YEAR ONE
Rain by Hone Tuwhare
Tuwhare .H (1992.), Rain. David Thomas Wood
An honored Maori poet, Hone Tuwhare, has written his poem Rain, clearly focusing on the topic of environmental imagery, specifically focusing on his admiration and love of water; rain. This poem by Hone Tuwhare has been carefully structured to become an ode – a poem praising or glorifying an event or individual, describing nature intellectually as well as emotionally. Tuwhare indeed has a deep affinity for and a love of rain. There is a deeper personal and spiritual response to the element of rain, this is shown through the enhancement of the way which he expresses his language.
Hone Tuwhare creates a well built feeling of sensory when explaining his experience with rain. Through the quote “would open to you” there is an expression of spirituality as Tuwhare seems to have made himself vulnerable and transparent to the rain, like a God or Mother, flooding out his emotions and experiences. The rain grasps onto him in an abiding way as if he was being baptised by the rain, this is shown through the quote “wash over him.” Demonstrated by the extract, “I can hear you,” there is a sign of respect that Hone Tuwhare shows the environment, specifically the raindrops, as he sits back and takes time to simply listen. Tuwhare demonstrates that the earth’s nature is much deeper than a human experience as he shows that nature has human characteristics and beauty such as sensuality and intimacy, he, himself, understands and believes that water will continue to exist after human life. and therefore humans should treat the natural elements of the world with the same care and respect as other loved ones.
A personal connection is also being made, demonstrated by the way in which the poet communicates to the rain personally as if a human being. As the poet has portrayed the rain as having human characteristics, it shows the intimate and almost romantic connection which the poet has with the rain, as he talks to it as if it were living and could respond to his statements. This relationship of sensuality is untaught and comes naturally to the rain just as the action of pores opening and closing, “the pores of my skin would open and close.” Answers are communicated to him by the rain through senses such as touch, taste and smell rather than just literal speech. The two quotes which support this idea are when the poet states “special smell of you” and “by the lick of you”. These quotes demonstrate the idea that rain plays on all of his senses at once.
He yearns for a personal connection as his mother died when he was at the young age of five, there was a missing place in his life which he fills with the comfort of the rain. Rain quite oftenly can be seen as a blanket of comfort. Personally, the sound of rain is so soothing and relaxing and is a necessity for myself to slip into a deep sleep. The rain sound is similar to the sound of white noise, helps to drown out sounds which might otherwise prevent myself from either falling asleep or waking up whilst asleep. I have a love for rain as it sets a romantic scene and makes the worst settings look moody and have a romantic atmosphere. The area where this poem doesn’t relate to me is the sense of sensuality which the rain has to Hone. A deeper connection, something which I can not relate nor can understand
Hone Tuwhare’s concept that it is possible to have a personal relationship with rain made me think of this piece of technology created and designed by Julius Popp and showcased in the Nuit Blanche festival in Paris 2005.
The sense of there being a being a human form formed by the rain that isn’t truly there. This display is a clever formation of water drops which displays figure if looked on from afar. If you do not pay attention or give some time to this art piece the hidden figure will not emerge in front of you, however if you give some quality time and attention the drops will piece together.
The image was retrieved from M. Fairs (2007). Magazine, https://www.dezeen.com/2007/11/01/dezeen-loves-bitfall/J.K. Baxter (2008). Hone Tuwhare,Te Rārawa, Te Aupouri, Ngā Puhi. https://www.nzonscreen.com/person/hone-tuwhare/biography
The Poor Little Rich Man by Adolf Loos
Loos. A, (c1900). The Poor Little Rich Man. In J. J. Gieseking, W. Mangold, C. Katz, S. Low, & S. Saegert (Eds.), The People, Place, and Space Reader (Chapter 16, Page 97).
The Poor Little Rich Man is a short story based on an architect, whose name was Josef Hoffman, told by his rival architect from Vienna. Adolf Loos composed a fable about one of Hoffman’s most extravagant, luxurious and goal-oriented projects for a palace which was built in Brussels between 1905 and 1911 for who turned out to be a miserable yet wealthy banker named Adolphe Stoclet. The palace which Hoffman designed, included and had a fixed place for every article, which had been created to perfection. This resulted in a perfect harmoniously balanced aesthetic way of life. Completely captivated by his house, the wealthy man accepts a meaningful present from his child. However the architect was horrified, once he returned to find the original design altered due to the gift being displayed. Due to the strict limit on the acceptance of meaningful gifts, the banker came to a point of realisation. He was now aware that the efficiency and ease of his life had been put on hold, even to the extent of being prohibited from buying any additional goods. “Thereupon a transformation took place within the rich man. The happy man felt suddenly deeply, deeply unhappy, and he saw his future life. No one would be allowed to grant him joy. He had to pass by the shopping stores of the city, perfect, and complete. Nothing would be created for him ever again, none of his loved ones would be allowed to give him a painting. For him there could be no more painters, no artists, no craftsmen again.”
