Fabrics Of Identity by Rachel Glover

fabrics of identity a contextual report rachel glover

rachel vivien glover student no. 33293377 ba (hons ) design goldsmiths university of london

anexploration into the perception of identity and its spatial constitution within a globalised society

Fig 1.1: image of urban planning, (www.archidose.tumblr.com

ABSTRACT â&#x20AC;&#x153;Fabrics of Identityâ&#x20AC;? is an exploration of identity and its spatial constitution within a globalised society. This report aims to establish a theoretical and practical basis for further exploration of this topic. Immigration into Britain and London in particular has made the city an exemplary multicultural society that displays a diverse range of identities who interact on a daily basis. Due to transformations in identity association, perceptions of national identity and cultural identity are shifting. People are developing identities based on multiple influences and an adaptation within urban spaces is necessary to cater for this. By studying several different aspects, this report aims to create a bottom-up approach to urban identity and design. These aspects will include, but not be limited to, pre-existing literature and projects, alongside further research that relates to identity and its relationship and relevance to urban design. Through theoretical exploration of the concept of identity, the body as a form of identity and the connection between identity and the built form, this report will attempt to understand how a multicultural city can be developed. Through practices of ethnographic research, speculative design and service design, a range of investigations were conducted in the urban spaces of South East London. These included informal interviews, speculative dystopias, rapid prototyping of urban co-creation and observations of pockets of expression. By undertaking the forgoing investigations, this report aims to provide a transformation in the way urban spaces frame our lives.

fig 1.2: collage of identity, self created, using fig 1.1 (www.archidose.tumblr.com), own photo of concrete wall, side profile image (www.sexspy.tumblr.com)

fig. 1.3. own image of brockley flats Fig. 1.4 (opp. page) city blocks (www.patternity.org fig 1.5. own immage of peckham noticeboard

INTRODUCTION

This project aims to investigate the perception of identity and its relationship with the built form, with particular regard to difficulties created through globalisation and increased migration. Through the critical investigation of belonging and cultural identity within South East London, I aim to question the current use of urban spaces and city infrastructure to see if it can better respond to the desires and needs of a multiple identities. This report intends to develop a theoretical framework of the concept of identity, with specific emphasis on cultural identity and its relevance to urban spaces. Through the amalgamation of my design practice and my speculative research, this report will attempt to gain an innate understanding of how urban spaces can be designed to provide a more inclusive environment across a multicultural community.

fig 1.5. own immage of peckham noticeboard

Identity can be viewed as a multifaceted union of influences. These can include, social, subcultural, racial, ethnic, economic, generational, religious, class and gender based factors. The fabric of identity is unique to each individual and woven through a variety of influences. The original project concept lay within the notion of fabric and, despite the development of forms of identity, its roots still lie there. Similar to the art of weaving fabric, the art of catering an urban environment for a complexity of identities is an interpretation of design. It explores the medium through which urban fabrics â&#x20AC;&#x201C; and more specifically the use of physical space - showcase individual identities and the notion of citizenship and belonging within an increasingly global city.

I have selected the topic of urban spaces and built form, as the physical design of a place is inherently linked to imagination and the invention of future worlds (Dovey: 1999: 2). The speculative design developed throughout this report offers a critique of current issues within a diverse area of South East London.

Urban spaces and the built environment are a stable and permanent form that provides multiple ways of â&#x20AC;&#x2DC;framingâ&#x20AC;&#x2122; the way we live. The construction of spatial framing directly impacts our lives and therefore drives forward the concept of social change. Previously, this relationship between urban space and social change has been largely ignored, much like the frame of a picture. Architecture is seen as necessary, but not important. However, through the work of scholars such as Foucault, Giddens, Lefebvre, Bourdieu and many other theorists, an architectural discourse has evolved. This report highlights concepts of identity, the body and its relation to built form, expression within a physical terrain and global concepts within a changing world. This project also aims to transform the potential of urban spaces to provide a sense of inclusion. However, when dealing with change in a world that is continuously changing (both in destructive and constructive ways) it is necessary to be aware of the balance between the optimism for the new and conservative nostalgia for the old.

fig. 1.6. own image of batik printing block made out of gaffa tape: demonstrating the initial inspiration for this project, batik print and its ability to represent cultural identity in the physical form

REVIEW OF CONTEXT

This report sits within the theoretical context of spatial identity and the â&#x20AC;&#x2DC;glocalizedâ&#x20AC;&#x2122; world. There has been a plethora of literature and design explorations that have investigated this area previously. Therefore, this context report aims to build on past investigations and hopefully provide a new perspective combining elements of bottom-up design approaches towards theoretical architectural discourse. The development of this research area stems from personal experience. As a British national who spent 16 years growing up in Brunei, on the island of Borneo, I have experienced a variety of cultural influences and perspectives that have given me a unique sense of identity. Despite being aware that there is a multitude of individual identities located within a city, the frustration of not identifying with the cultural identity you were born into has created the sense of a lack of belonging to London. Although that experience provided me with many positive privileges, I am aware that this confusion with identity happens to thousands of individuals that lack the same ability to communicate their dilemma.

