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Advanced cultural studies: narratives of Built Form.An introduction in first person.

The purpose of this essay is to explore how the narratives of architectural sites can be accessed through the reading and application of theory.

The essay uses two largely different case studies to discuss and argue how the narrative of the site can be firstly studied or uncovered and then understood and read. The first site is that of Bath abbey; with the focus of the reading being upon the floor of the Abbey and the ledger stones which make up the floor. The second site is an inner city site to the rear of Colston Hall; the reading for this site focuses upon the site as a whole.

The reading of the Abbey floor focuses upon authenticity as described by Luxen and seeks to argue that the narrative of the floor comes from the individual experiences of the tangible and the intangible elements associated with wear and erosion. The reading utilises theories by Edensor to provide meaning to the wear of the stones and the work of Golomb to argue for the authenticity of the individual experience.

Whilst studying theories and photographing the site in Bristol the focus of the reading changed, my initial proposal was to take theories applied to the Bath Abbey floor, namely the work by Gelman on 'essence' and the argument for the authenticity of individual experiences and apply these to the reading of the Bristol site. It however soon became clear through the photographs I was taking that the focus of the reading was shifting away from the intangible and ever closer to the tangible aspects of the site. The ideasfocused around authenticity and the intangible where disregarded and the focus of my readings and photographs became focused on the tangible aspects of the microcosm. The work of Edensor in 'Industrial Ruins' (2000) strongly influences the readings of both sites; and alongside Soja in 'Thirdspace' (1996) the two theories became the driving force behind the reading of the Bristol site.

The reading of the Bristol site focuses upon the tangible aspects of the site; studying 'dust' and other small 'things' which must be carefully looked at within the site. The reading takes forward the theories of Edensor from the Bath Abbey reading and substantiates them with the work of Amato and Kok to form arguments around the narrative of the site being formed around these small 'things'.

The reading of the two sites still shares strong similarities. Both of the readings focus upon the development of personal narratives and realities; albeit narratives developed around two different aspects of the sites; the 'essence' of the stones and the 'dust' of the site.

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The floor of Bath Abbey: A Reading.Tending towards being infinitely authentic: a paradox.

As the floor of the abbey sits today, we cannot appreciate the ledger stones in the same way in which the people who laid them did. As argued by Tilley et al. (2000) we cannot recreate the same authentic relationship with the stones. To the people who laid them, each stone held a certain value, to us, we may only react to the inanimate objects as a reminder of the past.

This section of the paper will argue that it is the ageing and erosure of the stone and the intangible qualities of memory, story, texture, odours and colours etc. (ICOMOS, 2008) which as people we give to the stones and the absent-ness of the stone that make the floor as, if not more authentic.

This essay will argue that it is the temporality of the bath abbey floor that provides it with its authenticity. Whilst referring to Olsen I will argue the paradoxical idea that as the floor slowly but steadily approaches an un-yet realised state of ruination; then the ledger stones, and the floor as a whole approach a hypothetical state of being infinitely authentic.

This paradoxical idea will make reference to Bille, Hastrup and Sørensen (2010) and the philosophy of 'the presence of absence' and the idea of “essence” (Gelman, 2003) as two ways in which individuals may perceive the floor as authentic through personal experiences.

I will explore the narrative that as humans we can give quality and meaning to something which ontologically does not exist (Bille et al., 2010). In the case of the ledger stones, it is the cracks, the gaps, the worn inscriptions, the missing panels and the broken stones which we may associate these qualities with and it is these qualities which further the floors authenticity.

The argument for the intangible.

Authenticity as discussed by Jean-Louis Luxen will form the basis for the argument that the intangible qualities of the Bath Abbey floor are what define its authenticity. Luxen states that:

(…) the ethical values, social customs, beliefs or myths of which physical heritage is the sign, the expression, in time and space. Values of authenticity or identity are advanced in order to reveal the significance of architectural or urban constructions (…) In the end, the concept or social representation of the cultural property is more important than the object itself: the intangible dimension prevails. (Luxen, 2000)

With regards to the ledger stones of the Bath Abbey floor then Luxens definition should be expanded to include intangible qualities specific to the floor. Breaking down the floor into its component parts each individual ledger stone will have its own intangible qualities, yet it is the eroded, broken, cracked, misplaced and misaligned stones which possess a greater sense of these intangible qualities then those which are in good condition.

