Rob Goacher 17025351 P30026 Research Methods for Design Coursework 2017-2018
Faculty of Technology, Design and Environment
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Contents Contents and Coursework Submission Sheet
Student number: 17025351
Essay Research Methods for Design Essay with Bibliography and Figure List
Module number: P30025 Module name: Research Methods for Design
Diary Research Methods Diary with Bibliography and Figure List
Module leader: Igea Troiani Title of work: Research Methods for Design. Essay and Research Methods Diary Date of submission: 21.12.17
Appendix Lecture Notes and Methods Workshops.
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P30026 Research Methods for Design Contents
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Cover Figure: Author’s Own. (2017). Bridge of Sighs Detail. [painting][Watercolour, Pen, Pencil, Ink].
Essay Rob Goacher 17025351
P30026 Research Methods for Design Essay
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Essay Oxford’s Picturesque Identity Introduction Within this globalised world, people sometimes think a place should have its own identity, to distinguish it from others (Butina Watson and Bentley, 2007), therefore we can explore place through these Identities. I have chose New College Lane and Queen’s Lane in the centre of Oxford (Figure 01) as my exceptional place, this union of two streets creates a link between the High Street and just off Broad Street, two important streets within the city. The lanes have few establishments leading from them or facing onto them, nearly the entire street is bordered by different Oxford colleges (University of Oxford, 2017), notably Hertford at the Northern end of the New College Lane with the Bridge of Sighs crossing the lane from Hertford’s New and Old Quadrangles (Hertford College, 2017a), further along the street it is bordered by New College to the north with its Old lodge entrance facing onto it (University of Oxford, 2017). Queen’s College borders a large section of the street to south/west of Queen’s Lane with St Edmund Hall sitting on the eastern side of the street (University of Oxford, 2017). At the southern threshold of the street sits Queen’s Lane Coffee House (Figure 02), which claims to be Europe’s oldest continually operating Coffee House from 1654, though this is disputed (Oxford Open Guides, 2017) and it is the only shop front on the lanes. I have decided to pick this place as it is a microcosm for Oxford, Its fading splendour creates a picturesque surrounding with the warm limestone of the surrounding buildings acting as a clear canvas for identities to be formed from. The streetscape is an embodiment of Oxford. Frank Lloyd Wright describes architecture as “The Mother Art”(Keskeys, 2017). Jodidio states that “All works of art worth their name are symbolic, and works of architecture are no exception…. Convey through their visible appearance the spiritual and philosophical meaning of their functions…”(Jodidio, 2005). This symbolism indicates architecture can be art in line with symbolism, identity and association. Figure 01. New College Lane and the Queen’s Lane Location (Author’s own, 2017)
P30026 Research Methods for Design Essay
Figure 02. Queen’s Lane Coffee House (Author’s own, 2017)
Therefore the question I’ll ask is “How do the streetscapes of New College Lane and Queen’s Lane form personal Identities and how does Painting help show this?”, this is significant as it will allow us to see how painting can show associations and identities which are formed from the streetscape.
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Forming Identity Therefore, the architecture of the streetscape can be considered Public Art. I will investigate how public art forms identities. Butina Watson and Bentley argue that Identity is formed from personal choices of association and you can choose your own identity (Butina Watson and Bentley, 2007). Fleming describes ‘sense of place’ being created by personal interaction and association with what’s there or what happened there, not just what was once there (Fleming, 2007). A “patina of affection” can be created through these interactions and associations with a place (Fleming, 2007). Fleming argues that places can bring together people and histories within “place narratives”(Fleming, 2007), allow people to identity with places by these personal associations.
Figure 04. Hertford Bridge, Oxford’s Bridge of Sighs Postcard (Chris Andrews Publication Ltd., n.d.)
Associations creating an “Patina of Affection” (Fleming, 2007) within a place can be seen at the Thread City Crossing (2001) in Willimantic, which features 2 Bronze Frogs by sculptor Leo Jensen (Figure 03) at either end of the bridge reflecting a local history that during the French and Indian War, frogs lacked water and were very noisy, locals fearing an attack, fled the town (Hoberman, 2017). The sculptures have become landmarks (Fleming, 2007), featuring as the town website’s logo (WindhamCT, 2017), Histories form a place narrative, associations and affection and therefore identity as Fleming describes (Fleming, 2007). It can be argued that these associations can be contextualised and include socio-political issues as described by Senie and Webster (1992), who argue that the understanding of public art requires exploration within a “complex matrix” (Senie and Webster, 1992) of issues, histories and identities. Public Art can be contextualised by socio-political issues (Sandle, 2000), people can associate themselves through the importance they place on the artwork (Sandle, 2000). This contextualisation reinforces the associations which create identity.
Figure 03. Figure 05. One of the Frog’s of the Thread Crossing, Willimantic, New College Lane in the Mummy (2017) Connecticut (Hoberman, 2017) (Oxford Mail, 2017)
The success of public art can be evaluated by its level of public recognition (Larkin, 1992). The contextualisation and landmark status of public art can increase this recognition which in turn seems to increase associations, strengthening identities formed. Landmarks and recognition can create “brand images for places”(Jones, 2011) this could increase mental associations again forming identity, This landmark status can be seen in New College Lane with the Bridge of Sighs, being a landmark of Oxford, seen in postcards (Figure 04) and touristic information (Oxford City Guide, 2011) and with the street being featured in movies and tv shows, for example the Mummy (2017) (Carter, 2017) (Figure 05) and Lewis (2006-2015)(Morse, Lewis and Endeavour, 2015). Public art seems to allow identities to be formed from associations with it.