The main theoretical concepts explored throughout this report have been taken from existing literature. Theories of concepts of the body as a form of identity and its relation to spatial context were discovered through the readings of Bourdieu, Botton, Lynch and Giddens. The following section explores the notion of ‘Framing Places and Mediating Power in Built Form’ inspired through a book by Kim Dovey. The connection between these concepts are established within the third section illustrating the ‘Expression of Identity within the physical terrain’ where the work of Buonfino, and his report on belonging in Britain is explored. Additionally, ‘The Home as a space of Identity’ examines three varying forms of cultural homes and explores literature by Neill and his work on ‘Urban Planning and Cultural Identity’. Each section illustrates an exploration of identity, along the common thread of self expression. Fig: 2.1 - collage of cultural identity context, own image google maps screenshot of brunei, london

Fig: 2.2 - quote exerpt from williamsburg website

This project and its urban setting were inspired in-part by projects that challenge the hierarchy of design practices, such as ‘Welcomesburg’ (J. Cooksey, B. Winter : Welcomesburg :http://www.welcomesburg.com)., an exploration of urban planning through the involvement of urban residents. Similarly, the project ‘The Unplanned City’ (R. Murray: The Unplanned City: www.rachelmurrarydesigner.wordpress.com) by past Goldsmiths student Rachel Murray, demonstrates a bottom up approach towards urban planning. Although the contextual concept of these particular projects vary slightly, its bottom-up approach and ethnographic manner have been an inspiration towards my design methods. Other past work that has contributed to the development of this, is the design project of ‘How to be a citizen’ (C. Thompson : How to be a citizen : www.cargocollective.com/overspace) completed by second year Goldsmiths Students, whose work represents an exploration of the UK citizenship test questioning its relevance and necessity within a globalized society. Further contextual support is located within the main body of the text.

Fig: 2.3 - ‘the unplanned city’: rachel murray (www. rachelmurraydesigner.com fig.2.4 - ‘the unplanned city’ : rachel Murray : www. rachelmurraydesigner.com fig 2.5 - ‘how to be a citizen’: clare thompson : www.cargocollective/overspace.com

the images of ‘the unplanned city’ represent a tea trolley used as a tool to collect urban planning ideas from urban residents. this project was a good reference for ethnographic research

fig 2.6. scanned image of method illustrations, self created

The methods used throughout this project investigate forms of self-expression and cultural identity and how this translates to designing urban spaces, promoting a sense of inclusion and a bottom-up approach to civic unity. A range of different practices have been employed throughout this investigation, either inspired by existing methods or through the development of my own practice. Within this section I aim to state and explain the techniques used.

METHODOLOGY

Due to the nature of cultural identity, initial research into the selected topic required an Ethnographic approach. This practice enabled me to develop an understanding of human behavior by becoming involved with the activities of the group under investigation (Schuler: 1993: 128). The specific use of this practice is found in several areas of this report. The social group selected were inhabitants of Peckham, due to the wide diversity of cultures exhibited in such a restricted area. The field work involved a series of observations, informal interviews and immersing myself in the local community. I made specific use of the collection of â&#x20AC;&#x2DC;The Textile Libraryâ&#x20AC;&#x2122;, and the informal interviews carried out regarding the space of Peckham high-street prior to the development of the Speculative urban co-creation models. I selected this design method as it provides an innate understanding of the observed behaviors and everyday practices of the chosen social groups. While Ethnographic research is a valid form of documenting the social practices of a group, it is the interpretations of these practices that develop the information into valuable design explorations. By utilizing this method, an awareness of the complexities surrounding the local area were maintained. These include ethical issues and the ability to remain descriptive and avoiding assumptions (cultural relativism).

Secondly, Speculative Design was used in several areas of the different investigations. Speculative Design is a technique that uses fiction to present alternative products, systems or worlds (Auger: Speculative Design: Crafting the speculation: 1). The use of models and prototypes to illustrate these ideas are essential for its production. They were used for the development of the â&#x20AC;&#x2DC;Future of Multicultural Urban Planningâ&#x20AC;&#x2122; and combined with ethnographic research techniques to develop illustrations of potential urban interventions.This technique was employed as not only does the practice encourage contemplation of potential futures, it can also be a system for analyzing, critiquing and re-thinking contemporary infrastructures. Further analysis of this critique and its intricacies are also discussed within the substantive chapters.

Thirdly, Service Design was introduced through the use of two techniques: ‘Urban co-creation’ and ‘Emergent Urban Spaces’. Service Design is a form of conceptual design involving the activity of designing interactions, innovating experiential services and planning the activity of organizing people and infrastructures. It was selected in order to develop a method of developing interactions within cultural identity groups and to question pre-existing hierarchal structures within urban spaces. ‘Urban co-creation’, designed by Supertanker, is a participatory design method for use in urban pedagogy (M. Frandsen: Situated Design Methods: 181). The method involves full participation at a local level and requires the development of involved citizenship. The application of this was used within the ethnographic informal interviews collected. The development of the interview data into interpretative illustrations and potential prototype models was an interpretation of urban co-creation. However, full use of the method will be explored in later aspects of the project as time constraints have limited my ability to form a relationship with a social group that allows for full exploration of this method.

