Texture in Queens Lane

Faculty of Technology, Design and Environment

COURSEWORK SUBMISSION COVERSHEET  

Please complete this form, print and attach it securely to your submission.

All component parts of the submission should be clearly labelled with your name and module number.

Name of student: Tsz Lok TO Student number: 16038311 Module number: P30026 Module name: Research Methods for Design Module leader: Dr Igea Troiani, Title of work: Texture of QUEENS LANE Date of submission:21/12/2016

Time of submission:3:00PM

Number of items being submitted:1

(X in box as appropriate)

This is submitted as solely my own work

X

Group work

If group submission, please list group members below: Name

Student no.

Name

Student no.

Texture of Queens Lane Sense of Historical pattern Culture and Momories

student: Tsz Lok, TO Submission: P30026 Research Methods Diary Date of submission: 21 12 2016

1

Context Queens Lane Viusal Methodology Stone Sense Form Conclusion bibliography Fig .1

2

3

Art and architecture are about beauty and truth, about the happy moment. It’s not about old or new. It’s about quality and beauty. (Andersen, 2012)

Queens Lane Among the lanes and alleys in the city of Oxford, Queens Lane acts as a meditation space in between the formal activities as well as a private urban corridor for the residents. This street is also an alternative route for whom to wander the city without noise and crowd. Nowadays, this path is only used by a variety of local users, like residents, students, and workers. The sense of calm, harmony atmosphere and quietness remark the uniqueness of it.

The journey of walking along the Queen’s Lane takes about 5 minutes, and approximately 2 minutes on the bike. It is a narrow and enclosed zigzag street, framed by the smoky walls with strong patterns, and surrounded by some historical buildings. The lane also highlights with trees pop up from the walls, with a little-distorted townscape.

This research essay will discuss how does the Queen’s Lane define the history and character of the city of Oxford, by reading the materiality, especially the use of stone as the major material that used for this particular area. Subsequently, to examine the benefits of using the stone to react with another sense and the ability to recall memories. To discuss further in this research topic, this paper will also discuss the use of the selected research method, visual ethnography and reviews a number of case studies from architects including Perter Zumthor and Zaha Hadid. Both of their studies in material are significantly influential in the architectural industry.

Is the stone in Queen’s Lane gives the sense of intimacy to the public?

Why Queen’s Lane is extraordinary?

Whether people are conscious of it or not, they derive coun-

tenance and sustenance from the ‘atmosphere’ of the things they live in or with. They are rooted in them just as a plant is in the soil in which it is planted. (Wright, 1954) We sense the overall mood, tuning, feeling, ambience and atmosphere of a setting before we have become conscious of it, or have identities any of its constituent features (Pallasmaa, 2016) This section of the essay is to discuss the reason for choosing Queen’s Lane for this research paper. As mentioned in the introduction, the following will elaborate how Queen’s Lane in Oxford serves as a remarkable urban corridor comparing with the numerous lanes and alleys in the city of Oxford. Moreover, this part of the essay also examines the relation between materiality and memory.

Essentially Queen’s Lane is located in the heart of the city of Oxford. It starts from the High Street where the Queen’s Lane Coffee House on the right, and an Italian style institution designed by an England’s architects Hawksmoor in 1341 to the left, the Queen’s College. Few steps forward, there is an iron gate to another college, St. Edmund Hall and a Norman church tower of St. Peter’s-in-the-East is built atop an earlier Anglo-Saxon church in the 12th century. It currently serves as the library and gallery of Anglo-Saxon foundations. This part of the lane is known as St Edmund Hall Lane in the eighteenth century, and the World Street appears when turning left. By 1772, it combines and become today’s Queen’s Lane.

Following along with the narrow lane with different textures and wall’s heights, the path turns into New College Lane. The New College Lane is surrounded by tall walls and set back around the corner, where the walls turn into black due to the acid rain caused by Victorian coal smoke and moisture. Meanwhile, this hidden set back is a back entrance with an enchanting heavy oak door that retains with strong texture and architectural detail.