P30026 Research Methods for Design Essay
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Historical Context The lanes have a rich history. Hertford College (Figure 06) which borders both sides of New College Lane, originated as Hart Hall in the late 13th century, owned by Elias de Hertford who brought the land in 1283 (Salter and Lobel, 1954a). The Hall provided lodgings for students and tutors at the University (Hertford College, 2017b). The lane was then called Hammer Hall Lane (Saul, 1989), and was bounded by the Old Town Wall, which now lies within New College, and was surrounded by other halls (Oxford History, 2017)(Salter and Lobel, 1954a). In the late 1500s the hall became a refuge for Catholic recusants after the reformation (Salter and Lobel, 1954a). In 1740 the Hall became a college, Hertford College, and was famed for being spartan (Hertford College, 2017b), yet it struggled with mismanagement and closed in 1818 (Salter and Lobel, 1954a). In 1822, Magdalen Hall moved from Magdalen College to occupy the former College, it rebuilt significantly and became the second iteration of Hertford College in 1874 (Hertford College, 2017b). The College expanded rapidly in the early 20th century, with the New Quad being constructed as well as extensive rebuilding of the Old Quad (Hertford College, 2017b). Later, Hertford became known as a progressive, liberal and diverse college with high percentages of state school students (Hertford College, 2014)(Hertford College, 2017c) and housed the 1st African-American Rhodes Scholar Alain Leroy Locke in 1907 (Hertford College, 2017b). Notable alumni of Hertford include Evelyn Waugh, Jonathan Swift and Fiona Bruce (Hertford College, 2017d)(Pozzebon, 2015). The Bridge of Sighs (Figure 07) transects New College Lane and was built to connect the two quads of Hertford College in 1914 by Thomas Graham Jackson. It’s become a landmark of the City and University (Structurae, 2016)(Oxford City Guide, 2011). Figure 06. Hertford College (Author’s own, 2017)
Figure 07. Bridge of Sighs, Oxford (Author’s own, 2017)
New College (Figure 08) sits along the northern edge of the streets (University of Oxford, 2017). It was founded by William of Wykeham in 1379 on land which included the ancient city ditch and a black death burial ground, it was established to educate priests (Ross, 2017). The college featured Oxford’s first quadrangle (Ross, 2017) and was a royalist stronghold during the English Civil War and little changed with the college until the 1800s, going from one of the largest colleges to one of the smallest (New College, 2017). Significant expansion did finally occur in the late 19th century (New College, 2017). New College has had many famed alumni, including Hugh Grant, Tony Benn and Hugh Gaitskell (Pozzebon, 2015)(Ranker, 2017). The Queen’s College borders most of the southern side of Queen’s Lane (University of Oxford, 2017). It was founded as Queen’s Hall in 1341 by Robert de Eglesfield, who named it after Queen Philippa, whom he was Chaplain to (The Queen’s College, 2017). It became a College in 1585 (Salter and Lobel, 1954b) and became synonymous with Northern England, attracting high proportions of Northern students (The Queen’s College, 2017). New buildings were constructed in the late 17th and early 18th century with the famous Front Quad being constructed in 1700s inspired by Nicholas Hawksmoor (Figure 09)(The Queen’s College, 2017). The College has educated numerous notable people, including; Edwin Hubble and Tim Berners Lee (Pozzebon, 2015).
Figure 09. The Queen’s College Front (Countrylife, 2014)
St Edmund Hall lies on the eastern edge of Queen’s Lane, and is one of the oldest colleges in Oxford (St Edmund Hall, 2017a). It is named after St Edmund of Abingdon, a medieval Archbishop who is said to have taught there in the late 12th century (St Edmund Hall, 2017a). The hall’s then principal William Taylor, was a reformist priest (a lollard) who was burnt at the stake in 1423 (St Edmund Hall, 2017a). The hall became a college in 1957, but retained the title of Hall (St Edmund Hall, 2017a). Notable Alumni Include Terry Jones, Al Murray and Keir Starmer (St Edmund Hall, 2017b).
Figure 08. New College (Author’s own, 2017) P30026 Research Methods for Design Essay
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Identity and the Streets Personal associations can form a sense of place and these choices can form identity (Fleming, 2007)(Butina Watson and Bentley, 2007). We can associate with the streetscape via the college alumni, knowing that notable people once studied in the streets. We can create mental associations with, as Fleming describes, what happened there (Fleming, 2007) allowing for associations with intelligence and student-life, forming identities. This association between the streetscape/architecture and the university is evidenced by touristic material (Oxford City Guide, 2011). Associations with histories, issues and interactions can create a “patina of affection” (Fleming, 2007), this affection is created by the streets being a microcosm of picturesque Oxford, with our perceptions of the seemingly natural state of the streetscape. Larkin describes how this affection can help improve public art’s success (Larkin, 1992) and in line with Fleming, form associations and identities (Fleming, 2007)(Butina Watson and Bentley, 2007). Senie and Webster describe, public art can be contextualised by socio-political issues and histories (Senie and Webster, 1992), this can help form associations and therefore identities (Fleming, 2007) (Butina Watson and Bentley, 2007). We can see this in the streets, for example the histories of the colleges, i.e. the northern-based histories embedded within the Queen’s College (The Queen’s College, 2017), may allow some to associate with northern England via the colleges’ fabric. This may also be seen with Hertford College’s link with political issues and liberalism (Hertford College, 2014) which allows for associations to be contextualised and identities to be formed. An example of this elsewhere is John Ahearn’s Bronzes of locals (1989) in the Bronx (Finkelpearl, 2000)(Figure 10), which many associated negatively with, accusing the Bronzes of having racist, stereotypical and prejudicial undertones (Finkelpearl, 2000). This indicates social issues forming an identity, in this case an anti-artwork identity, in line with Fleming (Fleming, 2007) Figure 10. John Ahearn’s South Bronx Bronzes, 1989 (Malone, 2015)
P30026 Research Methods for Design Essay
As Larkin and Jones highlight; recognition and landmark status can increase mental associations and the formation of identities (Larkin, 2007)(Jones, 2011), we can see this with the wealth of history and iconic buildings within the exceptional place. This recognition includes the Bridge of Sighs, which has become a landmark of Oxford, evidenced in touristic information (Oxford City Guide, 2011) The street serves as a landmark itself being featured in movies, for example the Mummy (2017) (Carter, 2017). This can be compared with the Willimantic Frogs (Fleming, 2007), which have also formed affectionate identities through historical association.
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Painting and the Picturesque Jodidio describes how art and therefore architecture can symbolise spiritual and philosophical meanings through their visual appearance (Jodidio, 2005). Similar to how associations can be formed from public art as described by Fleming (2007). Picturesque can be described as, “(especially of a place) attractive in appearance, especially in an old-fashioned way” (Cambridge Dictionary, 2017). This may be seen in New College Lane and Queen’s Lane. The aesthetic category of the Picturesque was established in the Georgian/Victorian era (Rabb, 2009)(Fay, 2017), It allowed people to frame landscapes to appropriate them to symbolise man’s ability to control the nature (Rabb, 2009)(Fay, 2017), it could be argued picturesque allows us to associate with this landscape as public art, especially through the association with the beauty of nature (Rabb, 2009) and contextualised by the histories and socio-political issues. Sir Uvedale Price, a Georgian landscape designer argued that the picturesque requires the individual character of a place to be taken into account (Fay, 2017). Price argues the true qualities of the picturesque is the roughness, sudden variation and irregularity of the landscape (Fay, 2017). Painting has long been used to represent the picturesque. Paintings were created to represent Price’s ideals, for example ancient ruins in a natural landscape were thought of as picturesque (Encyclopedia Britannica, 2017), this landscape allowed for associations to be formed, in turn forming identities from this idea of the picturesque.