Several stones throughout the Abbey correlate with this argument. The qualities of narrative and myth can be easily found in the stones where the inscription has been eradicated through erosure or de-constructed through previous works (Figure 1.). Whilst the broken, cracked and damaged stones provide amore varied and rich texture.

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In 'Industrial Ruins' Tim Edensor (2005) makes argument for the idea that ruins are not just physical objects, but also manifest themselves as a convoluted narrative and memory in the minds of people. This furthers the argument towards an authenticity centred around the intangible. Each ruin, in our case each ledger stone, holds an “excess of meaning in the remains: a plenitude of fragmented stories, elisions, fantasies, inexplicable objects and possible events” (Edensor, 2005, p.141) and it is these intangible qualities which further the authenticity of the eroded and ruined stones.

The authenticity of individual experiences.

As discussed above the floor has several qualities which are intangible, these aspects - however difficult todefine or understand - still reside in the world of the present. A texture can be touched and a broken up inscription can still be read.

There is however an aspect of absence (damage, erosure, ware etc.) to the stone; and the floor as a wholewhich as people we relate to. The 'presence of absence' provides an unseen attribute for people to latch onto, it gives them an invite into the world of the floor, the absence “provokes the production of another thing, mediating the absent thing as a stand-in” (Bille et al., 2010).

The cognitive work on “essence” also argues that people may form an attachment to an object through aninvisible property. Gelman (2003, p.6) states that essence “is an underlying reality (…) that one cannot observe directly but that gives an object its identity” and it is argued by Hood et al. (2008) that this “essence” provides reasoning for why people may attach and relate themselves to certain objects.

Figure 1: The heavily eroded text provides an intangible quality for people to develop a narrative around. Personal photograph.

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Giving people the opportunity to relate to the stones through the absence of different aspects or the cognitive philosophy of “essence” provides an argument that each individual may have their own authentic experience even when the stones bare no relationship with that individual (Figure 2.)

In his work 'In Search of Authenticity' Golomb (1995, p.146) discusses the authenticity of individuals and their experiences; he uses the analogy of an orchestra without a conductor to argue that an individual may have there own thoughts and feelings, and every so often, these may be shared between a select few individuals. If you where to jumble all of these together, thenthe overall narrative of the experiences would benonsense, but this does not make each individuals experience any less authentic.

The work of Olsen brings together the various statements in this text to provide a single cohesive argument on the authenticity of the Bath Abbey floor. Olsen (2010) argues that the most historical site is not necessarily the most authentic, but the authenticity of a site comes from an archaeological palimpsest which encompasses the tangible and the intangible, memory, place, structure, layers, erosure, experience and “essence” amongst other ontological, epistemological and phenomenological qualities.

Throughout this paper it has been argued that the authenticity of the Bath Abbey floor is furthered by the intangible qualities associated with the gaps, cracks, worn and damaged inscriptions, and the broken and misaligned

stones. These imperfect qualities also provide individuals with a mechanism to relate to the ledger stones through the theories of 'presence of absence' and “essence”, providing a unique and authentic experienceeven when we have no physical relation with the stone.

If remedial works where to be undertaken to rectify the current problems of subsidence of the floor, then any worn and eroded ledger stones should not be replaced, but re-used, and any further “damage” caused by the upheaval of the fragile floor should not be hidden but celebrated as a palimpsest of the floors authenticity. As argued throughout this paper, it is these qualities which may push the Bath Abbey floor ever closer to a state of ruin, but paradoxically provide the floor with its a deep and meaningful authenticity.

Figure 2: The deep blacks of the inverted picture highlight what we may see as the 'presence of absence'.Personal photograph.

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From Bath to Bristol.Theories carried forward.

The section of the paper regarding the Bath Abbey floor argued for the authenticity surrounding the intangible qualities of the floor and the authenticity of individual experiences with regards to the ‘presence of absence’ and “essence”.

Whilst developing a reading for the site in Bristol then the idea of authenticity will be disregarded. The keyfocus of the reading will explore how individuals may develop a personalised reality of the site, based around both the tangible and intangible qualities of the space. The secondary (or sub-) focus will explore the site’s palimpsest and the development of narratives.

The site presents itself initially as an overflow car park; a dull grey mass of concrete nestled amongst a cacophony of architectural styles and landscaping. These contrasting and conflicting styles however provide the initial layers to the sites palimpsest. The work of Olsen (2010) will be taken forward. Olsen (2010) argues that archaeological palimpsests may consist of an infinite number of ontological, epistemological and phenomenological layers. It is the understanding of these layers within the site, looking at both the tangible and intangible qualities which will provide a base to construct the reading of the site from.

