us many monstrosities? At least our skyline is not disfigured by colossal statues. A giant Britannia does not stare imperiously over London from the heights of Greenwich Park; Sir Robert Peel does not rise from the middle of the Thames at Vauxhall; nor does a French sculptor’s 70ft image of Shakespeare look down from the top of Primrose Hill. Pyramids destined for Trafalgar Square and Shooters Hill have been sent about their business.

Piccadilly Circus has managed somehow to escape persistent attempts to turn it into a multi-level fairground. A Crystal Tower Bridge, an Eiffel Tower at Wembley and a Roman Coliseum at the top of Whitehall are among the follies that have enjoyed brief giddy moments of acclaim and then, having strutted their hour, are heard no more. ‘

I have recognised that as a designer, I am interested in the contrast between the mundane and the extreme. The proposals which appealed to me the most were the ones which made me imagine of a world similar to ours, with an aesthetic which is completely out of place to what we commonly perceive to be ‘normal’. I think in reflection of this, my choices for the later stages of research and concept development make sense. This culmination of the banal and the visually fictional is the perfect approach for illustrative peritexts, an approach I tried to focus my outcome on through the use of combining digital photographic manipulations with the text.

BARKER/HYDE (1982,pg 9)

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The Great Tower for London I chose to focus on proposals which I felt would have greatly changed the face of London. One which I felt also had an intriguing plot was a proposal for ‘The Great Tower for London’, a plan to build a structure similar to the Eiffel Tower at Wembley in North London.

This made me consider not only how the aesthetic of an area would change due to a new construction, but potentially how if this had been built, the layout of the city might have been completely different. Wembley might have ended up being the ‘centre’ of London and later architectural proposals constructed around or close to it rather than the area being considered the outskirts of London. I intended to develop a visual approach for my narrative through applying critical thinking like this; the notion of urban renewal and the alternate can help us to reflect as much as what does exist as what never occurred.

If I had organised my time better at the beginning of the project, I would have been able to develop a concept around the Great Tower in a similar fashion to what I eventually produced for the Metropolitan Sepulchre. Like the pyramid, I found there was a lot of information about the story behind the Great Tower, meaning it would have been a viable narrative plot to use. I would have liked to have developed an idea around the structure of the city; both of the proposals are based in areas which are not considered to be central London, so I could have potentially spent the time re-imagining the city layout in relation to this.

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Metropolitan Sepulchre In London as it Might Have Been, I discovered a proposal for a pyramid to help solve London’s problem with disposal of the dead. Church graveyards had become dangerously full and as a result a health risk to the living. The proposition would house over 5 million dead Londoners; this alongside the monumental size of the structure would have overshadowed the London skyline and could have affected the way the city is perceived by the world; a city dominated by a necropolis and death.

To me, the plot behind this architectural proposal had a clear three-act narrative structure; a set up (the introduction of the diegesis, and Thomas Wilson, an aspiring architect), a problem (a city overflowing with dead bodies with nowhere to dispose them) and a resolution (the construction of a pyramid to house the bodies in).

Page taken from London as it might have been (1982) fig.12

‘Wilson continually stressed the aesthetic qualities of his pyramid (the graceful proportions are particularly adapted to sepulchral solemnity) its historical importance (an impressive memento mori to every passing age) and its civic appeal (the grand mausoleum will go far towards the glory of London.)’

‘This pyramid was to be constructed of brick, faced with granite, and would occupy an area the size of Russell Square, yet Wilson claimed that his idea was practicable, economical and remunerative.’

CURL (1994, pg179 )

BARKER / HYDE (1982, pg,144) | DE7 401 |

I found that unfortunately being an unexecuted proposition from the 1820’s, there was very little visual information available. This was something I struggled with for a couple of weeks before working out how I could approach visualising something that did not exist. At the time I did not initially think to look into other similar structures such as the interiors of catacombs or pyramids. If I had done this sooner, then I might have saved myself some time during the production stages; I found I was still researching whilst designing. Even though I think this is sometimes necessary: concept development means amendments are needed, I could have made more effort to think about the different ways the dead are buried instead of concentrating so much on Egyptian architecture, information which was later discarded as it no longer was needed.

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Contacting Archives In addition to the information I had found online, I decided to contact London based archives to see what information they might have on unexecuted architecture. Unfortunately all 3 I contacted took quite a while to get back to me, meaning by the time I had received a response I was already on the ideas stage of my project. I found however that this was of use in terms of looking at the illustrative approach to communicating architectural proposals. These were varied and a lot more expressive than I had initially thought.

Alongside emailing the London Metropolitan archives I also chose to visit them to see what else I could find out. I think that sometimes it’s easier to speak to someone in person as emails can get lost in translation or ignored. However on my visit to the archives I found that they had no more information than what I had already found about the sepulchre online.

Email communication with Fiona Orsini at the V&A

Email communication with C. Hopkins at the London Metropolitan Archives

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The delayed response from the archive curators has made me realise the importance in starting discussions with contacts as early as possible.

If I had done this when I had first come up with the idea, the information they provided might have been more useful and potentially altered the course of my project. This is something for me to consider when approaching my final major project as I have learnt from contacting archive sources that if done at the right time they can be invaluable sources of visual research, in particular the V&A archive. It could be seen that a major downfall of this part of the project was my lack of initiative. Looking back at this now when I received no response initially, it might have been a good idea to phone the archives or go and visit them.

