Year 1_Winchester Buttercross_Research Methods For Design

RESEARCH METHODS FOR DESIGN D I A R Y + E S S AY

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CONTENTS E SS AY 4

Researching the role of physical urban qualities in stimulating public engagement with the space R ES EA R C H ME T H OD S Method 1 - Walking 20 Method 2 - Photography 38 Method 3 - Ideograms 56 Method 4 - Visual Research 68 W OR KS H OP S

01 Walking as a Method of Design Research 81 02 Anthropology and Architecture 86

03 Diagrams as a Method of Design Research 88

04 Visual Research Methods 92

05 The Experience of Space - Bruno Zevi 95

06 Participatory Research Methods 100

07 Somatic Research Methods 103

08 Painting as Design Research Method 107 A PP EN D IX 111

Lecture 1 - Walking Lecture 2 - Athropology and Architecture Lecture 3 - Drawing Diagrams Lecture 4 - Visual Research Lecture 5 - Experience of Space Lecture 6 - Participatory Method of Research Lecture 7 - Somatic Method of Research

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Researching the role of physical public engageme

URBAN WA Winchester,

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urban qualities in stimulating ent with the space

ANDERER Butter Cross

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The pedestrianisation of Winchester’s High Street in 1974 (Lambert, no date) has established the Butter Cross as a natural social hub along with several other nodal points. The investigation explores the characteristics of an urban pedestrian zone and the motives behind integral dynamic decisions the public makes on their walk. Using walking as a primary research method, the essay outlines spatial forms and qualities observed through wandering and ways in which they influence pedestrian’s behaviour, motion and engagement with the space. Walking is hence practiced as a visual activity – a leisurely tour – using sight to assimilate with the environment and observe the participants in the space which one becomes the part of (Solnit 2014).

Using visual ethnography in form of film and photography, ideograms and walking as research tools, the success of a public space in terms of individuals’ interactions is investigated. The visual method portrays the presence of the people in the space, depicting the atmosphere of the place through visual means of film and picture – analysing their actions within the space and observing their behaviour in order to comprehend the part Butter Cross plays in the society.

Ideograms are used to abstractly represent literal role of the square, the physical features of the immediate surroundings which draw people towards it and the qualitative urban forms which contribute to the experience of the space. These diagrams inform the research through ‘thought mapping’ where the words serve as collected information and their interpretation as an outcome of the investigation.

Walking is therefore used as an investigation tool and a recurring theme which informs the research methods explored. As an instinctive, daily action, walking is present in all forms of the research, from mapping to noting throughout the walk, filming of the walk, photographing while walking. Ideograms represent the symbolism of the space through the lines of navigation and direction.

Although the walking research has been conducted as an urban wanderer, the preconceptions of an urbanite, that I am, could not be entirely suppressed. While calling Winchester home, I had many opportunities to wander around the city, with summer evening walks being the most pleasurable ones, wandering aimlessly for the sake of walking, unwinding, de-stressing or merely contemplating.

HISTORY

The history of the Butter Cross monument traces back to the 15th century when the structure was erected (Caldicott, 2012) - an octagonal stepped stone base featuring vaulted basement and pointed arches connected to the shafts and joined with elegant and thin flying buttresses ((Woodward and F. S. A., 1974). During those years, it is believed the Butter Cross has served as the city’s market place where women would come and trade their farm produce, specifically, gathering around the monument to sell butter (Caldicott, 2012). The space has already taken the role of an urban hub while the buildings and infrastructure around it developed with the consideration of the landmark’s juxtaposition.

The importance of the statue to the Wintonians has been demonstrated three centuries after its erection when it was sold by the paving commissioners to a wealthy landlord who wished to relocate it to his garden (Woodward and F. S. A., 1974). An organised protest of the citizens managed to retain the monument in its original place with the goal of preserving it ‘for the honour and ornament of their city’ (Ibid: 16).

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Extending from Cross towards the east end of the street, is the Piazza – today, a line of shops. The houses above the retail project far onto the street and supported by Tuscan columns of various sizes in order to impede the traffic and darken the shops without compromising the appearance of the street edge (Ibid). Some of these structures date from the late 15th and beginning of 16th century (Lambert, no date). The physical arrangement of these elements creates a linear threshold between the street and the retail establishments, vehicles and pedestrians. Today, the public uses it as a channel for movement and shelter from natural elements.

01 - Photograph of the Butter Cross Monument in Winchester High Street. Courtesy of the author.

As Zacharias (2001) elaborates in his journal article, the world has seen a sharp increase of public use of urban spaces after full pedestrianisation access has been implemented – removal of complete vehicular admission. The pedestrians hence obtain the priority of movement while other modes of motor transport cease. Walking therefore becomes a crucial activity in maintaining the ‘publicness and the viability of public space’ (Solnit 2014, 176). The crowds mostly walk through the High Street with a clear aim, a goal or a destination, and

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maintain their exclusive right to the space. The urban scape becomes riddled with pedestrians throughout the majority of the daylit day, so much that wandering becomes a struggle while navigating through the sea of people. Nevertheless, the experience is intensified with this relationship of the physical body and architectural elements that emphasise what lies beyond sight (Nicely, 2013).

In paper about physical determinism of environment, Franck (1984) argues that the physical environment simply creates capacities, hence people’s choices create events. Therefore, the role of the urban landscape cannot be assumed as the sole factor influencing the behaviour of people – human choices also need to be considered. The investigation, hence, explores only a part of the public behaviour, which is due to the urban scape, solely touching on the psychology of the human actions.

WANDER

The walking, in fact, becomes a psychogeographical journey through town as connections are attempted to be made between the environment and individuals. Coverly defines the term psychogeography in the homonymous book (2010) as a process which aims to overcome the formality and monotony of the representation of one’s spatial experiences.

A notion that has evolved with this term is the dérive (“drifting” in literal translation), defined by Debord (1956) as a journey of an urban wanderer who experiences the space for its psychogeographical qualities while being guided by the terrain and physical qualities of space rather than the motive for movement or activity. As one of the basic practices of Situationist movement, the concept produced maps exposing the logic beneath the ‘apparent disorder of the city’ (Sadler, 1999, p.82). The Situationists moved away from the standard circulation maps of the city and attempted own representation of the experience of space as ‘terrestrial., fragmented, subjective, temporal and cultural’ (Ibid).