Finally, â&#x20AC;&#x2DC;Emergent Urban Spacesâ&#x20AC;&#x2122; is a practice within which a designer represents a singular mastermind by sketching out a design method or intervening within an existing urban environment. This method is aware of pre-existing spatial places within a community and aims to formulate a way within which spatial design practices can integrate potential users within the design process (ibid:201). Urban design is starting to accommodate participatory design; a space within which a diverse range of cultural activists, planners, artists, and nonprofessionals re-design and re-create urban environments (Cuff and Sherman 2011). This method was used within the observation of urban spaces, the location of existing urban spaces and the proposed interventions. The technique was used as it challenges the hierarchy between user and designer, allowing me to imitate the role of an array of differing practices with a design perspective. Furthermore, the involvement of user opinions throughout the practice develops a restructuring of the power structures within existing urban planning systems.

fig 2.7. own image of adornment found on peckham rye station

THE BODY AS A FORM OF IDENTITY

Urban space provides a platform for everyday interactions between natural, social, economic and cultural rhythms within a range of cyclical and linear, dogmatic and dynamic, collective and individual processes. The theories of Elisabeth Grosz suggest there is a rhythmic interchange between “bodies and cities” (Elisabeth Grosz, 1995). This happens if a cities inhabitants can transform its meaning and vice versa such as how the city spatially organizes human bodies. This relationship is not planned by human reason or seen as a balance between cities and the present bodies but is seen as “a fundamentally disunified series of systems, a series of disparate flows, energies, events or entities, bringing together or drawing apart their more or less temporary alignments” (Rhythmanalysis, Daniel Koch, Monica Sand, 2009). The body can be viewed as a bridge between being and the world (Framing Places: Kim Dovey: 1999: 39). The experiences of our body within certain space is a predominant way within which we construct conceptions of place. Space can be defined as “a certain possession of the world by my body, a certain gearing of my body to the world” (Merleau-Ponty: 1962:250). Place can be seen as development of meaning towards a space based on our experience of it. Architecture therefore possesses the ability to stabilize our identity and conceptions within a local area.

fig 3.0 (double spread above, collage of own images fig 3.1 collage of identity, image of face (www.favim.com)

However, unpredictable events such as: technological changes, rapid urbanization and global movements of refuges or the workforce disrupt this reciprocal relationship between population and city space. Globalisation and technological advances have caused a rapid increase of diversity within populations that has left urban spaces unable to adapt at the same rate (Rhythmanalysis, Daniel Koch, Monica Sand, 2009).

Goffman’s discussion of the body states the body is a material property of individuals, which the self is in control of and monitors in order to interact. It is also a mediator of the relationship between self-identity and social identity. “The body is ‘the ultimate site of political and ideological control, surveillance and regulation” (Lupton 1994:23). Ethnographic observations within areas of South East London highlighted how the use of the body as a form of adornment for textile was a predominant form of self expression. The diversity of prints and textiles evident within the area was an active form of expressing cultural identity. To be a participant within a culture, it is necessary to incorporate its patterns within a fluid relationship amongst the topography of place and the physical perceptions associated with it. It is necessary to develop an understanding of a culture through not only learning, but incorporating its rhythms. This is something that inevitably becomes an unavoidable reality, however steps can be taken to incorporate certain elements intentionally (Lefebvre and Régulier 1996). Through the use of Batik printing and the entry point of textiles, I began my exploration through the development of a textile library by collecting offcut samples from tailors throughout South East London in an effort to develop an understanding of the various identities of an area through its textiles. The collection of these textiles coupled with the informal interviews provided a unique perspective of place. This exploration led to the development of interpreting spatial identity. The textiles collected, predominantly Batik and Kente patterns (produced by Vlisco and commonly used in West Africa), gave me an insight into the rich cultural history and identity of locals within the area. This lead to the understanding that textile and the wearing of clothes throughout South East London is often an inoffensive form of expressing identity. fig. 3.2 image of london subcultures (www.rebok.com)

ce aow e i-

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Through speculative design ideas and the creation of collages the idea of translating this form of self expression towards more permanent urban spaces was developed. The ability to present varying forms of identity within a multicultural area in a positive manner represents a positive form of social inclusion and the acknowledgement of varying identities. The construction of cultural identity uses a variety of building materials such as; history, geography, religion, sexuality and a variety of socio-spatial resources. The reassertion of identity has emerged as a ‘hot topic’ in the United Kingdom recently due to tensions that have arisen from increased migration. This supports the notion that identities tend to be ‘marked out by difference’ (Neill: Urban Planning and Cultural Identity: 39) within which social constructions have adopted the marking of symbolic boundaries, such as borders. Freud’s notion of ‘narcissism of minor differences’ highlights “the common elements humans share seems less essential to their perceptions of their own identities than the marginal ‘minor’ elements that divide them. What Marx called ‘species being’ – our identity as members of the human race – counts for relatively little” (ibid: 48). This demonstrates how within recent political circumstances individuals have held onto their individual associations of identity, rather than the collective identity of ‘human’. This notion can be materialized through design, and is common throughout London. Small differences within the materiality of our clothing tend to provide us with some of the strongest identity associations. Subcultures throughout London associate minor differences in clothing as an active form of interpreting group identities. Although these differences may be a result of more globalised outlooks, it supports the statement that textile is a strong entry point into the discussion of identity

The development of the textile library was an attempt to investigate the communicative form within which inhabitants of South East London express their cultural individuality or identity. The analysis of this and associations of textile enabled me to draw links that could be translated into interventions of urban space. The connection between our body as a form of expression and its relationship to the built environment is validated by theories of Bourdieu: “Bourdieu refers to the dialectical relationship between the body and space as a form of ‘structural apprenticeship’ through which we at once appropriate our world and are appropriated by it: the ‘book’ from which the children learn their vision of the world is read with the body” (Bourdieu: 1977: 89) This theory allows us to develop a link between the concepts of identity and how this is influenced by an array of factors including our spatiality. The variability of expression capable through design of our bodies and clothing is a potential for urban spaces. This speculation is the basis for my design ideas. However, throughout this report an awareness of the physical and technological limitations is kept in mind.