Figure 11. Ascanius Shooting the Stag of Sylvia, Claude Lorrain 1682 (Austriacus, 2014)
Figure 13. Palazzo dei Badoari Partecipazzi, 1851 John Ruskin (venice.umwblogs, 2017)
Figure 12. Landscape, with Woman with Tambourine, J.M.W. Turner, c.1845 (Tate, 2017)
P30026 Research Methods for Design Essay
Some artists which were significant within this movement include the French Claude Lorrain, whose composition of natural landscapes and inclusion of transplanted ruins and viewports were considered picturesque (Mount, 2011). Though, Lorrain’s landscapes (Figure 11) were French, his work was appropriated by the English Georgian nobility to form associations with the English landscape and nationalist identities (Mount, 2011). J.M.W. Turner can also be described as a Picturesque artist (Figure 12), he stated that “the main object to attain in art … is a just perception of what is beautiful in nature”(Gage, 1965) mirroring Picturesque’s association with nature. Turner wanted nature to speak for itself (Gage, 1965) mimicking the ideas of Price. Later, John Ruskin, whom idolised Turner (Hewison, 1976) seems to have taken the Picturesque into the architectural sphere, he seems to interrogate the faded splendour and beauty of architecture by his watercolour paintings, as seen with Venetian windows (venice.umwblogs, 2017)(Figure 13) . Ruskin aimed to fuse romanticism, natural science and religion (Hewison, 1976), forming idealised landscapes such as Picturesque envisioned. But, unlike others, Ruskin seemed to explore landscapes further than just representing them, he noted his sketches were merely “notes of certain facts”(Hewison, 1976). It could be seen that Ruskin was associating Picturesque identities on places through his artwork.
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Analysis through Painting We can use painting to see if identities were formed from associations with the streets via the imagery of the picturesque as embodied within my paintings of the streets. We can analyse the street in line with how Price’s values of the Picturesque form identities through my paintings of the street. I think we can see Price’s criteria of Picturesque places having individual characters (Fay, 2017), We could see this within the ‘Oxfordian’ architecture of the street and the individual character of university buildings, contextualised by histories and social issues; for example the alumni of the surrounding colleges. My painting, Bridge of Sighs towards Catte Street (Figure 14) highlights the unique architectural feature of the bridge, it’s composition highlights this and the collegiate relationship to the street. Price’s qualities of the Picturesque; roughness, sudden variation and irregularity of the landscape (Fay, 2017) can be seen in the streets through my Paintings. The irregularity of the landscape (Fay, 2017), in our case, streetscape can be seen through the variety of architectural styles, as expressed within the multitude of detail paintings, for example the details I drew of the Bridge of Sighs, New College Door, Queen’s College Window and New College Window (Figures 15-18). Price’s quality of roughness (Fay, 2017) is also expressed in my paintings within ‘Limestone Wall of the Street’ (Figure 19), the expressive quality of the brushstrokes highlight this roughness, paintings including within the details (Figure 15-17), and the watercolour watermarks merge components together, as seen in ‘Bridge of Sighs towards New College Lane’(Figure 20). The sudden variation described by Price (Fay, 2017), can be seen within my paintings, through my painting, ‘Iconic view towards All Souls College on Queen’s Lane’(Figure 21) which highlights the contrast between the iconic Hawksmoor college and ordinary limestone wall. As with Lorrain and Turner, my paintings reflect the faded beauty of the romantic landscape, as with Lorrain’s paintings (Figure 11) they transplant histories into paintings (Mount, 2011) such as the architectural styles and subjects of my paintings. Associations with these histories and the Picturesque are therefore seen through my paintings. Figure 14. Bridge of Sighs towards Catte Street (Author’s own, 2017)
This exploration of the Picturesque through painting has allowed for associations to be formed. The individual character of the streets allow associations to be formed via the college alumni, knowing that notable people once studied in the streets. We can create mental associations with, as Fleming describes, what happened there (Fleming, 2007) forming identities represented through painting. The picturesque have allowed for associations with histories for example through roughness, architectural styles and subjects which can create a “patina of affection” (Fleming, 2007). Senie and Webster describe how public art can be contextualised by histories (Senie and Webster, 1992), this can form associations and therefore identities (Fleming, 2007)(Butina Watson and Bentley, 2007). As Larkin and Jones highlight; recognition and landmark status can increase mental associations and the formation of identities (Larkin, 2007)(Jones, 2011), we can see this through Picturesque’s quality of sudden variations (Fay, 2017) and natural beauty (Rabb, 2009) with my paintings of the landmark Bridge of Sighs, This landmark status increases recognition and affection, which in line with Larkin and Jones strengthens associations (Larkin, 2007)(Jones, 2011), which in turn can form personal identities (Fleming, 2007)(Butina Watson and Bentley, 2007). We can compare this to the Willimantic Frogs (Fleming, 2007), which have associations contextualised, formed and strengthened by histories and it’s landmark status, and it is related to identities as the paintings have shown the association and identities of the street. Therefore I feel that the picturesque and painting has allowed me to explore how associations and therefore identities have been formed within New College Lane and Queen’s Lane.
Figure 15. Bridge of Sighs Detail (Author’s own, 2017) P30026 Research Methods for Design Essay
Figure 16. New College Door Detail (Author’s own, 2017)
Figure 17. Queen’s College Window Detail (Author’s own, 2017) Essay Page 14
Conclusion In conclusion, The streetscape of New College Lane and Queen’s Lane forms personal identities through painting by highlighting picturesque associations which can, as Fleming and Butina Watson and Bentley describe form personal identities in light of these mental associations by chosing them (Fleming, 2007)(Butina Watson and Bentley, 2007). Picturesque painting highlights that histories and recognition can strengthen these associations in line with the ideas of Larkin, Jones, Senie and Webster and Fleming (Larkin, 1992)(Senie and Webster, 1992)(Jones, 2011)(Fleming, 2007). In reflection, I feel painting can be useful in highlighting associations which can form identities, It can visually and creatively represent Picturesque associations, for example the roughness and irregularity of landscape as per the criteria set by Sir Uvedale Price (Fay, 2017) through a rich combination of composititon, brushstrokes and subject matter.
Figure 18. New College Window Detail (Author’s own, 2017)
Figure 20. Bridge of Sighs towards New College Lane (Author’s own, 2017) P30026 Research Methods for Design Essay
Figure 19. Limestone wall of the street (Author’s own, 2017)
Figure 21. Iconic view towards All Souls College on Queen’s Lane (Author’s own, 2017) Essay Page 16
Figures List Figure 01: Author’s Own. (2017) New College Lane and the Queen’s Lane Location. [image]
Figure 21: Author’s Own. (2017). Iconic view towards All Souls College on Queen’s Lane. [painting] [Watercolour, Pen, Pencil, Ink].