In this description of Adolphe Stoclet’s emotions, it is evident that he regrets his decision about working with Hoffman and is miserable and emotionally drained about the expectation of maintaining the architect’s vision. “He had expected something different. But art requires sacrifice. He sacrificed a lot. It brought tears to his eyes. He thought of all the old things that he held so dear, and that he missed.” Loos rejected the house even being considered a work of art as he believed art was a collaboration of both client and the artist’s visions. This is shown in the quote from Loo’s own book ‘The art of Architecture’ where he states “The house has to please everyone, contrary to the work of art, which does not. The work of art is a private matter for the artist. The house is not.” He further states “The house satisfies a requirement.” Adolf Loo’s designs reminded me of the quote “The great artist is the simplifier.” – Vincent Van Gogh. The most beautiful art is the ones which aren’t over the top.
Personally, my initial response to this piece of writing was a feeling of sympathy for the wealthy man. He didn’t understand the effort to which he would need to put in to uphold his idea of his perfect grand palace. His home was no longer a home, an art gallery was a more suitable label. Although sympathising, I can relate to Hoffman as I love to see my creative vision completed and physically executed, however my opinion has now altered and I now understand that art must be a portrayal of the collaboration of both the artist and client.
Adolf Loos’ 1930 design of Villa Müller, although being Josef Hoffman’s nemesis, not only has a number of differences and contrasts with Hoffman’s designs but also surprisingly has similarities and the rival architects work also resemble one another. Hoffman is an architect who is a lover of luxury and quality materials. His places of art are exceptionally alluring, unlike most the designs of Loos, who mocks Hoffman for his inefficient, utopian designs. His work also includes substantial unnecessary detail. This is evident from the quote “The architect had forgotten nothing, absolutely nothing. Everything from the ashtray and flatware to the candle extinguisher had been combined and matched. It wasn’t a common architectural art. In every ornament, in every form, in every nail was the individuality of the owner to be found. Adolf Loos has previously compared his own architecture to tailoring a wool suit for functionality and adaptability for every occasion rather than leaning towards choosing expensive exotic materials. He is trying to influence other budding artists to learn from Hoffman’s mistakes of selfishly creating architecture which shows off his own vision and not recreate what the client requested. Although Loos Villa Müller includes high ceilinged rooms for efficiency and flow, he begins to learn from and parallel Hoffman, starting to experiment with complex surfaces and lavish materials. An example is a vibrant green marble wall containing a grand fish tank.
I believe that changing genres and styles is a great learning experience. It is for artists’ own benefit to be inspired by others projects yet learn from their wrong doings. Pablo Picasso has stated “good artists borrow, great artists steal.” Although I do not believe that artists should completely steal someone’s hard work, I conclude that by being inspired by another artist you only grow yourself and develop your own style. 
https://www.ft.com/content/089c4ae6-8746-11e2-9dd7-00144feabdc0
Place and Gender by Doreen Massey
Massey, D. B Space, (1994), Place and gender,( Page 185-186)
A short personal tale of Doreen Massey’s, an outstanding British feminist and geographer, life experiences. She paints a picture of her perception of how females are objectified and dehumanised in a world created by males. Massey creates a concept of space as she analyses social behaviours towards females. She focuses on the development of how gender is perceived by other females and males. Her current views were affected by her childhood background as she witnessed that the world seemed as if it was created for men – possessing large sports fields purely for the function of entertaining males (Fig 1.)
Figure 1. L. S. Lowry’s painting shows the people seemingly taking over the space, crowding and drowning the space to breath.
(L. S. Lowry (1945) Lowry and the Painting of Modern Life, Glasgow Museums Collection. Retrieved from https://www.tate.org.uk/context-comment/blogs/lowry-after-war)
“Covered with hundreds of little people running around after balls, as far as the eye could see.” Doreen then links her experiences to one of Lowry’s paintings as above. When viewing this artwork, I automatically feel of less importance, as I no longer feel impactful, drowned by the crowds.
Massey then expresses her sensitivity towards her experience visiting a well known Art Gallery as an adolescent, a large scale of art exhibitions were concentrated on exposed woman, Massey reveals how she underwent a feeling of objectification as she realised that they were composed through the minds of men.