After all, a zigzag turn takes us with a sight of a Catte Street, where the Bodleian Library locates. Before plunging into the

4

5

throng, you’ll see a hidden little house on the right which was once the home of Sir Edmund Halley. Ensuring a narrow alley and the scene turns out with a beautiful old pub, the Turf Tavern. The oldest part of the building has its history since the 17th century. The exit of New College Lane takes you under the Bridge of Sighs, which connects two buildings of Hertford College.

The corridor is defined as “a passage covered walk or avenue between two places and it the persistence of movement”( (Rem Koolhaas, et al., 2014, p. 3) according to the Rem Koolhaas’s research. Moreover, the corridor is also a long passage in a building or between two buildings. Since Queen’s Lane is an of Wall-Wall corridor type as in the research in the Elements, therefore, It is not a space for occupation but a transition. Historically, a lane is an instrument of speed, as well as a backstage of architecture. It is not specifically designed.

In comparison, the contemporary corridor is a passage that more lonely, empty and interminable due to the lack of architecture concern.

Trace back to 12th of Chinese bronze inscriptions, corridor is a “combination of a wall and roof with a moment” (p. 4), meanwhile, in Europe, it means a person who transfers messages, furthermore, it is a space for running on or toward to another city in about the 14th century. By the 18th century, it becomes a space for the change of spatial and social relationships.

In regards of Queen’s Lane, it does not elaborate the social relationship. Instead, the materials define the spatiality and thus how it stops the tourist naturally.

It is worth to note that corridor also illustrated as the“Final Exit” (p. 143). Rem Koolhaas states that or people who have had Near Death Experience, the narrow, dark and longitudinal channels is a common memory of corridor for those people.

It is known to all that materiality defines the sense of spatial belonging. The texture and color of the material can designate the boundary, history and character of the area. In Queen’s Lane, the material provokes the atmosphere for a dark and narrow pathway in a subtle way. Also, the strong stone wall at the back as a notation of unwelcoming the noise, meantime, it gives a sign of power directing the flow by its weathering texture and color.

Fig .2 Ascent-of-the-Blessed, Hieronymus Bosch: often used to expain NDE, in which feature a tunnel with bright light at the end.

6

7

Methdology Visual

Le Corbusier‘engaging with the new mechanical equipment of the mass media: photography, film, architecture and advertising’ (Colomina, 1994 , p.

72)

Fig .2

Fig .3

The new mechanical equipment can provide another relationship between architect and architecture, the photographic can see something different to the architect. The style of shooting and the angle, light, day, weather. All those situations create another kind of architecture.

It is also recording the ‘aftertaste’ of architecture, special the material changing after weathering and brush by time and air.

As Marco Juliano write in his article ‘international avant-garde movements in the 1920s and early 1930s, which intertwined visual and material culture’ (Iuliano, 2016) If the architect is a combined of different drawing, then photographer are reading the architecture with a pair of scissors.

What we can see from Hervé photographic is interested in the small details, focusing on a shot the close-ups of the materials, the shadows of the geometry behind another facade, they weight of material, like he shot in the Ronchamp heavy concrete roof, and the relationship between the material and the sky.

The detail image became an abstract understand of the projects, it could read it in no sequence, just by the eye-catching.

Let’s compare to that architecture we saw in the magazine now, the close-up image can create another experience which can let you understand the architecture not just by the form by materials and the spatial relationship.

8

Fig .5 Close-up Photography, Herve Ronchamp

Also, according to Sarah Pink the video has to reflect the world and the experience of filming. The video show the journey of Queens Lane, and filmed record who and how people pass through from the High Street and stop at Hertford Bridge.

While Walking with my camera to record the silent atmosphere in Queens Lane, using photos to record a sense of material and texture on a sunny day. Through overlay the photo to see how material visually how to harmony to other and, overlay the photos to see the different buildings and walls framed the sky in various angles.