A photographic study of the site led to an exploration of the microcosm in further detail. The work of Amato (2000) will be used to argue that it is the small details within the photographs that play a pivotal role in the reading of the site; and it is these small details which are taken forward to provide to provide the site with its narrative.

The initial site visit highlighted the stillness, eeriness and serenity of the site. Looking closer at the intricate detail within the site revealed a ‘trace of rust’ and the ‘ghost of industry’; providing glimpses into the small tangible qualities which provide the site with its appeal. Tim Edensor’s (2005) work Industrial ruins will be explored and referenced further to provide key arguments for the understanding of how individuals may respond to industrial sites: and how both the tiny tangible details within the site provide itwith its narrative.

The philosophical position on ‘epistemological dualism’ will be referred upon to further develop a reading of the layers within the sites palimpsest. The work of Bunnin (et al., 2004) provides an initial insight into this field. and will help to develop an argument for the importance of the ‘industrial traces’ on the site as tangible ‘objects’ and the way in which individuals may respond to these ‘objects’ differently.

All of the above are sub-categories or sub-narratives of the overall site reading. Each provides a trail to explore in the understanding and development of how individuals may construct a personal reality of the site. The work of Soja (1996) in Thirdspace and Lefebvre (1991) in The Production of Space will be used to understand and tie together the arguments presented within the paper on the construction of reality.

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A site to the rear of Colston Hall: A Reading.A perception of the site through 'dust' and other small 'things'.

The site as a palimpsest of the ephemeral.

Within Thirdspace Soja takes forward and expands upon Lefebvre’s theory on the trialectics of space (Soja,1996). Much like Lefebvre in The Production of Space Soja breaks down the way in which humans perceivereality into 3 key spaces. Soja discusses the notion of Firstspace, Secondspace and Thirdspace stating that:

“Thirdspace too can be described as a creative recombination and extension, one that builds on a Firstspace perspective that is focused on the "real" material world and a Secondspace perspective that interprets this reality through "imagined" representations of spatiality”(Soja, 1996, p.6)

Throughout In defense of things Olsen (2010) argues that a sites palimpsest is constructed of a myriad of individual layers; with each layer relating back to an almost infinite number of elements within time. Shanks (2007) however, argues that archaeologists do not study the past, but rather evaluate the narrative of the past utilising what is available in the present.

Thus it is argued that the sites palimpsest forgoes the historic elements of the site, and becomes solely focused upon the present reality; as this is what serves to provide the site with its interest. The reading of the sites palimpsest does not concern itself with the past; or previous narratives of the site. As argued by Soja (1996) the perception of reality can only come from the real ‘material’ world and imaged representations of this real world; and thus the reading of the site is only concerned with what is physically present within the site and it's immediate surroundings.

As argued the reading of this site is primarily focused upon the current reality of the site as it sits now; thetangible aspects of the site all reference back to the “real” directing the focus within the reference onto Firstspace. Although a description for Firstspace is required to form a basis for the reading, the term is rather ambiguous and even Soja struggles to fully place it within the spectrum of the philosophy. Throughout Thirdspace the description of Firstspace is freely associated with both epistemological and ontological philosophy and also tends towards and merges with Secondspace.

“(...) Firstspace collapses entirely into Secondspace. The difference between them disappears.”(Soja, 1996, p80.)

In her presentation entitled My underground art explorations Kim (2008) states says the following about exploring a city;

“I started to realize that I could look at the whole city as a living organism. I wanted to dissect it and look into its unseen layers. And the way to it, for me, was through artistic means.“(Kim, 2008)

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The work of Kim re-iterates the argument that the site is considered a palimpsest. In a similar vein to Kim (2008) the site is explored and understood through “artistic means”; the narrative is read and developed around a photographic study of the site. By analysing the site through photographs the narrative became focused upon the transient details within the site; the narrative at a large scale stayed the same, whilst the narrative at a small scale was constantly evolving, adding further layers to the site.

The importance of 'dust' and other small 'things'.

Amato (2000) argues that elements of the microcosm play a pivotal role in the modern age, more significant and more considered than previously; 'dust' has become important. Amato (2000, p.12) states that “dust lost its traditional associations with soil, dirt, and muck and became a multifaceted object of contemporary science.” This new found appreciation for the microcosm is pivotal in the reading of the site.