02 - Map of Paris produced by Debord. Debord, G. (1957) The Naked City [Map]. Available at: https://gravalosdimonte.wordpress. com/2012/04/26/la-teoria-de-la-deriva/ (Accessed: 19 December)

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Debord further describes the difference between the dérive and a stroll as randomness and unpredictability that drive the dérivers to focus on certain psychogeographical elements of the space to which they will be drawn (1956).

Using forms of cartography and ideograms, information about the experience of the urban space is conveyed in symbolic and visual form. The diagrams map the movement through Butter Cross while indicating symbolic meaning to a pedestrian or user. The maps further illustrate the physical qualities of the space that appeal to a walker using realistic scales, overlaid with elements outlining conceptual characteristics.

In his book, Lines (2016), Ingold illustrates the line as a series of unconnected dots where all the drawing focus and ink is being concentrated at a point ‘as if [I were] drilling a hole’ (Ibid: 76) alluding to the empty space between the dots. Once the dots begin to connect, the pen moves from one point to another, tracing a line between each of dots just to, in the end, isolate them as the points then create the breaks in the completed line (Ibid). With this allegory, Ingold aims to portray the fragmentation in the modern-day travel, mapping and movement where the innate instinct for walking and wandering is replaced by a pre-formed plan. The movement of an individual then becomes solely a physical tracing of the routes and points rather than inhabitation of urban environments (Ibid). Comprehending the behaviour of the people in a space is, therefore, a critical notion whose understanding has potential to induce integration of the inhabitants and the built environment – ‘assembly’ as Ingold refers to (2016, p.77). The investigation through urban walking has no pre-composed route, only a destination with the aim of exploring the human interaction and input.

Furthermore, Rebecca Solnit in her book Wanderlust (2014) describes urban walking as a resemblance to the primordial hunting and gathering rather than rural wandering. The cities, although deprived of the nature and beauty of the rural setting, possess a range of human activities accentuated by the natural suppression of the species (Solnit, 2014). Hence the urban wanderer, as an urbanite, notices individuals, opportunities, atypicalities within the setting. Such example is opening of the new store on the High Street, changes in frequency of pedestrians and their trajectories as more public moves through the Butter Cross to reach the Christmas Market or gather around the Tree to observe and listen. The people use the monument with same regularity as a sitting, eating or meeting place, regardless of the season and the weather.

In their book Architecture and Social Behaviour, Baum and Valins argue that the spatial qualities and temporal loci have an ‘immediate and undeniable impact’ (1974, p.2) on human experience of space. They further suggest that the built environment can restrict certain behaviour of people but also make specific reaction more prominent (Ibid). The architectural environment influences only a part of the consequential responses whereas full effects are manifested through an intricate interaction of ‘physical, social and psychological’ elements (Ibid, p.3).

Although the Christmas Tree in the centre of the square is a temporary installation rather than architectural element, throughout the season, it becomes a landmark for the public. The interactions within the space begin to occur more as the public is given an opportunity to engage with the environment created by the installation and the events happening around it. The Tree becomes much of a symbolic hub in this

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instance, so much as Christmas dinner will be served by Winchester’s mayor for the homeless ‘at the tree’ on Christmas Eve. Along with Christmas carols, buskers, Big Issue vendors and the homeless dinner, the Butter Cross square becomes a symbolic space of generosity. Once these social qualities are observed, the atmosphere and the energy of the urban space become more meaningful in sense that the wanderer begins to appreciate what lies beyond physically apparent.

URBANITY

Using cartography as one of the walking research tools, physical qualities of the public realm are mapped in various forms, with some more abstract than others. Cartography is employed here as a mapping dimension of urban life and architectural form in order to produce a survey of their relation. With precise maps and drawings Alfred Wainwright illustrated in Pennine Way Companion (2012) as a precedent, diagrams of the street have been produced to convey the spatial qualities and possible routes.

03 - Excerpt from the walking journal by Wainwright. Source: Wainwright, A. (1968, p.86-87) Pennine Way Companion. Edited by Chris Jesty. Second edn. Kendal: Westmorland Gazette.

Solnit quotes Moretti in order to indicate the importance of the urban landscape: ‘What distinguishes the city is that its spatial structure … is functional to the intensification of the mobility: spatial mobility, naturally enough, but mainly social mobility.’ (Moretti, 1991, p.184 cited Solnit 2014, p.176). The notion refers to the ability of an urban space or street to encourage and maintain the public use while integrating the social and physical assets.

Through walking the daily route of a pedestrian from the West Gate, at the top of the High Street, towards a destination within the pedestrianised zone, a map has been derived showing possible routes through the space in order to reach well known landmarks such as the Butter Cross, Cathedral and Kind Alfred Statue. The routes demonstrate several junctions and opportunities for social spaces within the urban space. The Butter Cross Square contains minimum of four pedestrian route intersections which create a natural social hub.

The public innately defines the urban area around the monument as a

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04 - Map of potential pedestrian routes. Courtesy of the author. social space, while the buildings’ form surrounding the space create pockets in urban landscape.

Throughout various maps and diagrams, references have been abstractly made to Lynch’s Form Qualities defined in The Image of the City (2012). Furthermore, Lynch indicates that an urban space ‘should have a clear perceptual identity: be recognisable, memorable, vivid, engaging of our attention” (Lynch and Hack 1984, p.72) The city’s grid infrastructure defines the main artery which runs throughout the centre, beginning with the West Gate arch and ending with the King Alfred statue on the southeast side of the city. The dense grid of pedestrian alleys, narrow roads and paths branches off the main street, creating transparency through the fabric and encouraging exploration of the urban space. The concealed streets feature independent retail and coffee shops which make them ever so appealing to the wanderer.

The most striking part of the High Street is the vistas one is drawn to on their walk. Routes are made to coincide with various nodes

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throughout the long axis, sharply defined by continuous building edges.