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London Gothic Exhibition Information collected at the London Gothic exhibition included original plans for the building as well as a reconstruction of how London might look if the pyramid had been built. Although in my opinion this was not executed very well I think the monumental scale of the structure is represented and it proves how drastically the London skyline would have been altered.

Other than the few photographs I took at the museum I failed to make any other primary observations. As expected there was little information on the pyramid due to the fact that the plan never happened, but I think looking back at the visit I could have spent more time looking properly at the drawings displayed. Previously I had only been able to find lo-res images on the internet so it was an invaluable experience being able to view the illustrations at a bigger scale. This gave me a better understanding of how the architects proposed the layout for the sepulchre would work which later was useful when producing a map to show the interior structure of the pyramid.

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Egyptian Revival I realised the next appropriate step would be to look more into how Egyptian aesthetics have been integrated into British architectural development.

Books such as Egypotomania proved to be of great use to me as they provided me with an insight into various Egyptian architectural characteristics: ‘Egypt, in short, has been a continuously attractive source of design ideas, and a quarry from which creative artists have taken motifs from classical antiquity to the present’ CURL (1994, pg 225) From this I realised that architecture can visually reflect the interests of a past society, a narrative in itself. London is a city of constant regeneration meaning over time, a lot of buildings have been lost. What does this say about societies change in aesthetic taste? Additionally, if a structure such as the Metropolitan Sepulchre had been constructed, would its aesthetic style have influenced other architectural developments in the city? Would London today be known for its mixture of Anglo-Egyptian buildings?

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Throughout the project, I think a lack of first hand observation may have hindered my understanding. If I had chosen to go and look at Egyptian structures in London rather than referring to books or online I may have established a different perspective on their construction and why the iconographic aesthetic was of interest in the past. I think because I felt like I had managed my time poorly at the early stages of the project I felt reluctant to go out and make primary observations; I became focussed on progressing to the ideas generation/production stage. From both this task and the theoretical context of my final outcome, I have learnt that viewing sources produced by others can result in their creators subjective selections effecting the results of my research. This is why primary methods can be seen as preferable. When viewing something first hand I would then be able to select what I find to be of interest and then record in a method I have chosen, which should therefore be more relevant for my learning.

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Other than the few books I read on Egyptian revival I could have spent more time learning about the reasoning’s behind the association with Egypt, the dead and their choice in structures. I think looking back at this process now I rushed this part of the project, and could have reflected more on the aesthetic culture of the Egyptians within my final design if I had taken the time to source more imagery.

The Visual Language of Death There is an association of Egyptian architecture with the celebration of death, a culture which had a great belief in the afterlife and the celebration of the transition between our world and the next.

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Death and its celebration is the master plot I wish to explore further. Universally understood plots, like the narrative of death, funerals and cemeteries can ‘exert an influence on the way we take in new information.’ ABBOTT (2008, pg. 236) When an audience recognises both the commonly used imagery associated with death, alongside the written narrative, a pre-existing knowledge will be imposed on the narrative. We need to understand what the image ‘means’ to decipher a narrative.

This is where semiotics and visual language can be used by a designer as a means of producing a visual representation of a plot.

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‘The Victorians seem to have been half in love with death, which was just as well since they had a great deal of it to contend with’

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CURL (1994 pg.141) fig.24

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Initial Illustrations

Before considering a final outcome, I wished to explore how I could take my story and place it in a narrative setting. Up until this point in the project, I had not given much consideration as to how I wanted to tell the story of the Metropolitan Sepulchre. I knew I wished to approach it from a critical perspective, placing the design proposition in a contemporary landscape, but I was unsure of how to do this. At the time, I thought the project may be too difficult, and an alternative would be to produce a sequential narrative about London’s overflowing burial grounds and all the solutions that were suggested. However, I had become more interested in the theoretical approach I wished to take so disregarded this idea.

‘Countering popularly accepted narratives with a conflicting vision opens a discourse about what happened and encourages a critical evaluation of ‘any given story’ by placing unfamiliar stories in familiar landscapes.’

POTTEIGER/ PURINTON (1998, pg. 198) Studying narrative from a critical design approach suggests how stories are based on a determined set of events, if these events change then the narrative does too. This non-linear format relies on a single starting point which provides the opportunity for numerous developments and possible outcomes. The point of circumstance in this instance is the decision made by the government to build (or not build) the sepulchre.

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Initial Concept I decided I wanted to integrate the alternate reality into our own through a contemporary discourse.

One idea I considered was the production of an augmented reality app; this would allow the narrative of our reality and the alternate be merged through technology.

However one of our tutors mentioned that the Museum of London had already done something similar and constructed a ‘street museum’ (figure 28.) This interjects photos of how the city used to look in with the present. It was suggested that if I was interested in exploring the duality and integration of two worlds, perhaps that I should look further than how our world would aesthetically change. I decided to imagine what it would be like if it was part of our reality, an idea i had started to explore within my initial illustration through the changing of the bus destination.