Figure 02: Author’s Own. (2017). Queen Lane Coffee House. [image] Figure 03: Hoberman, M. (2017). One of the Frog’s of the Thread Crossing, Willimantic Connecticut. [image] Available at: https://connecticuthistory.org/bridge-ornaments-help-tell-the-legend-of-the-windham-frog-fight/ [Accessed 10 Dec. 2017]. Figure 04: Chris Andrews Publication Ltd. (n.d.). Hertford Bridge, Oxford’s bridge of Sighs Postcard. The Romance of Oxford Series. Oxford. Figure 05: Oxford Mail (2017). New College Lane in the Mummy (2017). [image] Available at: http:// www.oxfordmail.co.uk/news/15343737.Oxford_s__spookiest_lane__gets_big_role_in_Tom_Cruise_ movie_The_Mummy/ [Accessed 18 Dec. 2017]. Figure 06: Author’s Own. (2017). Hertford College. [image] Figure 07: Author’s Own. (2017). Bridge of Sighs, Oxford. [image] Figure 08: Author’s Own. (2017). New College. [image] Figure 09: Countrylife (2014). The Queen’s College Front. [image] Available at: http://www.countrylife. co.uk/articles/queens-college-oxford-60488 [Accessed 18 Dec. 2017]. Figure 10: Malone, P. (2015). John Ahearn’s South Bronx bronzes, 1989. [image] Available at: https:// hyperallergic.com/217030/lessons-from-30-years-of-nycs-percent-for-art-program/ [Accessed 10 Dec. 2017]. Figure 11: Austriacus (2014). Ascanius Shooting the Stag of Sylvia, Claude Lorrain 1682. [image] Available at: https://commons.wikimedia.org/wiki/File:Ascanius_Shooting_the_Stag_of_Sylvia_1682_ Claude_Lorrain.jpg [Accessed 18 Dec. 2017]. Figure 12: Tate (2017). Landscape, with Woman with Tambourine, J.M.W. Turner, c.1845. [image] Available at: http://www.tate.org.uk/art/artworks/turner-landscape-with-woman-with-tambourinetw1510 [Accessed 18 Dec. 2017]. Figure 13: venice.umwblogs (2017). John Ruskin, Decoration by Disks: Palazzo dei Badoari Partecipazzi, 1851, Vol. 1 of The Stones of Venice. [image] Available at: http://venice.umwblogs.org/exhibit/ john-ruskin-the-adopted-venetian/ruskins-the-stones-of-venice/ [Accessed 17 Dec. 2017]. Figure 14: Author’s Own. (2017). Bridge of Sighs towards Catte Street. [painting][Watercolour, Pen, Pencil, Ink]. Figure 15: Author’s Own. (2017). Bridge of Sighs Detail. [painting][Watercolour, Pen, Pencil, Ink]. Figure 16: Author’s Own. (2017). New College Door Detail. [painting][Watercolour, Pen, Pencil, Ink]. Figure 17: Author’s Own. (2017). Queen’s College Window Detail. [painting][Watercolour, Pen, Pencil, Ink]. Figure 18: Author’s Own. (2017). New College Window Detail. [painting][Watercolour, Pen, Pencil, Ink]. Figure 19: Author’s Own. (2017). Limestone wall of the street. [painting][Watercolour, Pen, Pencil, Ink]. Figure 20: Author’s Own. (2017). Bridge of Sighs towards New College Lane. [painting][Watercolour, Pen, Pencil, Ink]. P30026 Research Methods for Design Essay
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Sandle, D. (2000). Public Art and City Identity. In: A. Remesar, ed., Waterfronts of Art 2. Art for social facilitation. [online] Barcelona: Universitat de Barcelona. Available at: http://citeseerx.ist.psu.edu/ viewdoc/download?doi=10.1.1.496.3233&rep=rep1&type=pdf [Accessed 10 Dec. 2017].
Jodidio, P. (2005). Architecture: Art. Munich: Prestel. Jones, P. (2011). The Sociology of Architecture. Liverpool: Liverpool University Press, pp.115-140. Keskeys, P. (2017). “The Mother Art is Architecture�: 10 Tenacious Quotes by Frank Lloyd Wright Architizer Journal. [online] Architizer. Available at: https://architizer.com/blog/inspiration/industry/franklloyd-wright-tribute/ [Accessed 18 Dec. 2017]. P30026 Research Methods for Design Essay
Saul, N. (1989). The Pre-History of An Oxford College: Hart Hall and its Neighbours in the Middle Ages. Oxoniensia, [online] LIV, pp.327-343. Available at: http://oxoniensia.org/volumes/1989/saul.pdf [Accessed 18 Dec. 2017]. Senie, H. and Webster, S. (1992). Critical Issues in Public Art; Content, Context, and Controversy. New York: IconEditions.
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St Edmund Hall. (2017a). Full History of the Hall | St Edmund Hall. [online] Available at: https://www. seh.ox.ac.uk/about-college/full-history-hall [Accessed 18 Dec. 2017]. St Edmund Hall. (2017b). Notable Alumni | St Edmund Hall. [online] Available at: https://www.seh. ox.ac.uk/about-college/notable-alumni [Accessed 18 Dec. 2017]. Structurae. (2016). Bridge of Sighs (Oxford, 1914) | Structurae. [online] Available at: https://structurae.net/structures/bridge-of-sighs-1914-oxford [Accessed 18 Dec. 2017]. The Queen’s College. (2017). The Queen’s College, Oxford, A Brief History. [online] Available at: https://www.queens.ox.ac.uk/history [Accessed 18 Dec. 2017]. University of Oxford. (2017). Searchable map | University of Oxford. [online] Available at: https://www. ox.ac.uk/visitors/map?wssl=1 [Accessed 18 Dec. 2017]. venice.umwblogs. (2017). Venice » Ruskin’s “The Stones of Venice”. [online] Available at: http://venice.umwblogs.org/exhibit/john-ruskin-the-adopted-venetian/ruskins-the-stones-of-venice/ [Accessed 17 Dec. 2017]. WindhamCT. (2017). Windham Town Hall - Windham/Willimantic, CT. [online] Available at: http:// www.windhamct.com/ [Accessed 10 Dec. 2017].
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Research Methods Diary Rob Goacher 17025351
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By my research methods, I aimed to look at how identity can be formed from the streetscape, (which I classify as a piece of public art) by mental associations and a “patina of affection”(Fleming, 2007), contextualised by histories and issues (Senie and Webster, 1992). Identity is formed by personal choice as described by Butina Watson and Bentley (2007) and therefore personal associations can be chosen to form identities. Therefore, How does my exceptional place form Identity? and how is this explored through the following research methods? The subject of this diary is two interconnected streets within Oxford. Queen’s Lane and New College Lane, leading from the High Street (Between Queen’s College and Queen’s Lane Coffee House) to Catte Street, nearly at Broad Street. It is lined by several Colleges and not much else, but features Oxford Landmarks, principally the Bridge of Sighs at the western end. I will focus more significantly on this western end of New College Lane, around the Bridge of Sighs and Hertford College.
Contents Painting as a method of design research. Painting the Picturesque Collage as a method of design research.. Layering Histories and Landmarks Spatial Fiction as a method of design research.. Across Time, Across Landmarks Walking as a method of design research.. Walking Faded Splendour
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Painting as a method of design research. Painting the Picturesque Through this research method, I hope to explore ideas surrounding the picturesque within this street. Picturesque is described as, “(especially of a place) attractive in appearance, especially in an old-fashioned way” (Cambridge Dictionary, 2017). This can easily be applied to New College Lane and Queen’s Lane and the mental associations formed there. I looked at the picturesque quality of John Ruskin’s artwork (Figure 01) (venice.umwblogs, 2017) and how watercolour and Ink allows for this ruinous painting style to be formed. Picturesque was established in the Georgian/Victorian era (Rabb, 2009), when significant expansion of New College Lane and Queen’s Lane occurred. It allowed for man to reference it’s ability to control the natural world (Rabb, 2009). It can be argued this picturesque allows us to associate with this landscape as a piece of public art, (especially through the method of painting, particularly as Picturesque was principally explored through painting within this period (Tate, 2017)) with the human tendencies of discovering beauty (Rabb, 2009). Through our association with the histories and socio-political issues (Senie and Webster, 1992) of Oxford through this Picturesque, Identities can be created (Fleming, 2007)(Butina Watson and Bentley, 2007). This formation of identity is in line with the ideas of Butina Watson and Bentley, Senie and Webster and Fleming as described in the essay.
