Subjective Space by marcus.

Space Subjective

Marcus Myles

This has been constructed in a time of a global pandemic, which has put limitations on how we live. Reiterating the importance of our individual connections to significant spaces.

Studio D

Studio D shares an interest in the method of mapping. We undertook a series of map-making exercises based on montage/assemblage methods designed to identify and discuss the ideas and experiences which might inform an approach to architecture, to see connections and overlaps, and to construct an armature which positions these within a spatial construct. One theme of interest lays in exploring how architects develop, understand, and articulate a personal ‘critical position’ and what informs how they approach and practice their discipline, what shapes intent. This is specific to individuals. On the following page, I have included the initial montage which began the discussion of a thinking machine. The emerging topics were philosophy, life, and space(s).

“A montage is an assembly of images that relate to each other in some way to create a single work or part of a work of art.” (Tate, 2021)

Fragments: Introduction Theory

p8 p10

Crombie Barry Room FPA Clova DJCAD V&A

p18 p36 p48 p62 p68 p78 p84

Atlas Critical Reflection

p102 p104

Bibliography Image references

P106 p107

Mapping Thought Fig 01

Introduction

This study explores how space can act as a thinking machine. It follows the theory that space is a subjective conception and therefore will focus on the authors own connection to a series of spaces which have been selected based on their significance to the subject. Following in the Studio D interests, each space within the series will be mapped as a fragment of thinking and investigated in two tones. The first is interested in realising how they act as a device for the subject and secondly, mapping this connection by producing a drawn “artefact” which has been influenced by artists and architects. The mapped artefacts have then been moulded and bonded together to form an “Atlas” of the mind.

“mapping is creating and building the world as much as measuring and describing it” (Corner, Cited in Cosgrove and Perkins 1999)

Subjective [ suhb-jek-tiv ] adjective existing in the mind; belonging to the thinking subject rather than to the object of thought. pertaining to or characteristic of an individual; personal; individual:

Space [ speys ]

(Dictionary.com, n.d.) 9

Theory

“Any definition of architecture requires a prior analysis of the concept of space.” (Lefebvre, 1991) To study space, you first must understand it or at least try to perceive it. A good way to begin would be to draw understandings from Architecture historians and Philosophers such as Siegfried Giedion. There are many views on the meaning of space within philosophy such as Deleuze & Guattari’s view, “for whom space is a continuum that marks difference by folding. The metaphor of territory: we use our concepts to cookie-cutter the world into bourgeoise territories. The project of the schizophrenic to deterritorialise, and reterritorialise the world.” (Holm, 2021) However, Giedion argues that space is subjective. He says that to understand the space outside us, we need to understand the space within us.

Giedion has 3 space conceptions: Archaic space (external), Classic space (internal) and Modern space (dynamic blend of inside and outside). With this, he states that Architecture is not space but rather represents it. Architecture is a way of conceiving space. This study will follow the approach of Giedion’s modern space conception, the dynamic relationship between inside and outside. Although he is applying this relationship to a constructed form, this study will refer from the position of a human subject - the author. This study will then refer to each space within the series as a bound area conceived and defined by the subjects thought. The space(s) referred to have been contained and labelled as a signifier but will be studied following the modern space conception method.

Fig 02 Species of Spaces and other pieces (Perec, 1974/1997)

Theory

The objective for this study is to develop and form a “thinking machine”, “thinking” being an action we can all do, but it is an individual task. We cannot think together and therefore it is inherent that a thinking machine must relate to one’s own individuality. Thus, this study constructs a thinking machine for the subject.

“Architecture is the interplay between life and form.” (Gehl, cited in Wagner, 2017)

I believe Architecture is also the interplay between life and space. Therefore, one of the underlying interests within this study is to understand the interplay between the subject’s life and space. We all form a connection to spaces and the reason for the relationship will vary, but that connection is again individual.

“Subjective space is the space which develops around the subject’s own body in relation to the capacities of the various receptors.” (Thinès, 2021)

This study will delve into a series of spaces in which I use to “think”. Each of them serves their own purpose and acts as a thinking machine in different ways. Spaces I visit to drift, learn, reflect, push, and grow. They vary from places which are a ritual visit to places rarely visited, but all are integral in forming who I am.

Mapping

Space can be mapped by constructing a visual artefact, capturing the relationship interplay with the space. The methods of producing the artefacts will differ based on the activity, space and how it effects thinking. Influence has been drawn from other artists and architects to understand different approaches to mapping spatial subject connection.

