Jammaers Jennifer

1

THESOLACE

OF MEMORY:

SPATIALIZING TIME THROUGH ARCHITECTONIC INTERPRETATION

Jennifer Jammaers11012989

30.04.2012

Research-Led DesignUnder supervision of John Stevenson

P30032

4

This Research-led-Design Project is presented to the School of Architecture, Oxford Brookes University in

part fulfilment of the regulations for the Master in Architectural Design.

Statement of Originality: This Research-led-Design Project is an original piece of work which is made

available for copying with permission of the Head of the School of Architecture.

5

CONTENTS Remembering Deer [7] Introduction [17]1.0 MEMORY1.1 Remembering as Escapism [25]1.2 Escaping the Present [33]1.3 Memory as Interpretative Process [43]1.4 Memory: Through Image [51]1.5 Memory Interpreted [57]

2.0 PLACE2.1 Memory and Place [73]2.2 Spatializing Time [77]2.3 Capturing Memory [85]2.4 Remembered Space [93]

3.0 MEMORY - INSPIRING - SPACE3.1 Archinterpretation [101]3.2 Contextualizing Place [107]3.3 Waiting for Trains [133]

Post-Script [157] Appendix [163] References [165] Image Credits [167]

7

REMEMBERING DEER

9

11 November 2011, 9:08 a.m.

It was a typically groggy autumn day, the sun wishing to peek through the

grayness though too obstructed by clouds and a slight mist to persist. It was mid morning

and it showed, the herd of black coats rushing hurriedly to work was starting to die down

and the lobby at Waterloo Station was beginning to reveal a slightly calmer cluster of

travellers and a scrambling of late commuters here and there. Just coming through

the barriers I spotted a lady tawdrily cursing at her heel after inelegantly tripping on

it as she scurried in haste towards the Underground. I noticed another lady walking

towards the Underground, she, unlike the first woman, seemed much more relaxed and

inherently more content as her friend spoke to her. They too wore black coats; I often

assumed most commuters to be quite mushy in the mornings – this woman’s elatedness

however, intrigued me. As they walked past me I managed to overhear part of their

conversation where they mentioned something about travelling down to the South coast

to see relatives on Saturday morning. I realised then that it was the end of the week, and

this anomalous yet dismissive air which I then noticed amongst various other travellers

was due to this fact. Most were emphatically thinking about the weekend ahead so as to

get through this otherwise miserable Friday, and so they strode on, almost finding joy in

this day of the week over any other day.

As I stood in the middle of the slightly curving lobby of Waterloo Station looking up at

the Departures board trying to find which Platform the next train to Portsmouth Harbour

left from, my eyes fixated themselves upon the word Richmond on the departures board.

The name of the place sounded so familiar. There was something about this place, I

knew it was famous for a huge park which had deer but the memory did not quite divulge

11

itself. I tried not to think much more if it, I went through the barriers close to Platform 17

and realised I had entered the wrong way so I made my way to Platform 9 where my train

departed from. They announced the circular route to Hounslow and Richmond on Platform

17 was due to leave shortly and my head turned towards the direction of Platform 17 and

as it did I caught the glance of a little girl staring through the window of the last coach.

I turned around and made my way to my platform not without uncomfortably crossing

obstacles first; all the while picturing the little girl looking out of the window. I stopped on

Platform 12 and put my bags down – the little girl still on my mind.

The train left Waterloo and as it peered into the bright midmorning light and out of the

station, a moment which took my eyes some time to recover from, it revealed that the

clouds had drifted slightly and part of the sky seemed to have cleared out. My head

turned to face a huge Ferris wheel by the river Thames being craned up into place.

Dad noticed me staring at it and mentions indulgently how we will go on it once it was

open. I looked at him with excitement, but at the same time slightly terrified – the wheel

was the biggest I had ever seen, even at the comfortable distance from the train. I

watched it disappear into the distance, the rest of the city around seemed to disappear

rather quickly too. Office towers and dilapidated buildings became smaller, and as dad

pointed at Battersea Power Station it too drifted through the horizon and eventually all

that remained were flawless rows of rooftops – miles and miles of rooftops with the odd

office building sticking out.

Most of the time after that the train seemed to be low on the ground – partially hidden

by autumn-tinted trees which flickered as their leaves tussled from the speeding train

13

gushing through. A couple of times I was able to catch a glimpse of the river but for much

too short a period of time to appreciate it, and just as I hoped to catch another glimpse,

we had arrived at Richmond. The town seemed very quaint; we passed lots of little shops

with mannequins dressed in magnificent fur coats and women shopping inside wearing

just as lavish ones. We walked along the river and then through a field. I remember

nearly slipping on the wet mud and starting to get fed up of all the walking; and just as

I felt like complaining about it to dad we reached a road, and across a black gate which

became apparent in the near distance and there it was - Richmond Park. We spent the

whole day exploring the vast grounds; we had a picnic on the lawn, we wondered through

the trees, the beautiful botanic garden which we stumbled upon, and we later followed

that with scrumptious cream teas and a particularly scolding hot chocolate at the cafe at

the top of the hill as I can recall. Whilst we looked down on the river and contemplated

the journey we had just made the sun started to set over the Surrey hills. Dad made

a comment about how if you stared closely into the sun without blinking, just as it was

about to set, you could catch a green glare which only occurs for a split second – I tried

hard to see it but I must have missed my chance, either that or he made the whole thing

up. Nonetheless I enjoyed the challenge. As we made our way back to the station and

out of the park there they were, right to the side of the road, in a meadow amongst a

clearing of trees, a herd of deer, as tame as doves in a central square – all of a sudden

a voice in the intercom called for the last passengers to board the 09:30 to Portsmouth

Harbour and before thinking twice about it the memory was gone and I boarded the

coach in front of me.

15

Image 01 - Dad + I at Richmond Park

17

INTRODUCTION

19

Many studies relating to memory-recall show a certain relationship between the

frequency of an event and our ability to remember it. These studies have stated that

repetition at the encoding moment increases the brain’s ability to remember something,

‘[w]ith respect to retention, however, the picture changes, and the durability of what is

learned is clearly enhanced where the learning experience is more heterogeneous’,

The ability to remember an old memory, more specifically a particular event set years in

the past, due to references within the environment you may be at the moment of recall

however, is supported by studies which state that ‘recognition decisions are based on

contextual retrieval of specific trace information’. [Groeger, 1997: 136-140] It is within

these findings that the following study bases itself on.

The study initially aims to establish how memory or rather the process of remembering is

pertinent to our every-day life and our existential desire to experience, especially at a time

when technological advancements are reinventing the way in which we experience. It also

looks to investigate how place influences the process of remembering and the conception

of memory itself. Lastly it endeavours to explicate how we as architects interpret the

concept of place-making through notions of memory, which in itself is an interpretative

process, in order to create a phenomenological experience of space. It is important

to denote that the relevance of this study lies not only on the interpretative allegations

behind architectural design, or on the interpretative aspects of memory-recall, but within

the amalgamation of these notions. The study therefore investigates the relationship that

exists, or could exist between the process of design as well as the outcome of design,

20

and the encoding, retention and recollection of memory – predominantly in respect to our

autobiographical memory.

The specificity of the type of memory is not only due to the broadness of said subject,

but also to restrain the study from being prejudiced by anterior studies of architecture

and memory. In this aspect the study differentiates itself from other papers which look at

architecture and memory and its nostalgic connotations as some sort of commemorative

edifice or memorial. Instead, the study looks into the psychological response(s) of memory

in respect to place and place making, and so it does not aim to address directly the

various other types of memory, sensory methods of remembrance, semiotic properties of

memory, or any other subsidiaries which may be attributed to memory or interpretation.

Said concepts have already been addressed in publications like MeMory + reMeMbering:

everyday MeMory in context [Groeger, 1997] or interpretation in architecture: design

as a way of thinking [Snodgrass and Coyne, 2006], or even spatial recall: MeMory in

architecture and landscape [Treib, 2009] which though directly addresses the experience

of the body and personal memory within architecture, it fails to elaborate on memory as

a process of design. Though this does not mean that these concepts are not intrinsic to

the development of the study or that they will not be made reference to within the study,

by not elaborating on these topics, but rather cross examining what is already known of

these subjects and finding common parameters between what had before appeared to

be too subjective to address architectonically, the study endeavours to keep the focus

central to its aims without derailing off topic.

21

The study encompasses various methodological elements which form the basis of the

project embedded within the study. Firstly, the narratives which emerge throughout the

study present themselves as an illustrative means of situating certain ideas explored

throughout said study. Ultimately however, they provide a backdrop for the design

project to be understood as, or rather interpreted as per the reader’s own discernment to

the study and design project. The scenario posited by the narrations and accompanying

media including film, graphical representation, and spatial installations, give the reader

an insight into someone else’s subjective account of their memories and their own

experiences in relationship to place; which in this case is Waterloo Station in London. So

that they are able to sympathize with the narrator’s experiences and see the emergence,

development and outcome of the project in context; whilst implying along the way

that they too can interject their own experiences into the project and make their own

interpretations, ultimately positing an indefinite, however self-reflective, outcome to the

final project. Secondly, architectural and non-architectural precedents like architect

Peter Zumthor’s own account of building his own home heavily inspired by his own

professional experiences and personal memories and artist Maya Zack’s installation

depicting the interpretative and highly subjective characteristics of memory, all explore

the notions of interpreting experience and memory through different media. The last,

nonetheless pertinent aspect presents evidence of these media being used as part of the

method of design behind the project itself through a series of explorative films, collages

and renders.

22

As with the narrative, the resulting representations, though purposely executed for a

reason, are in themselves free to be re-interpreted by the reader and thus the ‘experiments’

accompanying this study and adjunct design project provide a methodological reference

to the investigative and interpretative process that might occur during a design

development without necessarily stating their outcome. Ultimately, the study alongside

the design project aims not only to question whether space can produce memories [as

the first chapter investigates], but more emphatically, it questions whether space can be

manipulated to provoke as well as produce memory upon experience.

In essence, the study reverts to address its main focus of how an architect may

interpret the concept of place-making through notions of memory in order to create a

phenomenological experience of space by investigating the mnemonic properties of said

or other places through an empirical architectural project. The overall study does not

aim to put forward a definitive method of design nor seek to pose memory as a resolution

or detriment to our current social situation, but rather poses a study which makes the

individual [user or designer] reflect on the impact [positive or negative] that space [existing

or in the making] can have upon human perception, upon our experiences [past, present,

or future] – it offers an opportunity for the individual to expressly interpret a situation. It is

both a study and a design project that seeks to evaluate and test Pallasmaa’s, Zumthor’s

and Bachelard’s premise of an architecture created from experience for experience.

Memory – Inspiring – Space.