As a result, Spatial of the lane it defined the space as an enclosure space with varies texture of materials.

9

Closure and the Enclosure According to Gordon Cullen in the Concise Townscape, Closure is the cutting up of the linear town system (streets, passages, etc.) into visually digestible and coherent amounts while retaining the sense of progression. . (Cullen, 1971, p. 106) And the Enclosure provides a completely private world which is inward looking static and self-sufficient. A building or wall which creates closure will also provide a feeling of anticipation. (Cullen, 1971, p. 106) Mystery in Queens’s lane is the harmony of architectural language, construction detail and materials. Those enclosed building built in a different century. The narrow street gives a sense of intimacy and the height of the protected wall given layers for the other building that behind. The zigzag walking sequence gives the space an anticipation as can create curiosity as to what scene will meet our eyes upon reaching the end of the street. (Cullen, 1971, p. 49) The materiality pattern not just created by human-made, but the naturalist is by the weathering and time. Cause by the narrowest setting the walls here is a force to be intimacy. And eye-catching. In the perspective of seeing, the left and the right wall became merged.

The Queens Lane style is like an ‘Indian basket’ as Steen Eiler said about the relationship of texture and culture in the Experiencing Architecture. ( (Rasmussen, 1959, p. 159). The patterns of weathering on a stone in Queen’s Lane, embed the culture, historical, structural texture on the walls. As well as the pattern created by craftsmanship (p.169) also, the colour (p214) used to emphasise the character of a building, to accentuate its form and material, and to elucidate its divisions.

He also mentioned ‘In the world of architecture you can also experience delightful examples of subtle variation within strict regularity.’

This also exhibited at the Queens Lane, those walls height variations within the linear continuous journey spontaneously, as well as the pattern and textures. Built indifference period.

Various sized or window with different details and different height of the opening.

We can seek this pattern from Le Cobouser Ronchamps. (Cullen, 1971, p. 127)

10

11

Why do we feel like insiders and participants in some spaces, whereas in others we experience alienation and ‘existential outsideness’?

(Relph, 1976 )

STONE From the research findings take place in the Queen’s Lane, the stone is the material that dominates the area. To further discuss how this particular material recalls the experience in regards memory. The following session will first explore why the stone is unique among the others when it is used to define the history and character of the space regarding typology, time and symbolism of stone.

Typology ‘from the farthest reaches of the ancient world into the future’ (Meyhöfer, 2009, p6) In general, it is difficult to tell from modern material where they come from, but stone does. The classify system is recognised as the petrographic classification, for instance, sandstone, limestone, cast stone, quarry stone, cuts stone, rubble stone, etc. As natural materials, stones give the space an aspiration of culture and history. Architects who employ masonry like Peter Zumthor, questions how to create the sensitivity of space by strengthening the materiality.

For example, Bath Stone is a politic limestone which has been typically used in southern England. UNESCO World Heritage Centre authorised that the city of Bath to be one of the World Heritage Site in 1987. Apart from the 18th-century outstanding architecture, the city is encouraged the use of this particular material for constructing the city. This approach hence provides a vigorous sense of historical character, nevertheless, even for the contemporary project like the Thermal Bath Spa, the design involves modern material, like glass and steel, Grimshaw, the architect proposed to combine this material aesthetically thus to retain the character of the city.

Another example brings the great interest of using the stone to generate character is The Napanook Vineyard located in California(1995). Herzog & de Muron, the architect, use the local sources of stone to construct the project. Also, stone in this project acts as a filter of natural elements that affects the architecture itself, for instance, different of stones are used in this project according to their ability to adjust the tempera12ture for different stages of winemaking.

Fig .6 Vineyard located in California(1995). Herzog & de Muron

13

As a sample of how the textures created by history and projected by light in the present, can become a character of a sacred space, at this point, it could also recall and produce certain kind of collective memory, about the city or context.

