100 Day Presentation

This is my first attempt at Video Blogging. I thought some of the concepts and diagrams would benefit from genuine human intonation, as opposed to dry text. It's also an attempt for me to get over the hatred of my own voice.

This is the presentation I prepared for my 100 day viva, held on 11 Jan 2013, thankfully I passed. Feedback welcome!

A Research Proposal

I'm sure some of you have wondered what the hell most of what I discuss has to do with architecture or, or indeed how I can reconcile the architectural thinking with this nonsense. Well...here we go...

The following is a report on what I hope to accomplish. More in depth material to follow.

Introduction - Context

The question ‘What is Architecture’ has never really been adequately answered, at least not in the contemporary era. The answer ‘Architecture is a social art’ comes pretty close in my opinion. This phrase, however, raises yet more questions, asking us to delve into what the word ‘social’ really means. It was this line of thinking which lead me to write ‘The Destruction of Architecture’ as my MArch dissertation, bringing me into contact with the work of Martin Heidegger and the new field of Social Neuroscience.

This gathering of ideas has allowed me to interrogate my own feelings and intentions as a designer. Being able to interrogate the sociology of the client or prospective users of the design enables the production of a more precise design brief. Additionally, having an awareness of my  own attitudes towards a client or possible user allows me to adjust these feelings should they be unbalanced. 

It is my intention to develop these ideas into a cohesive multi-disciplinary model which can be used to critique acts-of-design. As it has enabled me to become more aware of my motivations and prejudices (latent or otherwise) I believe it could be used to investigate the motivations and prejudices of other designers. In short, I would like to develop a model of ‘reflexive design.’

When I began to expand the model I realised that the smaller the piece of deign the more nuanced it’s social properties. On the other hand, the larger the piece of design, and the more diverse social groups who use/interact with it, the more explicit the social effects should become. It was this, along with a pre-existing interest, which lead me to a critique of urban planning in the city of Belfast. 

As a city which can be perceived as divided, conciliated, ripe for regeneration, or a cultural battleground, Belfast is a city of multiple spatial interpretations and should therefore provide a fascinating testing ground for this new sociological model.

Methodology (Aims and Objectives)

Develop Model

The model is still in a relatively basic form. In order to develop it further I propose an extensive lit. review and interpretation of ideas. There is a significant amount of literature on sociology and philosophy and it’s application to architecture/urbanism, not to mention the emerging field of Social Neuroscience which few design theorists have considered.

Apply Model - Belfast’s Planning ‘Habitus’

Once the model has been further developed I then propose to investigate planning in Belfast. These issues have interested me for several years now, first being brought to my attention when taking part in the first Forum for Alternative Belfast summer school. It became clear to me then that Belfast’s urban and social problems haven’t all been caused by ‘The Troubles.’

The model could be used to interrogate the intentions of Belfast’s planners, both past and present. I propose a literature review on Belfast's planning history which could then be developed into a speculative ‘Reflexive history.’ I then propose to carry out a series of interviews and critiques of planning maps to delve into Belfast’s ‘Planning Habitus.’

Test Model - Belfast Urban Analysis

I should now be able to define a series of study areas based on planning decisions and intentions past and present. Once defined I can  select an ‘Alternative Habitus’ within these areas, one which is embedded in the lived experience of the area.

A methodology for interrogating this Habitus will need to be developed based upon the context of the Habitus itself. This mapping of the ‘Alternative Habitus’ can then be compared with the ‘Planning Habitus’ and conclusions can be drawn. I will then return to the theoretical model and appraise it based on these conclusions.

The Model So Far

This model is based upon the rejection of post-enlightenment metaphysics and the idea that the subjectivity of the mind conforms to the objectivity of reality. It suggests that we can never be said to know objective reality, but that we conform to a socialised interpretation of it. The following terms are key to the model.

Value can be attributed to anything which stimulates the human senses; a product of human homeostasis.

Use-value can be attributed to anything that directs our action on the world; an awareness of a human want or need.

Phenomena possesses both value and use-value.

Projects comprise of linked together phenomena and are aimed toward the satisfaction of the identified want or need.

Exchange-value is a communicable use-value; something which identifies the want or need of more than one person.

Commodities possess value, use-vale and exchange-value. They are socialised phenomena.

Habitus is comprised of commodified sets of projects, the Platonic way-of-being of a collection of people achieved through an agreement reached using social discourse.

Cultural-capital is achieved by subscribers to a Habitus who perform or act within the Habitual guidelines in an exemplary fashion.

Political discourse occurs when two or more Habitual constructs occupy the same space enabling more than one way-of-being to exist simultaneously utilising conflict or compromise.

Mapping

Recent research into the philosophical underpinnings of mapping reinforces the reflexive model outlined above. Long regarded as the objective representation of space, the underlying philosophy and sociology of cartography has been challenged by the interdisciplinary field of social geography over the past decade and mapping is now acknowledged as being closely related to the metaphysical conception of space and territoriality.