The downward gradient from the beginning of the journey through the street draws the walker towards the first nodal point, the Cross. While this is the case throughout the year, the city centre at this time features installation of a temporary seasonal landmark, positioned in the centre of the street’s visual axis – a large Christmas Tree illuminated with numerous string lights. Although the people interact with is as a landmark, the spotlight does not shine far from the monument. The Butter Cross still retains its social function.

05 - Map of vistas and views, showing the main arterial route through the city centre. Courtesy of the author.

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The visual scope continues after being broken by the Butter Cross’ physical recess into the urban pocket. The perspective view becomes defined once again towards the Guildhall and King Alfred Statue at the bottom of the arterial route. The edge of the axis is not only defined by the continuance of the buildings but also numerous physical thresholds created by the stores, cafés and restaurants.

The second nodal point is not necessarily a landmark but rather a view with a destination. As a pedestrian walking towards the Cross, the individual experiences the drawing force of the perspective and the view at the end of the line. As one reaches the Butter Cross, another view appears on their right-hand side, framed by the rectangular form of the Passage, leading onto The Square – a formal social hub drawing the crowd for its ambience, enclosed by buildings on three sides with the view of the Cathedral on the southeast. The junction between the pedestrian and vehicular zone is clearly defined as one begins to walk towards the Square, providing the choice of route for a pedestrian. The junction creates a directional differentiation for the walker with opposite features of strong building boundary on one side and greenery of the Cathedral grounds on the other.

The square’s role as an urban social hub is not only due to the landmarks but also due to its physical form. Through observing of the maps, it is apparent the surrounding building fabric creates an informal enclosure of the space with the Cross located within a pocket in urban landscape. Opportunities are hence created for various motion trajectories, standing points and meeting spots. As Lynch (2012) notes, the presence of the node is more dominant if there is a well defined edge to the boundary. The place could further be defined as a positive outdoor space – constrained vertically and horizontally within the enclosing building lines (Carmona et al., 2010).

The monument visitors seem to choose a spot not overlooking the main street where most pedestrians pass but rather sit at the top of the steps facing a less prominent route while still enjoying the axial views and the atmosphere of the vibrant High Street. In his book on

06 - Diagram demonstrating the enclosure of the Butter Cross square and indicating physical thresholds within the public space.

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architectural psychology, Canter (1974) refers to the study conducted

by Kamino (1968) and Stilitz (1970) from which they conclude the people attempt to position themselves within an urban space where not too visible and not too obvious to the moving public. Hence, patterns within the space are created by merging of the urban landscape and the public activity. This is one of the element’s qualities which draws the attention of a pedestrian, either it being an employee on their break, a teenager meeting friends or a child wishing to play.

HUMANS

Assuming the role of the urban walker, the space is experienced through the ambiance created by human activity and enhanced by architectural urban forms of the space. This experience is interpreted as a subconscious perception of urban impression of a pedestrian in order to define elements which create public engagement. Lynch identifies the apparent role of an urban fabric within the social experience as a place which ‘must fit the way [in which] our minds work: how we perceive and image and feel” (Lynch and Hack 1984, p.72).

Through walking, the social mobility that urban scape offers a member of the public, is experienced – ability to get lost in the anonymity of the urban river of pedestrians. Enacting the role of a pedestrian while suppressing presumptions and biases, the walk becomes a different experience. Walking the route from the railways station, the experience of a well known place takes a different form. While observing the people heading in my direction, I paint a mental picture of their activity, routine, destination – a personal microcosm as Solnit describes the linking of a map and one’s life in Wanderlust (2014).

Subconsciously choosing one of the three routes towards the Butter Cross Square, the vistas from the rail station draw the walker down the hill, towards a junction, revealing new views with progression of each step. The vista converges at the West Gate at the top of the High Street where the observational journey begins.

07 - Video still from the Walking Journey sequence. Courtesy of the author.

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Throughout the walk towards the Cross, assumptions are made about the public’s destinations, derived from their body language, pace of walk, clothing, age, companionship.

08 - Notes from the walking journal describing the users of the space.

Courtesy of the author.

The anchor points, reinforced by monuments and converging routes, draw the wanderer to and through them, only for the paths to be glorified by the beauty of well preserved historic buildings that create boundaries to the public spaces. The vistas are further enhanced

by Christmas lighting decorations which evoke awe in any urban walker, particularly during the night time, as many pause, admire and photograph the views.

Furthermore, the landmark of Butter Cross square is not purely a decorative element of the urban landscape, but rather a functional one. As previously mentioned, the interaction of the public with the monument occurs throughout the day and evening, regardless of the season. Ideograms identify function of landmark within the urban realm. The public uses it as a meeting spot, break spot, eating spot, observation spot, socialising spot‌ The proportion and the positon of the monument steps merely encourage the individual to take a seat, be it waiting or just wishing to take a moment to observe.

Some filming of the crowd has been conducted from the top of the monument steps, which is when the experience of those who use it became mine as well. The vistas from the monument to the top of

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the High Street, ending with Westgate arch, evoke incredible sense of scale and reinforce the energy of the space, especially with vibrancy the public creates throughout the street with their presence. The position within the urban pocket of the monument only reinforces its role as a social landmark as Carmona quotes in Public places - Urban spaces: ‘When a person looks for a place to sit down outdoors, he rarely chooses to sit exposed in the middle of an open space – he usually looks for… a hollow in the ground, a natural cleft which will partly enclose and shelter him’ (Alexander et al, 1977, p.520-1 cited Carmona et al, 2010, p.177).

With the monument enclosed at the background boundary, the edges seem to provide a virtual shelter and with their back to the buildings and open views of the city ahead, the public gets to enjoy the social security of the sheltered hub.

09 - Sketch of the interaction with Butter Cross monument. Courtesy of the author.

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Furthermore, the temporary elements of the square contribute to the frequency of use of the urban space. The Farmers’ Market, which reoccurs three times weekly located just before the Butter Cross square, slows down the pace of the pedestrians through the promenade who innately stop and browse. As the walk continues, the pedestrian can encounter a group gathering around the Christmas tree where carols are performed by school children who create an instant change in energy of the place. As people gather around the carol singers, the group begins to grow in numbers, similarly to buskers’ and street performers’ audience, who take their place throughout the year.