(Taylor, 1974), Regarding symbolism, unlike materials like glass breaks, metal rusts; plastic melts; stone represents as power, strength, sacred and warmth in general. Among the history of architecture, most of the churches in the Europe is built with stone.A Stonewall also give a sense of protection, boundary, between sky and earth. The solid and heaviest surface with different textures, let us recall the rural, the earth, the memory of the past, the memory of history, dead.

Time Stone as a natural material from the ground, it is easy to tell the history behind it by looking at their texture. According to Lebbeus Wood, “historic cities are made up of complex layers, eventually came and went. More technological and once the patterns degraded, it cannot be restored” (Woods, 1993, p8) In Queens Lane, the character of Oxford, a historic city founded in the 8th century, it is easily seen from its complex layers regarding a numerous of conservative buildings that form the city. Also, the historic pattern found on Queen’s Lane, in particular, tells the history behind as the surfaces of walls keeps the historical patterns, which also identifies as “erosion and decay” (Woods, 1989, p.9). Thus, it is notably that materiality is strongly related to time and memory.

In Pallasmaa the eyes of the skins indicated the “Natural materials allow our vision to penetrate their surfaces and enable us to become convinced of the veracity of matter” (Pallasmaa, 2012) Comparing modern material like glass or metal, the stone is a type of material that match with places that have a strong character which is created from the beautiful of weathering penetrated on the stone. This kind of textualise that glass never can do. With weathering accentuates, weathered-out clayey, spalling, natural stone wall will then juxtaposed, (Scard, 1990). Thus, through the glimpse of sunlight, the natural texture than more lively. Therefore, it gave a sense of earth, life, and death visually and mentally.

Symbolic of stone

14

Fig .7 Stone Church by Kendrick Kellogg(1988)

Fig .8 Ruins of the Abbey of Villers-la-Ville(1146)

Fig .9 Belgium Cemetery by Andreas Meck and Stephan Koppel’s(2000)

Collective memory The images derived from the photographs, taken in each of the five derelict spaces, were projected onto the stone walls of the cathedral during the final performance to illuminate the performance space, while also exposing details, symbols, lines and textures, so characteristic of each derelict space. (Schroeder, 2016, p. 254) Stone Church, Karuizawa Nagano Japan by Kendrick Kellogg (1988), Ruins of the Abbey of Villers-la-Ville(1146), Belgium Cemetery by Andreas Meck and Stephan Koppel’s(2000), both involved the sense of sacred. Church and cemetery always capture the relationship of sun and material to emphasize the atmosphere. In this way, the memories of the stone textures became connected to meditative.

Plumb its depths, its form, its history, and its sensuous qualities, images of the places (Zumthor, 2010, p. 41) As Peter Zumthor indicated, “For me, architecture is not primarily about form, not at all.”

(Merin, 2013)

15

The fundamental task of architecture was to create a correspondence between the microcosm of the human realm and the macrocosm of the universe. (Pallasmaa, 2016)

SENSE

“Mountain, stone, water, building in stone, building with stone, building into the mountain, building out of the mountain - our attempts to give this chain of words an architectural interpretation, to translate into architecture its meaning and sensuousness, guided our design for the building and step by step gave it form” (Zumthor, 1988, p.

138) (Spier, 2001) Fig .10 Peter Zumthor’s Thermal Bath fire bath

Stone, also are quarried from the mountains nearby. It formed most of the surface by inside and outside. to In thermal bath at Vals, nude and stone, you force to touch the stone with your haptic.

You also experience the temperature of the different bath, like fire bath (42° C), ice bath (12° C). The flower bath 30° C. Also, the visitor is free to walk in any direction, the free flow of experience space, and the random pattern of stone, rhythmic sound while you walking on the Stone, and echo from the narrow transitional space.

A multi-sense of space, we can find the spatial quality is more or less similar to Queens Lane.

As a material, as Peter Zumthor said, the material is already there, which also mean it represents the time, stone, a timeless material. In Thermal Bath at Vals, demonstrated a conversation of a modern building, without using the modern material, it forms the space by using water and stone as an experience of strongest material sensitivity space. Not just simply related to context, but also recall the human how to touch the stone. The raw memory that embeds to our main.