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Figure 01. Palazzo dei Badoari Partecipazzi, 1851 John Ruskin (venice.umwblogs, 2017)
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I initially explored the streets by doing quick sketches with inks, acrylics and watercolours to gain a quick spatial understanding, what I noticed was the similarity of the streets, with the warm Headington Limestone of all the buildings allowing for a kind of natural landscape of fading splendour to be observed, relating to picturesque’s illumination of nature’s beauty. I also noticed Price’s criteria for the picturesque, the roughness, sudden variation and irregularity of the landscape (Fay, 2017) being present through the streets. I felt watercolour and ink was better at representing picturesque qualities and I felt more comfortable with them, so I continued using watercolour and Ink. Above: Bridge of Sighs. Above Right: St Edmunds Hall Library. Opposite Left: Colourscape of the Street. Opposite Right: Limestone Wall of the Street. P30026 Research Methods for Design Research Methods Diary
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I started to look at artists including Peter Doig (Figure 02) and how he re-imagines landscapes within his works. I tried to his use of watercolours as a precedent for my free-flowing paintings, also reflecting the ruinous qualities of the picturesque. I also looked at how John Ruskin interrogates the faded splendour and beauty of architecture by small upclose details, as seen with Venetian Windows (for example Figure 01)(venice.umwblogs, 2017), I therefore interrogated the site through upclose details in watercolour and ink. Above: Bridge of Sighs Detail. Opposite: New College Door Detail.
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Figure 02. Imaginary Boys, Peter Doig, 2013 (Fine Art Multiple, 2017)
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I furthered explored picturesque component details. Above: Window Detail, New College. Opposite: Queen’s College Window Detail.
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I looked at Price’s criteria of sudden variation (Fay, 2017) and the landscape tradition of the Picturesque and tried to take the ideas behind my previous detailed paintings and form paintings of views along thes street, highlighting the faded splendour of the streets in a landscape composition as well as highlighting the variation of the street and the sudden iconic viewpoints, such as the view of All Souls College opposite and Bridge of Sighs (next page). Above: 6 New College Lane Opposite: Iconic view towards All Souls College on Queen’s Lane.
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I further took this and developed the paintings into landscape views, as picturesque artists had done (Rabb, 2009) to highlight the faded splendour and Price’s criteria of roughness, individual character, sudden variation and irregularity of the landscape which can be seen through the subject, composition, brushstrokes and style of the painting opposite. The roughness and character is shown through the brushstrokes and painterly style. The variation, irregularity and character is shown through the subject and composition. The Bridge of Sighs towards New College Lane.
Critical Reflection I feel Painting is a successful research method. Advantages include: The ability to capture the atmosphere and uniqueness of a place. The ability to incorporate histories, social issues and recognise important features and values of a place, for example the picturesque ideas of natural beauty and Price’s criteria. Allowing for landscapes to be mutated within paintings to represent these ideas. Senie and Webster describe art can be contextualised and associated with socio-political issues (Senie and Webster, 1992). I like painting’s creativity. Disadvantages of painting inclúde: the time, effort and talent to paint; each painting takes several hours and only allows a prescribed exploration of the place from fewer compositions. P30026 Research Methods for Design Research Methods Diary
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I found that Painting can be useful in representing the faded splendour and ideas of the Picturesque as a “beautiful landscape�, highlighting the natural beauty of the streetspace, allowing for mental associations and identity to be formed from it. The Bridge of Sighs towards Catte Street
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Collage as a method of design research. Layering Histories and Landmarks Through this research method, I want to explore how a place can have histories and socio-political issues layered through it and how these through mental associations can form identity. Collages can bring together associations and meanings, forming new meanings and identities (Shields, 2014), as public art also can. Richard Hamilton, the founder of Pop-Art, can be seen as “taking a decisive stand against the idea of limitation on the content of a work of art or on its mode� (Morphet et al, 1992). This layering (Figure 03) of ideas allow associations and identities (Butina Watson and Bentley, 2007)(Fleming, 2007) to be formed in light of unlimited content and ideas. The associations from the layerings could come from histories and issues, as Larkin describes, recognition of this public art (the streetscape itself) is important and adds further understanding, associations and strengthens identities formed from the streetscape (Larkin, 1992), this recognition could come from the layering of ideas, issues and histories within Collage.
Figure 03. Interior, Richard Hamilton, 1964-5 (Institut Valencia d’Art Modern, 2016)
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I started exploring the street through collage, by taking my photos of the street and forming photomontages of either side of the street to gain a enhanced understanding of the streets. I looked at Enric Miralles and his photomontages as a precedent (Figure 04((E-Architect, 2016)(Lomholt et al., 2016). I feel this allowed for a broader overview of the place. Above: North side of New College Lane and Queen’s Lane.
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Figure 04. Photomontage of Santa Caterina Market Roofscape, Enric Miralles. (E-Architect, 2016)
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I liked the layering this produced, but it didn’t bring unseen issues, histories and ideas together explicity. Above: South side of New College Lane and Queen’s Lane.
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I started looking at the bringing other histories, socio-political issues and ideas into the layering, as Shields describes bringing meaning and identities together to form new meanings, associations and identities (Shields, 2014). I looked at the collage artist John Stezaker (Figure 05) and how he layers landscapes and people together. I have tried to do this to, bringing alumni of the colleges (Evelyn Waugh-Hertford College)(Hugh Grant-New College) on the street and landmarks of the street together, layering histories and associations into the collages. Above: Evelyn Waugh and Bridge of Sighs. Opposite Left: Bridge of Sighs and Oxford University. Opposite right: Hugh Grant and New College Old Lodge. P30026 Research Methods for Design Research Methods Diary
Figure 05. Old Mask II, John Stezaker, 2006 (Saatchi Gallery, 2017)
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I went on to look further at how collage can bring identities, histories, issues, meanings and associations together to explore a place. I looked at Richard Hamilton’s collaged portraits, making faces out of faces (Figure 06)(Morphet et al, 1992), layering meanings, issues and histories into an artwork. I created a series of collages in the style of Hamilton with the alumni of each college which borders the streets being mutilated to form a single portrait, bringing complex histories together. Above: Hertford College Alumnus. Opposite: New College Alumnus
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Figure 06. Fashion-Plate, Richard Hamilton, 1969-70 (Tate, 2017) Diary Page 28
I liked this idea of layering and bringing histories together, but felt the collages weren’t exploring the streets spatially enough. Above: St Edmund’s Hall Alumnus. Opposite: The Queen’s College Alumnus
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I took Hamilton’s Ideas around layering and created a street out of a street bringing landmark buildings, histories, meanings and identities together incorporating spatial exploration as well.