"The spatial order is built up by an amalgamation of a multitude of phenomena, the perception of which, subconsciously integrated, helps in building up the sensation of space. Memories and experience, not only of visual sensation but also of sound and touch and smell, enter into it. The sound and vibration in a hall; the physical touch of the walls of a narrow passage; the atmosphere and temperature of a stuffy room; the smell of a damp cellar; all are, in various degrees, components of spatial sensation. Every element, plastic or pictorial, partially obstructing the view, and people in the crowd rubbing against you, are part of it." (Goldfinger, 1941)

Fig 03, Erno’s Illustrations (Goldfinger, 1941)

Fig 04 Erno’s Illustrations (Goldfinger, 1941)

1 “Crombie” [ Crombie Country Park ]

“Barry”

[ Barry Buddon Military Base ]

“Room” [Marcus’ studio ]

“Clo

[Glen C

ova”

Clova ]

“FPA”

[Fergus Purdie Architects ]

“DJCAD”

[Duncan of Jordanstone ]

“V&A”

[V&A Museum Dundee ]

“Crombie”

The first in the series of spatial studies is Crombie, a country park in Angus. It is close to home and is where I go to walk the dog at the weekend. It is a calm and tranquil place. The walk is around 5 kilometres and has significant moments in the journey which play with your senses, framed views and its powerful atmospheric setting promotes thought. No words, just thinking. It is like you are speaking to the space you are in. There is a sensory stimulation walking around Crombie which promotes thought. An engagement which depends on the season and time of day, an evolving performance. Whilst walking the route your always guided by the water’s edge. It has become more than a dog walk, almost a ritual to attend Crombie. Like how others would attend church. This is where I go to pray, it makes sense and often guides me through making life decisions and somehow has the power to get the mental pistons firing. When confused it clears your mental space. Crombie in essence, is a thinking machine.

Walk

Crombie Plan

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Fig 05

Significant Points

Fig 06

Initial view of reservoir, crossroads. Open space, North wind.

Fig 07

Power & verticality of trees, casted shadows. Scale.

Fig 08

Opening, n formed fram of reservoir. position you relation to r

naturally med view r. Ability to urself in route.

Fig 09

Changing atmosphere, depth and density increase. Deep and enclosed.

Fig 10

Frowning tree, dark, cold & soggy environment.

Fig 11

Pivot p zone c Conne Warmt

point in route, change. Open. ection to water. th. 31

Fig 12

The reward - view, and bench. Quiet and calm. Sky light cast through wall of woodland forms arch on icy water.

Joiners

Production of Fragment: These constructed images are called joiners, the approach has been influenced by David Hockney. During my walk around Crombie, I took several photographs of significant points in the journey which provoke thoughts. These images were taken on my phone camera then digitally stitched together using the Joiner technique on photoshop. The Joiners have then been edited to Black & White to better signify the atmospheric qualities of Crombie.

“Barry”

Run

Second in the series of fragments is Barry Buddon, an active military base in Monifieth.

Although now, I begin to recognise paths and landmarks. The relationship is still there, it has become a ritual.

Barry buddon is a closed space, rarely open to the public. I can hear what happens behind the field curtain walls. Always lively. The scene is vast, wild, and untamed. Sharp prickly fields in a soft landscape. I go running through Barry buddon, it is a hard place, unforgiving. No sense of direction just the beach, sea, and some slightly formed footpaths to guide you through. There is not a human in sight, perhaps an occasional dog walker. You are alone. There are moments of what once was human life, but nature is reclaiming. A place where you lose the sense of space around you and you are in your head. The paths continues, but you are lost. Somewhere along the spectrum of being lost, you find yourself. A kind of mind body connection, a raw sense of clarity.

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Fig 13

“Reclaimed Space” 38

Fig 14

Fig 15

“WW1 Shelter” 40

Fig 16

Fig 17

“Lighthouse path” 42

Fig 18

Fig 19

“Beach” 44

Fig 20

Physical & Digital Sketch Painting

Production of Fragment: The approach to this artefact was to produce a set of physical and digital paintings which convey the characteristics of “Barry”. Before the production of the artworks I went on a 21 kilometer run through Barry Buddon and took a series of photographs which would be my reference material. The physical paintings were done on a piece of A5 Card (148x210mm) with mixed media. The digital paintings were produced on an IPad Pro with an Apple pencil (3024x4032px).

“Room”

Live/work

Third in the series of fragments and probably the most important space in my life right now is my room.