“Material is stronger than an idea,” says Zumthor. “it’s stronger than an image because it’s really there, and it’s there in its own right” (Spier, 2001, p. 19) I thus appeal to a kind of architecture of common sense based on the fundamentals that we still know, understand, and feel.

(Zumthor, 2010, p. 24)

16

‘Most of the images that come to mind originate from my subjective experience and are only rarely accompanied by a remembered architectural commentary’.

To create a wealth of visual forms and atmospheres. (Zumthor, 2010, p. 26) The sense of space by the images of the plane surfaces, materials. Interact with light?

Spaces whose enclosing walls and constituent materials, concavity, emptiness, light, air, odour, receptivity and resonance are handled with respect and care? (Zumthor, 2010, p. 34) To me buildings can have a beautiful silence that I associate with attributes such as composure, self-evidence, durability, presence, and integrity, and with warmth and sensuousness as well, a building that is being itself, being a building, not representing anything, just being.

There were only when sun brush on the materials, showing the textures, the subtle depth, the place became alive by the glimpse of light. To the slim volume.

There are nothing about idea, building form, but just the right temperature, and portion, As an excellent translational space, from the crowded street, it given an extraordinary experience of the journey prepare for school or home.

17

FORM?

Does beauty have a Form?

(Zumthor, 2010, p. 71)

As an opposite with Peter Zumthor, Zaha Hadid’ project is much related to digital technology and communication with an image rather than have the same kind of sensitive like Peter Zumthor.

Concurrently, the popularisation of the Internet and wireless technologies has pressed architects to recognise less material forms of public interaction, which is historically considered the province of architecture.

Zaha, who architecture identity very less using stone as the primary material, but we still can find that she have a stone sculpture. The way of Zaha intended to use materials to defining the future, rather recall the history.

Plastics, metals are reminded use the industry and the technology, the temperature of the surface always intend to smooth, shiny, cold. Those are nothing related to intimacy.

Fig .11 Secret Garden Design by Citco with Zaha Hadid (2012)

As a modern architect, Zaha’s building, have a dynamic form. The use of modern material that gives us a different feeling of visually and haptic.

In the project Secret Garden Design (2012) by Citco with Zaha Hadid is very good example of using technology to re-defined the material.

In Conceptual art architectural as Lippard mention “work in which the idea is paramount, and the material form is secondary, lightweight, ephemeral, cheap, unpretentious and/or dematerialized” (Lucy R. Lippard,1973) The material isn’t the priority for architecture design. The form as an image, which visual is the main sense of the experience. The material and form gave another layer of understanding the material. Which, sometimes because of the produced by digital technological, it lose the sense of timeless, historical, raw, random, the craftsmanship of worker.

18

19

“Every once in a while, I get this feeling of presence. Sometimes in me, but definitely in the mountains. If I look at these rocks, those stones, I get a feeling of presence, of space, of material.” (Merin, 2013) Rather than making a bold, controversial statement, as many of his fellow architects would do, Zumthor instead decides to translate his inability to react to the site by withholding architectural metaphors and symbolism (Howes, 2013)

CONCLUSION

For this research, it could further discussion on the how other elements or context could give more character to space. Which Peter Zumthor always o=using the local material or take the local context as a fundamental concept for architectural.

In the research methodology shown the material itself have to deal with certain spatial quality to enrich itself, as in the shadow, the scale, the texture of touching, and the craftsmanship. Once, those cooperated, a wordless expression, it became a harmony resonance experience of space, like Queens Lane, nothing about architecture design, but purely the feeling and atmosphere.

It could also raise a question of why stone can’t give the same feeling of glass or metal. If stone just a surface, patterns, texture, how can we push the limited by using the digital technology?

Using Peter Zumthor words as a conclusion.