I found out that Collage can be useful in layering the issues, histories and meanings of the place visually and allowing for a increased understanding of mental associations with a place and therefore identities formed from a place.
Above: Street out of a Street. Opposite: Meanings, Histories and Components of a Street.
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Critical Reflection Collage can be useful as it can bring different histories, associations and memories of a place together as described by Shields (Shields, 2014). Advantages of this method include; The ability to focus on several issues, associations and histories, allowing for more in-depth exploration. The ability to connect to different worlds, from consumer to touristic societies. It allows people without traditional artistic ability to create great works of art and allows the explicit formation of images around specific associations and identities with a place. Disadvantages occur including; It lacks a practical creative quickness, present in drawing and painting. It is also time consuming and requires lots of material.
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Spatial Fiction as a method of design research. Across Time. Acrosss Landmarks. This research method has allowed me to investigate and explore the spatial quality of the exceptional place across times and landmarks, looking at how fiction can form associations and therefore identity, as per Fleming and Butina Watson and Bentley (Fleming, 2007)(Butina Watson and Bentley, 2007). Spatial Fiction allows for spaces to be explored through “testing the imaginary”(Giamarelos, 2017), we can imagine people’s associations with a place and the identities they may form through spatial description and narrative. Others have done this for example, Italo Calvino in Invisible Cities (1974)(Calvino and Weaver, 1974) where he uses fiction to spatially describe and explore imagined cities as an allegory for the city of Venice.
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A History. Samsons on New College Lane. Chapter 1 Thomas Samson stood there on the uneven earth, It was 1283 and he had just arrived in Oxford from an indistinguishable wealthy semi-noble family. He was staring down the messy, untidy Hammer Hall Lane, on the left the imposing stone and towering ramparts of the town wall; and the temptations beyond. Tilting his head to the right he saw his intended destination, within a symphony of haphazardly buildings, the small ‘Hart Hall’, not long opened by Elias de Hertford. He pondered as he imagined the next few years within these lodgings.
Chapter 2 It was 1575, John Samson fell through the great stone threshold. He had been running. His troubled face met the cold paved floor. But he had no time to weep. He pulled himself up; continued his sprint along the medieval stones of Hart Hall’s floors and entered a small, spartan chamber. Slamming the heavy oak door behind him. John was a Catholic and opposite was Alexander Briant, a fellow Hall student and the influential tutor Richard Holtby, not much older than them; but embodied with the power of the Jesuit uniform.”Quick; her majesty's constable is coming, hide” John cried. Holtby removed the long tapestry next to him and opened up a compartment in the wooden paneling, sealing himself into this wooden prison. The door then opened…
Chapter 3 Josiah Samson yawned, as he crept into the newly created Hertford College. The bare stone walls of the college seemed to stare back at him, he was returning from a night of outrage, temptation and indulgence. But he needed it; Hertford was a spartan college, combined of medieval stone halls, without the opulent new grandeur of other colleges. The meals were simple and bland, he hated this discipline but the had been sent here to gain an education and improve his family’s bedraggled image with an good education even if it was at this cheap, disciplined place. Josiah couldn’t wait to leave.
For this method, I produced a fictional story which explored spatially the street through 6 chapters, reflecting different time periods of Hertford College, which is at the end of the New College Lane, bordering both sides of the street, being connected by the Bridge of Sighs. I looked at “London: A Novel” by Edward Rutherfurd (2010) in which a biography of the city is formed, by looking at a number of characters throughout the ages and their interaction and association with the city (Rutherfurd, 2010). It also relates to the genre of alternative histories, for example; Author Robert Harris describes the imagined and real city of Berlin after a Nazi WWII victory in Fatherland (1992).
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Chapter 4 William Samson strode into the room; the warmth of the Headington Limestone of the ageing buildings greeted him. It was 1822 and he was a student at Magdalen Hall, which had just moved to the crumbling confines of the former Hertford College which had closed a few years earlier due to mismanagement, He stared through the open windows, looking at the carts of books and manuscripts being moved into the old library, as well as masons carrying in warm stone to start new construction of the new limestone monoliths.
Chapter 5 “Rejoice, Rejoice, for now we’re now a college”, pronounced Principal Michell, It was 1874 and Joseph Samson was listening to the Principal announce the success of his long campaign to turn Magdalen Hall into a college. And now it was; Hertford College. Samson stared at the dusty limestone complex of buildings rambling across the southside of New College lane and thought; we may need a bit of renovation work.
The End...
Chapter 6 It was 1922 and Harry Samson wondered towards Hertford College, he was walking to meet his newly acquired friend, Evelyn Waugh. He spotted Waugh waiting at the end of New College Lane. Surveying his surroundings, Harry saw the towering neoclassicism of Thomas Graham Jackson’s Gatehouse, Old Quad northern range and recently completed new quad buildings, He met Waugh and they walked along the lane under the golden limestone of the gothic decoration of the new Bridge of Sighs; which connected the two quads of Hertford. The rusty red of its brick underbelly cowered above as Harry and Evelyn walked onwards.
I found that spatial fiction can be useful in gathering the issues, histories and meanings of the place and allowing imagined associations to form identities from a place.
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Critical Reflection Fiction seems to be an interesting method of exploring spaces and places, we seem to be able to associate with places and form identities through personification through fiction, creating a “patina of affection”(Fleming, 2007), which in turn can form associations and identities with a space (Butina Watson and Bentley, 2007). Advantages of this method include that it can appropriate and associate with a multitude of identities and facets, It can incorporate issues and be contextualised by histories, which can strengthen identity, as per Senie and Webster (1992).Disadvantages include that it’s open to immense interpretation and can be hard to describe entire spaces within a few words.
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Walking as a method of design research. Walking Faded Splendour Through walking, particularly cartography, I aim to research the Picturesque and therefore faded splendour of the street and how identities are formed from them. It is obvious walking can help us understand sites, the exploration of the place can be seen through cartography, for example Alfred Wainwright’s mapping (Figure 07) for example in his “Pennine Way Companion” (Wainwright, 2004) allows associations to be formed and personal exploration of Picturesques qualities, for example Price’s qualities of roughness, sudden variation and irregularity of the landscape through Wainwright’s highlighting and descriptions of viewpoints, histories and possibilities, which in turn can create associations and identities (Fleming, 2007)(Butina Watson and Bentley, 2007)
Figure 07. Ascent from Eskdale, Alfred Wainwright, 1955-66 (Field, 2014)
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I started by, in the style of Alfred Wainwright, using cartography to explore the street, this map include description of histories, possibilities, memories and viewpoints, allowing for mental associations to be formed in line with said descriptions and memories, contextualised by recognitions and histories, in line with Senie and Webster (1992) and Fleming (2007), these associations through choice helps identity to be formed as described by Butina Watson and Bentley (2007) Above: This section of the walk goes from the High Street up Queen’s Lane, past Queen’s College and St Edmund’s Hall describing its relevant associations and histories.