23

PART I.0MEMORY

25

PART 1.1REMEMBERING

AS ESCAPISM

‘You can only anticipate the future if you can call

the past to mind.’[Eco, 2005:36]

27

In his book the Mysterious flaMe of Queen loana, Umberto Eco [2005:36] brings

awareness to an individual’s realization that our lives consist of being able to recall

the past in order to anticipate the future. Over the past few decades a resurgence of

this past, the vernacular and the traditional has disguisedly manifested itself against

the emotionless and sterile, the ultra-modern and minimalist; against the forward-

facing technologies which encapsulate our everyday life [Hutcheon, 1998]. Through

globalization and capitalism the user has become overwhelmed by choice and popular

culture; the idea of the vernacular has now become either a reclamation business or

manufactured Kitsch. Fashion brings back the re-utilization of our granny’s clothes as

a vintage fad, conservationists seek to restore and bring back the psyche of yesteryear

architecture through tight legislation, barn conversions and tactile restorations; we are

subconsciously seeking to perpetually hold onto the past.

The question that arises here is why? Why do we desire the past when we live in a

society driven by the advancements of tomorrow? We might look to answer this question

by observing exactly how this forward-facing behavior is affecting us. We currently live

within an invisible matrix that translates our words into txt and our feelings into interactive

eMoticons; a virtual place which allows us to conduct work meetings, meet friends, and

even explore other cultures without even deviating our eyes from the screen. With all

this occurring around us, it is no wonder we are becoming more aware that we are in

danger of losing the physical ability to interact with other people, the physical ability to

28

experience space, and the physical ability to place ourselves within our social, cultural

and geographic environment. [Hutcheon, 1998]

Catharine Savage [1964:161] posed an interesting discussion of Marcel Proust’s a la

recherche du teMps perdu where she convenes, that for Proust ‘it is not just the past

moment remembered which interests him, but the past moment relived in the present and

identical to it, forming thus a bridge over the gulf of time and becoming “extratemporal”

[sic]’ that truly interested him. Proust re-experienced his past through everyday chores,

however today, as earlier depicted, aspects of our everyday, like meeting someone for

a drink, depend on technology, on arranging this appointment through a text or e-mail,

leaving us with more time to do more things and very little time to enjoy the experience

of expectation. Our perception of time, as Michio Kaku [2001] demonstrates through his

documentary series on tiMe, is precipitated depending on age and what occurs around

us. Nonetheless, it is what occurs around us particularly that is most pertinent to how we

perceive time and consequently how we feel about it and the change we are so quickly

experiencing.

At the time Proust wrote about delighting himself with the memory of a Madeline or

rather what the act of eating a Madeleine equated to, a feeling of constructive upheaval

leading to a nostalgic reaction was emerging throughout western civilization. Linda

Hutcheon explains the relationship that the upraising of postmodernism had with the

29

1848

1946

1967

2011

Image 02 - Waterloo Rail Station over the years

30

Image 03 - A Waterloo platform then and now

31

feeling of nostalgia that was most notable at this transitional epoch in her essay: irony,

nostalgia and the post-Modern [1998]. Here Hutcheon elucidates on the preconception

that ‘nostalgia is a by-product of cultural modernity’ by posing a comparative discussion

between the turn of the 19th to the 20th century, and our experience at the turn to the

21st century. She begins the discussion by acknowledging that both had ‘their common

doubts about progress’, they ‘shared worries over political instability and social inequality’

and had ‘comparable fears about disruptive change’ mainly in the form of production,

the Industrial Age back then and the Digital Age now. Lowenthal elucidates on how

these fears were manifested in the ‘last fin-de-siècle panic’ through ‘idealizations of rural

life, in vernacular-revival architecture, in arts-and-crafts movements, and in a surge of

preservation activity’. She also presents the post-modern movement at the end of the

20th century as the parallel of what occurred a hundred years prior and reflects that

‘nostalgia undermines modernist assertions of originality, authenticity, and the burden

of the past, even as it acknowledges their continuing (but not paralyzing) validity as

aesthetic concerns’. Hutcheon deflects again to the idea that nostalgia may be seen as

an alternate escapism to the realities of then 1998 where many were approaching the

end of the millennium as the last time they could be able to hold on to their past, their

lives, and their whole being as they knew them. What was being referred to at the time as

a ‘technological apocalypse’ was fast becoming a reality. [Hutcheon, 1998]

32

Nearly fifteen years later from Hutcheon’s publication and another century from Proust’s

we find ourselves in the new millennium and confronted by a similar conundrum. We

have mostly welcomed technology into our everyday life but somehow some of us still feel

suffocated by it. We can record everything in small memory devices almost to the point

where our own memories seem irrelevant. On the other hand, we have found something

that we have never had before, the ability to be connected to the rest of the world [like

many online forums such as CNN’s own connect the world] simultaneously all thanks

to wireless technology and the internet. This openness and availability of resources

however, has brought alight events and things which have changed how we see things,

how we experience our environment and everything around us. Film for example has

become a strong tool in the spread of ideologies. Motion pictures like Angelina Jolie’s in

the land of blood and honey [to be released 2012] look into the past, into our errors and

moments of ignorance back then to learn and act upon similar circumstances happening

right now so that similar mistakes can be prevented from reoccurring [Anderson, 2012].

For some, this has endowed us with a new power to do things, but for the rest it has also

left us wondering what else does the past hold? What else in our lives have we ignored

or missed out? The resulting feeling is sometimes exoteric and extraneous to the point

where we find solace in the things that make us belong or remind us of simpler times.

Just as memories can be cataclysmic, they can also be sources of consolation – an

escape.

33

PART I.2ESCAPING

THE PRESENT

35

As I stepped out of the train and onto the platform at Portsmouth Harbour I felt

a rush of impatience. I had reached the coast yet it was still hectic with people heading

into the shopping centre, buses crowding the streets and taxis barricading the exit of the

station. As I took in everything that was happening I spotted some teenagers sitting on

the rails looking out onto the bay being rowdy and – my mind stopped for a moment, then

I realised they were just being teenagers, not caring about anything. I wanted to feel like

that, I guess I almost did, but it was not liberating, rather it was quite enervating. I wanted

to be by the sea, but away from so many people. I wondered through the streets trying to

find my way to the sea, in retrospect getting on a bus and asking the driver to stop at the

nearest beach would have been much more efficient than walking down roads and roads

where the landscape changed very little. Some seemingly new developments against

some sixties’ concrete apartment blocks followed by roundabouts and schools and brick

walls which blocked my view from whatever was inside. It made me think about how

introverted we are as people, to our neighbours and even our family, yet how easily we

open up to strangers online, we exhibit everything about us on a networking site hoping

someone might care. In person however, we like to be private, we assume no one wants

to hear about our day, if they ask we know it is just pleasantries so we keep it quick and

friendly. I kept walking, gradually the walking was making me feel more tranquil, though I

noticed the shops and terraced houses around me, I had been down high streets before,

but this was not quite as frantic as other high streets, only a few shops and trees, lining

the road - I always found this pacifying. These trees actually reminded me of the detour

I used to make as a child on my way to school, down tree-lined roads just like this just

because I liked them. I followed the signs to the sea front until I noticed the landscape

37

changing again, it was a park, I walked through it and I could see an amusement park

at the end and I knew the sea was beyond it. I avoided it. Instead I kept walking; I could

now see the sea fully. I kept walking, despite being right there, it still felt too collective if

that can be said of a place. There was the park, some fish and chip shops, an ice cream

parlour, a few scattered monuments and I could still see the amusement park. Despite

being November and looking quite desolate, there were still the occasional dog walkers

and I wanted to keep walking nonetheless.

I walked and walked, on the beach where I could, otherwise on the pavement and

eventually I reached a stretch of beach that went on and on, I walked to the middle, the

houses were well far behind the road, and there was a bit of land which stretched into the

sea so I sat there, on the bit where the shingle became sand, it was a bit wet and very

cold, but I still wanted to feel the sand between my toes. As I dug my feet into the sand

my mind reverted to that place quite a few years ago where I did the exact same thing but

in competition with my younger brother to see who could dig deeper. There was really

no point to that game as we both just ended burying ourselves in sand and having to go

to the sea to get it out of our bathing suits. The sand in that place was warm, it gleamed

with the warm sun shining upon it and it had little crabs crawling in and out. My brother,

Gaby [we called him that lovingly unknowing as children that it was actually a girl’s name]

used to follow me everywhere I went and mimicked everything I did, it was very easy to

get him to do what I wanted, perhaps that is why I am such a dominant person now, or

at least I used to be. Something within me feels no desire to be noticed or perceived a

certain way; part of me however still wants strongly to be perceived a certain way – it is

quite an oxymoron but I guess it reflects how I think about the digitalized world we live in.

39

I looked back at that time when Gaby and I played in the beach, at how our dad would

cycle us both to school, Gaby on the steering bar cushioning himself with a small pillow

he would carry everywhere and I on the top tube holding emphatically so I wouldn’t fall

off. Everything back then seemed so effortless and the only worries that existed in my

mind were whether I would fall off that bike and whether Gaby and I would be able to go

to the beach after school. It is arguably age that brings concerns and worries, though

when thinking about those times I do ponder whether it is age explicitly that makes us see

things differently as we have more knowledge and experience – as we learn to interpret

things - or whether it is also our surroundings that influence how we feel? As I sat there

on the sand my mind drifted in time and resurrected more memories of sunsets back

at that beach where Gaby and I used to play in. A sudden chill encapsulated my body

momentarily and the memory was gone and I was left staring at the sun setting over the

gap between the Isle of Wight and Southampton. The evening was turning very cold

and my feet and hands started to feel numb, somehow my mind deflected my senses to

feel what they felt back in that warm beach, that place we once called home which now

seems so very far away even though back then it was the only place we knew and now all

that is left of that wonderfully tropical paradise are traces of it in my mind. Now however,

even those were gone and my mind was blank, all it could see was that sunset. I sat

there and took in the last of its warmth; I felt it on my skin along with the cold sea breeze.

Listening to the rolling waves scramble the shingled beach I wished I could live every day

like this, fully knowing that this would not be I took a handful of sand and shoved it inside

a crumpled tissue and tucked it safely away in my pocket – I guess it felt like a reminder

of the better times now gone by.

41

Image 04 - Memories of the beach

42

Image 05 - Memories of sunsets

43

PART I.3MEMORY AS

INTERPRETATIVE PROCESS

‘The act of remembering a personally experienced event, that is,

consciously recollecting it, is characterized by a distinctive, unique awareness of

re[-]experiencing here and now something that happened before, at another time

and in an other place.’ [Tulving, 1993:68]

45

In a recent BBC documentary, Michio Kaku [2001] investigates our perception of

time by emphasising how psychological research has demonstrated that the older we

get, the more we tend to remember the nicer moments in our life. Another experiment by

psychologist Fred Bryant [in Krakovsky, 2006] showed that Nostalgia ‘can give you a sense

of being rooted, a sense of meaning and purpose—instead of being blown around by the

whims of everyday life’. Marina Krakovsky elucidates that even though we can often find

ourselves looking at the past with resentment rather than contentment, a better approach

to the elapsing of time as suggested by Bryant, would be to use ‘positive reminiscence as

part of a cycle that also includes savouring the present and looking forward to the future’.