We could always find an anonymous space without a bold experience, form, idea.

But it could have a relationship related to emotional, memories, history of your own or others. The spatial quality purely from the materials and natural light. From the research find out the material like stone, rocks could give a feeling that other material would never apply. Which Stone can’t act like glass and metal etc?

From Queens Lane, we found out that space like ordinary space which has extraordinary experience through materials and space and light. Pass through a subtle meaning of essential architectural space.

It demonstrated the way of exploring, analysis those formless space. Could find a recall in Peter Zumthor building. The sense of using material and construction. To make a place remember life, rather than duplicated the natural from a human.

In the perspective of Peter Zumthor if the form isn’t the main idea of architecture.

20

21

Bibliography Bibliography Andersen, M. A., 2012. In Conversation: Peter Zumthor and Juhani Pallasmaa. In: s.l.:Architectural Design, pp. Vol.82(6), pp.22-25. berger, j., 2008. Way of seeing. s.l.:London : Penguin ; BBC .

Colomina, B., 1994 . Privacy and publicity : modern architecture as mass media. s.l.:Cambridge, Mass. ; London : MIT Press.

Cullen, G., 1971. the Concise Townscape. s.l.:London : Architectural Press.

Howes, D., 2009. The Sixth Sense Reader. s.l.:Berg Publishers.

Howes, D., 2013. Ways of Sensing: Understanding the Senses In Society. s.l.:Routledge.

Iuliano, M., 2016. Lucien Hervé and Le Corbusier: pair or peers?. Journal Of Architecture, pp. pp.11001126.

Legald, D. H. a. T., 2015. Filmmaking with visual ethnography - an interview with Sarah Pink. [Online] Available at: https://vimeo.com/125571530 [Accessed April 2015].

Scard, M. A., 1990. Building stones of Shropshire. s.l.:Shrewsbury : Airlife.

Scard, M. A., 1990. The building stones of Shropshire. s.l.:Shrewsbury : Airlife .

Schroeder, F., 2016. Museum City: Improvisation and the narratives of space. Peer Reviewed Journal, pp.

Vol.21(3), pp.249-259.

Spier, S., 2001. Place, Authorship and the Concrete: Three Conversations with Peter Zumthor. ARQ Architectural Research Quarterly, pp. 15-31.

Taylor, R. R., 1974. The word in stone : the role of architecture in the National Socialist ideology. s.l.:Berkeley etc. ; London : University of California Press.

Tierney, T., 2007. Formulating Abstraction: Conceptual Art and the Architectural Object. pp. Vol.40(1), pp.51-57.

Woods, L., 1989 . OneFiveFour. s.l.:New York : Princeton Architectural Press.

Woods, L., 1993. War and architecture =: Rat i arhitektura. s.l.:New York, NY : Princeton Architectural Press.

LeWitt, S., 1973. Paragraphs on Conceptual Art. In: Six Years: The Dematerialization of the Art Object from 1966 to 1972. s.l.:Los Angeles: University of California Press.

Woods, L., 2012. lebbeuswoods.wordpress. [Online] Available at: https://lebbeuswoods.wordpress.com/2012/07/09/inevitable-architecture/

Merin, G., 2013. Peter Zumthor: Seven Personal Observations on Presence In Architecture. [Online] Available at: http://www.archdaily.com/452513/peter-zumthor-seven-personal-observations-onpresence-in-architecture [Accessed December 2013].

Wright, F. L., 1954. The Essential Frank Lloyd Wright: Critical Writings on Architecture. s.l.: Princeton University Press.

Meyhöfer, D., 2009. Set in stone : rethinking a timeless material. s.l.:Salenstein : Braun.

Zumthor, P., 1988. Architecture and Urbanism. Tokyo: a+u Publishing Co., Ltd,, p. 138.

Zumthor, P., 2010. Thinking architecture. s.l.:Basel : Birkhäuser .

Murray, S., 2007. Material Experience: Peter Zumthor's Thermal Bath at Vals. Peer Reviewed Journa, pp.