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Below: This section of the walk carries on down Queen’s Lane, past Queen’s College, St Edmund Hall and New College and past the Queen’s College Provost’s Lodge towards New College Lane.
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Above: This section of the walk carries from the end of Queen’s Lane, past New College and Hertford College under the Bridge of Sighs with its unique splendour. This physical walk allows personal exploration of the street with explicitly described histories and associations whilst on the street itself. Identity can be formed straight away, explicitly with knowledge of histories and presumed associations described on the maps themsleves in line with Butina Watson and Bentley and Fleming’s ideas of association and identity formation (Butina Watson and Bentley, 2007)(Fleming, 2007). P30026 Research Methods for Design Research Methods Diary
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Above: I continued looking at walking, superimposing photos to explore the route.
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Above: I continued looking at walking, superimposing photos of famous alumni and fellows from each of the respective colleges on the route to explore the associations which they form with the place. I found out that walking can be useful in exploring the site and associating with the explictly seen Picturesque criteria of Price (Fay, 2017) as well as the less explicit histories, memories and associations of the streetscape with personal affections forming and these associations forming identity (Butina Watson and Bentley, 2007)(Fleming, 2007). Critical Reflection Walking seems to be an useful method to investigate the site and investigate associations which are formed and identities formed from these. Cartography can allow us to “ study the rules of spatial arrangement of phenomena and their interrelationships, dependence, and development�(Salishchev, 1979), Allowing us to understand personal associations and their interactions, forming identities (Butina Watson and Bentley, 2007)(Fleming, 2007). Advantages of walking include; the ability to explore large areas quickly and explore several different disciplines within a single method as well as being very descriptive quickly. Disadvantages include the inability to be specific and the restriction of time as walking is not a static activity.
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In conclusion it seems evident that the research methods of painting, collage, fiction and walking can allow for personal associations and a “patina of affection” (Fleming, 2007) to be formed, contextualised by histories, socio-political issues and recognitions as per Sandle and Senie and Webster (Sandle, 2000)(Senie and Webster, 1992). These choices allow for the creation of a identity, as identity is a personal choice as identitified by Butina Watson and Bentley (2007). The Picturesque Identities within the street are explored through these methods; we can see Price’s criteria, the beauty of nature and faded splendour of the Picturesque forming associations and therefore identities (Butina Watson and Bentley, 2007)(Fleming, 2007).
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Figures List
Bibliography
All Non-referenced images, Authors Own.
Butina Watson, G. and Bentley, I. (2007). Identity by design. Amsterdam [u.a.]: Elsevier, Butterworth-Heinemann.
Figure 01. venice.umwblogs (2017). John Ruskin, Decoration by Disks: Palazzo dei Badoari Partecipazzi, 1851, Vol. 1 of The Stones of Venice. [image] Available at: http://venice.umwblogs.org/exhibit/john-ruskinthe-adopted-venetian/ruskins-the-stones-of-venice/ [Accessed 17 Dec. 2017]. Figure 02. Fine Art Multiple (2017). Imaginary Boys, Peter Doig 2013. [image] Available at: https://fineartmultiple.com/buy-art/peter-doig-imaginary-boys/ [Accessed 17 Dec. 2017]. Figure 03. Institut Valencia d’Art Modern (2016). Interior, Richard Hamilton 1964-5. [image] Available at: https:// www.ivam.es/en/exposiciones/richard-hamilton-objects-interiors-self-portraits-and-people/ [Accessed 17 Dec. 2017].
Calvino, I. and Weaver, W. (1974). Invisible Cities. 2nd ed. San Diego: Harcourt Brace Jovanovich. Cambridge Dictionary, p. (2017). picturesque Meaning in the Cambridge English Dictionary. [online] Dictionary.cambridge.org. Available at: https://dictionary.cambridge.org/dictionary/english/picturesque [Accessed 17 Dec. 2017]. Fay, J. (2017). What is the picturesque?. [online] National Trust. Available at: https://www.nationaltrust.org.uk/features/what-is-the-picturesque- [Accessed 18 Dec. 2017]. Fleming, R. (2007). The Art of Placemaking: Interpreting Community Through Public Art and Urban Design. London: Merrell. Giamarelos, S. (2017). Fiction as Architectural Design Research Lecture and Workshop.
Figure 04. E-Architect (2016). Photomontage of Santa Caterina Market Roofspace, Enric Miralles. [image] Available at: https://www.e-architect.co.uk/barcelona/santa-caterina-market [Accessed 17 Dec. 2017]. Figure 05. Saatchi Gallery (2017). Old Mask II, John Stezaker, 2006. [image] Available at: http://www.saatchigallery.com/artists/artpages/john_stezaker_old_mask_ii_2.htm [Accessed 17 Dec. 2017]. Figure 06. Tate (2017). Fashion-Plate, Richard Hamilton, 1969-70. [image] Available at: http://www.tate.org.uk/ art/artworks/hamilton-fashion-plate-p07937 [Accessed 17 Dec. 2017].
Harris, R. (1992). Fatherland. London: Hutchinson. Larkin, S. (1992). From Scapegoats to Mascots; The New York Public Library Lions. In: H. Senie and S. Webster, ed., Critical Issues in Public Art; Content, Context, and Controversy. New York: IconEditions, pp.189-198. Lomholt, I. and Welch, A. (2016). Santa Caterina Market - EMBT, Barcelona - e-architect. [online] e-architect. Available at: https://www.e-architect.co.uk/barcelona/santa-caterina-market [Accessed 17 Dec. 2017]. Morphet, R. et al (1992). Richard Hamilton. London: Tate Gallery.
Figure 07. Field, K. (2014). Ascent from Eskdale, Alfred Wainwright, 1955-66. [image] Available at: http:// mapdesign.icaci.org/2014/04/mapcarte-95365-pictorial-guide-to-the-lakeland-fells-by-alfred-wainwright-1955-1966/ [Accessed 17 Dec. 2017].