This made me think more about what the pyramid would become in present day society, and how I could construct a narrative through the way the events surrounding the structure would be presented to an audience of today. I wanted to do this to communicate a message about how we interact with locations, and learn more about how this integration can be assisted through the use of illustration.

In failing to search out other concepts similar to my initial idea, I could have unintentionally plagiarised. I did not think to see if something had already been produced as I naively assumed I would have come across it. This highlights the importance of secondary research in relation to existing sources as this may result in the discovery of an idea being duplicated. In finding a similar concept, I became concerned with pushing my idea further, as I wished to produce a contemporary and innovative final outcome.

What I think initially felt to be a downfall in the module resulted in being a contribution towards its success.

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Design Question

How can I make a statement about social desensitisation, using the format of tourist information guides and associated ephemera to frame the macabre narrative of the Metropolitan Sepulchre?

‘One important point that the distinction between story and discourse brings out is that we never see a story directly, but instead always pick it up through the narrative discourse. The story is always mediated by a voice, a style of writing, camera angles, actors’ interpretations - so that what we call the story is really something we construct. We put it together from what we read or see, often by inference.’

ABBOTT (2008, pg 20.)

Attractions such as the Tower of London and Westminster Abbey have become just that. Attractions. Looking to these and other sites such as London cemeteries’ which offer tours it can be seen that if the Metropolitan Sepulchre existed it would fall into this category.

When taking the proposition of the London death pyramid, and translating it into a building that would have a function in the present day I could then see how to produce the concept as a visual narrative. The The mediation of a story I realised to be integral to how experience of visiting an attraction involves the telling I would get the concept of the Metropolitan Sepulchre of the history, function or visitor advice through the use to sit within the realms of our reality. Looking to how of various modes of information distribution. death is interacted with, along with buildings that are considered to be of cultural significance explained to Formats such as tourist information guides, maps, me that a structure like the pyramid would have become leaflets can construct a version of events, or narrative, part of the tourist industry. By looking at how people through their layout, language employed, colour interact with buildings that exist in our own reality I was scheme and selected imagery. As these are not usually able to establish this, would there be any reason why very extensive, the purpose of an information guide in most instances is to provide a visitor with a starting the Sepulchre would be different? point for their experience. The narrative provided by these guides needs to be informative with an element of intrigue, which is usually done through the employment of both text and image.

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How do we interact with Monuments?

Primary observations made through photography and sketching. The ethnographic nature of the exercise allowed me to begin to explore what it is like to be a tourist in London. I noticed a lot of people viewed the sights through a device or interacted with it through taking photographs. This made me realise that people like to have a souvenir, something to prove that they have been there, again backed up by the amount of stalls I saw selling London ephemera.

I collected a lot of primary research on my visit to London but in hindsight I could have given greater consideration to my methodology choices. It might have been a good idea to interview people, ask them about why they come to see certain buildings and what they like to take away from the experience. From my findings however I expect this to be a physical one, as the majority of people I saw were recording their visit using technology.

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Monument branding The Tower of London

Looking at the branding of monuments, I wanted to establish how London attractions market themselves to an audience.

Additionally I wanted to learn more about the language of leaflets, if you visit what are you left with on your return home? Looking at the design for Tower of London that the macabre nature of the site has been lost. To me, the branding suggests the corporate, a site based on historical discovery and a family friendly day out. Why is this?

Although I took the time to visit several monuments in London to collect maps and leaflets I failed to spend any time doing additional ethnographic research or visiting the attractions themselves. I do not think I realised that the more information I had the easier it would be to understand how tourist ephemera is constructed, particularly maps. If I was to do the project again , I would definitely have taken the time to visit some of the attractions from the perspective of a tourist. perhaps furthering my research by getting in contact with the marketing or design department for the Tower of London for an interview about brand construction and marketing to an appropriate audience would be an appropriate way of learning more about why these places are marketed how they are, fig.29

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Monument branding

Westminster Abbey

Considering the history and age of Westminster Abbey, I think the brand design is contemporary and markets the cathedral in an interesting fashion; the type of language employed such as ‘rub shoulders with the immortals’ makes the experience feel personal and I saw as inspiring for my own design ideas. I also found it humorous how the abbey, which is essentially a burial ground, had been glamourized and the macabre nature of the site forgotten through a clinical design approach.

fig.31 fig.30

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Monument branding St Pauls Cathedral

St Paul’s cathedral I found interesting to look into the branding of as I found the marketing of religion intriguing. The layouts in particular for the sites information guides I used for inspiration as I found they helped to navigate easily though the information. Additionally at a later stage in the project I developed a map based on a similar plan-based format to the one used by the cathedral.

fig.32

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Monument branding Tower Bridge

As can be seen throughout my chosen tourist attractions to focus on, all use a similar colour palette of white, greys and blues. The sky on all the images looks unrealistic and gives the impression of a bright/sunny day. Visually this promotes a positive representation of the site therefore contributing to an image which feels inviting. Visual signs such are these are used throughout the branding of tourist sites to visually appeal to a potential visitor, alluding to the prospective narrative of their experience at the destination. fig.33

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Cemeteries as tourist attractions ‘The representation of commemoration of death, disaster or tragedy may frequently depend on upon a particular interpretation or narrative that is created around the site, the event and the people involved.