For instance, rather than looking back indignantly at the past just to remember how things

used to be in simpler times, you may try to re-surge nostalgic memories to revisit a place

which once brought you happiness, not trying to recreate that moment, but rather going to

visit this place with no intentions other than to experience it in its present form.

Though nostalgia is seen nowadays as a common descriptive term, in the past it was

seen as an unbalanced disorder of the imagination and as such it was seen as a medical

disease [Calhoun in Hutcheon, 1998]. Though this became less ‘medically credible’

with better understanding of pathological anatomy and bacteriology, nostalgia became a

generalised term in modern language used to describe our yearning for times gone past

[Kant and Hutcheon, in Ibid]. The ability to recall the memories which may instigate a

sense of nostalgia within us however has a rather more scientific explanation imbedded

within the cognitive processes inside our brain.

46

Science tells us remembering can be understood in a variety of terms and relationships

which can be associated with several types of memory. Firstly it discusses the differences

between implicit and explicit memory to be understood as memory which takes place when

doing a task that 1. ‘Do[es] not require reference to a specific episode’, like brushing your

teeth for instance; you remember what to do because you have done it before therefore the

knowledge of brushing your teeth is encoded in your memory – this would be your implicit

memory; or 2. Entails ‘conscious recollection of prior experiences’, for example it may be

that the flavour of the toothpaste reminds you of a specific time when you brushed your teeth

with toothpaste that tasted just like it – this would be your explicit memory. You distinctively

remember the event because the taste triggered a neurological response based on historic

information stored in your brain. Groeger reiterates that the main difference between these

two memory processes relies ‘in part, on the phenomenal experience of the rememberer

[sic]’ whereby it is not just what is remembered that influences a memory at point of recall,

but how it is remembered, how we interpret that memory. In the case of explicit memory

‘remembering may occur voluntarily [i.e. trying to remember] or spontaneously [i.e. being

reminded of something...]’; Whilst in implicit memory, the ‘retrieval of information’ as

Hutcheon refers to remembering, may not occur consciously. In other words we are able

to intentionally retrieve explicit memories but not implicit ones as these may not be traced

specifically to a past event. [Groeger, 1997:65-67]

Experimental psychologist and cognitive neuroscientist Endel Tulving further studied

these ‘enduring memories’ of the past and related them to our episodic memory [a type

47

Image 06 - Still from Kaku’s Documentary

48

Image 07 -Franco Magnani’s Memory paintings and photographic counterparts

49

of explicit memory]. Tulving [in Ibid, 70] originally explained episodic memory to be ‘an

individual’s autobiographical record of past experience’. In a 1993 article he denoted how

‘the information of episodic memory could be said to concern the self’s experiences in

subjective space and time’ as supposed to semantic memory processes which ‘concern

objects and their relations in the world at large’. Further on, despite episodic memory

having ‘evolved out of semantic memory’. Tulving explained it is still dependent on the

ability to store or retrieve information. Hence semantic memory may be understood as a

trigger which can activate an episodic memory to be remembered. [Tulving, 1993:67].

To put this concept into context we can take the character in our story and say that when

our character saw the little girl staring out of the window of the coach at Waterloo Station

this may have acted as a mnemonic moment which subconsciously triggered a previous

memory of our character being in a train coach, staring out of the window at Waterloo

Station. Though it may not have been that exact, it could be said that it was one of

those moments or the combination of them, which the brain interpreted as episodic, or

as pertaining to a previous experience; however the act of recognizing that comparison

is semantic in nature and thus without this semantic process the episodic memory itself

would not have been able to be remembered.

Elaborating on this aspect of remembering, Tulving also observed that the importance

of these memories in relationship to experience was based at their point of recall as

supposed to their point of encoding [the moment when they first occurred] and thus drew

50

attention to the difference between ‘remembering’ and ‘knowing’ or as he termed them

‘autonoetic’ and ‘noetic’ awareness [Groeger, 1997:71]. In his 1993 article Tulving [68]

defined noetic awareness as being characterized by a process of ‘retrieval of information

from semantic memory’, and identifies autonoetic awareness as a process that involves

‘expression of procedural knowledge’. Placing these terms into context again, we can

take our character’s memories of the beach. She would have remembered that beaches

have sand; she probably knew the name of the beach she was trying to remember and

perhaps had an image in her head of what that beach looked like. However without her

autonoetic awareness she would not have been able to remember any specific trips to

that or any beach. This is where the fundamental distinction between autonoetic and

noetic awareness lays. Noetic refers primarily to our ability of knowing - knowing that we

have been to a beach before, knowing that most beaches have sand, some palm trees

others have sand dunes perhaps. Whilst autonoetic awareness recognizes our ability to

remember a specific event, like burying yourself in sand and playing with your little brother,

or remembering the feeling of sand between your toes from a previous trip and thus desiring

to do it again. It is essentially the processing of compound information: procedural and

autobiographic, semiotic and episodic; which forms the basis of remembering. It is our

ability to interpret past information, past experience within a present context that instigates

us to remember in the first place. [Groeger, 1997:275-276]

51

PART I.4MEMORY:

THROUGH IMAGE

‘When experiencing a work of art, a curious exchange takes place; the work projects its aura, and we

project our own emotions and percepts on the work.’[Pallasmaa, 2005:68]

53

Artist Maya Zack’s living rooM installation investigates just this notion of knowing

what was and remembering what used to be. Her artistic interpretation consisted of four

digital three-dimensional prints which hung on each of the four walls of a room within the

Jewish Museum in New York together with a twenty-minute voice over of an individual’s [Mr.

Noam] account on being a Jew in 1930’s Berlin. Zack stated that she wished to ‘reconstruct

something based on someone else’s memory’ so decided to draw on the recollections of

post-war German Jews. With the help of a 3D designer Zack elaborated the three prints to

encompass both ‘real-life items mentioned in Mr. Noam’s narration [of his old apartment] and

inventions of her own in a tableau that speaks to the variety of forms memory can take: clear,

fuzzy, idealized, featureless’. Zack emphasizes how by using 3-D imaging, she was able to

better express the phantasmal property memory has in that it is not something ‘graspable’

[Ibid]. However when Mr. Noam saw the exhibition he wrote to Zack expressing his admiration

for the piece, but also claiming that the images were not at all how he remembered the

apartment to be; to which Zack responded: [Wolff, 2011:AR16]

‘…which is fine. that [is] what it [is] about too. it [is] about his MeMories but

also how he wants to reMeMber things, and Maybe that has nothing to do with the

original apartMent.’

Maya’s installation demonstrates two things in relevance to this study. Firstly it shows how

the things we remember are not necessarily accurate. In this sense the installation showed

how our memory sees things as how it wishes to perceive them thus distorting our awareness

of what we think happened and what actually happened - it demonstrates that we interpret

reality through our memories. Secondly, Maya’s installation takes a step further and makes

5555

Image 08 - Zack’s Living Room Installation [1 of 4 Perspective Elevations]

56

Image 09 - Carless’ Multimedia Images

the spectator part of the process of interpretation by allowing them to see the prints in three-

dimensional space and thus allowing them to interpret the work of art in their own way,

through their own experience of it. It is from these observations that the rest of the study

focuses on – our ability to interpret spatial experience and the ability of an interpreter, in this

case, the architect, to in turn create spaces which can therefore be interpreted themselves all

the while utilizing memory as the subject of interpretation.

57

PART I.5MEMORY

INTERPRETED

“I see, I feel, hence I notice, I observe, and I think”

[Barthes, 1981:21]

59

Image 10 - Collage on Eco’s Memory

61

Image 11 - Collage on the senses

63

Image 12 - Collage on architectonic memory

65

Image 13 - Collage on Mnemonic Spaces

67

Senior Lecturer in Architecture at Oxford Brookes University, Tonia Carless [2011] presents

imaging as a social, anthropological and political interpretative medium of space. She expands on

Henry Lefebvre’s [1991:76] theory on the social context of the production of space where he depicts

how ‘we build on the basis of plans; we buy on the basis of image.’ Carless [2011] attests that

architectural drawings can be more than building-generating plans and sections; she argues instead

that such drawings can be overlapped with other informative media such as spatial analysis diagrams,

panoramas and photomontage in order to produce images which investigate ideas that generate form.

Carless thus contests that drawing/imaging is elemental in the representation and interpretation of

design concepts and the development of the design process itself.

Taking Zack’s and Carless’ points of view on imaging as a form of interpretation as well as representation

Images 9-12 aim to explore collective notions of memory through collage, overlapping references

from Umberto Eco’s book, the Mysterious flaMe of Queen loana along with architectural and literary

references. Image 14 on the other hand, shows a display of mixed media to represent and explore

references in connection to the design project. The different media act mainly as an interpretative

design tool which begin to explore the concept of memory in relation to individual experience - individual

memory [middle and right], and site experience - site memory [left]. The images themselves are open

to be interpreted by the viewer; whilst for the artist in this case they are a form to explore whether the

medium was effective in communicating the idea of memory. The overall outcome reveals that whilst

imaging can be an effective means of representation as well as an effective development tool, a more

focused subject matter needs to be identified in order for the idea to be easily re-interpreted by others.

69

Image 14

Image 14 - Display on Place Evoking Memory at Fusion Arts, Oxford

71

PART 2.0PLACE

71

73

PART 2.1MEMORY

ANDPLACE

75

A particular study carried out in 1979 demonstrates how space can have a

drastic influence on memory [Smith in Groeger, 1997:168-169]. The study gave

80 words to three groups whilst at a particular location. One of the groups who

stayed in that same location was able to recall 23 percent of the words, whilst

those at a much different location recalled 15 percent of the words. Interestingly

the third group, who were placed in a similar environment to that where they

learned the words, remembered 22 percent of these words, nearly as much as the

first group despite being in a different place. This study shows how the impact a

space, be it not the original space where an original event occurred, can influence

the ability of an event to be remembered, consciously or subconsciously.

Further research has gone into observing the frequency at which a memory occurs

implying that the more often a memory occurs the more vivid a particular memory

becomes [Groeger, 1997:119-141]. Other studies also suggest however, that

memory can be a compound process whereby the original event stored can be

added to, becoming an amalgamation of different events, or traces of different

yet similar events into one memory thus distorting the original event [Brewer,

1986 in Tulving, 1993:67 and Hupbach, Gomez, Hardt, et al, 2007:47-53]. In

essence this process is capable of editing or as Hupbach and his team referred

to it, ‘reconsolidate’ a memory depending on where and how it is remembered.

77

PART 2.2SPATIALIZING

TIME

‘...space by itself, and time by itself, are doomed to fade away into

mere shadows, and only a kind of union of the two will preserve an independent reality.’