“as the detail of a lamp merges with a steel handrail, which in turn merges with the horizontal sunlight of a large space, individual elements blur ...the architectural synthesis of foreground, middle ground, and distant view, together with the subjective qualities of material and light, form the basis of complete perception... when we sit in a room at a desk by a window, the distant view, the light from the window, the floor material the wood of the desk, and the eraser in our hand begin to merge perceptually”

Bedroom, work room, print room, storage room, reading room, dress room, living room. A space which encompasses my life. In early 2020, I decided to gut and redesign this space based on a philosophical life change from reading about Stoicism. The principles were to remove all the unnecessary and material objects and design a space which is suited to my way of living and how I want to live. Luckily, this happened before the national lockdown. This space is a part of me, I am solely dependant on it. It acts as a device for living, working, and thinking. The functional qualities of the space improve my life, the materiality guides feeling. The un-cluttered room provides clarity. Everything is where I need it to be. There is an interplay between living space and living form resulting in a blended or seamless inside (head) and outside (form & space) relationship, it all merges.

(Holl, 2000)

Sarah Wigglesworth (image on right) uses a simple series of plans to explore the relationship of space and activity, in this case its applied to a dining table and maps the movement of objects. This method could be applied to my “room” as a series of plans which map how the I occupy the space throughout the day. “how we spend out days is of course, how we spend our lives” (Dillard, 1989)

Fig 21 (Rituals of Eating Wigglesworth, 2002)

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PRODUCED BY AN AUTODESK STUDENT VERSION

“Wake”

Fig 22

6am

PRODUCED BY AN AUTODESK STUDENT VERSION

Fig 23

8am

PRODUCED BY AN AUTODESK STUDENT VERSION

“Coffee”

PRODUCED BY AN AUTODESK STUDENT VERSION

“Typing”

Fig 24

10am

PRODUCED BY AN AUTODESK STUDENT VERSION

Fig 25

12pm

PRODUCED BY AN AUTODESK STUDENT VERSION

“Yoga”

PRODUCED BY AN AUTODESK STUDENT VERSION

“Drawing”

Fig 26

2pm

iPhone

PRODUCED BY AN AUTODESK STUDENT VERSION

Fig 27

4pm

iPhone !

PRODUCED BY AN AUTODESK STUDENT VERSION

“Printing”

PRODUCED BY AN AUTODESK STUDENT VERSION

“Eat”

Fig 28

6pm

PRODUCED BY AN AUTODESK STUDENT VERSION

Fig 29

8pm

PRODUCED BY AN AUTODESK STUDENT VERSION

“Read”

PRODUCED BY AN AUTODESK STUDENT VERSION

10am

8am PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

6am

PRODUCED BY AN AUTODESK STUDENT VERSION

Fig 30

12pm

PRODUCED BY AN AUTODESK STUDENT VERSION

6pm

iPhone !

PRODUCED BY AN AUTODESK STUDENT VERSION

4pm PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

2pm

PRODUCED BY AN AUTODESK STUDENT VERSION

iPhone

PRODUCED BY AN AUTODESK STUDENT VERSION

8pm 59

PRODUCED BY AN AUTODESK STUDENT VERSION

Series of Plans

Production of Fragment: The first step in this method was to understand how the space was occupied, this was mapped by recording activity in a journal over a two-week period. From this, a series of activities were chosen. The second process was to accurately measure the space and contents of the room and draw them into AutoCAD. Third and finally, subject’s activity can be plotted by combining the journal notes onto the AutoCAD plan. These steps can be reproduced for all selected activities. By understanding how the space is used we can then realise the relationship between space and living.

“FPA”

Fourth in the series of fragments is an Architectural Practice. I spent the last year of my life working here, learning, and understanding the discipline and its critical practice. The studio is the embodiment of architecture, it is a space which defines the profession. It is an assembly of idea, skills, material, and networks. Emerged in the sketches, models, paintings, collected books and rare furniture. It positioned me in relation to the wider discipline, where I am on my path. It acts as a thinking machine, reflecting on where I have come and where I am going.

Practice

Fig 31 - Studio. (FPA, 2021)

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Fig 32 1:50

Ground Floor

First F

Floor

Second Floor

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Fig 33 1:50

Section 66

Plan & Section

Production of Fragment: This fragment consists of Architectural plans and section. The old fashion method of producing these drawings, Hand drawn by pen and technical pencil on paper. This median has been chosen because it encompasses the ideas of architecture and signifies the practice’s role in positioning me within the field.

“Clova”

Saunter

Fifth in the series of fragments is Glen Clova, a 1000m Munro on the edge of the Scottish Cairngorms.