Thus, in the extreme, the representation may be far removed in time, space and reality from the original event’ SHARPLEY / STONE (2009, pg. 111) In this instance how the site is presented to the prospective visitor through various methods of visual signs can therefore reflect upon how macabre the attraction is perceived to be. From my research, sites such as the Tower of London have lost their gruesome past and are marketed as being ‘historical’ or ‘heritage’ sites to be of appeal to families and the mass market. it can be seen from this that in contemporary society, narrative of a site such as the Metropolitan Sepulchre is formed through visual identity branding.

This should reflect on the intended audience’s taste and moral sensibilities.

fig.34

fig.35

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Image References Looking at pyramids in a contemporary setting as well as considering the common traits I found from analysing previous leaflet designs I collated imagry as an initial starting point. From looking at these, I decided that to make the leaflet feel realistic,I would need to emulate the format, colours and type of imagery used by the exsisting tourist sites. I settled on this being photographic as even though a photograph can be deceptive, I think the audience are more likely to not question the authenticity of a photograph than of an illustration.

I struggled with finding a photographic reference to base my pyramid design on. It needed to sit within the disruption given by Thomas Wilson and have an element of European aesthetic to it. Additionally needed to be weathered and not contemporary. This would then suggest to the audience that the structure is old and so fit within their intended expectations for what a pyramid built in the 1800’s might look like.I ended up using an image of The Pyramid of Cestius in Rome as the basis for my pyramid as this is how I imagined it might have looked with the addition of a tower at the top.

fig.38

fig.36

fig.37

fig.39

fig.40 fig.41

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Using various found photographic imagry to produce a digital composite. The tower added on the top of the pyramid helps to establish a sense of scale as do the clouds in the background.

Digital manipulation is a process which I am very confident in using, proved by the successfulness of my final outcome. As I am concerned by constructing imagery that appears to be real, I questioned how a contemporary viewer might evaluate an image. Has the use of technology and digital manipulation programmes meant it is easier to make an image appear ‘authentic’? I think as a result, audiences are aware at the potential to be deceived by an image so are more questioning of its accuracy. Considering this led me to be extra cautious with my production technique, particularly in response to colour as this can be one of the first detections of an image manipulation

fig.42

fig.43

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Design Development

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Logo Design From my past experience as a Graphic Designer, I know that the most effective logos are easy to replicate, and easy to use in different design contexts. I therefore chose to produce a logo which was initially one colour but could be broken down into more if required.

I came to the conclusion by looking at existing logos for London’s monuments that they were all very simplistic in their approach, consisting mainly of typography and minimal imagery. I decided to play around with two concepts: incorporating type with the Egyptian symbol for the underworld and a contemporary approach using a triangle to suggest the structure of the building.

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Branding Design Using the appropriate materials, authenticity can be cultivated through production. How can you make an image feel authentic, when its content is fictional?

Roland Barthes in Image, Music, Text, reflects on this in relation to narrative. In the same way, making the production of an image appear to have been the thought process of another event, such as a brief given by a (fictional) client, the production process becomes natural, and consequently the final outcome becomes authentic: ‘There is no counting the narrational devices which seek to naturalise the subsequent narrative by feigning to mark it the outcome of some natural circumstance.’ BARTHES (1982, p.116)

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Critical Analysis Initial Idea Printing out to scale to see how the images worked together, I showed my initial leaflet design at a tutorial. It was suggested that although the design fitted in perfectly within the context of tourist information guides, had I taken it a step too far and begun to produce something that was too believable? I needed to decide what I wanted to get out of the project in the long term, reflecting on not only the aims for the module but my own personal objectives. The advice given made me realise that I had yet to inject the narrative fully into the design format; on first impressions, it would be hard to determine leaflet was for an attraction set in London or of a fictional nature.

In addition to this, my tutorial gave me the insight into my choices for aesthetic approach. Although a lot of the tourist branding ephemera appears to follow a similar format, I found an example of a map produced by the Tower of London (figure 46) which had more of an aesthetic quality to it. In realising this I decided at this point I would like to try and make an improvement on the way these kinds of guides are designed; employing all the functional modes of communication that already exist but framing these using a more contemporary and considered approach.

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Map development “It is not the information the maps are giving that is important; it is the connotation of spatial (and therefore temporal) specifically�

MORGAN (2014, pg. 146) Producing a map as part of the tourist information that would be provided for the sepulchre suggests its physicality; its authenticity is indicated by its relationship to other authentic locations in present day reality.

Looking back at the development of a map for my narrative it is clear to me that this was the part of the project where I learnt the most.

I had previously not given much thought into the construction of maps and how there is an intrinsic link between usability and design.

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Images in context I was struggling with how I could visually show something that did not exist. As Catrin Morgan suggests in her thesis A Taxonomy of Deception: ‘When embedded in a fictional text a photograph has the effect of creating a frisson in which fragments of reality appear co-opted into a fiction.’ MORGAN (2014, pg 19) When trying to establish reality, the use of photographs add another narrator and another event to the deception; the event of the photograph being taken by the photographer. A visual narrative is formed through what the photographer chooses to frame within the image. Considering this, I realised I did not need to literally show areas of the sepulchre to suggest their existence. This could be used through the implication of imagery that would be associated with an idea, e.g. a cup of coffee to re-enforce the idea of a cafe.