fig fig

fig. 3.3 own images of scanned work, edit of trainger shoes fig. 3.4.own image of textile library

fig 3.5 - 3.28 own images of scanned textiles collected through interview

fig.3.29. 3.30, 3.31 scanned image of interview note taking whilst completing informal interviews with print expert during textile library collection

Upon critical reflection of this investigation it became aware that the textures within textile were too limiting towards the conceptual project I had taken on. Therefore, this should be viewed merely as a springboard in idea generation and an attempt to develop an ethnographic relationship with a social group, the textile library in effect needs to be expanded from the initial fabric collection into an array of textures of identity located throughout south east London, without the limitations of just fabric.

fig.3.30. edited collage of city block picture (www.patternity.org and own image of textile illustrating speculative forms of temporary adronment of city spaces

FRAMING PLACES: MEDIATING IDENTITY IN THE BUILT FORM

fig.4.0 V&A catalogue collected at field investigation from ‘fabric of india’ exhibition and edited through collage

Analysis of how inhabitants influence the identity of an area through observations in Peckham led me to the concept of framing places. To develop my understanding of urban spaces I selected a contrasting area to establish how pre-existing cultural architecture can influence the actions of people. This led to the selection of the Victoria & Albert Museum (V&A) as my field of investigation. The relationship between people and architecture creates the potential to mediate action and identity towards a space. The permanence of built forms in contrast to the flexibility of people was explored throughout movement within the V&A. The following quote “Architecture is also the most conservative of practices. This conservatism stems from the fundamental inertia of built form as it ‘fixes’ and ‘stabilizes’ the world – space is deployed to stabilize time (K. Dovey: Framing Places: 1) highlights how these contradictions make the explorations of identity within urban spaces so complex and the design potential so exciting and stimulating.

The theory I was particularly interested with was the notion of framing. Kim Dovey states that built spaces ‘frame’ space, not only in a literal sense but also discursively (ibid: Pg.1). “…everyday life ‘takes place’ within the clusters of rooms, buildings, streets and cities that we inhabit. Action is structured and shaped by walls, doors and windows, framed by the decisions of designers” (ibid: pg:2) Built forms have the ability to communicate meaning that people interpret as spatial text. Framing allows for the delivery of these meanings, seen in the literal word ‘frame’ of mirrors and pictures and through the noun ‘framing’ described as the establishment of order and to border (ibid: pg.3). Framing of the built environment allows us to place ourselves within this world. It provides a structure that we are capable of interpreting. Both of these forms of ‘framing’ promote the mediation and construction of relationships between place and power.

fig 4.1 picture of the reich chancellery corridor (www.warhistory online.com)

This connection between power and the built form is inevitably planned and created by those in control. An example of the development of control through power can be seen in the work of Albert Speer, the Architect responsible for the Reich Chancellery. The notoriously long corridors with highly polished floors were meant to instill a sense of unease for anyone visiting Hitlerâ&#x20AC;&#x2122;s Office.

THE IMAGES DEMONSTRATE HOW SPACE CAN BE INTERRUPTED BY THE MOVEMENTS OF PEOPLE DEMONSTRATING HOW THE BUILT FORM CAN PROVIDE A PHYSICAL FRAME FOR THE WAY IN WHICH WE VIEW THE WORLD

This notion was why I selected the V&A museum as an example of a politically charged space with a large amount of cultural history to complete a field investigation that provided a contrast to the work conducted in Peckham. Throughout my investigation of the V&A, a series of photographs and experiments were carried out to explore the contextual framing of objects. The images illustrate the ability of the built form to ‘frame’ people, but also highlight the opposite of this, as people and their fluid movements have the potential to ‘frame’ an object.

In an attempt to combine the images taken with the exploration of identity a montage of the original image with an overlay of the V&Aâ&#x20AC;&#x2122;s Facebook page (expressing several comments and opinions on the museum) was created. This speculative concept was driven by the idea of digital identity and its fluidity of self expression in contrast to the lack of self expression within restricted spaces such as the V&A. The confidence people assume within the space of digital identity is often lost throughout the built form, through collages such as thisallow for idea generation of how to provide a temporary form of identity within pre-existing structures.

fig 4.2 own image of v&A fig 4.3 own image of V&A

THE PHOTOGRAPH ABOVE DEMONSTRATES HOW THE MOVEMENTS OF PEOPLE WITHIN A SPACE ALLOW FOR A CONTEXTUAL FRAMING OF AN OBJECT, PLACING IMPORTANCE OR ‘PLACE’ ON SOMETHING MOMENTARILY

fig 4.4 own image of v&A fig 4.5 own image of V&A

By completing this field work, an understanding of the politics of place was developed. “The built environment reflects the identities, differences and struggles of gender, class, race, culture and age. It shows the interests of people in empowerment and freedom, the interests of the state in social order, and the private corporate interest in stimulating consumption” (Ibid: Pg.3) The observations made throughout the Museum demonstrated how architecture and urban design are responsible for transforming the way we frame an object and outside of this context how it enables us to frame the world. The use of podiums, changing level and the textures present throughout the museum were representations of this concept. The design of these structures are an inherent nexus between the imagination and the construction of the future, and therefore the built environment cannot separate itself from the political or social circumstances of a space.