The individual can once again get lost in the anonymity of the crowded street.

Without realisation, a person walks through the urban space over and over, pauses, stops, sits, observers, photographs without realising the small contribution one makes to the vibrancy of the urban space. A successful urban structure creates potential for social and physical interaction with the elements and in turn a certain ambience is created. Solnit describes a street as ‘the space left over between the build-ings’ (2014, p175) with a river of people running through it, although only a few possess the spirit that humans create. Winchester’s High Street has evolved throughout the centuries with the focus on the public and the experience of a pedestrian in order to become the social hub it is today. While this investigation focuses on the human actions influenced by the architectural fabric, human behaviour of such a large group cannot be generalised, nor predicted. The research conducted is, hence, from the point of view of the observer, one that assumes the role of a pedestrian, presented through the personal encounters with the spaces and the public.

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References Alexander, C., Ishikawa, S. and Silverstein, M. (1977) A pattern language: Towns, buildings, construction. Oxford: Oxford University Press.

Bairner, A. (2011) ‘Urban walking and the pedagogies of the street’, Sport, Education and Society, 16(3), pp. 371–384. doi: 10.1080/13573322.2011.565968.

Baum, A. and Valins, S. (1978) Architecture and social behaviour: Psychological studies of social density. New York, NY, United States: Erlbaum Associates.

Caldicott, C. (2012) Winchester. London: Frances Lincoln Publishers.

Canter, D.V. (1974) Psychology for architects (architectural science series). Edited by Henry J. Cowan. London: Elsevier Science.

Carmona, M., Heath, T., Oc, T. and Tiesdell, S. (2010) Public places - urban spaces: The dimensions of urban design. 2nd edn. Oxford, UK: Architectural Press.

Cosgrove, D. (2003) ‘Carto-city’, in Abrams, J. and Hall, P. (eds.) Else/where: Mapping new cartographies of networks and territories. Minneapolis, MN: University of Minnesota Press, pp.

148–151.

Coverley, M. (2006) Psychogeography. London, United Kingdom: Pocket Essentials.

Crouch, C. and Pearce, J. (2012) Doing research in design. London: Berg Publishers.

Debord, G. (1956) ‘Theory of the dérive’, Les Lèvres Nues, 9.

Eisenschmidt, A. (2007) ‘Visual discoveries of an urban wanderer: August Endell’s perception of a beautiful metropolis’, arq: Architectural Research Quarterly, 11(01), p. 71. doi: 10.1017/ s1359135507000516.

Franck, K.A. (1984) ‘Exorcising the ghost of physical determinism’, Environment and Behavior, 16(4), pp. 411–435. doi: 10.1177/0013916584164001.

Franck, K.A. (1984) ‘Exorcising the ghost of physical determinism’, Environment and Behavior, 16(4), pp. 411–435. doi: 10.1177/0013916584164001.

Ingold, T. (2016) Lines: A brief history. Devon, United Kingdom: Routledge.

K, K. (1968) Studies of Pedestrian Movement. Osaka: Osaka University.

Lambert, T. (no date) A history of Winchester. Available at: http://www.localhistories.org/winchester. html (Accessed: 19 December 2016).

Legg, P. (2011) Winchester: History you can see. United Kingdom: The History Press.

Lynch, K. (1960) The image of the city. 7th edn. Cambridge, MA: M.I.T. Press.

Lynch, K. (1990) City sense and city design: Writings and projects of Kevin Lynch. Edited by Tridib Banerjee and Michael Southworth. 2nd edn. Cambridge, MA: MIT Press.

Lynch, K. and Hack, G. (1984) Site planning. 3rd edn. Cambridge, MA: MIT Press.

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Mattei de Arruda Campos, M.B. (2000) Urban Public Space: A study of relation between spatial configuration and use patterns. .

Middleton, J. (2010) ‘Sense and the city: Exploring the embodied geographies of urban walking’, Social & Cultural Geography, 11(6), pp. 575–596. doi: 10.1080/14649365.2010.497913.

Middleton, J. (2016) ‘The socialities of everyday urban walking and the ’right to the city’, Urban Studies, . doi: 10.1177/0042098016649325.

Nicely, M.V. (2013) ‘Choreographing the City: Techniques for Urban Wandering’, Liminalities: A Journal of Performance Studies, 11(2), pp. 1–16.

Perec, G. (1997) Species of spaces and other pieces: Georges Perec. Edited by John Sturrock.

London, England: Penguin Classics.

Solnit, R. (2014) Wanderlust: A history of walking. 2nd edn. United Kingdom: Granta Books.

Stilitz, I.B. (1970) ‘Pedestrian Congestion’, in Canter, D. (ed.) Architectural Psychology. London: RIBA, .

Wainwright, A. (1968) Pennine Way Companion. Edited by Chris Jesty. Second edn. Kendal: Westmorland Gazette.

Woodward, B.B. and F. S. A., B.A. (1974) History and Description of Winchester. Alresford, Hampshire: Laurence Oxley.

Zacharias, J. (2001) ‘Pedestrian behavior and perception in urban walking environments’, Journal of Planning Literature, 16(1), pp. 3–18. doi: 10.1177/08854120122093249.

Images 01 Debord, G. (1957) The Naked City [Map]. Available at: https://gravalosdimonte.wordpress. com/2012/04/26/la-teoria-de-la-deriva/ (Accessed: 19 December 2016).

02 Wainwright, A. (1968, p86-87) Pennine Way Companion. Edited by Chris Jesty. Second edn.

Kendal: Westmorland Gazette.

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0 1 WA L K I N G A S A RESEARCH METHOD

This method uses walking as a research tool for observation and investigation of the human interaction with the urban terrain. A concept which shares these qualities of investigation is presented by Guy Debord in his Theory of the derive (1956).

As Solnit indicates in her book Wanderlust, an individual within an urban setting possesses an innate ability to integrate ‘public transit and their legs into an effective, ethical and sometimes deeply pleasurable way of navigating the terrain of their daily lives’ (2014). She further goes to illustrate the role of the urban wanderer as an observer of who is on a lookout for opportunities, individuals, activities, unusualness within the physical urban setting.