At a later stage in the project I replaced an image I had shot of two champagne glasses with a photo I took at the Crypt cafe at St. Martin in the Fields. I thought that if I had access to shoot locations which could be similar to what would be found in the sepulchre I should then take advantage of this. However in hindsight I think this may have been wrong. On showing my final designs to several of my peers they recognised the arched restaurant scene as the cafe I had shot in. This could mean as a result I have failed in producing a design that is fully deceptive. Although, the flipside of this could be that in having an image which is recognised as belonging elsewhere, an audience member may begin to unpick the design, therefore revealing the concept of deception and the counterfactual to them.

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Changing the course of history

Developing my narrative further, I wanted to suggest how the course of history has changed through the construction of the Metropolitan Sepulchre. By interspersing my tourist information guides with subverted iconographic imagery, this helps to establish a connection between our reality and the alternate. Intertextuality in this sense is used for the assistance of a concept rather than for purely pastiche or satirical purposes.

fig.45

However as highlighted by Abbott, when using intertextual reference it is important to consider the reasoning behind its use. A poorly executed intertextual reference could result in the communication of an idea appearing juvenile and not considered. One perspective on intertextuality is that in reference to an audience: (It is)’ based on the assumption that we can only express ourselves through words and forms that are already available to us’ (2008, pg.236) When using intertextuality a designer should aim to help inform an audience through their use of intellect; done incorrectly an image can appear to insult the intelligence of a viewer, appearing to assume they are not open to new visual concepts. Abbot also comments on an approach that must be therefore taken. Through a process of taking the intertextual reference and placing it within a different context, the original image, which will already in its usage bring with it any previously determined tropes and symbolisms, will then take on a new form, acting as a multi-conceptual component within a bigger picture: ‘The power of such work must lie in the way it re-contextualises the multitude of bits that have been cannibalised in this way.’

(2008, pg. 236) fig.46

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I integrated several secondary resource images into my final outcome to allow the design to function as an extension of what already exists in our reality. Images such as the blitz were manipulated to involve the image more directly with my narrative.

Modes of Communication Colour and tone

‘ When text and image are placed side by side they create a narrative. This narrative may be fiction or non-fiction and could be a single instant or a suite of illustrations participating in a larger text.�

MORGAN (2014, pg20) I continued to develop my design using a colour scheme which I felt to be appropriate for the original function of the building. As pointed out in a tutorial, did this not necessarily reflect on the genre of design I was trying to make a comment on. On showing my development work to a tutor, she was able to highlight points about the design that might not work when printed. Although appropriate for the macabre nature of the building proposal, the colours and textures used were inappropriate in representing the welcoming and commercial environment many London attractions uphold.

I find when working, I become involved in the creative production of a concept to a point where the message I am wanting to communicate gets forgotten about due to the enjoyment I get from making. Talking to others about your work can be helpful to keep a design on track as they are not as likely to hold an emotional attachment to the work.

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Modes of Communication Language and the implied reader

‘The Implied reader is not necessarily you or I but the reader we infer to be an intended recipient of a narrative. Some argue that the implied reader is the reader the implied author writes for’ ABBOTT (2008, pg 235) In this instance, the implied reader is the visitor of the Sepulchre. Through employing linguistic devices, language associated with tourist information as well as involving information a visitor might need during their time at the attraction I have aimed the narrative at the fictional audience. In doing this the real audience can be seen as distanced from the narrative, we are unable to directly involve ourselves with the diegesis explored in the contents of my design as it does not exist. I think this therefore means the outcome is looked at with a more inquisitive eye and perceived as a critical text on the nature of dark tourist sites.

Reflecting on the final design of the map, I think reducing the vibrancy in colour helped to restructure the concept by placing an emphasis on the most important element; the narrative. In producing a piece of deceptive design it could be argued that the design should go unnoticed, however this is something I failed to comment on in peer reviews or tutorial sessions.

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Final Map Design My final map design explores narrative in its simplest form; a series of numbers indicating the burial place of kings and queens, categorized by their royal houses or importance. ‘One important point that the distinction between story and discourse brings out is that we never see a story directly, but instead aways pick it up through the narrative discourse. The story is always mediated - by a voice, a style of writing, camera angles, actors interpretations - so that what we call the story is really something we construct. we put it together from what we read or see, often by inference’.

ABBOTT ( 2008, pg. 20.)

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Difference in discourse

Childrens’ Activity Guide

How a narrative might be told could be dependent on the intended audience. I therefore chose to employ this theory through producing a guide for children to explore how the same narrative could be told through different visual modes. I found looking at existing models, activity guides for children are often produced by attractions to educate in an entertaining way. Methods such as colouring -in, quizzes and facts told using language appropriate for the audience were all ideas I chose to engage with.