EXPLORING THE NOTION OF FRAMING AND IDENTITY THE IMAGES HAVE BEEN OVERLAYED WITH FACEBOOK PAGES OF THE V&A THE COLLAGE IS REPRESENTATIVE OF DIGITIAL IDENTITY AND ITS FLUIDITY BEING TRANSFERED WITHIN TO THE BUILT FORM fig 4.6 own image of v&A overlayed with the v&A’s facebook page fig 4.7 own image of V&A overlayed with the V&A’s facebook page

fig. 4.8. own image of the v&A overlayed with a public instrgram picture of the same room - illustrating how different perspectives provide different interpretations of a space

My aim throughout this investigation was to develop a way within which the materiality of a space can mediate its politics. It enabled me to understand that these textures of power are multidimensional. The concept of place and how it is planned, constructed and experienced through representation, personal experience and spatial structure illustrate how individual identity influences reactions towards a space. The politics behind the museum as an urban space allowed me to develop an understanding of the restrictions and regulations present when attempting to carry out design interventions. It made me aware of the necessity for temporary interventions that enhance pre-existing structures.

ADORNENT OF IDENTITY

Developing an understanding of ‘framing’ identities within spaces developed witnessed at the V&A allowed me to reinterpret this knowledge and import it into the selected area of South East London. With a new perspective of how architecture can influence peoples actions an observation of forms of expression within the physical terrain of a multicultural area was carried out. Ornaments or Adornment is an active form of identity association throughout the textile and fashion world. Adolf Loos’ radical aesthetic purism exhibited in “Ornament and Crime” (Loos: Ornament & Crime: 19) provides a theoretical link of the concepts of ornament through the body paralleled to ornament within a physical structure. This supports the relationship between body and urban space discussed previously. Loos’ essay parallels the use of ornamentation within architecture to the devastation of culture and society. He believed that ornamentation contributed to the obsolescence of an object. However, textile and clothing ornamentation has provided an interchangeable recognition of culture and society. If the temporary ability of ornament of the body could be utilized in urban spaces could we develop temporary structures that could gain positive criticism and promote the development of a globalized city. Through field investigations in South East London, forms of identity adornment were seen in house windows, as car bumper stickers and the decoration of housing blocks. The following images represent narratives of identity within urban spaces. The observation of these forms of adornment allowed me to gain an understanding of the spaces within which people felt comfortable expressing themselves and furthermore the limitations of these pockets of expression within existing architectural structures.

fig. 5.2. own image of adornment located within peckham highlighted within the blue circles: sign reads : ‘FOSTER KIDS’

fig. 5.3. own image of adornment within peckham highlighted within blue circle: Drake cut out wearing mans sweater

fig. 5.4. own image of adornment located within peckham highlighted within the blue circles: sign reads : end the housing crisis (bad image becasue of glare)

fig. 5.5.. own image of adornment located within peckham highlighted within the blue circles: cluttered balcony

There is a distinct lack of expression in urban spaces and the home within modern spatial structures. The increasing influence of cyberspace and the fluidity of identity within that space has promoted a lack of need for expression in a physical sense. People can re-invent their identity in this digital age. Can this same fluidity of expression occur within a spatial context? Interconnected societies that develop via the internet provide ever increasing networks. Within the context of identity, use of the internet has the potential for cities to become a de-territorialized place within which the plasticity of identity can be experimented with (Neill: Urban Planning & Cultural Identity :2). â&#x20AC;&#x153;As travel becomes within reach of most people and communication technologies enable people to be immersed in cultures located elsewhere, and to cultivate multiple identities, the question of belonging becomes more complex and more central to the debate on how we live togetherâ&#x20AC;? (Buonfino: Belonging in Contemporary Britain:5). However, this fluidity can lead to a disconnection from local identity that can cause places to lack a sense of community. Recent research has shown that there is an increasing number of Black and Ethnic Minority communities that feel they do not identity with Britain. (Ajegbo, Diversity & Citizenship Report: 17). A lack of common belonging across a multicultural nation can often lead to homogenization and polarization and difficulties constructing social identities. The ability to create a sense of identity whilst maintaining global and individual outlooks is a challenging goal.

The comparison of the fluidity of cyberspace and global citizenship towards local and spatial identity reinforces the notion that architecture as a form lacks the ability to adapt within the same flexibility due to its permanence. Through the use of temporary interventions and social architecture I believe that a sense of local community with a global consciousness is achievable. However, it became apparent throughout my exploration of urban space that it is never a neutral platform. People inevitably design space, and the inhabitants of that space also contribute a significant identity towards it.

FIG. 5.6. BALCONY WINDOWS OVERLAYED WITH INTERNET WINDOWS OF MY OWN COMPUTER, A SPECULATIVE COLLAGE OF FLUID IDENTITY FORMS BEING EXPRESSED WITHIN THE BUILT FORM

Through modern technology and global media, the British Public have an almost unlimited access to world knowledge and the potential for global issues to become potential social actions. Increased awareness and activity in global campaigns and politics have many positive effects. However, there is an argument that “being active is not necessarily the same as being powerful” (United Nations. Dept. of Economic and Social Affairs: World Youth Report: 304). Involvement with global issues can create a larger global citizenship but lack of ability to deal with these issues in a local sense may leave people feeling powerless. There is a distinct lack of expression in urban space and the home within modern spatial structures. This means today’s generation potentially hold the most knowledge and ability to change things but may in fact fail to complete any significant acts. The development of bottom-up design approaches involving local communities within South East London would allow me as a designer to gain a sense of what is required within a local setting.