In this method, I assume the role of an urbanite and wanderer, with the aim of observing the individuals and their behaviour in space, walking the routes of the public and defining what makes the space and paths appealing through cartography.

Using this method, the role of the urban setting is informed and hence the way urban form enhances the individual’s engagement with the space.

Using Wainright’s method of walking cartography, drawing and thought recording, the method produced some descriptive maps and sketches that attempt to coherently convey the use of the space to the observers and viewers of the artefacts (2012).

“ Cities have always offered anonymity, variety and conjunction, qualities best basked in by walking.”

(Solnit, 2014, p.171)

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1.0 - Source: Wainwright, A. (2012, p.99) Pennine Way Companion.

Edited by Chris Jesty. Second edn. London, Frances Lincoln

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1.1 - Vehicular and pedestrian roads map of Winchester’s main paths

1.2 - Sket the nodal p

The drawing above maps out vehicular routes to Winchester with a focus on the pedestrianised High Street (red dashed). The map aims to portray the social hub of the city which the High Street ultimately is.

The map in Figure 1.3 defines the pedestrian trajectories throughout the street in order to deduce the movement of the public and the junctions which could act as urban pockets for social hubs.

The map points out the views or a lack of direct one towards landmarks which are often used for orientation or destination.

The following pages contain notes from the journal as I was undertaking the walk from the train station to the Butter Cross Square. The observations focus on people walking past, in front and around me. Through the walk, I am observing the atmosphere of the space as I attempt to disregard my previous experience and knowledge of the space.

1.3 - Map Street arou 22

tch of the Butter Cross monument , one of points of the High Street.

p showing the pedestrian trajectories in the High und the Butter Cross monument 23

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1.4 - Excerpts from the walking journal

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1.5 - Map showing nodal points within the Butter Cross

1.6 - Source: Lynch, K. (1960, p.149) The image of the city. 7th edn. Cambridge, MA: M.I.T. Press.

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The map identifies some virtual social hubs within the street in order to define the public’s relationship with the space through their movement or static positions. It also identifies some informal and formal thresholds which create different effects on the pedestrian trajectories.

1.7 - Map showing opportunities for social spaces, derived from walking observations.

Figure 1.5 maps out some of nodal points present within and around the square, spaces which attract people to pause, observe, dwell or meet at the spot.

1.8 - Source: Lynch, K. (1960, p.79) The image of the city. 7th edn. Cambridge, MA: M.I.T. Press.

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1.9 - Concentration of pedestrians at 8.00am Using simple mapping techniques, the drawings above abstractly represent the concentration of people on the High street during certain times of that day.

The annotations point out to some activities carried out in respective areas of the city centre.

The maps aim to showcase the changing role of the urban space throughout the day as the temporary elements such as the Farmers’ Market are taken away.

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1.10 - Concentration of pedestr

rians at 12.00pm

1.11 - Concentration of pedestrians at 10.00pm

“ What distinguishes a city, is that its spatial structure ... is functional to the intensification of mobility: spatial mobility,... but mainly social mobility�

Franco Moretti (1990 cited Solnit, 2014, p.176)

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1.12 - Excerpt from walking journal

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1.13 - Sketch showing various interactions with the monument recorded while carrying out observations over a couple of days.

The journal pages in Fig 1.12 were produced during the initial walk through the space and they focus on the temporary installations on the High Street and the Butter Cross square. The map aims to identify some of the visual attractions that appeal to the general public - identifying possible points of interest.

The drawing above (Fig 1.13) has been produced during static observation of the square with the aim of showcasing the interaction of the individuals with an urban landmark which has changed its role throughout the years. Unlike many centuries-old landmarks in England, Butter Cross is not protected by an iron fence or spikes but it rather encourages people to physically connect to the urban fabric.

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1.14 - Map identifying thresholds within the vicinity of the Butter Cross Square

With Alfred Wainright’s (2012) cartography as precedents, this map represents pedestrian paths along with some thresholds which identify the potential destinations of the public. The threshold boundaries, represented in red dashes, portray the physical changes in urban landscape and creation of asymmetry in the pattern of the urban edge.

The diagram aims to show how the public is influenced to navigate through the space. Two paths could lead to the same destination although through walking, I noted the more appealing effects of one over the other route in form of scenic stimulation.

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1.15 - Mapping views towards the Butter Cross and the surrounding points of interest 34

1.16 - The Road Experience. Source: Lynch, K. (1990, p.268) City sense and city design: Writings and projects of Kevin Lynch. Edited by Tridib Banerjee and Michael Southworth. 2nd edn. Cambridge, MA: MIT Press.

The map showing the visual experience of the space identifies viewing standpoints. The larger the arrows, the further the view. The street benefits from a large visual axis that runs from the beginning (top of diagram) of the High Street with an immense direct view through the West Gate at the top of the hill, down to the Butter Cross Square. The visual axis breaks at the Square, creating a disruption in transparency of the urban landscape.

The visual forms are explored further in the photographic sequence using visual methodologies for research.

Some of the limitations of the walking method in regards to the research topic is difficulty in accurate representation of people’s activities within the space through maps and drawings.

They can however serve to inform the research narrative.

1.17 - Excerpt from the walking journal showing some of the brainstorming for the narrative of the visual form.

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References Coverley, M. (2006) Psychogeography. London, United Kingdom: Pocket Essentials.

Debord, G. (1956) ‘Theory of the dérive’, Les Lèvres Nues, 9.

Lynch, K. (1960) The image of the city. 7th edn. Cambridge, MA: M.I.T. Press.

Lynch, K. (1990) City sense and city design: Writings and projects of Kevin Lynch. Edited by Tridib Banerjee and Michael Southworth. 2nd edn. Cambridge, MA: MIT Press Solnit, R. (2006) Wanderlust: A history of walking. London: Verso Books Southworth, S. and Southworth, M. (1983) Maps, a visual survey and design guide. Boston: Little, Brown & Co. Images 1.0 Wainwright, A. (1968, p.99) Pennine Way Companion. Edited by Chris Jesty.