Rabb, L. (2009). 19th Century Landscape - The Pastoral, the Picturesque and the Sublime - The University of Arizona Museum of Art and Archive of Visual Arts. [online] The University of Arizona Museum of Art and Archive of Visual Arts. Available at: http://artmuseum.arizona.edu/events/event/19thcentury-landscape-the-pastoral-the-picturesque-and-the-sublime [Accessed 17 Dec. 2017]. Rutherfurd, E. (2010). London: A Novel. London: Arrow. Salishchev, K. (1979). Cartographic Method of Research. In: The Great Soviet Encyclopedia. [online] Moscow: The Great Soviet Encyclopedia. Available at: https://encyclopedia2.thefreedictionary.com/ SALISHCHEV [Accessed 17 Dec. 2017]. Sandle, D. (2000). Public Art and City Identity. In: A. Remesar, ed., Waterfronts of Art 2. Art for social facilitation. [online] Barcelona: Universitat de Barcelona. Available at: http://citeseerx.ist.psu.edu/ viewdoc/download?doi=10.1.1.496.3233&rep=rep1&type=pdf [Accessed 10 Dec. 2017]. Senie, H. and Webster, S. (1992). Critical Issues in Public Art; Content, Context, and Controversy. New York: IconEditions. Shields, J. (2014). Collage and Architecture. New York: Routledge. Tate. (2017). Picturesque – Art Term | Tate. [online] Available at: http://www.tate.org.uk/art/artterms/p/picturesque [Accessed 17 Dec. 2017]. venice.umwblogs. (2017). Venice » Ruskin’s “The Stones of Venice”. [online] Available at: http://venice.umwblogs.org/exhibit/john-ruskin-the-adopted-venetian/ruskins-the-stones-of-venice/ [Accessed 17 Dec. 2017]. Wainwright, A. (2004). Pennine Way Companion: A Pictorial Guide. 3rd ed. London: Frances Lincoln.
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Appendix Rob Goacher 17025351
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Week 1: An Introduction to Research Methods for Architectural Design Lecture Notes This Lecture introducted the module.
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Workshop In this workshop, I created a walking tour of south park, with imagined histories and memories.
Lecture Notes This Lecture was by Dr Igea Troiani and talked about walking as a research method, looking at derive and Wainwright.
Week 2: Walking as a research method of design Lecture Notes and Workshop Advantages -Descriptive. Journey, Understand areas, Educational, Easy to Explain. Disadvantages -Uncreative to an extent. Perscriptive, Constrained by Time.
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Lecture Notes This Lecture was by Dr Stylianos Giamarelos and introduced fiction as a research method.
Workshop For this workshop we looked at the Book Invisible Cities (Italo Calvino, 1972) and drew a discription of one of the cities described within, mine was thin cities 5.
Week 3: Fiction as a research method of design Lecture Notes and Workshop Advantages -Imaginative. Descriptive. Interconnective. Creative. Multidisciplinary. Disadvantages -Unfocused. Unarty, unconstrained.
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Lecture Notes This Lecture was by Dr. Tonia Carless and introduced painting as a research method.
Workshop For this workshop I painted the Headington Hill Campus, swapping after a while to form participatory paintings with other classmates. The Top and above right paintings were done in collaboration with Richard Frank, the painting to the left was done in collaboration with Simona Puckovicova. Week 4: Painting as a research method of design Lecture Notes and Workshop Advantages -Imaginative. Creative. Multidisciplinary. Bright. Colourful. Picturesque Disadvantages -Undescriptive. Static. Single Scene. Time and Talent consuming
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Workshop For this workshop we made films exploring the spatial qualities within spaces within Brookes. I chose the Abercrombie Atrium looking down from the 3rd Floor. https://youtu.be/u3x4arkZsOs Please find the above link to a video filmed as part of the workshop for the filmmaking week. Narration for the film We stand above; looking at the space below, the long drop, the people working, eating, drinking, socialising. The inherent chatter. the white circles of the tables patternate the dark floor with people as if flies circling around white flowers. We stand from above in this wooden frame; do we see a prison for these people? this humanity.
Lecture Notes This Lecture was by Dr. Ruxandra Kyriazopoulos-Berinde and introduced filmmaking as a research method, specifically Russian filmmaker Andrei Tarkovsky.
Week 5: Film-making as a research method of design Lecture Notes and Workshop Advantages - Descriptive. Multi-Scene. Multi-History. Multidisciplinary. Disadvantages -Little Traditional Creativity. Unarty. Software. Editing.
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Workshop For this workshop, as a group we interviewed several people within the forum space to try and understand the meaning and identity of the forum space in JHBB.
Lecture Notes This Lecture was by Dr. Marcel Vellinga and introduced Fieldwork as a research method.
What is the meaning and identity of the forum space? Why are you here/what are you doing here? Interviewee One – Member of staff Interviewee Two – Handing in an assignment Interviewee Three – Student using the space for coffee / free time Do you only ever use the forum space, or do you use other spaces provided in the university for these uses? Interviewee one – used other area – didn’t feel negatively about it Interviewee two – platform for individual – group in forum Interviewee three – no, depends on what I am doing How often do you use the forum space? Interviewee One – in a professional capacity / coffee / work related meetings Interviewee Two – only use the space for upgrade and group work, socialising/coffee Interviewee Three – Group work / upgrade / coffee / socialising / free time
Do you ever come as a group / individual? Interviewee One – if working alone would go to the library / did not use the café for coffee, had another preferred area Interviewee Two – comes to the forum for group and socialising, for individual work it was too noisy and used the Platform Interviewee Three – uses both the forum and the platform, but usually when he has free time he uses the forum as an individual
What is it about the forum that makes you want to use the space? Social area, can talk openly, can use it in whatever way you want – different furniture for different uses, facilities are close by (attractive)
It is convenient (centre of the campus), provides Wi-Fi, easy access to coffee, isn’t a quiet space, free space, pride of students, because it is easy to access Week 6: Fieldwork methods of Interviewing as a research method of design Lecture Notes and Workshop Advantages - Descriptive, Interactive, Socially inclusive. Disadvantages -Little Creativity. Unarty. Not Place-Specific, differing results. Lacks Spatial exploration if people are unwilling to answer questions.
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Lecture Notes This Lecture was by Hannah Durham and introduced Sound as a research method.
Workshop Unfortunately I was not able to attend this Lecture and Workshop due to my Grandfather’s funeral. I later looked at the lecture slides online and loked at classmates notes to form the notes to the right, but I have not done the workshop.
Week 7: Sound as a research method of design Lecture Notes and Workshop Advantages - Descriptive. Multi-Scene. Investigative. Investigative. Disadvantages -Little Creativity. Unarty. Perscriptive.
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Workshop For this workshop I made a comic storyboard exploring the spatial qualities and stories within spaces within Brookes. I chose the Abercrombie 3rd floor, looking at how it’s inhabited by architecture students during the year.
Lecture Notes This Lecture was by Dr Stylianos Giamarelos and introduced Comic Storyboarding as a research method.
Week 8: Comic Storyboarding as a research method of design Lecture Notes and Workshop Advantages - Creative. Multidisciplinary. Descriptive, Histories and Stories, Socially inclusive. Disadvantages - Not Place-Specific, differing results. Unfocused.
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Workshop For this workshop, I made a collage looking at the artists mentioned in the lecture and forming a collage surrounding the issue of housing within Oxford.
Week 9: Collage as a research method of design Lecture Notes and Workshop Advantages - Creative. Multidisciplinary. Descriptive, Histories and Stories, Can be done without traditional artistic talent. Disadvantages -Can become Unfocused. Dependent on what you can collect.
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Lecture Notes This Lecture was by Mike Halliwell and introduced Collage as a research method.
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Rob Goacher 17025351 P30026 Research Methods for Design