THE HOME AS SPACE OF IDENTITY

fig.6.0 collage of houses : Long house Image (https://en.wikipedia.org/ wiki/Islamic_architecture#/media/File:Pagaruyung.jpg House of Sanaa Image: http://www.cqj.dk/photo-yemen.htm Prairie house image: http://architecture.about.com/od/periodsstyles/ig/House-Styles/The-Robie-House.htm

The previous section highlighted the significance of self- expression within the home in South East London. This led to an exploration into case studies of different interpretations of the home throughout the world. This enabled me to research varying ways within which an array of different cultures express their identities and sense of inclusion through architectural form. These ideas provided inspiration for the speculative ‘Future of Multicultural Housing’ “All in all, the houses of Sana’a are perfect specimens of that comfortable construct of masonry, memory and family that English puts so neatly in a single syllable: home.” (T. Mackintosh-Smith: A Remedy for CareWorn Hearts:5) Identity and a sense of home are intrinsically linked. A space within which you develop a sense of belonging enables you to develop inclusivity towards that urban space. Therefore, the lack of cultural diversity with regards to residential space in a multiethnic city is a potential reason why community space in South East London has become more secular. Finding recognition within surrounding urban structures promotes an increased sense of belonging and can reduce community tensions. Cultural recognition has been expressed to some degree within architecture through the development of Religious places of worship such as Mosques, Temples and Churches. However, these permanent structures are highly exclusive as they don’t provide a sense of inclusivity for the rest of the community.

Temporary intervention in urban spaces could push urban involvement forward to create a space that expresses cultural identity and individual identity but is also inclusive of the rest of the community. “If the home, the neighbourhood and the nation are all potential spaces of belonging, this is no simple matter of disconnected, parallel processes. Each of these spaces conditions the others and the question is to understand how “the nation and the locality invade the home” (Sibley, 1995, Pg. 90) because these spaces are simultaneously tied together by media messages, by the workings of the real estate market and by macro factors such as the immigration policies of the state and the impact of the global economy. It is these interconnections with which ultimately we need to be concerned” (Morley, 2001, Pg. 433) Through understanding the pockets of expression within the homes of a diverse range of people we can begin to develop a method of temporary intervention that can be applied to local places, community and spatial identities. London faces several different situations that make us query our sense of identity, and our relationship with people and the system, forcing people to locate themselves and others within a social space. (Neill: Urban Planning and Cultural Identity:7). Previously, debates about belonging and identity centered around diversity and ethnicity. However, it is now recognized these are no longer limitations. Identity within modern society can be found within a range of different spheres and these provide the framework within which we can develop a more inclusive sense of community (Bourn: Young people, Identity, and Living in a Global Society: 26).

I believe the home is a space within which this could be achieved as the interpretation of a sense of “home” across the world is extremely varied and interesting. Case studies of these include Houses of Sana’a, a physical house that grows as a genealogical house (Mackintosh: A remedy for CareWorn hearts: 6) where each subsequent generation adds a physical and emotional layer to the house.

fig.6.1 (previous page) own image fig. 6.2. house of sanaa http://www.cqj.dk/photo-yemen.htm

fig.6.3. longhouse image: http://www.trekearth.com/gallery/Asia/Malaysia/East/Sabah/Ranau/photo51326.htm

A traditional Iban longhouse in Malaysia is built to include the family as part of the community. There is a common space at the front and private rooms or “doors” at the back. The longhouse is extended longitudinally as the community grows. The houses are often described by the number of “doors” the house has so that you know how many families live there. (e.g. 10 door long house)

Changing communities are having an effect on several other elements of our society such as politics and economy. It is impossible for spatial structures to avoid these engagements. The house can provide a form of political expression, an example of this provided is within Wright’s prairie house: “Wright’s prairie houses were both hearth centered (vertical) and earth hugging (horizontal) – they constructed a range of potent meanings about democracy, landscape and individual ownership” (Framing Places: Kim Dovey: 39). As London becomes increasingly more diverse and multiethnic the culture still needs to resonate as a sphere of personal identity. “Culture is the context within which we need to situate the self, for it is only by virtue of the interpretations, orientations and values provided by culture that we can formulate our identities, say ‘who we are’ and ‘where we are coming from’” (Benhabib, 2000, Pg. 18) According to Anthropologists Douglas (1966), Danforth (1982), Bloch & Parry (1982) and Rappaport (1999), cultural rituals provide an important social glue through which individual intentions become secondary to (identify with?) the community. People feel a sense of belonging when they can freely exercise their culture and values. However, in the context of segregation the dilution and devaluing of culture can lead to understandable tensions. Examples of this include young Muslims who feel their beliefs are misunderstood by wider society and contrastingly how white working class individuals feel they are losing their voice in their communities.

This project aims to tackle these tensions through the vehicle of architecture which in a society that celebrates diversity can speak its own language (Zumthor: Thinking Architecture: 27). Belonging and finding recognition from structures and surroundings can help people live better – and significantly reduce tension and societal problems (Buonfino: Belonging in Contemporary Britain: 22) highlighting the positive effect of social recognition through cultural structures. Conversely, the delicacies of dealing with culture amongst such a diverse city could create problems with my design process. Throughout this exploration I must not make assumptions or impose ideas on areas I am attempting to map. “While one must be careful in ‘mapping’ cultures crudely onto places, given that multiple cultures and identities frequently inhabit a single place and contribute to its character” (Neill: Urban Planning & Cultural Identity: 11) The nature of a city means that cultural identity is no longer a fixed form of identification. The idea of transformative or temporary forms of expression within permanent urban structures could provide the prospect of a city capable of adapting to the continuous changes of its population.

fig.6.4 collage of houses : Long house Image (https:// en.wikipedia.org/wiki/ Islamic_architecture#/media/File:Pagaruyung.jpg