Second edn. Kendal: Westmorland Gazette.

1.6 and 1.8 Lynch, K. (1960 p.79, 149) The image of the city. 7th edn. Cambridge, MA: M.I.T. Press 1.16 Lynch, K. (1990, p.268) City sense and city design: Writings and projects of Kevin Lynch. Edited by Tridib Banerjee and Michael Southworth. 2nd edn.

Cambridge, MA: MIT Press

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02 V I S U A L R E S E A R C H M E T H O D PHOTOGRAPHY

The visual method used to explore the context of the urban space employs Photography in form of visual ethnography as a research tool.

Photographic images are used as informants to convey the journey through the street from the pedestrian point of view in order to identify the possible destinations, routes and paths one might take through the Butter Cross and High Street.

Additionally, research photographs were taken in order to portray the activities around the square, focusing on the monument which seems to be the nodal point of the space and an element of urban fabric the public interacts the most with.

In her journal article, Schwartz suggests some foreknowledge of the photographed group should be obtained prior to creating informant photography (1989) - an approach she used to conduct research within photographic ethnography of Iowa’s small farmer community.

In this instance, knowledge has been informed through the walking method as an observer as well as being familiar with the space and its use prior to carrying out the research.

The aim of the photographic research is to portray the story behind user’s interactions and motion through the space why they sit on the monument, how do they move through the square, are they static or in a rush, what is their destination...

“ The photograph becomes the receptacle from which individual viewers withdraw meaning.”

Dona Schwartz (1989)

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2.0 - Source: Southworth, S. and Southworth, M. (1983, p.125) Maps, a visual survey and design guide. Boston: Little, Brown & Co.

2.1 - Source: Hรถfer, C. (2016). Candida Hรถfer, Neues Museum Berlin XXII 2009. [image] Available at: http://www.art-agenda.com/wp-content/uploads/2012/04/3.-Hoefer_ Neues_Museum_Berlin_XXII.jpg (Accessed 17 Dec. 2016).

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2.2 - Photographic Sequence Diagram Part I

Using the notion of the photographic journey, I began walking with the camera and capturing the view in front of me along with slits of side views, monuments and people ahead. The inspiration for this approach has been taken from Michael Southworth’s photographic route sequence (Fig 2.0) of the Fourth Avenue in Minneapolis (19. He alludes to the importance of the sequences containing elements easily recognisable in order to create a clear progression through the environment for the viewer.

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2.3 - Photographic Sequence Diagram Part II

This photographic sequence is used to research the destination of a pedestrian moving through the street, identify visual stimuli that enhance the experience of the walker and encourage movement towards a point.

Some of those stimulating physical forms are axes, landmarks, boundaries and nodes which public is innately drawn to (Lynch, 1960).

Through these photographs I aim to indicate the elements which draw people towards a specific point, routes they might take in order to experience one street and avoid another.

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The eight photographs shown visually indicate how the space around the Butter Cross monument is used in literal sense. The aim of the photographic experiment is to capture the human nature and their instinctive actions - the impulse of taking a seat on a proportionately suitable spot, leaning against it, climbing and playing.

The photographs were taken instantly, hence there was no participation from the subjects which is one of the limitations to this method.

The research has been focused instead on various groups of people and their immediate use of the space and physical interaction with the landmark. The time frame in which the photographic research has been conducted also would not allow physical interaction with each of the participants. This is an aspect I would change in the future ethnographic research.

The following two photographs on the next couple of pages employ perspective as a technique of shooting while drawing inspiration from Candida Höfer’s photographs of the Berlin’s Neues Museum. However, unlike her spaces which feature absence of people and any sign of occupation (Campbell, 2012), these photographs aim to capture the people who are the major characteristic of the space.

The three images named Habitué capture some of the people present in the space regularly. These have been photographed in order to represent the various audiences they attempt to engage in different ways through their performance or presence and ultimately induce interaction with the urban space.

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References Campbell, H. (2012) ‘How the mind meets architecture: what photography reveals’, in Sharr, A. (ed.) Reading architecture and culture: Researching buildings, spaces, and documents. London: Taylor & Francis.

Lynch, K. (1960) The image of the city. 7th edn. Cambridge, MA: M.I.T. Press.

Pink, S. (2013) Doing visual ethnography. 2nd edn. London, United Kingdom: SAGE Publications.

Schwartz, D. (1989) ‘Visual ethnography: Using photography in qualitative research’, Qualitative Sociology, 12(2), pp. 119–154. doi: 10.1007/ bf00988995.

Images 2.0 Southworth, S. and Southworth, M. (1983) Maps, a visual survey and design guide. Boston: Little, Brown & Co. 2.1 Höfer, C. (2016). Candida Höfer, Neues Museum Berlin XXII 2009. [image] Available at: http://www.art-agenda.com/wp-content/uploads/2012/04/3.-Hoefer_Neues_Museum_Berlin_XXII.jpg (Accessed 17 Dec. 2016).

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0 3 D R AW I N G D I A G R A M S A S A METHOD OF RESEARCH

Ideograms have been used as a diagram drawing method to inform the research of the essence of the urban space, focusing on public’s ability to enhance the image and success of an urban square and ways in which urban fabric influences individuals’ relationship with that space.

Along with Le Corbusier, Peter Smithson, Saul Steinberg and the Situationists, Leon Van Schaik has evolved a personal approach to research through ideograms (Garcia, 2010). In his essay Poetics of Ideograms, Van Schaik defines the notion as one that ‘symbolises the idea of a space’ rather than defining features of an object for exhibitive appearances (2010).

The ideograms used in this research aim to capture the definitions of the space which public associates with - its use, its physicality and its context within daily convention.

“...ideograms are a tool to open you to what you know, but don’t know you know...”

Leon Van Schaik (2010)

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3.0 - Source: OOYC, 1 (2013) Australian Pavillion. Available at: http:// test.2112ai.org/ (Accessed: 16 December 2016).