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Difference in discourse As explored in the contents of the activity guide, I realised that the cover would need to reflect on this theory. Part of my constructed narrative is the remains of British kings and Queens being a prominent feature of the sepulchre Henry VIII is given an Egyptian twist using an illustrative style that would be appropriate for children. Even though it is known by the intended audience that the king would not have worn a Nemes headdress similar to Tutankhamun, the visual association between the two works here as it relates back to the origin of the pyramid structure and its association with housing the bodies of past Pharos.

fig.47

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Final Design

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Final Design

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Final Crit As I had not had the time to photograph my leaflets, I decided to show them in the final critique for people to hold and interact with. The physicality of these pieces I think is hard to capture in a photograph, so the process of handing them round was an effective one to attain feedback on their believability. Making the items look worn, or like they had been used makes a viewer conscious of the items presence in this world, establishing a sense of the temporal. This was reflected on in my final crit by the receipt being commented on for its believability.

Due to longer than expected lead times for my final prints I was unable to present my final piece as a photograph of the ephemera as I had intended. At the time I had not considered how getting the finish of the pieces to feel believable would be time consuming and require precise making skills. Processes such as creating a perforated edge and folding the guides to have a professional finish were tasks I had not considered would require research. This as a result meant I found them hard to achieve and many attempts were needed to get this right.

This has proved to me that when using hand making skills, research can always be useful to see if there are new or previously un tested methods which could be employed. Learning from this, in future projects I would like to dedicate more time to testing and exploring the process of making. If I am to continue my research into counterfactuals and the deceptive then my methodology needs to include more time for research into real-life materials and finishes to further improve my creative skillset and the ‘believability’ of a fictional text in a factual context.

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Critical Review

Narrative is the universal language of humanity. Visual storytelling relies on the participation of an audience; this interaction with the events detailed determines our understanding of the narrative. It is evident therefore that through visual tropes, methods and the order in which these are revealed, designers can begin to communicate how they want a story to unfold. Within the field of storytelling, what is not revealed can be as integral as what is chosen to be shown; this I think became my dictum as the project progressed. The selection of images I used, along with the mode of presenting these, allowed me to represent a world which does not exist. The primary narrative (the story of a tourist destination which does not exist) becomes believable through the employment of a design format which would be commonly associated with a visit to the attraction. This in turn establishes a secondary narrative; the story of a visitor to the site, told through the various ephemera collected by them throughout their journey.

On reflecting on the achievements of the project, I think that I have produced a final outcome which through utilising the theory of deception, could easily fit alongside other London tourist destination branding. By exploring the parameters of what is already existing, I think my greatest achievement is understanding how tourist attraction ephemera communicates and then producing my own subtle satirical response. Another strength of mine which can be seen throughout the project is my ability to take on opinions and criticism from others as a way to further the progress of the project. This can be seen clearly during the production stages of my map as I produced several versions of this before arriving to what I think is a successful response. This process of producing, evaluating and then re-producing I think is integral to the design process; if I had not done this, I think the narrative would not have been as clearly defined.

For me this module has taken me on the biggest journey. I think due to the open nature of the brief, I initially struggled to come to a decision on what direction I wanted to take my project in; my previous experience prior to the masters working on heavily client directed briefs meant that at the start of this project I felt unsure of my own decisions.

In comparison to the Penguin project for DE7301 I definitely found it harder to make choices for this module. As a result I wasted a lot of time trying to come to a decision and at points trying to find motivation to produce work. However, looking back at this now I realise that once I had shown my ideas to others, and had the reassurance of my tutors and peers, I then found it easier to develop the project further. Considering

this, I think that if I am to continue to work on self-led projects then I need to have a lot more confidence in my creative choices. This is obviously not an objective which can be solved through reading books or learning how to manage my time better but relies on developing an understanding about my personality and how this is linked to my creative practice. If I can begin to ask myself why I feel unsure when producing self-led work then I will hopefully be able to establish how I can alter this.

I have learnt that however once I do have confidence in my design approach I am able to produce final outcomes quicker than my peers.

I think past experiences of working for clients and with short deadlines means that once a design specification has been set, I am quick to respond to this. An improvement in this process could therefore look at the stages before production, which would rely on me learning more about methods of analysis in relation to research and reflecting on the viability of ideas.

Looking at the project from the perspective of achievements as set out by the learning outcomes, I think that I could have done more to learn about the theory behind narrative. Although I feel there are successes within the project, establishing earlier why use of semiotics and sequence contribute to the construction of narrative I think would have been beneficial for me to learn. When coming to critically evaluate the process, I found this to be challenging as I initially felt I had little to back my creative choices up with. This for me has proven the importance of a praxis based approach which I shall aim to fully explore when producing my next body of work.

Using the notion of ‘what might have been’ when reflecting on this project, I think if I could do the project again, I would take a lot more time experimenting with approach and researching into how I could physically fit my final outcome into reality through the selection of appropriate materials. I was incredibly lucky that the printers I approached had the correct stocks to print my leaflet and tickets on, meaning I did not have to do any research into this. Other methods I used to ensure a realistic finish such as paper folding and perforation could have been more effective if I had spent time researching into design methods. Additionally I would have managed my time better at the earlier stages; I think producing a timetable, to-do lists or more sketchbook work might have been beneficial in managing how I collated visual sources.

I did not previously realise that a weakness of my practice which I should address is file management. Throughout the project I sourced a lot of visual and written information which I decided to store digitally.