The future of multicultural housing

fig 6.5 (previous page) own image of brockley housing

A liberating development in the theories of postmodernism was the recognition of difference; “the end of singular and privileged ‘metanarratives’” (Kim Dovey: Framing Places: 2). The act of generalization is to totalize and therefore repress any form of difference. However, there must remain an awareness that continued discussion of architecture and built form within these paradigms can prevent a form of intellectual exclusion. “To the extent that theories of power in architecture and urban design become intellectual enclaves, they also become ineffective in public debate” (Framing Places, Kim Dovey, Pg.6). Whilst this does not mean the complete dismissal of past development theories, recognition of varying forms of knowledge, based within their own paradigms has the potential to provide multifaceted examples of built form. Throughout my design practice and this essay there has been a cross over of methodologies. This is done with the intention to highlight the disadvantages and opportunities of multiplicitous invention. It is a form of critique to demonstrate “that the practices of power as mediated in built form are multi-dimensional, they cannot be simply addressed as forms of representation, lifeworld experiences or spatial structure; rather places are constructed, experienced and understood within the tension between these paradigms” (Ibid: Pg.3.)

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Any study of â&#x20AC;&#x2DC;placeâ&#x20AC;&#x2122; also entails a bridging of interest across different academic paradigms â&#x20AC;&#x201C; particularly the fields and sub-fields of cultural studies (based in post-structuralist critique) and human-environment studies (with a humanist and empirical base). There is no singular methodological position or school of thought on which this work is based. This is a key starting point which deserves some comment. One of the important and liberating lessons of the postmodern movement has been the recognition of difference. A technique used to explore the concepts of multiculturalism within urban spaces was to initially develop an understanding of the Utopian or Dystopian theoretical world that could be developed through a completely unified society. The hypothetical development of this community epitomizes a unified architecture that represents the multiversity of an integrated global society. Each building represents pockets of expression that are used to encourage personal identity association without disrupting the system. The first two images are screenshots of the Utopian world, the Hive mind, a sociological exploration of a world within which there is no difference and experiences are an amalgamation of minds. This exploration provides a critique to modernity. Following on, there is also an excerpt from the planning guides for a city within which multiculturalism is explored through extreme nationalism.

utopian house designed around the concept of the all inclusive hexagon, material of the house acts as an interactive screen capable of transforming to the necessary identity of the inhabitant

fig 6.7 own image: screen shot of a utopian community developed in google sketchup and rendered into a proposal video

dystopian society housing, unification is achieved through lack of recognition in difference, pre determined pockets of self expression develop nationalistic forms of identity

fig 6.8 texiles scaneed from personal textile library collections housing block image: https://s-media-cache-ak0.pinimg. com/736x/82/50/23/82502312d4acc45aaa0abfecca0f9a34.jpg

a dystopian nation within which everyone is unified, through disregard of difference

unified shelfs of self expression enabling citizens to actively explore their identities but only within the specific areas decided by the system

Furthermore, it is a representational account of modern England and the current importance placed on the individual. Britain as a state has developed policies that incorporate its cultural diversity by placing focus on individual identity and slowly moving away from a concept of â&#x20AC;&#x2DC;Britainâ&#x20AC;&#x2122; as a country. This is due to the heritage of imperialism and England being seen as a state in which we are not citizens but subjects. British identity, especially within London is so centered on the self and individual associations of identity that it doesnâ&#x20AC;&#x2122;t feel as if there is an innate sense of belonging to the space that sometimes occurs in other areas of the UK and other nations

fig 7.0 colage of british citizenship

fig 7.0 colage of british citizenship image 1: own image of housing block image 2 - passport http://www.thetimes.co.uk/tto/travel/businesstravel/article2701270.ece Image 3 - city scape: https://www.behance.net/gallery/24276859/City-Layouts

Law & Citizenship with regards to identity Within many societies law can be interpreted as the official provider of belonging. (Buonfino: Belonging in Contemporary Britain: 20). Law has the capability to grant rights and identities but also remove them. “In most societies, citizenship is ultimately the formal determinant of belonging, providing differentiated categories ranging from citizens, residents and second class citizens (tourists; refugees; people on short term working visas) to asylum seekers and undocumented migrants).” (Buonfino: Belonging in Contemporary Britain: 20). Being seen as a citizen is one of our first interpretations of our belonging. The law in turn has the ability to expose hypocrisies. In order to develop a harmonious society, it is necessary to allow special understandings for certain communities. However, due to increased migration and discussions over citizenship throughout the UK the question of what is British seems more relevant than ever. “Citizenship will require some moral philosophy over the next decades” (Neill: Urban Planning and Cultural Identity : 10)

Citizenship is constituted spatially and therefore is of major significance to urban planning. (ibid:10). The passport can be viewed as a physical vehicle by which we classify ourselves as part of a nation. However, I have held a British passport my whole life and feel I could fail the citizenship test by being non-resident for most of my life. The topic of cultural identity as a theme throughout this investigation contains links to globalisation, social movements and associated identity politics. One of the ultimate paradoxes of globalisation is the development of national identity as a way of attempting to develop structure in a more interconnected world (Castells: 1997:8). The development of a more global society can cause individuals to lose their sense of identity. Individuals develop a more assertive defense of the inner or minute differences between each other such as language and mentality.

fig. 7.1 British passport image cropped: http://www.thetimes. co.uk/tto/travel/businesstravel/article2701270.ece