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3.1 - WHO? are the user groups

The above diagrams are used to inform the latter ideograms. Figure 3.1 encompasses findings conducted in the walking research method and portrays the groups of users who pass through the Butter Cross Sqaure - it portrays an image of the use through the public’s activity in and around the space. For instance, a tourist might be heading towards the Winchester Cathedral, using the Passage, pausing for photographs at the monument, while employees on their lunchbreak head towards the Lower High Street without much hesitation.

Diagram in Figure 3.2 identifies some of the physical and psychological qualities of space that draw the people to and through the space.

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3.2 - WHY? is the space a s

Using Kevin Lynch’s Form Qualities from The Image of The City (1960), the diagram portrays the characters of the urban fabric that facilitate the movement and improve the experience of the urban space such as continuity of the street edge, simplicty of the visual form and dominance of an element ie. a landmark.

Figure 3.3 conveys some of the characteristics of the ambiance of the Butter Cross induced by the users, pedestrians, buskers, promoters and occasional carol singers. Using previously investigated diagrams, this diagram uses words to identify activities and atmosphere of the pedestrian street that the public mutually stimulate among themselves.

successful hub

3.3 - HOW? the public enhances the image of Butter Cross

“The spirit of the place is still deeply embedded in our national consciousness...�

Peter Woodstock (cited Coverly 2006, p.33)

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ROLE OF THE PUBLIC Through the use of action verbs, the Ideogram symbolically portrays the character of the space. An idea of the place’s energy can be derived from its use which the diagram represents in literal sense. It informs the research through establishing the activities within the space and hence how the urban square is used throughout the day.

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ROLE OF THE URBAN FABRIC Using the concept of Ideogram developed by Leon Van Schaik, the Ideogram below establishes some qualitative parameters of the urban fabric identified by Lynch (1960). He believed these attributes enhance the urban space and create an experiential environment for the users.

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References Coverley, M. (2006) Psychogeography. London, United Kingdom: Pocket Essentials Garcia, M. (2010) Diagrams of architecture: AD reader. Chichester, United Kingdom: John Wiley and Sons.

Lynch, K. (1960) The image of the city. 7th edn. Cambridge, MA: M.I.T. Press.

Van Schaik, L. (2010) ‘Poetics of Ideograms’, in Garcia, M. (ed.) Diagrams of architecture: AD reader. Chichester, United Kingdom: John Wiley and Sons.

Images 3.0 OOYC, 1 (2013) Australian Pavillion. Available at: http://test.2112ai.org/ (Accessed: 16 December 2016).

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04 V I S U A L R E S E A R C H M E T H O D VIDEO

Modern ethnography has evolved from the post colonial, globalised-world context to a local focus exploring culture groups within a variety of scales of cultural and social settings (Crouch and Pearce, 2012). In addition, visual ethnography and anthropology have been reformed with the digital age, creating bridges between different disciplines of research (Pink, 2011).

“Interactive and non-linear narratives may... have the potential to disrupt anthropological authorship even further but they are also increasingly vital...”

by Noel B. Salazar (Pink, 2011) The quote refers to the emergence of new anthropological methods of research and communication which are induced by the digital technology. It provides opportunity to conduct research using a wider variety of media and representation visual graphics, sound, interactive etc.

Drawing inspiration from modern notion of social voyeurism, the visual method employs ethnographic film as a research tool. Using a static position in a prominent spot of the urban square, sequences of the film have been recorded over a couple of days, focusing on the people’s activities within the space.

The visual recordings are very much characterised by ‘people watching’ or ‘surveillance’ concept. Investigation of their activities apprises the research of the use of the space, focusing on the behaviour of lone pedestrians, groups of people, tourists and mutual interactions among the user groups in the urban space.

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4.0 - Source: Nanook of the North (1922) Directed by Robert J. Flaherty [Film]. France: NA.

Nanook of the North (1992) is often described as one of the earliest examples of ethnographic films (Durington and Ruby, 2011)

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This particular video has been produced showing the journey from the Upper High Street to the Winchester Cathedral and Butter Cross Square. The frames have been presented solely due to unsteady shots as the walk is undertaken.

Throughout the film, I am following pedestrians towards my destination, with most shots showing a person ahead with their back to the camera. This creates a sense of scale within the frame. Although human field of vision is much greater than the one of the camera, there is a general sense of the direction through strong visual axes and the narrow portrait orientation.

A precedent for this short film sequence has been taken from Bêka and Lemoîne’s film, Koolhaas Houselife where the house cleaner is being followed by a camera man while revealing parts of the space through her daily routine.

Through the video I attempt to identify what draws people to and through a space other than the need to walk.

Similarly to Houselife, the video reveals images of the street as the walk progresses, with changing vistas and strong perspectives the building edges create.

The video contributes to the research through showcasing a narrow portion of the movement through the space. It emphasizes an everyday activity carried out by a mass number of individuals that is often overlooked or not given enough thought to.

4.1 - Frames from Ila Beka and Louise Lemoine film Koolhaas Houselife (Bêka and Lemoîne, 2013)

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AWA K I N G Video available at: https://vimeo.com/196095513

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The following three films focus on people within the space throughout the day. The camera is stationary - observations are made through the lens with the focus on Butter Cross Square.

The frames from Awaking are shown on the left hand side and this video observes the pedestrians in the morning while the city is waking up.

The video shows not only the movement and concentration of people passing by but also their behaviour as it is pronounced in the third video. Meanwhile, most of them were giving strange glances and wondering why a person is sitting behind a camera at that hour.

The aim of the film documentation was ethnographic research - how people interact with the space and one another at a certain time.

The observation and the film reveal the use of the space as a passing place in the morning hours without much dwelling. The position and orientation of the street in the city also create a visual as well as physical connection to the lower and upper parts of the town, hence enabling a well connected route for the employees which were mostly the users and walkers through the space.

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BREAK Video available at: https://vimeo.com/196095538

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The second video Break shows the same scene of the Butter Cross with an evident difference that people create with their presence. In addition, Carol singers attracted an audience, mostly elderly and parents who paused to watch, listen and photograph while the employees on their lunch-break were hurrying towards the supermarkets and food stalls.

People were mostly oblivious to the filming and have not given much attention to the camera.