From a far, the site in general would be viewed as the same space; car park, green bank, graffiti, stone wall. The lack of detail to be observed at the large scale and this new importance that has been placed upon the small tends towards an exploration of the site at a micro scale. As previously stated, it is argued that the sites narrative and reality surpasses the larger scale and begins to form around the small objects and tiny details within the site which must be searched for and carefully observed.

Kok (2008) furthers this argument by stating that 'things' or 'dust' are more capable of holding and recalling a narrative at a far greater capacity than humans ever will be; Kok states that “we live with dust at its minimum, dust lives with us in its maximum. A fraction of dust can tell a more detailed story about us then we can about ourselves” (Kok, 2008, p.17)

Figure 3: Orange Balloon and Rust. Recorded at 1219 on March 21st 2015. Personal photograph.

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The juxtaposition between the site as a whole and these small 'things' is of key importance in the telling ofthe narrative of the site. As argued by Edensor in 'Industrial Ruins' (2005, p.123) these small object or 'things' take on a “more radical alterity”. The photographs detail 'things' which have become functionless; emancipated from their original purpose and are thus able to take on an alternate reality. (Edensor, 2005, p.123).

The orange balloon in figure 3 is limp, it sits on the site in a still and eerie way; no longer being used as a place marker or a symbol for celebration. The car parking ticket to Trenchard Street car park in figure 4 is without a purpose, it rests quietly amongst the greenery having being discarded or lost by it's owner. The small flecks of paint in figure 5 have been chipped away and settled on the site, no longer adding colour to a car, a post, a sign etc. or protecting it from the elements.

Figure 4: Parking Ticket and Greenery. Recorded at 1127 on 17th

March 2015. Personal photograph.

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The use of photography not only provides extremely high resolution and detailed photographs to observe from, but also retains information that may be lost daily through the sites general use e.g. Figure X. shows a small orange balloon photographed at 12:19 on 21st March 2015, this small detail within the site may become lost within the next hour/day/week.

Through the arguments set out within this section of the paper it is clear that the sites narrative is primarily accessible through the small ‘things’ and ‘dust’ scattered throughout the site. The transient nature of these objects and their ability to manoeuvre, shift and leave the site presents an argument that the narrative of the site is constantly shifting; the experience for one individual may be completely different to another.

The narrative of 'dust' and other small 'things'.

The abstraction of these objects from their original reality allows these 'things' to become relatable in ways which go beyond the limit of possession and attachment (Edensor, 2005); Tim Edensor (2005, p.123)argues that these found objects “have escaped the assignations which previously delineated their meaning and purpose” and through this process become relatable in “[an] imaginative, sensual, conjectural and playful fashion”.

“We may incorporate them [objects] into speculative narratives which free them from epistemological moorings.”(Edensor, 2005, p.123)

Figure 5: 'Fizzers' Wrapper and Paint. Recorded at 1304 on 21st March 2015. Personal photograph.

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The objects become incorporated into the dreams and narratives of the site in a theoretical fashion (Edensor, 2005). The details captured within the site become open to interpretation; several users or visitors of the site may interact with the same 'thing' differently or a different 'thing' the same. Thus it could be argued that the site consists of an infinite number of narratives and realities all based around themicroscopic details of the site.

The pink highlight of the 'fizzers' wrapper in figure 4 juxtaposes against the harsh grey of the concrete, thewrapper has blown in from the surrounding city, and now settles on the site. The bright colours of the visitor attracts the attention of the sites resident inhabitants; it's a curious object, which doesn't belong within the sites boundaries, yet here it is. The 'litter' is incorporated within the sites reality as an unusual and strange visitor.

The eroded concrete wall which exposes the steel rebar in figure 6 is no longer serving its original purposeof protection, the steel is rusty and the colours have began to morph and merge, the concrete has crackedand fissured exposing large boulders under the surface. Foliage has crept into the crevices; the once arid landscape has become inhabited with vegetation and life. The steel rebar morphs within the narrative of the site to become a fissure within the earth's surface such as that in figure 7.

Through the arguments put forward by Edensor it could be said that the small details or objects become relatable with both 'Firstspace' and 'Secondspace' they are neither entirely real nor entirely imaginary; thesite becomes a conglomeration of realities, all different, all valid. The objects may be associated with both the epistemological and phenomenological layers within the sites palimpsest.

Dreamt realities inhabited with physical objects become the true narrative of the site; the site becomes 'Thirdspace'.