[Minkowski, 1908 in Heyden, 2000:38]

79

In contrast to the relatively scientific and empirical understanding of memory

and space as expressed on the previous part of this study, various theoreticians have

recognized a rather phenomenological relationship between space and memory by

placing emphasis on the experience of time itself as supposed to the frequency of

the experience. Artist and writer Victor Burgin for example, reinforces this element of

experience through his study on place, time, and memory. He comes to accept that

‘mental space and social realities are in reality inseparable’. In the introduction to his

book, in/different spaces: place and MeMory in visual culture, Burgin underlines that

one’s ability to experience involves not only a ‘location [as that defined by space] but a

duration; a history’ – time. Sigmund Freud asserts this idea by stating that memory [as

supposed to fantasy] has the ‘tendency to spatialize [sic] time’. Freud further believed

that ‘even the most insignificant sensory impression leaves an unalterable trace, ever

available for resurrection’. This ‘trace inaltérable’ as Freud originally refers to it, is stored

within our memory to the effect that it may become resurrected or re-experienced later

on. This resurgence we can assume will be often triggered by a certain experience

undergone at a certain place, at a certain point in our lives however Freud’s definition of

a memory implies that it is unchangeable or ‘inaltérable’ as he refers to it, but as some

of the studies previously analyzed suggest, memory is often an amalgamation of similar

experiences within our brain. Freud also thought that by understanding how these traces

are able to re-emerge at specific points in our lives he not only offered an insight into a

new form of psychology which identifies who we are and why we are like that, but also an

insight into how we as individuals are able to perceive the spaces we inhabit because of

this – this aspect of Freud’s theory can still be applied today. [Burgin, 1996:28,217]

80

‘There is a secret bond between slowness and memory, between speed

and forgetting... In existential mathematics, that experience takes

the form of two basic equations: the degree of slowness is directly

proportional to the intensity of memory; the degree of speed is directly

proportional to the intensity of forgetting.’

[Kundera, 1995 in Counihan, 2008:393]

81

In further understanding our relationship with space itself however it is important to

objectify space as something more than just a patch on the ground. It is not until a space

has been subjected to human presence that it becomes present itself. Burgin [1996:32]

takes Henri Lefebvre’s book the production of space and digests its contents to its most

fundamental core - ‘to reject the conception of space as a ‘container without content’. He

then reiterates this comment by asserting that Lefebvre’s theory on space is ‘a product

of human practice’ and so should not be seen without its context or content as it may be.

Lefebvre’s own understanding of space can be back-tracked to the existential theories

of Heidegger. In his earliest work Heidegger became captivated by understanding what

it means to dwell. Jeff Malpas [2008] interprets Heidegger‘s philosophy on being and

presence as both coinciding as one. In other words, space is merely blank until it has

been ‘dwelled’ in. Malpas points out that we still need to enquire into what it means to be

present, to dwell and takes Heidegger’s presumptions on the subject to suggest that it is

insufficient to merely have four walls and a roof in order to have a dwelling, once again,

presence is dependable on everything around it. In his attitude towards the subject it

is not the presence of an object on a space that makes the space inhabited, but rather

how we experience the space and the contents within this space [Malpas, 2008:15]. For

Heidegger [in Ibid], like for Donlyn Lyndon [in Treib, 2009:63], a place is formed once space

has been interfered by the human soul enthralling it of presence through a realm of time.

Hermann Minkowski [1952:75] asserts such co-dependent relationship by reiterating that

‘space by itself, and time by itself, are doomed to fade away into mere shadows, and only

a kind of union of the two will preserve an independent reality’. Furthermore, for Freud,

828282

Image 15 - Zumthor’s Therme Vals and Klaus Chapel

83

space represented the context in which personal experiences transform into memories,

the places to which a specific memory – a specific point in time – can be traced back to. To

Heidegger space signified nothing if without the ability to inhabit it in time. Whilst Freud

was concerned with the past events that occurred in space and in time, Heidegger was

more concerned with our ability to inhabit space in time – any time. Nevertheless their

interpretation of space and time as constituting places of personal experience is intrinsic

to our own personal understanding of place, not just as a space that can be remembered

as Lyndon elucidates, but a place which ‘guide[s] our experiences and emotions’ as

Pallasmaa [http://www.tu-cottbus.de/theoriederarchitektur/wolke/eng/Subjects/071/

Pallasmaa/pallasmaa.htm, 2007] attributes successful architecture to be.

This ‘phenomenology of space’ has been identified only by a few individuals within the field

of architecture specifically though throughout recent years architects like Holl, Pallasmaa,

Aalto amongst a select few others have publicized their interest in the subject [see Holl’s

Questions of perception: phenoMenology of architecture, 2007 and Pallasmaa’s eyes

of the skin: architecture and the senses, 2005]. Peter Zumthor is also amongst these

select architects who appreciate the experiential qualities architecture can pose to the

individual experiencing it. He not only designs to achieve this phenomenology of space

in his architecture but he informs his design through his own experiences. In his book

Thinking Architecture Zumthor allows the reader to see the instances within his own

personal life which inspired the design of his home and studio [Zumthor, 2006].

The architect’s lucid interpretation of his childhood and his past is evident in the way

84

in which he depicts memory through spatial narrative – through architecture – and by

his creation of a meaningful, phenomenological space. Zumthor best exemplified this

through his recollection of a specific childhood moment triggered by touching a door

handle. As he flashes back, the handle now is that which he used to hold when going into

his aunt’s garden. He recalls the door handle as being a ‘sign of entry,’ one that allowed

him ‘into a world of different moods and smells.’ He goes on describing the gravel, the

oak staircase, the closing of the front door, and even remembering the feeling of the dark

corridors in contrast to the brightly lit kitchen. Zumthor’s experiential journey through this

space started with the simple grasp of a door handle - one that was definitely not the same

door handle to his aunt’s house but essentially, one that represented the same feeling

which triggered the memory. At the end of his anecdote he proclaims that ‘memories

like these contain the deepest architectural experience […] they are the reservoirs of the

architectural atmospheres and images that [he] explores in [his] work as an architect’

[Zumthor, 2006:7-8]. It is true that one can easily question however if this is a successful

approach to designing buildings which are not intended for the architect’s own use. But

through Zumthor’s other creations, like the deeply sensory therMe vals [Hauser, 2007]

and the solemn Klaus Chapel, it becomes clear that this is Zumthor’s own process of

design; a process which cannot be replicated, but one which can be learnt from.

85

PART 2.3CAPTURING

MEMORY

8787

Image 16 - Stills from a compilation of the Eames’ ‘Idea Films’

88

The concept of memory embedded within the experience of space is not alien to

architectural research. Over the last few decades the advances in technology and ease

of access to information has allowed Architecture students to exploit alternative ways

of representing said concept. Film within architecture is often utilized to visualize how

an architectural project may look, such as a fly-through animation depicting the latest

resort to be built in some oil-rich nation. On the other hand, however, film has been a

form of interpreting ideas in relation to architecture and everyday life from as early as the

Eames’ ‘idea films’. Paul Schrader explicates how many of the Eames’ films attempt ‘to

get across and idea’ which allows the viewer to ‘perceive’ an idea in a new way [Ibid].

What this meant at the time the films were released, and is still applicable today, is that

film can be more than a representational tool, but it may also act as an interpretational

tool [Schrader, 1970:2-9].

Referring back to how this medium is being used by architecture students it becomes easier

to comprehend the depth and methodological process that goes into their understanding

of space and how this is therefore inhabited. Nellie Yang’s film reinterpreting spatial

MeMories [http://vimeo.com/8162239, 2010] explores the phenomenological impact that a

place may have upon different individuals by visualizing a collective experience of a place

through a compilation of three-dimensional animation and narrative in a film [Refer to Film

A]. In another example, Joanna Wickham’s MeMory and actuality, perception and dreaM

[See Film B], takes the mnemonic qualities that a specific place, in this case, Motissfont

Abbey, has upon one particular individual and explores these through a figurative film.

Wickham’s uses film ‘as a tool to investigate and understand the nature of how a space

can become influenced by the ways in which the human mind distorts memories, which

can, in turn, create an abstract impression of reality’ [http://www.joannawickham.co.uk/p/

mottisfont-abbey.html, 2011].

89

Image 17 - Stills sequence from Yang’s film

91

Images 18 + 19 - Still sequence from Wickham’s film

93

PART 2.4REMEMBERED

SPACE

Place: ‘a space that can be . remembered.’

[Donlyn Lyndon in Treib, 2009:63],

95

The first film [refer to Film C] compiled for this study attempts in its own way to

briefly explore the Eames’ notion of an ‘idea film’ by synthesizing past and present events

in order to project an idea, a thought. Once again the subject matter became Eco’s novel;

however this time the source of Yambo’s anecdote is reinterpreted within the interpreter’s

own reality. This medium differs from the previous medium – the graphical image - in that

instead of representing an idea through an image, a mostly procreated one at times, film

allows the interpreter-film-maker to represent the idea as closely to how it was imagined

as possible. The film in this case aims to partake within ‘real’ physical space and situate

the idea within a specific context and situation in order to illustrate the concept of space

evoking memory. Though the journey in the first film originally pertained to Eco’s main

character, Yambo, as his own journey of discovery as he came nearer and nearer to a

place that held clues to inform who he may be, the objective was changed in the second

film to involve the interpreter’s own journey through the space originally identified in the

first film.

Along with the film-maker’s interpretation, part of the success of this medium is viewer

interpretation. The interpreter-film-maker’s aim puts forward the idea that memory

can be captured and resurrected through the experience of space in a similar way as

Wickham illustrates how space can be equally influenced by our distortion of memories.

96

Furthermore, by identifying Nostalgia at the beginning of the first film, a pretence was

set out from which to interpret the rest of the footage. The findings of this film, when

presented to a small group of individuals [see Appendix] demonstrated that the film,

unexpectedly, brought back to mind personal memory within three of the four individuals

– the fourth not presenting this symptom as he had been briefed of the subject matter

informing the film, and thus understood the film as someone else’s story rather than

having his own reaction to the film.

The second film [see Film D] explores the first concept in more depth by interposing

archived footage with the ‘present’ journey footage. The resulting film applies a slightly

different methodology by presenting the viewer with approximate memories [represented

through the archived footage] as they were recalled on the interpreter’s journey through

the site. In essence this not only demonstrates the ability of space - or rather our

experience of space - to re-surge memory as Pallasmaa [2007] denoted in his essay the

space of tiMe, but it also insinuates that the same space can have different impressions

on different individuals, at different circumstances. This pertains to the discussion carried

out throughout this study that elucidates on the presence of interpretative processes

within our experience of places as well as within the creation of these as the next part of

the study will aim to demonstrate.