When coming to the later stages of the project and beginning to produce my visual summary I found it very difficult to find files. I realise that down to laziness on my part I named files poorly and did not creative a very detailed bookmarking system. I think that as this project was a lot longer Although a lot more difficult than I was expecting, this module than others I have worked on during the Masters course I sourced a lot has taught me a lot about the relationship between my creative practice more information than previously. and my thought process. In doing this module, I have come across as field of study which intrigues me and I would like to continue to develop

From one perspective, it could be suggested that I should not after the module and potentially the Master’s degree too. However I think have spent as much time researching into the Metropolitan Sepulchre. As for this to work I need to now begin to progress my critical thinking skills there was little information surrounding the proposal, I spent a lot of time which in turn should affect my critical reflection technique too. searching online, in books and visiting the London Metropolitan archives to see if I could source any new information. Perhaps I should have taken the plot surrounding the proposal and then used my imagination to fully imagine what it would have been like. I realised however that this would not have been reflective of my field of study: the counterfactual.

This relies on re-imagining the course of history using a culmination of factual information and presumption to fill in the blanks. Any information I could obtain I therefore chose to use as a self-initiated design brief or specification to work to. In doing this, I think I helped to motivate myself to move the project along as well as setting boundaries which I have come to realise are a necessity for my creative practice.

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Fig.1: (1800’s) [Image] Ce qu’ul y a sous le pave de Londres Fig.2: (2007) [Image] Tube becomes shelter - tracks of the central line east of Liverpool Street Station filled with tarmac to accomodate more people. London Under London.

Fig.3: MOORE, H. (1941) [Still] Tube Shelter Perspective Available at: http://www.tate.org.uk/art/artworks/ moore-tube-shelter-perspective-n05709 (Last Accessed: 19/05/2015).

Fig.4: WREN, C. (1666) [Image] Wrens Plans after the Fire of London Available at:http://www.bl.uk/learning/timeline/ item103694.html (Last Accessed: 17/05/2015).

Fig.5: (1960S) [Image] Monorail, Regents Street Available at: http://londonist.com/2011/11/unbuilt-london-the-transportschemes-that-never-were.php?showpage=4#gallery-1 (Last Accessed: 19/05/2015).

Fig.6: [Image] Heliport, Charing Cross Available at: http:// londonist.com/2011/11/unbuilt-london-the-transportschemes-that-never-were.php?showpage=3#gallery-1 (Last Accessed: 15/05/2015).

Fig.14: TILDEN, P. (1918) [Image] Design for a tower to be build over Selfridges Available at: http://www.ribapix.com/ index.php?a=indexes&s=item&key=IYToxOntpOjA7czoyMjoi RmFudGFzdGljIGFyY2hpdGVjdHVyZSI7fQ==&pg=248 (Last Accessed: 15/05/2015).

Fig.15: GANDY, J.(1827) [Image] Design for an Imperial Palace Available at: http://www.ribapix.com/index.php?a =indexes&s=item&key=IYToxOntpOjA7czoyMjoiRmFudGFz dGljIGFyY2hpdGVjdHVyZSI7fQ==&pg=32 (Last Accessed: 20/05/2015).

Fig.16: LONDON METROPOLITAN ARCHIVES(2015) [Images] London Gothic Exhibition Fig.17: BRUNEL, I. (1831) [Image] Gateway to Clifton Suspension Bridge Fig.18: Foulston, J. (1823) [Still] Front Evelation of the civil and military library, in Ker Street, Devenport Fig.19: [Image] Egyptian House in Chapel; Street, Penzance.

Fig.20: [Image] Hathor Heads, Place du Caire, Paris

Fig.7: METROMONO (2006) [Image]Monorail Available at: http://londonist.com/2006/07/hanging_monorai.php (Last Accessed: 20/05/2015).

Fig.21: [Image] Sphinx , Chiswick House Available at: http:// www.historyextra.com/egypt-england (Last Accessed:20/05/2015).

Fig.8: PAXTON, J. (1855) [Image]Design for The Great Victorian Way Available at: http://collections.vam.ac.uk/item/ O1108503/design-for-the-great-victorian-drawing-paxtonjoseph-sir/ (Last Accessed: 15/05/2015).

Fig.22 [Image] Hobart mausoleum Available at: http://www. historyextra.com/egypt-england (Last Accessed: 20/05/2015).

Fig.9: (1930)[Image]Trafalgar Square Car ParkAvailable at:http://londonist.com/2011/11/unbuilt-london-thetransport-schemes-that-never-were.php?showpage=5#gallery-1 (Last Accessed: 20/05/2015).

Fig.10: (1931) [Image] Kings Cross Aerodrome Available at: http://londonist.com/2011/11/unbuilt-london-the-transportschemes-that-never-were.php?showpage=1#gallery-1(Last Accessed: 20/05/2015).

Fig.11: (1890) [Still] Catalogue of the 68 competitive designs for the great tower for Londonhttp://publicdomainreview.org/ collections/catalogue-of-the-68-competitive-designs-for-thegreat-tower-for-london-1890/ (Last Accessed: 20/05/2015).

Fig.12: WILSON, T. (1826) [Image] Metropolitan Sepulchre Available at:http://www.wondersandmarvels.com/2012/06/ metropolitan_sepulchre.html (Last Accessed: 15/05/2015).