Maps, in the traditional Cartesian view, are accurate representations of objective reality. To use Heidegger’s description of the enlightenment model, if our relationship with the world is similar to that of water being inside the glass then mapping attempts to describe the glass which contains us. However, using our reflexive model we can now describe the production of a map as the commodification of a spatial understanding. In the introduction to the volume ‘Mappings,’ Denis Cosgrove describes this as the move from an objective view of mapping to “an opaque view...which takes account of the selections, omissions, additions and inescapable contextual influences which shape the outcome of such transfers.”

Maps, then, can be described as a representation of the spatiality of the Habitus to which the cartographer acts as agent.

Mapping and Territory

One of the primary reasons for maps appears to be demarcation of territory, often achieved through an agreement resulting from political discourse between two or more Habitual constructs. Demarcation of territory also manifests as a dominant Habitus exerting power over another Habitus and enforcing a particular conception of spatiality. The mystification of mapping as an objective representation of space has meant that most of the time this enforcement goes unchallenged.

This territoriality, agreed or enforced, is then represented on the map. In the lived experience of the space, however, territoriality appears more fluid. Boundaries are often arranged around commodified elements of landscape which have a use-value and exchange-value related to material or strategic resources. These social and political values are rarely manifested in physical space. We may be able to perceive a hill, river or vein of precious metal, but unless we are privy to specific social, political or economic languages we cannot relate the physical world to the social construct of the boundary, and different Habitual constructs will imbue these elements with different values.

Mapping only refers to the politicisation of territory. This negotiation is carried out on a daily basis within the city as people, as agents of a given Habitus, build and dwell in the Heideggerian sense. Belfast, as a conflicted city, forces this more nuanced social discourse into political discourse manifesting itself in tribal symbolism to signify territories not represented on any official map of the city. This language of symbols can be viewed as a sort of 1:1 mapping of the city, a representation of the city overlaid onto the city itself.

This sectarian manifestation of territoriality is an extreme example, however. The city is awash with Habitual symbols and indicators. No one person is voiced in them all, but the languages are writ-large in the city fabric for those who can read them.

Mapping allows us to re-present (as opposed to represent) the city, but as active agents within the space of the city we are constantly doing this ourselves as we build and dwell as part of Habitual groups. The re-presentation of the city has as much an effect on the space as the space has on it.

Review of 'Building Stories' by Chris Ware

The following was originally published on the PLACE blog as part of the'Urban Library Lecture Series.'

The medium of the comic book has long been derided as a medium for children, the ‘nerd,’ or the intellectually impaired. Despite the best efforts of writers such as Neil Gaiman and Alan Moore, combined with the broadsheets rebranding of the rather untoward sounding ‘adult comic book’ with the haughty term ‘graphic novel,’ the perception of the comic as a conveyor of nothing other than empty-headed titillation still holds sway. A new epic graphic novel by Chris Ware stands in direct opposition to this.

‘Building Stories’ is a collection of stories originally published in a host of US publications including Nest Magazine and the New Yorker, beautifully presented in a fantastically cumbersome box measuring 40x30x5cm. The presentation, along with the intricate story within and the diagrammatic nature of many of the drawings, renders the collection instantly architectural (at least it does to me). Engaging with building stories is a profoundly physical undertaking, a real statement when considering the rise of Kobo, Kindle and the eBook.

The box contains 14 individual ‘comics’ in a variety of media and formats from conventional comic books to newspapers, hardbound tomes, posters and leaflets. The reader is given no clear start or end point, you are merely left to your own devices to rummage through the box, starting wherever you feel is right and navigating your way through the objects as they catch your attention. This way the narrative is gently uncovered, excavated from the box which contains it, much like the apartment building which serves as both backdrop and protagonist in the story.

The story details the lives of the denizens of an apartment building in Chicago. We meet a young couple expecting their first child who have recently moved in to the second floor apartment, a lonely, disenfranchised middle aged disabled woman living on the top floor and struggling in every way conceivable, and finally the old landlady who lives on the ground floor, standing face to face with her own mortality. I probably don't need to tell you that their lives become intertwined, however this occurs in an unexpected and revelatory fashion.

Chris Ware has crafted a narrative so unique it can only be fully understood by experiencing it. The box as an object and as a metaphor bestows ‘Building Stories’ with an architectural air which transcends the possible pretentious nature of such a phrase. This is architectural with a small ‘a’; the experience and individual interpretation of the reader is given priority while the day-to-day grounding of the narrative, dealing with normal people with normal problems in a profound way, makes the story instantly accessible to anyone who opens the box.

The Fall of the Conor Hall

Found these interesting videos of the old Conor Hall, part of the Art College/University of Ulster Belfast, being torn down. They were part of a presentation given in 2004 by Todd Architects about the redevelopment of the Belfast Campus. Enjoy!

Endings & Beginnings

The following was published in RSUA Perspective in July 2011.

The end of year show is always heady with emotions. A long arduous task has reached completion. Some have succeeded, others have failed. Long-term desk companions realise they won’t see their friends as often. It is also a great time to reflect upon the products of the year, and this year the work produced across the school was as diverse as the emotions experienced by staff and students alike.