9797

Image 20 - Still sequence from Film C: Journey into the Attic

98

Image 21 - Still sequence from Film D - Memory Lane

99

PART 3.0MEMORY

INSPIRINGSPACE

99

100100

101

PART 3.1ARCHINTERPRETATION

Our understanding of things in the lived world is not a matter of knowing objects but of taking

them for granted. They are there, in our circumspective perception; they are already understood; our relationship to the world is already hermeneutical through and through; we understand things before they

are there as objects for our direct inspection. [Snodgrass and Coyne 2006:39]

103

In their book interpretation in architecture: design as a way of thinking [2006:xi],

Adrian Snodgrass and Richard Coyne go against the principle that interpretation within

architecture seems to occur once the building has been finished. Though interpretation

of the physical experience of the place may only be possible this way, they interject that

interpretation is also ‘the means by which architecture is distinguished from mere building’

and it offers ‘a linguistic aspect different from the practice of building’. To Snodgrass and

Coyne interpretation is not just the critique of a building, or an understanding of the

concepts behind the building after it has been built, but to them interpretation is synonym

to design. They see that ‘architecture is at its core interpretational when designers

appear to be making difficult decisions, or more precisely, when they are caught up in

creative practices’; nonetheless they agree in saying that this interpretative ego is often

occluded by historians and critics. [Ibid, 3-5]

In their portrayal of interpretation as a design process Snodgrass and Coyne go through

an extensive historical backlog of what interpretation meant in architectural terms

to various theorists and critics. They revisit Schleiermacher’s view that ‘the goal of

hermeneutics [the study of interpreting] is understanding,’ and see Dilthey’s perception

of interpreting as the ‘position[ing of something] within a set of relationships;’ whilst

semiotician Saussure validates Dilthey’s view by positing architecture as an example of

how ‘everything depends on relations’. [Ibid, 8-9]

104

‘She reinterprets the past to give birth to the new, in which the

“new” is not the totally new, and as if created ex nihil, but the

renewed. To remember interpretively is to renew the past in the

present, and to cast forth, project it into the future.’

[Snodgrass + Coyne, 2006:140-141]

105

This idea that ‘everything depends on relations’ specifically, can be best understood

within our own personal relationship with interpretation. Snodgrass and Coyne posit

the idea that ‘our interpretation of experiences modifies our perception of the past

and our anticipations of the future; and our understanding of the past and the future

forms the context in which we interpret experiences’. They continue by exclaiming that

‘understanding and experience are in constant interaction’. By this deduction of our lived

lives being understood through previous experiences abiding constant interpretation, we

can revisit the concept of memory, and how remembering becomes a semi-conscious

method of interpretation, of seeing our past lives in relation to our present ones. [Ibid, 44]

Snodgrass and Coyne exemplify this past-present relationship by using Greek mythology.

They take Clio, the muse of history, whose mother is Memory, and observe her ability

to embody memory by means of re-enacting and re-citing dramas of the past, this act

they say, involves a certain amount of judgement on her part. Her ability to look back

also allows her to interpret the past in a certain way that she is able to have insight in the

present, and this allows her to foresee the future. [Ibid, 140-141]

It is hence within this interpretative process that lays the importance of this study.

Particularly within our ability to ‘re-experience’ the past and form a new experience from

this in the present as this information is highly influential when we come to experience

and design new spaces and places.

107

PART 3.2CONTEXTUALIZING

PLACE

‘...it [is] all about creating one night that will create a lasting impression for the rest of their

lives - creating a memory that people will never forget.’

[introducing discotecture, 2012]

109

In his book the poetics of space, Gaston Bachelard introduces an approach

to the ‘localization’ of our memories he called, topoanalysis. Bachelard’s intention

for Topoanalysis was to aid the psychoanalytical mind in suggesting a ‘systematic

psychological study of the sites of our intimate lives’ as he believed that certain places

held memories which even our minds would normally have forgotten; or at least

hidden deep within the brain just like a child could hide within the nooks and corridors

of a house Like in the example, Bachelard sought the home to be the premise in

which our most vivid and personal memories were housed. [Bachelard, 1994:8-9]

The idea of site in regards to this study is crucial as what the study is trying to

demonstrate depends on the mnemonic properties of the site itself. The nature

of the study so far has been very subjective and personal, and so the first obvious

option, as insinuated by Bachelard’s study would be the home. Except that the

study would then concentrate on one person’s interpretation, and allow very little

interpretation from an outside perspective. So far the subjectiveness of the study has

been attributed to providing the viewer one possible perspective out of many others.

Hence a location which is less specific to one person and more personable to many

would mean for a better rounded study.

In contemplating the notion of memory, it is often specific events that emerge on

one’s mind. Bernard Tschumi [1996:136] affirms this idea very simply by saying

that ‘there is no space without event’. Likewise there is no event without space and

so trying to put forward a project within a space that mostly everyone has had a

personal rapport with - a sort of collective memory without necessarily being specific

110

to one event - would mean a project which most people could relate to and therefore

accrue their own understanding of, perhaps even develop their own rapport with -

hypothetically at least.

The site itself also needed to be an existing site, one where there already was a

collective memory of the sorts present, and which at the same time one would find

themselves in without necessarily intending to get anything out of it; one where memory

could perhaps happen spontaneously. The requirement list for such site was exigent,

nonetheless it was through the same methodologies which are investigated within

this study that the site surged. Waterloo Rail Station [WRS] emerged as a result of

converged experiences; similar experiences to which the study wishes to re-interpret

spatially and which has investigated throughout. These converged experiences as

illustrated by films such as Brief Encounter [Dir. Lean, 1945] and 2046 [Dir. Wai

Wong, 2004] where the train journeys and the station itself become part of individual

memories, which in turn creates links amongst its characters. It could be said that

this in turn, forms a collective memory amongst the individuals of not necessarily an

event, but of a place in which events are encoded and remembered.

The next step meant finding the right location within WRS, and through a combination

of spatial syntax analysis and photographic sharing of experiences [flickr

community] the Vaults beneath the railways of Waterloo Station presented the perfect

inconspicuous yet meandering space for the study to be contextualized in.

111

Image 22 - Stills from Brief Encounter [B+W] and 2046 [Colour]

111

112

Initially, the aim of the design project sought to demonstrate how the concept of

place-making could be reinterpreted through memory. More specifically it pursued

to create a design project which exposed how the mnemonic qualities of space

and our experience of space could be used to influence the design process itself.

Accordingly, the research carried out throughout the study, be it a conceptual image

or an exploratory film, has served as constructive means to the understanding of

how a place may evoke memory. Consequently, having established the site for

the proposed project, the subsequent images concentrate on representing and

interpreting how these findings, along with site-specific investigations, were utilized in

order to create a sequence of rooms which amalgamate the notion of experiencing a

space through old memories and creating - or rather re-consolidating - new memories

along the way. The resulting spaces are represented through images created using

three-dimensional modelling software and post-editing so as to emphasize the

‘placeness’ captured within each tunnel. Though it can be argued that digital media

may sterilize images representing space, these images are presented to the viewer

to be interpreted at their own discretion for them to see what they wish to see. The

images are juxtaposed against the more phenomenological demeanour of the design

project as denoted by the original character’s personal encounters to the space -

offering the viewer a counter-perspective to compare to their own interpretation of the

images.. The final story depicts the design outcome as it is seen from the character’s

own perspective and doing so it takes you through her own interpretative process of

her experience through each space.

113

LOWImage 23 - Arches around WRS

114

Diagrammatic site analysis has been implemented to

represent: 1. Areas of interest around WRS [Image 25]

identified by spatial syntax analysis exploring journeys

taken to and from the station [Image 26].

One specific journey [the main character’s] once within

the station is represented chronologically in Image 24.

115115

Image 24 - Character’s Journey at WRS

Arrival

09:08

09:10

09:13

09:21

09:17

09:28

Departure

0 50 100 200m

117

Image 25 - Spatial dynamics within WRS periphery

117

0 50 100 200m

119

Image 26 - Common journey paths to/from WRSLOW HIGH

0 50 100 200m

120

Image 27 - Contextual photomontage of the Old Vic Tunnels

121

Upon further investigation using networking sites along

with on-site and off-site research of Waterloo Station, the

suggestion of the Old Vic Tunnels below the tracks of

WRS presented itself as a considerably underdeveloped

opportunity which also offered its own story. Presently

the site serves as temporary exhibition and events space

which to an extent exploits the idea of collective memory.

However its connection with WRS when location is

disregarded, has been previously overlooked and

currently attracts underground crowds or curious voyeurs

rather than expectant travellers.

Image 28 - Diagrams exploring journeys within the tunnels

122

In creating a connection between WRS and the Old Vic Tunnels the

notion of mnemonic journeys was explored even further. The proposed

layout integrates landscapes from journeys out of Waterloo into the

design, such as the Waterloo-to-Portsmouth Harbour service running

which takes you from the centre of London into the South coast in less

than two-hours. The landscapes are themselves re-interpreted within

a different tunnel respectively offering visitors both a semiotic and a

phenomenological connection with the site allowing them to recall and

create memories depending on their reaction to the site.

Dep

art

09:3

0

09:3

6

09:3

3

10:0

2

123

10:2

6

10.5

2

11:0

7

Arr

ive

Image 29 - Waterloo - Portsmouth Harbour Chronology

Water Tunnel

Meadow Tunnel

Intermediate Tunnel

Footbridge

0 5 10 20m

Entrance B

Entrance A

Entrance C

124

Image 30 - Colour-fade entrance through footbridge inspired by being on a train

125

Image 31 - Footbridge

126

Interactive screens connect with the visitor’s

android to keep them aware of their train and help track their journey.

Image 32 - Incorporating technology to the journey of experience

127

The CCTV Tunnel uses CCTV footage displaced around the room with reflective mirrors to give the impression of being at the Waterloo concourse

Image 33 - CCTV Tunnel

128

Image 34 - Meadow Tunnel [Garden at Winter + Spring]

Mostly taking inspiration from David Hockney’s latest work referencing the English countryside through film,

the Meadow Tunnel consists of two compartments - the garden and the meadow. The arches have been opened

up to see the trains passing by and the sky above.

129

Image 35 - The Intermediate Tunnel’s interior changes with a different architect or artist’s intervention

130

Image 36 - Water Tunnel + Precedents

131

The proposed Old Vic Tunnels can be entered and exited through the underground tunnels from

any Platform, or from two other off-street entrances. The Platform entrance [the Footbridge]

takes you down through all the tunnels in a suspended footbridge encapsulated in a cylinder of

curved frosted glass panels, these try to reference thoughts when you are in a train coach and

sometimes unaware of your surroundings. Once at ground level interactive welcome screens

offer guidance to the visitor while a footpath which runs throughout the tunnels helps you direct

yourself. Though there is a path to follow, the visitor is encouraged to go off-route and explore

the installations as they are user-oriented. Each tunnel is inspired by scenes and memories of

train journeys, specifically those to the South coast. Other references are made to architectural

and non-architectural projects which have been re-interpreted in some way or another to fit the

context and concept of the project.

The overall architectonics pay attention to the form of the tunnels and seek to take advantage

of these, whether by opening a tunnel up so that the sky and passing trains are visible from

underneath, or by filling one of the tunnels with water so that when a train drives by the noise

and sensation of the train ripple throughout the tunnel.