Fig.13: CASSON, M. (1952) [Image] Design for the statue of Eros Available at: http://www.ribapix.com/index.php?a=inde xes&s=item&key=IYToxOntpOjA7czoyMjoiRmFudGFzdGljIGFy Y2hpdGVjdHVyZSI7fQ==&pg=30 (Last Accessed: 20/05/2015).

Fig.23 [Image] The mausoleum of Alfred Illingworth Available at:http://www.historyextra.com/egypt-england (Last Accessed:20/05/2015).

Fig.24 PUGIN, A. (1843) [Image] Entrance Gateway for a new cemetery.

Fig.25 (1997) [Image] Farrant Tomb in Kensal Green Cemetery, London

Fig.29: [Image] Tower of London Branding Available at: http://www.hrp.org.uk/TowerOfLondon/ (Last Accessed: 19/05/2015).

Fig.30: [Screenshot] Home Page:Westminster Abbey Available at: http://www.westminster-abbey.org/ (Last Accessed: 19/05/2015).

Fig.31: STRUCTURE [Image]Wesminster Abbey Branding Available at: http://www.designbystructure.com/Branding/ westminster-abbey-brand-design.htm (Last Accessed: 19/05/2015).

Fig.32: VOYAGE DESIGN (2013) [Image] St Pauls Cathedral Branding Available at: http://www.voyagedesign.co.uk/ portfolio/st-pauls-cathedral/(Last Accessed: 19/05/2015).

Fig.33: [Image] Tower Bridge Branding Available at: http:// www.towerbridge.org.uk/ (Last Accessed: 19/05/2015).

Fig.34: [Screengrab] Home Page: Highgate Cemetary Available at:http://highgatecemetery.org/ (Last Accessed: 19/05/2015).

Fig.35: (2014) [Image] Tour Guide: Paris Catacombs Available at: http://www.catacombes.paris.fr/sites/ catacombes/files/editeur/aide_a_la_visite_ (Last Accessed: 19/05/2015).

Fig.36 [Image] Egyptian Colours Available at:http://www. dotco.co.uk/colours/egypt.html (Last Accessed:20/05/2015).

Fig.37 FOSTER AND PARTNERS (2006) [Image] Palace of peace and Rcoonciliation Available at: http://www. fosterandpartners.com/news/archive/2006/09/palace-ofpeace-and-reconciliation-opens-in-kazakhstan/ (Last Accessed: 20/05/2015).

Fig.38 (2011) [Image] Memphis Pyramid Available at: http:// www.memphiscondoblog.com/2011/08/26/the-future-looksgreat-for-the-great-american-pyramid/ (Last Accessed: 20/05/2015).

Fig.26: (1900s) [Image] Egyptian Avenue, Highgate

Cemetary: Victorian Valhalla

Fig.27: ARMAGH, J. (2007) [Image] EgyptianAvenue HighgateCemetary Available at: http://commons.wikimedia. org/wiki/File:EgyptianAvenue_HighgateCemetary.JPG (Last Accessed: 19/05/2015).

Fig.39 (1987) [Image] North Korea abandoned hotel Available at: http://smccombs.tumblr.com/ post/118894912274/lonesomeculture-north-koreaabandoned (Last Accessed: 20/05/2015).

Fig.28: MUSEUM OF LONDON [Screenshots] Streetmuseum App Available at: http://www.museumoflondon.org.uk/ Resources/app/you-are-here-app/home.html (Last Accessed: 19/05/2015).

Fig.40 [Image]Transamerica Pyrami Available athttp:// thumbs.dreamstime.com/z/transamerica-pyramid-sanfrancisco-15298656.jpg (Last Accessed: 15/05/2015).

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Images Fig.40 [Image]Transamerica Pyrami Available athttp:// thumbs.dreamstime.com/z/transamerica-pyramid-sanfrancisco-15298656.jpg (Last Accessed: 15/05/2015).

Fig.41 GASPARETTI, F. (2006) [Image] Pyramid of cestius Available at: http://commons.wikimedia.org/wiki/ File:Pyramid_of_cestius.jpg (Last Accessed: 15/05/2015).

Fig.42: [Image] A real ancient pyramid Available at: http:// imgkid.com/pyramids-in-real-life.shtml (Last Accessed: 20/05/2015).

Fig.43:USER:SKEEZE (2015) [Image] Leaning Tower Available at: http://pixabay.com/en/leaning-tower-pisa-italylandmark-640302/ (Last Accessed: 20/05/2015).

Fig.44: RHP (2014) [Image] Discover:Tower of London, Official Map Fig.45: USER: PINEHURST19475 (2007) [Image] Mount Olivet Cemetery: Noeker Mausoleum--Detroit MIAvailable at: https://www.flickr.com/photos/71288712@ N00/1836566541 (Last Accessed: 20/05/2015).

Fig.46: BROWN, C. (2006) [Image] Queen Victoria statue, Victoria Memorial Available at: http://commons.wikimedia. org/wiki/File:Queen_Victoria_statue,_Victoria_Memorial,_ London.jpg (Last Accessed: 20/05/2015).

Fig.47: (approx 1535) [Image] Henry VIII Available at: http:// collections.rmg.co.uk/collections/objects/14236.html (Last Accessed: 20/05/2015).

| Visual Storytelling: Narrative and Sequence |

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