Vol.2(3), p.363-369.

Pallasmaa, J., 2012. The eyes of the skin : architecture and the senses. s.l.:Chichester, West Sussex : Wiley.

Pallasmaa, J., 2016. The Sixth Sense: The Meaning of Atmosphere and Mood. In: Architectural Design. s.l.:Architectural Design, pp. pp.126-133.

Paterson, M., 2011. More than visual approaches to architecture. Vision, touch, technique. Peer Reviewed Journal, pp. Vol.12(3), p.263-281.

Rasmussen, S. E., 1959. Experiencing Architecture. s.l.:Cambridge, Mass. : MIT Press.

Relph, E. C., 1976 . Place and placelessness. s.l.:London : Pion .

Rem Koolhaas, H. U. G. S. o. D., Architecture, O. f. M. & International Architectural Exhibition (Venice, I., 2014. Elements of architecture.: Corridor. s.l.:Venice : Marsilio.

22

23

Image sources Fig Fig Fig Fig Fig Fig Fig Fig Fig Fig Fig

24

.1 Original image .2 Ascent-of-the-Blessed, Hieronymus Bosch: .3 Original image .4 Original image .5 Lucien HervÊ .6 Herzog & de Muron .7 Kendrick Kellogg .8 Ruins of the Abbey of Villers-la-Ville .9 Andreas Meck and Stephan Koppel’s .10 Peter Zumthor .11 Citco and Zaha Hadid

25

Texture of Queens Lane Sense of Historical pattern Culture and Momories

student: Tsz Lok, TO Submission: P30026 Research Methods Diary Date of submission: 21 12 2016

| Visual Experience | Video + Photos

Advantages

Disadvantages

Experience the texture

It could show the exact pattern from the material.

By using the close-up can see very detail how the stone changed by the weathering.

In this case, the photos and video can’t develop much like the painting, diagram; it loses the freedom.

It also from the Video can tell how the people walk into space.

And the overall spatial quality. it can record the all most the precisely reflected from the world.

Once it shot into the camera, all became two-dimensional and digital.

During the shooting, it also affects ed by the weathering; you might cant capture what exactly you want in once.

Also, it limited by time, because of the daylight with turn into the dark at the end.

| Visual Experience | Video + Photos

Tracing https://www.youtube.com/watch?v=ErvkaTAopl8&feature=youtu.be Still Video https://www.youtube.com/watch?v=H1KzuJDCwmk&feature=youtu.be https://youtu.be/thkLq9TGRyc https://www.youtube.com/watch?v=rwUorG1F0_Y&feature=youtu.be

| Visual Experience | Video + Photos Overlay the photos, superimposition the texture, Sky and walls.

| Visual Experience | Video + Photos Overlay the photos, superimposition the texture, Sky and walls.

| Visual Experience | Video + Photos Overlay the photos, superimposition the texture, Sky and walls.

| Visual Experience | Video + Photos Close up to texture

| Visual Experience | Video + Photos Close up to texture

| Visual Experience | Video + Photos Close up to texture

| Visual Experience | Video + Photos Close up to texture

| Visual Experience | Video + Photos Texture Sequences From High Street

| Visual Experience | Video + Photos Texture Sequences From High Street

| Just Paint | watercolor and pencil

Painting the texture

Advantages

Disadvantages

By using the painting, aim to show the moisture, texture, shadow, detail, erosin on the stone.

In this case, the drawing can’t tell the much sense from it.

Like sound and smell.

by using pencil trace on the wall, pen and ink, watercolor on top the other watercolor.

When drawing landscape or some other natural element, watercolor could show a similar way of the uncontrollable result.

painting is much more emotional expression and personal style, it might hard to trace back. if doing the live drawing, it might need to consider the weather as well.

| Painting | tracing the material to pattern. capturing the depth of the material. the shadow like pattern, as a result from the sketches.

| Painting |

| Painting |

| Painting |

| Painting |

| Diagramatic |

Mapping : materials enclosure

Advantages

Disadvantages

Through the diagram can see show the idea in a very clearly way.