Figure 6: Eroded Concrete andRebar. Recorded at 1050 on March

17th. Personal Photograph

Figure 7: Air shot by Faungg (2013)

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Advanced cultural studies: narratives of Built Form.Conclusion.

This document concerns itself with the reading of two sites within the South West of England. Firstly, the site of Bath Abbey was discussed with the focus being upon the floor; and more specifically the ledger stones which make up the floor. Secondly, an inner city site to the rear of Colston Hall in Bristol was read and discussed with the focus being upon the perceived reality of the site.

Although the two sites are drastically different in a large variety of ways, the reading of the two sites had the same focus; narratives of individuals around imperfections, 'dust' and other small 'things'

The section regarding the floor of Bath Abbey focused upon the authenticity of the floor with regards to both the tangible and intangible qualities imbued within the stones. The authenticity of the floors was associated with the gaps, cracks, worn and damaged inscriptions, and the broken and misaligned stones. It was then argued that through the 'presence of absence' (Bille et al., 2010) and the cognitive work on “essence” (Gelman, 2003) that individuals are able to develop personal realities and narratives of the floorrelating to these impurities even if they bear no personal attachment to said stones. The authenticity of these experiences was backed up by the work of Golomb (1995).

The section regarding the inner city site focused upon the perception of site focused entirely on what is present within and surrounding the site; the site with reference the 'Firstspace' (Soja, 1996). The reading argued that the site is a palimpsest of various transient layers; ranging from permanent all the way to impermanent. Referencing the work of Amato (2000) the reading argues that the impermanent layers of the site provide it with the strongest narrative. The 'dust' and other small 'things' within the site become the focus of the sites narrative and reading; the emancipation of these 'things' from their original purposeopens them up to new interpretation and use within the dreams, narratives and perceived realities of the site.

Both of the readings record the sites through photographic studies. The readings conclude that through both tangible and intangible qualities within sites then individuals are able to construct a personalised reality and understanding of any site. Imperfections such as scratches, cracks and signs of wear and mislaid or misplaced objects such as 'dust', balloons, rust and other small 'things' can be found within any architectural site; or any other place of interest for the matter. It is through these objects that the reality and the narrative of the site is able to be constructed by that individual inhabitant of the space.

Whether these tangible and intangible qualities tell the true narrative of the site in question is unclear, it is however clear that they tell the narrative of the site which that particular individual wants to hear and the small 'thing' and imperfections construct the reality which that particular individual wants to inhabit; and I would argue, that those individual experiences are the 'true' reading of any site.

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References

Amato, J. (2000)Dust. Berkeley, Calif.: University of California Press.

Bille, M., Hastrup, F. and Sørensen, T. (2010). An anthropology of absence. New York: Springer.

Edensor, T. (2005). Industrial ruins. Oxford [U.K.]: Berg.

Faungg (2013) Air Shot [photograph]. In: Flickr [online]. Available from: https://www.flickr.com/photos/44534236@N00/9334313517/sizes/l [Accessed 26 March 2015].

Gelman, S. (2003). The essential child. Oxford: Oxford University Press.

Golomb, J. (1995). In search of authenticity. London: Routledge.

Hood, B. and Bloom, P. (2008). Children prefer certain individuals over perfect duplicates. Cognition,106(1), pp.455-462.

International Council on Monuments and Sites [ICOMOS] (2008) Quebec declaration on the preservationof the spirit of place [online]. ICOMOS. Available from: whc.unesco.org/document/116778 [Accessed 15November 2014]

Kim, M. (2008) My underground art explorations.

Kok, L. (2008) DUST. Plymouth: Plymouth Arts Centre.

Luxen, J-L. (2000) The intangible dimension of monuments and sites with reference to the UNESCO worldheritage list. In: Saouma-Forero, G. Authenticity and Integrity in an African Context. Zimbabwe, 26-29 May2000. Paris: UNESCO, pp.25-29.

Olsen, B. (2010). In defense of things. Lanham: AltaMira Press.

Shanks, M. (2007) Symmetrical archaeology. World Archaeology. 39 (4), pp. 589-596.

Soja, E. (1996) Thirdspace. Cambridge, Mass.: Blackwell.

Tilley, C., Hamilton, S. and Bender, B. (2000). Art and the Re-Presentation of the Past. Journal of the RoyalAnthropological Institute, 6(1), pp.35-62.

Bibliography

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Stead, N. (2003) The Value of Ruins: Allegories of Destruction in Benjamin and Speer. Form/Work: AnInterdisciplinary Journal of the Built Environment, 6, pp.51-64.