“Allow events to change you.

Clova is remote, aside from the old hotel that sits at the foot which collects outdoor enthusiasts on their Munro pilgrimage. I rarely have the pleasure to climb Clova but when I can, it is an event. There is a carved route right up the Munro, the act of ascension prompts the act of “going up stairs” mentally. It is a gradually steep journey on a natural ladder, a slow and steady process where your body and mind are rhythm with the landscape. As if you are connecting to an ancestral spirit. The sensation of pushing yourself stimulates the feeling of growth. The hill face ignites receptors with trickling water sounds, fresh smells, and scenic setting. The reward at the peak is a view of the Glen, I reflect on what I have done and I am reminded of my scale amongst the broader context and situate myself against the horizon.

You have to be willing to grow. Growth is different from something that happens to you. You produce it. You live it. The prerequisites for growth: the openness to experience events and the willingness to be changed by them.” (Mau, n.d.)

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“I don’t like either the word or the thing. People ought to saunter in the mountains, not hike. Do you know the origin of that word saunter? It’s a beautiful word. Away back in the middle ages people used to go on pilgrimages to the Holy Land, and when people in the villages through which they passed asked where they were going they would reply, ‘A la sainte terre’, ‘To the Holy Land.’ And so they became known as sainte-terre-ers or saunterers. Now these mountains are our Holy Land, and we ought to saunter through them reverently.” (Muir, cited in Palmer, 1911)

PRODUCED BY AN AUTODESK STUDENT VERSION Form Fig 34

PRODUCED BY AN AUTODESK STUDENT VERSION Route Fig 35

Loch Brandy

River

South

Esk

River

Pond

South Esk

Pond Pond

River South Esk

PRODUCED BY AN AUTODESK STUDENT VERSION

The Causeway

Loch Brandy

Pond

Water

PRODUCED BY ANSTUDENT AUTODESK STUDENT VERSION PRODUCED BY AN AUTODESK VERSION

Landscape

Fig 36

PRODUCED BY ANSTUDENT AUTODESK STUDENT VERSION PRODUCED BY AN AUTODESK VERSION 73

Combined Fig 37

River

South

Esk

Pond

Pond Pond

River South Esk Pond

Subject Fig 38

Fig 39 A Hundred Mile Walk (Long, 1971)

Clova

Production of Fragment: Influenced by Richard Long’s Mapping, this artefact is a compilation of information best representing “Clova” and the concept of pilgrimage. The process begins with identifying the area of study on map and obtaining relevant available information which in this case has been abstracted from Digi map. This information has been edited and fragmented in AutoCAD to show the layers of Glen Clova. The form of the terrain and the route. The layered section details the landscaping and ascension. The photograph illustrates the subject in the landscape.

“DJCAD”

Learn

Sixth in the series of fragments is Duncan of Jordanstone, College of Art & Design.

An interesting method which could be applied might draw influence from a Jan Dibbets collage. (images across). Jan uses this technique to alter perspectives by playing with photographs to form new spatial compositions. A process which provides a new way of looking at an object, building or landscape.

The college is significant in the sense that it has a story, my mother and handful more of family members have studied here and I have always been interested in the continuation of this story. However, this connection has deepened since my initial interests. This is a place which has taught me about both Architecture and life. The building acts as a container and plays so many roles, my connection is tied to several spaces within. The CAD suite associated with stress. The scenic stairwells are best associated with thought. The review space is associated with understanding. The Studio spaces are associated with learning and developing. Many of the spaces within the college are significant for me and would be hard to narrow to a “room”, therefore this study would benefit from a wider view.

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Fig 40 Joiner (Dibbets, 1971)

Fig 41 Panorama Dutch Mountain (Dibbets, 1971)

Fig 42

Shape in middle signifies the subject’s relationship in priority to the collection of spaces. 81

DJCAD

Production of Fragment: A series of photographs have been taken of both the Matthew and Crawford building, Certain spaces were closed due to the pandemic and therefore this collage doesn’t include the DJCAD Library or Canteen. These images were taken on my phone camera then digitally stitched together on Photoshop. Each image was placed into a composition based on their location in DJCAD or relation to subject. Finally once the composition had been set, each image had been edited individually by cropping, adjusting values and scale.

