Street Society: Narratives of the Built Environment

A reflection by Patrick Owens

Perception, Memory & Place

Image courtesy of Alan Jones

Street Society: Narratives of the Built Environment

Perception, Memory & Place

ABSTRACT: This book has been created as a retrospective piece. Consciously undertaken not as attempt to convey the substantial volume of work completed during the project, but in an effort to identify and communicate the learning outcomes gained. This body of work is intended not as a celebration of the project but rather, as a critique , with the aim of establishing a base for further exploration.

INTENTION: The aim of this work is to consider the parameters of how building occupants undrestand their own dwellings/building stock and how memory, usage and embedded tradition influence our reading of the built environment. Many architectural theorists, including Hiedigger, Venturi and Rapoport have explored our understanding of place in terms of memory and whether it holds meaning for each individual. In the rural landscape of Ireland, with its history of intergenerational ownership and vernacular cluster development, the links between tradition and usage are of particular interest.
(Hourrigan, N. (2012) Street Society Brief)

METHOD 1. Conduct a narrative verbal interview that enables the owner/ occupier to communicate in detail the size, formation, site, materials and usage of the buildings that he/ she owns. 2. Create two teams. The first, a control team, which carried out a site visit and client interview, with two seperate ambitions. Firstly, seeking to accurately document and understand the development of the built environment (a research excercise in its own right). Secondly, the team should engage with the client to unearth, identify and represent the intrinsic qualities of memory, place and tradition which exist between the client and the farmstead. The control group must not influence other members of the team or share information with them. 3. The second team will work entirely with reference to the narrative established with the client, without access to site, drawings or electronic resources. The intention of such limitations is the creation of work which is purely representative of the memory and perception of the client, with emphasis given to aspects highlighted as being of particular interest to the client. 4. Work produced by both groups should be of a comparative nature ie. scale models, drawings and sketches, allowing for effective comparison. With the intention of being able to visually communicate the extent to which memory, tradition and history exist within rural holdings.

OWENS FAMILY FARMSTEAD Documenting a Typology

a building designed by an amateur . guided by a series of conventions built up in its locality the function of the building would be the dominant factor... local materials would be used as a matter of course, other materials being chosen and imported quite exceptionally. (Brunskill. R, 1965)

At a basic level, the intention of this project was to document the building, its location and development through the creation of carefuly considered models and line drawings. The project was undertaken as an excercise in producing a body of work which uses an economy of line and material to convey accurately the essential elments of the farmstead.

MEMORY: Pietro Belluschi described vernacular dwellings as, communal art, not produced by a few intellectuals or specialists but by the spontaneous and continuing activity of a whole people with a common heritage, acting under a community of experience. (1993)

Belluschis defintion surpasses that of Brunskill, recognising the importance of community, experience and heritage. The underlying ambition within this piece was to examine how memory, usage and embedded tradition influence a reading of the built environment.

This drawing displays the points established within the narrative as significant in terms of holding memories, tradition or the creation of a sense of place.

Field Names
1. The Long Field 2. The Well Field 3. The Dam Field 4. Kilaraine 5. The Big Field 6. Andys March 7. The Wee Bottom

communal bogland neighbouring familys & their sections of bogland. Owens family plot depicted in red.

Throughout the narrative the intrinsic link between the built environment, memory and a sense of place was repeatedly identified. Discussion regarding the built environment in a literal or architectural sense was limited and often short lived. However, the buildings were described at great length and with vigour when constructed around a framework of dialogue based on past generations, local events and the practice of farming. From the initial stages of the narrative it was clear that the built environment had arose from, and was shaped by neccesity. Architectural style or ambition was virtually non existant. The role of the dwelling house was one of the most striking findings of the documentation process, the building functions not only as a home but as a means by which the primary activity of farming can occur.

PERCEPTION: The perception group working in the absence of multiple sources, with complete reliance on the narrative produced a distilled yet abstract version of the narrative established with the client.

The work of the perception group produced an abstract yet distilled version of the narrative established with the client. The comparison between the perception and memory group did not produce a series of striking differences, as we initially predicted. However the team did produce a series of drawings and models which established several outcomes. Firstly, that the owner did not differentiate between the dwelling house and the farmstead but considered them as a single element, with the house simply forming part of the courtyard around which all activity is centered. Secondly, that the farmstead is considered by its owner as part of a wider community, centered around the shared communal bog-land, although this shared space is now largely unused, it was identified as a key factor in establising a sense of place which still remains prominent in this rural community.

The narrative was consistantly held at two distinct scales, that of the wider area and community, relating to the previously discussed bog-land, as well as individual field names and local landmarks. The second scale was much more intimate, regarding the dwelling house and immediate farm buildings, detailed elements such as the peculiar width of a stable door or the location of a particular tree were meticioulsy described. As the details were relayed the occupant accompanied each one with a practical reason to account for each element. Throughout the narrative the buildings were regarded by the owner as secondary elements, providing a framework around which everyday life occurs,. This was evident particularly when the farmer was asked if there was anything that he would like the groups help to design, the answer was a simple No thank you, I think I have everything I need for now

ACKNOWLEDGEMENTS I would like to take this opportunity to thank our project tutor Nessa Hourrigan, who generously contributed to my understanding of the subject through the contribution of her work and knowledge. The creation of this project has been largely dependent on the kind assistance and goodwill Hugh Owens who generously devoted his time and attention without which the project could not have materialised. Tutor: Neasa Hourigan

Students: Patrick Owens Jonathan Heaney Jonathan Nelis Aaron Farrell Matthew Lucas Emma-Louise Rygalska Edel McGee Brendan Conway