Other tunnels make themselves open for interpretation by other artists who can take the concept

of Journeys and memory-inspiring-space to create an installation suitable to that tunnel as the

Tomas Saraceno cloud installation [2011] has been re-worked to suit a night landscape within

the tunnel.

The intervention provides a phenomenological space for the re-collection, the re-consolidation,

and the encoding of memories. Congruently, one of the tunnels has been set up to archive

these journeys for those who are interested in returning and re-experiencing the place. This

archive works to each individual’s own discretion and can store any mememto, piece of writing

or thought physically or digitally. One of the aims here is to allow the visitor to become even

more aware of the effect of the technology that surrounds them by tracking their journeys

through an everyday aide-MéMoire - our android phones. Consequently this also poses the

question of whether this digital-physical relationship enhances or detriments the experience of

the place. A question left open to interpretation throughout the scheme.

132

At the beginning and end of their journey visitors can access the archive inspired by Ando’s refurbishment of Venice’s art centre [left] and NHDM Multimedia Centre in Korea [centre].

Image 37 - Mementos from a visitor’s journey can be stored for future recall

133

PART 3.3WAITING

FORTRAINS

135

6 April 2012, 10:06 a.m.:

Along with possibly half of London, I found myself aimlessly waiting around for a delayed train at

Waterloo Station. Of all the days to travel on, I had to choose Good Friday on Easter weekend.

Somehow, I reassured myself that the prospect of heading to the country for a weekend of relaxation

seemed too tempting to let pass by and so I decided not to allow such minor inconvenience

spoil my journey. After the way I had been feeling the past few months before that, including

the pressure of the Christmas holidays which each year seem to become progressively less

enjoyable in comparison to how they once were, it seemed like a four-day weekend away from all

the chaos of the city would be just what the doctor ordered. So with my newly-found disposition I

strode about the station coolly trying to find ways to kill my time all the while avoiding meticulously

going into any of the shops or cafes.

As it was to be expected, these were just gushing with understandably anxious passengers all

gearing up for their long journeys. As I stared into these shops with nothing else to do I noticed

many coming out of W.H. Smith’s with their newspaper and free bottle of water, whilst others opted

for a little carrier bag from Marks & Spencer with some seemingly luscious nibbles. The smells

around particular areas of the station – freshly brewed coffee, steaming pasties and scrumptious

sugary doughnuts - were thoroughly warming despite being a peculiarly clear and snug morning

already. They made me think about how much they just eluded being in a train station, a feeling I

often take for granted but which in fact forms part of the charm of travelling by train.

Despite this sudden rush of nostalgia, today I wished to avoid the crowded commerce around

me and so I decided to wait for the train on the platform whilst reading the book I was hoping to

finish by the end of this oh so relaxing weekend – or so I hoped. It then occurred to me that my

expectations for this one weekend were particularly high, but I guess with such hectic lifestyles it

is the small periods of time which you can manage to squeeze some life out of that justify the only

reason why one would work so tirelessly the rest of the time. After managing to find an empty

137

space to drop my weekend bag I settled myself down to read my book not too far from the end of

the platform near to one of those tunnels that go down to the Underground. Only seconds passed

by before I got distracted by people heading down to the Underground – except when I turned

around to nosily inspect the passers by, leisurely making their way down this tunnel I noticed a

sign that read: ‘Towards Old Vic Tunnels’. I decided to shrug that piece of information off, or at

least tried to, I guess my dismal boredom kept wondering about how much longer the wait would

be – I vaguely remembered the departures board saying it would be another half hour. Having

carefully debated the idea in my head I decided to go down through the tunnel and check out what

this place was.

At the bottom of the steps it all looked like a passage way to the underground, I followed the sign

towards the Old Vic Tunnels again and shortly after I arrived at a crossways – it was obvious

that the other platforms came to this point too. Aware of the time I headed down the path that

looked different from the rest. The passage here was more cylindrical in shape. I noticed the

floor changed and all of a sudden I was on what seemed some sort of suspended steel ramp

with a perforated floor so that you were able to see below. I remember thinking there was an

underground tunnel which looked very similar to this in that you could see through the sides into

the rail tracks below. I briefly recalled a night out with Emma where we saw the tube rushing in

through the gap as we quite comically legged it to catch it since it was the last tube home. This

footbridge of the sorts however, did not have a track running beneath it, the brick on the walls

appeared distorted as water dripped out of a small gap through and down the wall. The gap was

so small it almost seemed like the brick had just torn apart to reveal a cascading wall exuding

from it. The slight moisture of the air and mist below made me assume it was water beneath

the footbridge, the lighting was quite low as we were underground for me to discern otherwise.

I thought to myself ‘Is this it? Is this the tunnel?’, but as I peered through the corner I could

see the footpath just meandering downwards through a series of what appeared to be arches

with curved-frosted-glass panels in between creating a continuous cylindrical tunnel. I made my

139

Image 38 - Footbridge

140

Image 39 - Welcome screens

141

way down the sloping footbridge all the while trying to see out of these frosted sections only to

make out slight silhouettes and a prism of colour changing so slowly you could barely notice the

alteration. I have to admit the whole thing made you feel intrigued yet slightly precarious as you

are unable to discern what lied beyond this tunnel. Somehow when going down similar tunnels

to the Underground you don’t think about what lies behind those solid walls – you assume it is

compacted earth and rubble - but in some way, being able to know there is something else beyond

these walls triggered these feelings.

As I neared the end of the footbridge, I could start to make out what appeared to be plasma

screens suspended through tension strings. There were not many people around this part. A

couple passed me earlier but I assumed they already knew what was down here as they walked

by with an air of confidence as to where they were heading. Upon reaching the screens, my eyes

began to investigate the interactive display in an attempt to figure out what this place was. The

screens displayed an moving plan with different arrows leading you through various directions. It

appeared as though there could be different ways you could explore this place. I noticed a QR

code and an area just above it where it indicated me to touch the screen and choose whether it

was my first visit or a returning visit. So I pushed my index finger against the are of the screen

that displayed ‘First Visit’ and it proceeded to ask me whether I needed to catch a train, and then

presented me with on-screen options to choose which train. I pressed my train which still showed

a half-hour delay and the next screen instructed me to enter a date when I was last at Waterloo

Station and a time margin. I pondered for a few seconds before the 11th of November crept into

my head. I remembered that was the day I went down to Portsmouth for some time to clear my

head. I also recalled I was at the station in the morning so I entered between 9:00 a.m. and 11:00

a.m. Without even considering the implications of giving the date to a computer I entered ’11-11-

11’ then ‘09:00-11:00’. The screen next instructed me to scan the QR code so I did. I thought for

a second ‘what if I didn’t have a smart phone?’ I immediately let out a ridiculous sigh retorically

143

telling myself off, ‘why how absurd of me, it is the twenty-first century, who does not have a smart

phone these days?!’ As I kept reading the screen it pointed you towards the wall behind where you

could rent out a similar device and then I did not feel so foolish, though in some way I suppose a

part of me felt overwhelmed by the sudden realization that we all have access to so many things

often at just the push of a button without even considering the implications of this. Just like the

thought came, it went and I continued reading the interactive screen which now indicated me to

follow the path and scan the QR codes I saw along the way thus tracking my journey through the

place. In quite a big font it noted that I was free to enjoy the experience as I pleased and then it

went back to its welcome screen.

Previously unaware of what was occurring around me I now found myself in this tunnel full of

arches, one after the other, similar to those around the footbridge but less claustrophobic. This

was a tunnel full of them, the roof vaulted as well. Amongst these arches were towers of shelves,

it looked like some sort of postal office box room, only much nicer and comfortable. I noticed

the couple which passed me earlier as they were taking out a box from one of the shelves, I felt

inclined to do the same but they had a code to open them. Curious as to see what was in the box,

my phone decided to go off, on the screen a notice popped up saying my train had now been

delayed a further fifteen minutes, which meant I now had about forty minutes to go around this

place, so I set off, leaving the couple and their box behind me.

Past more arches, and more towers full of boxes and even more arches I came through to a

rather chaotic room - in comparison to the ordered and elegant chamber which I had just been in.

The tunnel was full of screens and what appeared to be mirrors replicating what was displayed

on the screens, I noticed a QR code on the wall next to me and I scanned it. The screens and

consequently the reflected images changed. They divulged what appeared to be CCTV footage

of Waterloo Station. The main screens displayed different angles, some zoomed in others with

wider views of the station, some where playing at a faster pace than others, it was almost like

145

Image 40 - Archive Tunnel

146

Image 41 - CCTV Tunnel

147

seeing David Hockney’s Woldgate Woods films [exhibited at the Royal Academy, 2012] only with

CCTV clips instead of footage from the woods. As I stared into the screens, my eyes spotted a

young woman wearing a rain-coat very similar to one I owned, as the woman starts to appear

closer on other screens I realised then it was me. Slightly perplexed, and honestly even more

intrigued I moved towards the next tunnel not before going through what felt like a room full of

people [being reflected through mirrors] and other reflections of myself amongst them, like a very

packed station at peak morning. The next tunnel is a complete contrast yet again; much more

expansive than the previous tunnels, you could now make out the form of the tunnel but what

seems most imposing in comparison to the previous tunnel is the trees, the flowers, and the

light; hollows between the arches give away glimpses of sky and light gleaming through. Just

as I stared into the serenity of this meadow-like environment a train dashes by above the arched

structure, allowing me to get a quick look of it, reminding me I was still in the middle of the city. I

often find garden-like spaces very appeasing, almost Eden-like, this was no exception. The whole

place was full of spring yellows and greens, I wanted to stay here and sit under one of the cherry

blossoms, which had just begun to bloom. Seeing this made me feel even more excited about

heading out to the country – in a way it was like a little piece of the countryside in the middle of

the city.

As I left the pseudo-meadow tunnel I noticed another QR code so I scanned it. The next tunnel

was much different again, it was darker however a whole constellation of stars seemed to be

projected throughout its vaulted ceiling. It did give you the impression that it was night time and

you were still outside. More striking however, were the inflatable bubbles which seemed to be

tied down to the ground so that they would not float away. I’m sure this was just for their stability

but it was quite a superficial environment. I noticed some people inside the baubles and feeling

quite adventurous already I launched myself into one of them. Once in the interior of these rather

fantastical and bouncy bubbles I laid down and stared up at the artificial night sky. In my head

the experience was quite incomparable, though when I tried, visions of my head poking out of a

149

Image 42 - Meadow Tunnel

150

Image 43 - Tomas Saraceno’s Cloud Tunnel

151

tent at night came to mind. I remembered then the yearly family trips to South Wales and how

on one specific night Gaby, my younger brother Jacques, and I would lay down with our heads

poking out of the tent, because it was otherwise too cold to be outside, looking up at the night

sky trying to make out fatuous names for star formation we had no clue whether they were actual

constellations. As I laid there enjoying remembering those camping trips my phone buzzed again

letting me know I had ten minutes before my train was due. It suggested I find my way back to the

archive tunnel, I realised then what the Post Office box room was and though I really wanted to

see more of this enchanting and quite thought-provoking place, I scanned the QR code by the exit

of the tunnel and made my way back to archive tunnel; this time taking a more direct route which

went back through the previous tunnels but in a straight line.