It hard to tell from the diagram how the experience in the space. It is more about the main idea, how to lead the design or research.

The diagram also can show the idea, communicate to the view in a very easy and straightforward way.

The research diagram from the could be very quick. by using simple line and color showing different programs, function, how they interact with other.

Moreover, it could outlay another layer on top. Porcess step by step.

The diagram is a very useful tool as to descript abstract concept.

The diagram also can not tell the sound, the smell. It was difficult to understand the sense.

It is more about the overall planning.

Series of diagram show the shadow changing, highlighted by the blue color, and greenery pop up from the other side, give a varies sense of space.

Those, color, feeling, give a characteristic to the beige color like space.

The pink color highlighted the sun lighting hit the wall.

Katherine Lubar these style is inspired to Katherine Lubar paintings.

As a reference to Waler Warton’s drawings, the black and white patterns, translated to the drawing, without shadow, clearly see the relationship between the trees and the patterns of context.

Walter Warton’s ‘Pieces of MAS’ critical reflective drawings of MAS (Museum aan de Stroom) Published in Oases #81 ‘Critical Reflections’ issue, pp.81-101.

throught the drawings, understanding the scale of material, and the ramdom pattern, the streetscape, the layering of patterns.

As a reference to Herman Hertzberger’s spatial diagram, the digraams shown the relationship of wall and street changing sequences.

High street

Hertford Bridge

| Seven Invariables |

Montage: materials, texture enclosure

Advantages

Disadvantages

Through the montage can see the overall materials.

In this case, it doesn’t show much like other modern boulding. more about the atmophere.

the overall images showed how the material is matching to others.

Shown the enclosure of the space, material, in different angles.

From the observation, it contains dynamic space with various wall height, building materials, texture.

Also, capture the local people how to use this routes.

It can’t show a clean site anaylsis, and can’t tell the sound of the site. hard to tell the actually spatial.

| Seven Invariables |

| Seven Invariables |

| Seven Invariables |

| Seven Invariables |

| Seven Invariables |

| 07 Oct 2016 | Site-walking as a method of Architectural Design Research | note |

| 07 Oct 2016 | Site-walking as a method of Architectural Design Research | workshop |

| 14 Oct 2016 | Anthropology and Architecture: Fieldwork Methods of Interviewing | note |

| 14 Oct 2016 | Anthropology and Architecture: Fieldwork Methods of Interviewing | Workshop |

Interview

Interview few peope in Bookes, see how they feel about the forum.

-

Question or interview :

When you usually come to brookes per week?

What time?

Where you usally seat?

How long you stay?

How many people ? with friends? work? or just cafe? any thing you suggest for this space?

| 21 Oct 2016 | Drawing Diagrams as a Method of Research | note |

| 28 Oct 2016 | Visual Ethnography as a Method of Architectural Design Research | note | (Film and photography)

| 28 Oct 2016 | Visual Ethnography as a Method of Architectural Design Research | Workshop | (Film and photography)

A short film trying to find out how people entrance the Covermarket in Oxfords 1 minutes

https://www.youtube.com/watch?v=S1b8cgKi_7E

| 04 Nov 2016 | The Experience of Space, Bruno Zevi’s 7 Invariables | note |

| 04 Nov 2016 | The Experience of Space, Bruno Zevi’s 7 Invariables | note |

| 04 Nov 2016 | The Experience of Space, Bruno Zevi’s 7 Invariables | note |

| 25 NOV 2016 | Participation as Architectural Design Researchs | note | card game

| 02 Dec 2016 | Somatic Research and the Art of Site Responsive Participation | note | Mary Jo Gilligan

| 02 Dec 2016 | Somatic Research and the Art of Site Responsive Participation | note | Mary Jo Gilligan

| 09 Dec 2016 | Just Painting as a method of Design Research | note |