“V&A”

The final fragment and space in the series is the V&A, Dundee. The V&A is a place which I often visit to think about something, usually pre-determined. If I sit there for long enough I will be closer to finding an answer. “Real growth often happens outside of where we intend it to, in the interstitial spaces—what Dr. Seuss calls ‘the waiting place.’” (Mau, n.d.) A potential and experimental method of mapping the V&A artefact could be by applying Scottish Poet, Ian Hamilton’s Word Art. It is an example of how simple graphics can suggest form and space constructed by using words. (image across)

Wait

Fig 43 Ajar (Finlay, 1967)

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Fig 44

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V&A

Production of Fragment: Producing this artefact began with taking images of the V&A, these act as a mould for the word art. The images were cropped and edited in Photoshop and imported to InDesign. The first step in constructing the artefacts was to map paths for the words to follow. Secondly, plotting words along paths, resizing text to form depth and resemble the V&A stone cladding.

Next Atlas: 101

Critical Reflection

The “Atlas” is a culmination of my significant spaces, constructed fragments of my mental space. It is a part of me, how I live, see and interact. Each space forming who I am and who I am becoming. Everyone has these spaces, and this thinking machine is a case study of mine and perhaps a map exploring how others may find and identify their own. It is an important exercise for one to do, plotting the spaces which are significant to them. Understanding the relationship between activity, space, and mind. How spaces impacts them or plays a role in guiding and forming them as a whole. Everyone is influenced by people & spaces, and this atlas is a visual construction of what forms me.

“I am the space where I am” (Arnaud, cited in Bachelard and Jolas, 1964)

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Bibliography Bachelard, G. and Jolas, M., 1964. The poetics of space. Paris: Presses Universitaires de France. Cosgrove, D. and Perkins, C., 1999. Mappings. Reaktion Books. Dictionary.com, n.d. Definition of subjective. In: Dictionary,com. [online] Available at: <https://www.dictionary.com/browse/subjective>. Dillard, A., 1989. The Writing Life. HarperPerennial. Gehl, J., 2010. Cities for People. 1st ed. Island Press. Goldfinger, E., 1941. The sensation of space. [London]: [Architectural Review]. Holl S, 2000. Parallax. Basel: Birkhäuser-Publishers for Architecture. Lefebvre H, 1991. The Production of Space. Oxford: Blackwell. Mau, B., n.d. The Incomplete Manifesto For Growth by Bruce Mau. [online] BRUCE MAU’S MASSIVE CHANGE NETWORK. Available at: <https://www.massivechangenetwork.com/ bruce-mau-manifesto>. Palmer A, 1911. The mountain trail and its message. Boston: The Pilgrim Press. Sigfried Giedion, 1967. Space Time and Architecture: the growth of a new tradition Tate. 2021. Montage – Art Term | Tate. [online] Available at: <https://www.tate.org.uk/art/ art-terms/m/montage#:~:text=A%20montage%20is%20an%20assembly,of%20a%20 work%20of%20art>. Thinès, G. 2021. [The theory of subjective space]. [online] PubMed. Available at: <https:// pubmed.ncbi.nlm.nih.gov/1670397/> . Wagner M, 2017. Jan Gehl: How to Build a Good City. [online] Louisiana Channel. Available at: <https://channel.louisiana.dk/video/jan-gehl-how-build-good-city>.

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Image References

References for images not directly credited in main body of text. Images not referenced are Author’s own. Fig 1 - Perec G, 1997. Species of Spaces and Other Pieces. Penguin. Fig 3 & 4 - Goldfinger, E., 1941. The sensation of space. [London]: [Architectural Review].

Fig 41 - Dibbets, J., 1971. Panorama Dutch Mountain. [image] Available at: <https:// www.tate.org.uk/art/artworks/dibbets-panorama-dutch-mountain-12-x-15-sea-iia-t01745>. Fig 43 - Finlay, I., 1967. Ajar. [image] Available at: <https://www.tate.org.uk/art/artworks/finlay-ajar-p11925>.

Fig 21 - Wigglesworth, S., 2002. The Rituals of eating. [image] Available at: <https:// www.architectural-review.com/essays/folio/ folio-sarah-wigglesworths-dining-tables>. Fig 31 - FPA, 2021. Fergus Purdie Architects. [online] Fergus Purdie Architects. Available at: <https://ferguspurdiearchitect. co.uk/>. Fig 39 - Long, R., 1971. A Hundred Mile Walk. [image] Available at: <https://www. tate.org.uk/art/artworks/long-a-hundredmile-walk-t01720>. Fig 40 - Dibbets, J., 1971. Joiner. [image] Available at: <http://sjl-photography.blogspot.com/2011/10/jan-dibbets-joiner-photography.html>.

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Marcus Myles

Studio D

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