At the end of the route there were more screens, surprised I had not seen them before, I inspected

them closely and noticed they had more instructions on them. I scanned the QR code on one of

the screens as directed and got a code delivered to my phone which I then entered onto one of

the touch-screens as requested. A message appeared soon after confirming my journey would be

saved for my next visit and to keep my code safe as that was my Personal Identification Number.

Another message appeared on a different screen reading:

Enjoyed your journey?

We hope the place has provoked some sort of reaction in you.

We recommend you use one of the empty archiboxes to store a memento from your

journey and that you insert another one on your next visit. Just scan the QR code on

an empty box and a combination number will be sent to your phone.

[small print followed, but I ignored that]

Being weary of the time, but also captivated by the concept seeing the couple doing the same thing

153

previously, I quickly grabbed a box and did as suggested. As I scavenged my pockets for some

piece of paper to write something on about my experience I meticulously felt a crumpled piece of

paper, I carefully pulled it out of my pocket upon realizing it was the same crumpled piece of paper

with sand inside it which I had coincidentally left there since my trip to Portsmouth. I pulled it out

of my pocket and emptied the sand into the box. In doing so I realised then that this whole journey

started with that trip to the beach – my phone went off again noting I had five minutes left before

my train departed. I hazily closed the box and jolted back through the meandering footbridge and

up to the platform managing to catch my train just in time.

As I sat on the train, looking out of the window, I tried to piece together what that place had just

done to me. It did not have anything really out of the ordinary, just a sequence of different tunnels,

one after another. Nonetheless, after indulging myself on even more memories of those camping

trips, I could not help but wonder what was the purpose behind that place, I suppose art does not

need a purpose, though somehow this place did not feel like art per sé. Even some installations

have a purpose. As I looked back at my experience and the various feelings that each tunnel

brought back, some familiar others completely heterogeneous, I could not help but wonder what

other people thought of the place? Like the couple that passed me by who had obviously been

there before, whether it was different the second time around? I mean it must have been, places

are rarely the same the second time around. I wondered whether it too, had re-surged memories

for them? And then it hit me, perhaps it was just a place that allowed you to escape the chaos

of the city, to look back on your journeys, after all each tunnel seemed to reference a real place.

For me at least, it became apparent how gratifying it was to find myself somewhere where I

could bring my thoughts with me and find solace in them as opposed to finding them a burden,

a heavy weight that lays on me at times wondering why life is not like this anymore. In a certain

way it allowed me to re-experience, in a completely different way, some of my old memories, and

perhaps that was enough.

155

Image 44 - Contemplating the past

157

POSTSCRIPT

159

From the beginning of this study it was clear that whatever the outcome, there would

always be a sense of subjectivity present. In a way, the story which runs throughout

aims to provide one perspective and in doing so assumes that many others are possible,

including ones that may disagree with the whole or aspects of the study. In this way the

rest of the project attempted to put forward a thorough definition and explanation of each

component of the research. Be it through Tulving’s differentiation of what it is to know

and what it is to remember; and as demonstrated by contrasting studies denoting the

relationship between memory and time and its effect on what we remember; or through

the indefinite understanding of space and place amongst theoreticians and practitioners

like Heidegger, Bachelard, Freud, Pallasmaa, Holl and Zumthor who despite differing

on the impact that experiencing space has on us, agree in identifying our ability to

experience space alone intrinsic to our way of being. Ultimately, the task of interpreting

was not only intended to be done by the architect creating the design project, or the

character experiencing the space in the story, but also by the reader of the study being

able to place themselves within the process and outcome of the overall project.

Having presented the reader with such information, the focus of this study posed to

demonstrate how an architect could interpret the concept of place-making through notions

of memory in order to create a phenomenological experience of space by investigating

the mnemonic properties of a specific place. In this respect the study has taken rather

160

personal experiences and translated them into a context which can be identifiable by

many. Waterloo Rail Station holds not only its own history, but many other people’s

histories thus creating a collective link for many who visit the station and for those

who read this study. Such histories may often manifest themselves through individual

memories and so the design outcome wished to identify common parameters in people’s

memories of waterloo. Through anecdotes [some depicted in the stories other carried

out off the page] common journeys emerged which along with the methodological study

using imaging and film media, aided the architect in informing the design outcome. It

could be concluded that memory in reference to this project was not only the concept

behind the project, but also the interpretative tool throughout the inception, development

and execution of the design project. In the end, as this study and Zack’s artistic installation

have demonstrated, it is not the outcome that matters, but the experience of the outcome

that pertains. As such, the architect does not solely design for beauty, but is in herself a

medium of interpretation.

161

‘When I am asked what I believe in, I say that I believe in architecture.

Architecture is the mother of the arts. I like to believe that architecture connects the present with the past and the

tangible with the intangible.’

[Meier, 1984]

162

The researcher’s short-film Journey to the Attic was contested by four candidates who were

individually asked to carefully observe the motion picture. Once they had seen the short-film

they were asked to 1. Verbally describe what they saw 2. What they thought about particular

aspects of the film and 3. What they understood the idea behind the film to be.

Candidate A :

1. I remember a house, the sun coming through some woods, and some statue.

2. The introduction says it’s about Nostalgia - I don’t understand what the black outs are,

but the black and white scenes give the illusion that they were set in the past. It all seems

to be about going somewhere - the house, is that the one where he [Yambo] is going - his

childhood house perhaps? [This candidate was informed of the subject of the film and so had

a preconception of the story and idea of the film which may not have shown the best results

of the research]

3. Think it is a memory being revisited - because of the tint it’s like Sepia and the introduction

Candidate B :

1./2. I remember seeing a path, trees and it was all leading to a house - the loan reminded me

of playing in my garden, Mom was telling me about some flowers - she was gardening - and I

was grasping them between my feet. Zooming into the window - I couldn’t make out whether

it was haunting or maybe a happy memory?

163

APPENDIX 3. The way in which it was lit made me think it was all a memory - some of the jumpiness

maybe meant that there were some unremembered memories. It all seemed like it was going

back in time - to childhood.

Candidate C :

1./2. The beginning is a bit creepy, the black and white reminds me of being

haunted, and the rhythmic flashing it’s creepy too. The bit in the carpark

reminds me of playing on the driveway of a friend’s house with my bike.

The cherubs are slightly scary - but they reminded me of making mud pies - on a bird bath.

3. Is it trying to make you remember something? It is very creepy at times but the Sepia also

makes it like it’s a memory, and the black and white suggested that maybe parts of it were in

the past?

Candidate D:

1. I remember seeing a house, statue...No, fountain, a path, some trees, and glare - there

seemed to be a bit of glare here and there.

2. Well it was quite jumpy which made me think of when you can’t remember a whole memory

- but bits are missing. The black and white bits were old, and the others were new. The

zooming at the end was a special room maybe? -Yes the attic - oh maybe stored memories.

3. The introduction helped set the context. It was useful.

164

TEXT :

Anderson, B. [2012] ‘Jolie film shows horrors of Bosnian war’ in cnn: connect the world. [Online] Available at: http://www.cnn.com/video/#/video/world/2012/02/14/ctw-pkg-anderson-angelina-jolie-new-film-in-the-land-of-blood-and-honey.cnn. [Last Accessed: 23 April 2012]

Bachelard, G. [1994] the poetics of space. Trans. by M. Jolas. Boston: Beacon Press.

Barthes, R. [1981] caMera lucida: reflections on photography. Trans. by R. Howard. New York: Hill and Wang.

Burgin, V. [1996] In/Different Spaces: Place and memory in visual culture. California: University of California Press.

Carless, T. [2011] drawing as a discourse. [Unpublished Lecture] Oxford: Oxford Brookes University.

Counihan, C. and Van Esterik, P. [eds.] [2008] food + culture: a reader. [2nd ed] New York: Routledge.

Eco, U. [2005] the Mysterious flaMe of Queen loana. London: Secker + Warbourg.

Groeger, A. [1997] MeMory + reMeMbering: everyday MeMory in context. New York: Addison Wesley Longman Inc.

Holl, S., Pallasmaa, J., and Perez-Gomez, A. [2007] Questions of perception: phenoMenology of architecture. California: University of California Press.

Houser, S. [1984]. peter ZuMthor: therMe vals. Translated by Lum, K. And Schelbert, C. Zurich: Verlag Scheideggr + Spiess.

Hupbach, A., Gomez, R., Hardt, O., et al. [2007] Reconsolidation of Episodic Memories: A subtle reminder triggers integration of new information in cold spring harbor laboratory press. [Online] Available at: http://www.learnmem.org/cgi/doi/10.1101/lm.365707. [Last Accessed: 23 April 2012]

Hutcheon, L. [1998] Irony, ‘Nostalgia, and the Post-modern’ in the university of toronto english library [Online]. Available at: http://www.library.utoronto.ca/utel/criticism/hutchinp.html [Last accessed: 19 Dec 2011]

165

Krakovsky, M. [2010]. Nostalgia: Sweet Remembrance, in psychology today [Online]. Available at: http://www.psychologytoday.com/articles/200605/nostalgia-sweet-remembrance [Last accessed: 25 Nov. 2011]

Kuma, K. [2008] anti-object. Trans. by H. Watanabi. London: Architectural Association.

Lefebvre, H. [1991]. ‘Social Space’ and ‘Spatial Architectonics’ in the production of space. Oxford: Blackwell. 69-228.

Malpas, J. [2008] Heidegger’s Topology: Being, Place, World. Massachusetts: MIT Press.

Lorentz, H., Einstein, A., Minkowski, H., et al. [1952]. ‘Space and Time’ in the principle of relativity: a collection of original MeMoirs on the special and general theory of relativity. New York: Dover Publications. 75-91.

Moran, D. [2000] Introduction to phenoMenology. [8th ed.] Oxon: Routledge.

Pallasmaa, J. [2007]. ‘The Space of Time: mental time in architecture’ in wolkenkuckucksheiM. Vol. 12:1. [Online] Available at: http://www.tu-cottbus.de/theoriederarchitektur/wolke/eng/Subjects/071/Pallasmaa/pallasmaa.htm [Last accessed: 17 Nov.. 2011]

Pallasmaa, J. [2000] ‘Hapticity and Time’ in The architectural review. [May Ed.] [Online] Available at: http://iris.nyit.edu/~rcody/Thesis/Readings/Pallasmaa%20-%20Hapticity%20and%20Time.pdf [Last Accessed: 18 Dec. 2011]

Pallasmaa, J. [2005] the eyes of the skin: architecture and the senses. Chichester: John Wiley & Sons.

Proust, M. [1982] ‘Swann’s Way: Within a Budding Grove,’ in: ReMeMbrance of things past. [The definitive French Pleiade ed] Trans. by Scott Moncrieff C.K. and Kilmartin, T. New York: Vintage. Vol. 1:48-51.