 From embassies in Belfast/Dublin in the 3rd year studio to Post Offices and Cinemas in the 6th year studio; from roughly hewn plaster models to delicate card maquettes; from painstaking hand drawn renders to sophisticated digital imaginings; the range of projects and approaches across the board is truly staggering.

A host of awards were given to the most outstanding students, notably to Phillip Evans whose successful completion of the Masters of Landscape Architecture programme, makes him Northern Ireland’s first ever graduating Landscape Architect; something which Phillip, the MLA programme and the entire school can feel immensely proud of.

Turn Again - Ciaran Carson

Been trying to develop a phenomenological mapping style for Belfast when I encountered this piece by Ciaran Carson about mapping Belfast, handily enough. 

I've got a bit of a hill to climb.

Turn Again

There is a map of the city which shows the bridge that was

never built.

A map which shows the bridge that collapsed; the streets that

never existed.

Ireland's Entry, Elbow Lane, Weigh-House Lane, Back Lane,

Stone-Cutter's Entry -

Today's plan is already yesterday's - the streets that were there

are gone.

And the shape of the jails cannot be shown for security reasons.

The linen backing is falling apart - the Falls Road hangs by a

thread.

When someone asks me where I live, I remember where I

used to live.

Someone asks me for directions, and I think again. I turn into

A side-street to try to throw off my shadow, and history is

changed.

Ciaran Carson

Dwelling and Habitus - Unifying the objective and subjective

The following paragraphs and diagrams are my first tentative steps toward a (hopefully) unified architectural sociology and a way forward into my research. The more I read about Pierre Bourdieu the more I see how I have misunderstood some of his terms (most notably that of 'the field') and unwittingly appropriated them for my own means. Now I am aware of this I can either embrace his definitions or accept them as a jumping off point for my own theorising.

The work of Heidegger has influenced architects since his work directly addressed architecture in the early 1950s. His description of subjectivity, I believe, is what has led to the nihilist stance of many of the postmodern designers of the 1970s and 80s. The ideas of ‘unplan’ and ‘equipotential space,’ while intriguing, have not helped us better understand how to design for a heterogenous society.

Sociologists have noted this trend within their own field, referring to this subjectivity as ‘reflexivity.’ Alternatively, sociologist Pierre Bourdieu developed the model of ‘Habitus’ to deal with how human beings subscribe to notions of collectivity and society. Recently, sociology has been attempting to deal with these two distinct models. It is becoming clear that a process of hybridisation is required to create a more complete, and ultimately more helpful, model of humans and society.

Dwelling

The individual’s (Dasein) world is comprised of projects which are made up of things, as distinguished from mere objects as they are defined and understood through use and their relationship to other things. These things are utilised by Dasein subjectively and of the moment, using them as she/he sees fit within a given project/context. Projects allow Dasein to shape his/her world, this shaping is referred to as ‘dwelling.’

Habitus

The Habitus is a set of scripts (or habits) which are employed my Dasein as templates for projects. Dasein subscribes to several Habituses and as he/she goes about dwelling she/he will refer to the relevant Habitus to dwell in the ‘correct’ (efficient, moral, ethical) way. Habitus, then, can be said to be made up of a pantheon of Platonic projects we refer to as practices.

Dwelling and Habitus

On one hand there is the Habitus, a deterministic model of ‘how to act’; on the other hand there is Dwelling, a model of free-will and endless interpretation. Habitus is employed unconsciously and ensures that each new project encountered, Dasein has a precedent, a guide to doing things ‘correctly.’ Dwelling enables this model to be questioned, challenged and employed/adjusted creatively. Sociologists refer to this creative process as ‘reflexivity.’

Dwelling, Habitus and the Field

There is however, another factor to consider, that of the ‘field.’ The field refers to the external environment and the limits of possibility contained within it. Dasein has an ability to expand their world through reflexivity, however, this can only occur within the limits of the field. Reflexivity, therefore, is an ability to express a desire beyond the world as opposed to actually achieving it. 

Dwelling, Habitus, the Field and Power

Problems arise between different Habituses when two or more conflicting Habituses manifest themselves within the same spatiality. This will either lead to compromise or conflict. Conflict tends to create a sense of hubris and excessive defensiveness in each Habitus, causing the practices within it to become dogmas.

The constraints of the field will inevitably lead to one Habitus being able to control the field, or at least the position of individuals and other Habituses within the field, determining the reflexive mobility of others, usually to maintain their own status quo and increase their own power.

Dwelling, Habitus, the Field and Power in Belfast

I propose a mapping of the city centre examining the different Habituses at work. This would entail an initial mapping of the ‘obvious’ structures of Belfast; tribalism, memorialism, adjusted infrastructure, ‘gentrification’/’urban renaissance’ and demography. 

Using this as a tool and the social/mind model described above I hope to develop a more complex mapping of Belfast’s dominating and dominated Habituses and modes of dwelling to understand how they impact on each other, physical planning and life within the city.