Figure 4.2 shows some stills from Hitchcock’s Rear Window (1954). Although the filming principles used for shooting the scenes were not replicated in my video research, the film is about ‘people watching’, with an interest in their daily lives. The protagonist comes to know his neighbours and their routines through observation from a static position in his window.

On a much larger scale, the three videos I produced focus on following people’s behaviour and movement around Butter Cross in order to deduce their role in the creation of ambiance.

Figure 4.2 - Stills from Alfred Hitchcock’s Rear Window (1954)

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N I G H T FA L L Video available at: https://vimeo.com/196095557

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Closing scene of Nightfall - no pedestrians

The third video Nightfall, portrays the change of the urban square through the same scene while observing people and their activities. The pedestrians walked slower, some stood waiting and others decided to interact with the camera.

While conducting visual research, I found myself more at ease with filming a large group of people within the space rather than being the focus of pedestrians in an empty square. Likewise, the people seem to dwell in places where groups of people have gathered or beginning to gather such as when observing buskers or carol singers.

As I filmed throughout the early and late evening, I observed some changes in the behaviour of the public passing by, although some eventful instances went unrecorded.

Ultimately, the video experimentation has allowed me to observe the character of the people, their trajectories and behaviour through the lens as well as an observer.

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References Crouch, C. and Pearce, J. (2012) Doing research in design. London: Berg Publishers.

Durington, M. and Ruby, J. (2011) ‘Ethnographic film’, in Banks, M. / and Ruby, J. (eds.) Made to be seen: Perspectives on the history of visual anthropology. Chicago: The University of Chicago Press, .

Pink, S. (2011) ‘Digital Visual Anthropology: Potentials and Challenges’, in Banks, M. and Ruby, J. (eds.) Made to be seen: Perspectives on the history of visual anthropology. Chicago: University of Chicago Press, .

Filmography Bêka, I. and Lemoîne, L. (2013) Koolhaas houselife. [Roma: BêkaFilms.

Koolhaas Houselife (2013) Directed by Ila Beka, Louise Lemoine [Film].

France: N/A. Nanook of the North (1922) Directed by Robert J. Flaherty [Film]. France: NA. Rear Window (1854) Directed by Alfred Hitchcock [Film]. USA: Paramount Pictures.

Legald, T. (2015) Filmmaking with visual ethnography - an interview with Sarah Pink. Available at: https://vimeo.com/125571530 (Accessed: 17 December 2016).

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0 1 WA L K I N G A S A M E T H O D OF RESEARCH

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WA L K I N G A S A M E T H O D O F D E S I G N RESEARCH The workshop aims to explore the action of walking as a tool for researching spatial environment. This particular workshop was carried out in Headington Hill Park with the task of producing a hand-drawn map and sketches informing our research.

Through the action of walking with intention of mapping my walk, I became very aware of my surroundings, noting landmarks around the park and significant points of focus. The nodal points of the map are then used by the observer to orientate themselves.

The bold arrows map out the pedestrian access and movement around the park and some significant roads and buildings are marked in order to enable easy navigation and orientation. The map is orientated north upwards.

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The sketch above has been produced on the walk around the same park.

Trees are fenced off and seem to be protected. The element of this view which caught my attention was the curvature and the fallen tree bodies which seem to intertwine with one another. The bare trunks allow the viewer to appreciate the nature’s creation, observing the cracks and rough surfaces of the autumn trees without the distraction of the green leaves.

The observer is left to wonder which trees are the living and which are the dead bodies within the fenced area where they seem as if piled up together.

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The sketch on the right hand side also portrays the trees within the fense using a larger field of view, creating context for the previously mentioned drawing. The path represents an important part of the walking journey around the park and the essential mapping element. The same path curves around the entire park to create one large loop where a visitor cannot get lost, only choose to abandon it and follow another one, leading them away from the park.

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RESEARCH THROUGH INTERVIEWS The aim of the workshop was to determine people’s experience of the John Henry Brookes Building social spaces through anthropological research - interview. Some open questions were formed within the group for carrying out informal interviews with participants.

Some of the limitations to this workshop we came across was the fact the questions posed were closed ended and often did not allow the interviewee to expand their answers subconcsiouly . Many people were also uninterested in participating or wished to answer the questions and soon as possible.

The ‘Upgrade’ staff answers differred significantly from the Sixth Form college students since the member of staff was aware of our degree subject and so her answers focused more on the architecture of the space.

The workshop has pointed out that the subject interviewed and interviewee must be carefully chosen, and willing to participate in the research first and foremost. The participating individual should also have some knowlegde or idea of the subject being researched in order to provide useful material.

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0 3 D R AW I N G D I A G R A M S A S A METHOD OF DESIGN RESEARCH

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DIAGRAMS AS A RESEARCH METHOD Based on the diagrams by Michael Southworth, the sketch above attempts to identify basic visual, sonic and olfactory stimulating areas of the John Henry Brookes Building.

The arrows identify the journey from the exterior (across the street), throughout the building, finally ending at The Terrace where all three mentioned senses are stimulated. Coincidentally, the spaces with most stimulated senses are the most social and most used spaces in the building such as The Forum, The Terrace and The Deli.

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The diagram above has been produced in order to identify some social spaces around the John Henry Brookes building. It focuses on unused spaces which architects intended to be utilised as external gathering areas. The increasingly popular culture of social outdoors has been changing the buildings and spaces between them. The current micro climate of the annual period is, however the major factor in the utilisation and inhabitation of these spaces. While the interior spaces remain constantly used, the outdoor use changes with the seasons. During the summer months and early autumn, the courtyards, steps and outdoor terraces become preferable spaces for groups to gather in.

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04 V I S U A L R E S E A R C H METHODS

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0 7 S O M AT I C METHODS OF RESEARCH

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0 8 PA I N T I N G A S A M E T H O D O F DESIGN RESEARCH

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APPENDIX LECTURE NOTES

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VISUAL RESEARCH METHODS

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DRAWING DIAGRAMS AS METHOD OF RESEARCH

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Marija Milosevic 16038484 P30026 Research Methods for Design Igea Troiani Research Methods Diary + Essay 21 December 2016

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