Savage, C. [1964] Nostalgia in Alain-Fournier and Proust, in the french review. Vol. 38:2:167-172. Available at: http://www.jstor.org/stable/385210 [Last accessed 17 Nov.. 2011]

Schrader, P. [Spring, 1970]. ‘Poetry of Ideas: The films of Charles Eames’ in filM Quarterly. Vol. 23:3:2-19.

REFERENCES

166

Snodgrass, A. and Coyne, R. [2006] interpretation in architecture: design as a way of thinking. Oxon: Routledge.

St. John Wilson, C. [2007] the other tradition of Modern architecture: the uncoMpleted project. London: Black Dog Publishing.

Tulving, E. [1993] ‘What is Episodic Memory?’ in current directions in psychological science. 2:3:67-70.

Treib, M. [ed.] [2009] spatial recall: MeMory in architecture and landscape. Oxon: Routledge.

Tschumi, B. [1996] ‘Spaces and Events’ in architecture and disjunction. Massachusetts: MIT Press. 141-152.

Wolff, R. [2011]. ‘Rooms Furnished with Memories’ in the new york tiMes. August 7, AR16.

Zumthor, P. [2006] thinking architecture. 2nd ed. Trans. by Oberli-Turner, M. Basel: Birkhouser.

FILM :

Introducing Discotecture [2012] [Documentary] Vice

Kaku, M. [Presenter] [2001] tiMe: lifetiMe. [Documentary] London: BBC Worldwide Ltd.

Lean, D. [Director] [1945] brief encounter. [Film] Cineguild.

Wai Wong, K. [Director] [2004] 2046. [Film] Hong Kong: Jet Tone Films.

Wickham, J. [Director] [2011] MeMory and actuality, perception and dreaM. [Online Video] Available at: http://www.joannawickham.co.uk/p/mottisfont-abbey.html. [Last Accessed: 23 April 2012]

Yang, N. [Director] [2010] reinterpreting spatial MeMory. [Online Video] Available at: http://vimeo.com/8162239. [Last Accessed: 23 April 2012]

OTHER:

Hockney, D. [2012] ‘Woldgate Woods’ films in the bigger picture. [Exhibition] London: Royal Academy.

Saraceno, T. [2011] cloud cities at Hamburger Bahnhof, Berlin. [Installation] Berlin: Museum Für Gegenwart.

167

IMAGECREDITS

Cover Image – By Author. [2012] looking back. [Photo-montage] Personal Collection.

Image 1 – By Author. [2012] reMeMbering deer. [Photo-montage] Personal Collection.

Image 2 – From Left to Right:McKie, H. [1948] waterloo at war and peace -1848 [Illustration] holiday Makers at waterloo [1946] [Photograph] Cuneo, T. [1967] waterloo station [painting] Appleby, T. [2007] waterloo station - concourse viewed froM gantry. [Photograph]

Image 3 – B+W: passengers at holyhead station [c.1909] [Photograph] Colour: Appleby, T. [2007] waterloo station - platforM 3. [Photograph]

Image 4 - By Author. [2012] sand between My toes. [Photo-montage] Personal Collection.

Image 5 - By Author. [2012] MeMories of sunsets. [Photo-montage] Personal Collection.

Image 6 - Still from Kaku’s Documentary: tiMe: lifetiMe [2010] BBC Worldwide Ltd.

Image 7 - Arch - Magnani, F. [c.1984] view through the caMpanile .[Painting]Arch - Schwartzenberg, S. [1987] view through the caMpanile. [Photograph]Hill - Magnani, F. [n.d] village on the hill. [Painting]Hll - Swartzenberg, S. [1987] village on the hill. [Photograph]Steps - Magnani, F. [c.1986] Magnani house front steps. [Painting]Steps - Swartzenberg, S. [1987] Magnani house front steps. [Photograph]

Image 8 - Zack, M. [2009] Detail of Living Room No. 2. [Anaglyph 3D Print]

168

Image 9 - Carless, T. [n.d] Multimedia Images [Various Media] From 2011 Lecture at Oxford Brookes University.

Image 10 - By Author. [2011] eco’s kitchen. [Collage] Personal Collection. Image 11 – By Author. [2011] pallasMaa’s senses. [Collage] Personal Collection.

Image 12 – By Author. [2011] lautner vs. van der rohe. [Collage] Personal Collection.

Image 13 – By Author. [2011] MeMory inspiring spaces. [Collage] Personal Collection.

Image 14 - By Author [2012] exhibition at fusion arts [Mixed Media] Personal Collection.

Image 15 - Sepia: Interior of Zumthor’s klaus chapel. [n.d.] [Photograph] B + W: Zumthor’s Passage at therMe vals. [n.d] [Photograph]

Image 16 - Eames, C. and Eames, R. [1955-1972] Stills of The Eames’ varying ‘idea’ films [Film Stills]

Image 17 – Yang, N. J. [2010] reinterpreting spatial MeMory. [Still Sequence by Author]

Images 18 + 19 – Wickham, J. [2011] Memory and Actuality, Perception and Dream. [Still Sequence by Author]

Image 20 - By Author [2012] journey into the attic [Still Sequence] Personal Collection.

Image 21 - By Author [2012] MeMory lane [Still Sequence] Personal Collection.

Image 22 - B+W: Still from film brief encounter. [1945] [Stil Composition by Author] Colour: Still from film 2046. [2004] [Still Composition by Author] Personal Collection.

Image 23 - By Author. [2012] Arches around Waterloo Station. [Photographs] Personal Collection.

Image 24 - By Author. [2012] Graphic Timeline of Character’s Journey within Waterloo Station. [Reprographic] Personal Collection.

Image 25 - By Author. [2012] Graphic Timeline of Character’s Journey around Waterloo Station. [Reprographic] Personal Collection.

Image 26 - By Author. [2012] Spatial Syntax Diagram o common jouney paths to/from Waterloo Station [Reprographic] Personal Collection.

169

Image 27 - By Author. [2012] Internal shots of The Old Vic Tunnels [Photo-montage] Personal Collection.

Image 28 - By Author. [2012] Diagrams illustrating journeys within the Tunnels [Reprographic] Personal Collection.

Image 29 - By Author. [2012] Timeline and Plan illustrating the influence of the journeys to and from Waterloo Station on the design. [Reprographic] Personal Collection.

Image 30 - Coloured:By Author [2012] Multi-coloured renderings of Footbridge into The Old Vic Tunnels.[Reprographic] Personal Collection.Sepia: [Top] By Author [2012] Entrance to underground at Platforms 9 + 10. [Photograph] Personal Collection.[Bottom] By Author [2012] Looking out through a train window. [Photograph]B+W: [Top] Richters,C. [2010] Bernard Tschumi and Hugh Dutton’s pedestrian bridge for La Roche-sur-Yon in France. [Photograph] Dezeen.com[Centre] Lauriot Prevost, G. [2011] Dominique Perrault’s Pasarela del Arganzuela in Madrid. [Photograph] Dezeen.com.[Bottom] By Author. [2012] Underground Tunnel at Waterloo Station. [Photograph] Personal Collection. Personal Collection.

Image 31 - By Author. [2012] Footbridge to The Old Vic Tunnels. [Reprographic]

Image 32 - [Top] By Author. [2012] Interactive welcome screen at The Old Vic Tunnels. [Reprographic] Personal Collection.[Left] QR Scan. [2011] [Photograph] Available at: http://www.2dayblog.com/2011/08/16/only-6-2-percent-of-smartphone-users-scan-qr-codes/. Last Accessed 23.04.2012.[Centre] Touchscreen phone. [n.d.] [Photograph] Available at: http://digizmo.com/2012/03/30/understanding-touch-screen-technology/. Last Accessed 23.04.2012.[Right] By Author. [2012] Departures board at Waterloo Station, [Photograph] Personal Collection.

Image 33 - [Left] Reflective Garage Doors. [n.d.] [Photograph] [Right] By Author. [2012] Character at Waterloo Station. [Photograph] Personal Collection. [Bottom] By Author. [2012] CCTV Tunnel [Reprographic] Personal Collection.

170

Image 34 - [Left] By Author. [2012] Garden at Winter. [Reprographic] Personal Collection.[Right] By Author. [2012] Garden at Spring. [Reprographic] Personal Collection.[Top] Hackney, D. [2012] Woldgate Woods Film Sequence. [Photograph] Personal Collection.[Bottom] Pulley, K. [n.d[ English Countryside. [Photograph] Available at: http://katepaulley.com/2010/11/english-countryside-katherine-paulley/. Last Accessed: 23.04.2012

Image 35 - [Top] By Author. [2012] Intermediate Tunnel. [Reprographic] Personal Collection.[Bottom] Saraceno, T. [n.d.] Cloud Cities in the National Gallery of Berlin. [Photographs] Available at: http://www.tomassaraceno.com/#imprint. Last Accessed: 23.04.2012.

Image 36 - [Left] Lobby at the Hylton Pattaya Hotel in Thailand by Department of Architecture. [Photograph] Available at: http://www.departmentofarchitecture.co.th/. Last Accessed: 23.04.2012.[Centre] By Author. [2010] Sunset at Hillhead, Portsmouth. [Photograph] Personal Collection.[Right] Sunken bridge in the Netherlands by Ro & Ad [n.d.] [Photograph] Available at: http://www.ro-ad.org/. Last Accessed: 23.04.2012.[Lower Right] By Author. [2010] Feet in the sand. [Photograph] Personal Collection.[Bottom] By Author. [2012] Water Tunnel. [Reprographic] Personal Collection.

Image 37 - [Top] By Author. [2012] Archive Tunnel. [Reprographic] Personal Collection.[Left] Tadao Ando’s Punta della Dogana Renovation in Venice. [n.d.] [Photograph] Available at: http://blog.ldminstitute.com/interior/?p=2161. Last Accessed: 23.04.2012.[Right] Hwang, N. and Moon, D. [n.d.] NHDM’s Media Archive in Korea. [Photograph] Available at: http://www.nhdm.net/. Last Accessed: 23.04.2012.

Image 38 - By Author. [2012] Footbridge. [Reprographic] Personal Collection.

Image 39 - By Author. [2012] Welcome Screens. [Reprographic] Personal Collection.

Image 40 - By Author. [2012] Archive Tunnel. [Reprographic] Personal Collection.

Image 41 - By Author. [2012] CCTV Tunnel. [Reprographic] Personal Collection.

Image 42 - By Author. [2012] Meadow Tunnel. [Reprographic] Personal Collection.

Image 43 - By Author. [2012] Tomas Saraceno’s Cloud Tunnel. [Reprographic] Personal Collection.

Image 44 - By Author. [2012] On the Train from Waterloo Station. [Photo-montage] Personal Collection.

171

OXFORD BROOKES UNIVERSITY

Research-Led Design P30032

Jennifer Jammaers11012989

Date:30.04.2012

Jammaers Jennifer

Documents

Transcript of Jammaers Jennifer