Globalisation, modern technologies and access to travel have created a more interconnected world. But at the same time it is transforming traditional structures or spatial identity, redefining boundaries and shifting identities based on national or regional consumption (Ignatieff: 1999: 58). The shift of boundaries within identification can be seen within conflict. Smith states that war used to be predominately state to state conflict. This has transitioned towards the emergence of more conflict within states such as Rwanda and Syria (R. Smith:2005). People who donâ&#x20AC;&#x2122;t have a strong sense of individual identity associations, develop a sense of identity through group recognition. This is supported by the theories of Hall â&#x20AC;&#x153;identity can be described as the construction of recognition of some common origin or shared characteristics with another person or group, or with an ideaâ&#x20AC;? (Hall :1996:2-3). Thus as a reaction to globalisation certain groups are incapable of adapting beyond the small margins of difference that remain. To develop cohesiveness, it is necessary to develop an understanding of globalisation not only as an economic process but also as an entry point that encourages cultural integration and the development of new multifarious identities.

CONCLUSION

The theoretical exploration of this topic enabled me to develop a much better understanding of the connection between identity and its relevance towards urban spaces and the built form. The preposition that humans are intrinsically socio-spatial beings was demonstrated through several theoretical accounts. Urban spaces provide a frame for human interactions, allowing us to make connections with and develop interpretations of a space. Although the theoretical research gave me an understanding of how urban spaces can influence human identity, the development of urban spaces to increase human belonging needs to be further explored within my design research.

Critical reflection of my own design practice allowed me to develop an understanding of the intricacies and ethical issues that surround the increasing fluidity of cultural identity and self expression. Out of all the explorations, I believe the most positive in terms of results and experience was the information gathered through ethnographic research. This provided an in-depth understanding of the field and social group which developed into the speculative design of the speculative multicultural city. Furthermore, it enabled me to challenge the hierarchies within urban design and consequently interesting perspectives of spaces. Although a good skill set was developed, I feel that the application of this technique could be improved to provide a much more effective form of design intervention. This will hopefully be developed through continued practice within the area and a more advanced understanding of the physicality of social architecture.

While conscious of the complexities of the selected topic and the physical limitations within the flexibility of urban spaces, I hope to drive this project forward. Maintaining an awareness of globalisation, the interconnected society and the influence of social media my desire is to take this fluidity of identity exploration into the liminal spaces that exist within current urban societies. Looking ahead to my exhibition I intend to develop an understanding of the limitations that exist within the physical world and be able to complete a temporary design intervention that enables a connection to be drawn between pre-existing and developing identities that occur within urban spaces. Although the proposals stated are ambitious I believe that this exploration will provide an area within which people can develop an understanding of other peopleâ&#x20AC;&#x2122;s complex identities and explore the fluidity of their own. In a constantly transforming society immigration and globalisation will inevitably affect the design of a city. However through active exploration of identity within current urban spaces we can investigate, speculate and encourage changes that lead to a more inclusive environment.

BIBLIOGRAPHY:

Books: 1) K. Dovey (1999) Framing Places: Mediating Power in built form, Bristol, Biddles 2) D. Schuler (1993) Participatory Design: Principles and Practices, Florida, CRC Press 3) J. Simonsen, C. Svabo, S. M. Strandvad, K. Samson, M. Hertzum, O. E. Hansen (2014)Situated Design Methods, USA, MIT Press 4) T. Dant (2004) Materiality and Society, East-Anglia, McGraw-Hill Education 5) M. Rieker, (2008) Gendering Urban Space in the Middle East, South Asia, and Africa, New York, Palgrave MacMillan 6) T. Mackintosh Smith, (2009) A Remedy for Care-Worn Hearts, My Fathers House, The Architecture of Cultural Heritage, London, The British Council Pg. 5 7) P. Zumthor (2006) Thinking Architecture, Bern, Birkh채user 8) W. Neill, (2004) Urban Planning and Cultural Identity, London, Routledge 9) A. Loos, (1998), Ornament and Crime, Selected Essays, Austria, Ariadne Press 10) United Nations. Dept. of Economic and Social Affairs, (2004) World Youth Report: The Global situation of Young People, United Nations Publications 11) R. Jenkins (2014), Social Identity: Fourth Edition, London, Routledge 12) A. Botton (2006) (2014 Edition), The Architecture of Happiness, London, Penguin Books

BIBLIOGRAPHY:

Reports: 13) A. Buonfino (2007), Belonging in Contemporary Britain, Wetherby, Communities and Local Government Publications 14) K. Ajegbo, (2007), Curriculum Review, Diversity & Citizenship, Nottingham, DfES Publication Journals: 15) D. Bourn, (2008), Young people, Identity, and Living in a Global Society: Development Education and Research Review, Vol 7, Autumn pp. 4861 16) A. Benjamin (2003), Architecture and Culture, Architecture Australia, Vol. 92 No. 3 17) J. Auger (2013), Speculative Design, Crafting the Speculation, Digital Creativity, DOI: 10.1080/14626268.2013.767276 Website: 18) Jacqueline Cooksey, Benjamin Winter. 2016. Welcomesburg. [ONLINE] Available at: http://www. welcomesburg.com. [Accessed 14 January 16]. 19) Rachel Murray. 2016. The Unplanned City. [ONLINE] Available at: https://rachelmurraydesigner.wordpress.com. [Accessed 14 January 16]. 20) Clare Thompson. 2016. Overspace. [ONLINE] Available at: http://cargocollective.com/ct2/ Overspace. [Accessed 14 January 16].