Doreen Massey strongly debates the topics of power and gender through the use of her article in relation to space. Massey cleverly examined the environment to which she felt uncomfortable and utterly vulnerable, she noticed the social behaviour in the current time and how the space impacted her emotional manner. In the quote “And I felt objectified, this was a ‘space’ that clearly let me know something, and something ignominious, about what high culture thought was my place in society,” not only was Doreen Massey’s emotional well being hindered as she dwelled in and thought about what her worth is but she was also humiliated as she felt lower than the men she shared the experience with. She felt as if she was a lower class being, as if people should look down on her. Space, especially places of art, should encourage people, especially women, to thrive in their beauty and develop creativity. I can relate to Doreen’s experience as a woman being looked down upon, as a female in an engineering lecture hall flooded with males. My answers, despite being correct, were never noted by my male peers, however they automatically assumed I was incorrect. The room haunts me to this day, not being accepted as an equal human, space impacted by social relations. Built forms both literally and figuratively impact human ability. Architecture has an ability to capture emotions, when returning to a place of hardship or happiness the emotion continues to linger. This concept which Doreen Massey explains reminded me of the novel ‘Memory and Architecture,’ it states, “Not only are our memories, but the things we have forgotten are “housed.” Our soul is an abode. And by remembering “houses” and “rooms,” we learn to abide within ourselves. Now everything becomes clear, the house images move in both directions: they are in us as much as we are in them.” — Gaston Bachelard. This quote teaches us to be careful how we are to design a space, we must think through the weight that the space may have on another human being, the life long impacts. By changing or developing a space it may heal negative experiences or destroy the positive memories which are recovered by the space. Massey reminds myself to think twice before forming a decision.
Bastéa .E (Eds.). (2004). Memory and Architecture:(Re)Placing, Remembering, Revealing: Understanding through Memory and Making. Published by University of New Mexico Press
I and My Chimney by Herman Melville
Melville. H (2004). I and My Chimney. Published by Kessinger Publishing (first published 1856)
Herman Melville’s short story “I and My Chimney,” is a narrative of his personal journey in which he fought to protect his beloved chimney which he idolises. Melville affirms that his chimney is to him as important as a mighty Lord, proven in the quote “chimney is grand seignior here.” Herman Melville’s persistent wife and daughter have certainly decided on demolishing the old chimney. The Melville family, excluding Herman, have abhorred the extensive and prominent chimney as it has become bothersome and has become a strain on the family’s relationship due to conflicting opinions on the “monument.”
At face value this story suggests that it is based on a mad villager who is simply raving on about his love for his old chimney, almost having been sexualised and given a gender role, however, after interpreting the plot I have come to a conclusion that the discussion runs deeper and more interesting. This story is focusing on the popular debate between the opposing view and values, one appreciating history and its significance, and one cherishing change and its adaptable efficiency. Herman goes into a complex and profound detail when describing his most loved chimney, in fact, the majority of the narrative is concentrating on Herman Melville attempting to give the chimney justice. His wife however, like most lovers of modernisation, is relentless in the reasoning of why it would benefit all to abolish the grand chimney. This statement is verified through the extract “..my family continually complained. At last my wife came out with her sweeping proposition—in toto to abolish the chimney. “What!” said I, “abolish the chimney? To take out the backbone of anything, wife, is a hazardous affair. Spines out of backs, and chimneys out of houses..” The narrator, Herman Melville, reinforced repetitively that there was an opposing side to his argument to protect his chimney, his family. I have learnt, especially as seen in this story, to be free of an opponent or competition is impossible, opposition is most definitely inevitable. world
“I and My Chimney,” by Herman Melville reminded me back on the controversial plan of the south Auckland development in the protected Ōtuataua Stonefields reserve at Ihumātao as there were two opposing views of the controversy. Save Our Unique Landscape (SOUL), like Herman Melville, was fighting to protect the land which was an important archeological site and educational resource and was certainly sacred to the mana whenua – focusing on the cultural significance and historical value of the land. On the opposing side, alike the Melville family, Fletcher Building’s chief executive of residential and development, Steve Evans, believed that the land at the water’s edge of Ihumātao would be an outstanding piece of land for new housing and the increase in employment – concentrating on the view that efficiency, clearance and modernisation is key for a strong economy/household. I have learnt through this piece of literature that an artist can never please all members involved, however compromising is usually the greatest solution.
Walking in the City by Michel de Certeau
De Certeau M. (2009). The practice of everyday life : Walking in the City
In the book ‘The practice of everyday life,’ within the chapter of ‘Walking in the City, Michel de Certeau analyses mass culture and the formation of city life in a widespread view, while having a poetic and symbolic depth. The narrative is introduced with the setting of the overall picture, a birds eye view of New York from the 110th floor of the World Trade Centre (better known as the twin towers), the city spread out before them. Looking groundward, the civilians pass by among the pathways, understanding the city as it comes, presently. The pedestrians do not see the essence of the entire wave of a picture, they create a story as they wander, however those gazing downward can comprehend the forthcoming in a satisfying yet devious way.
The satisfaction is immoral and sneaky as observing all happenings of life play out, nice and neatly on a large scaled map, shown through the quote “Having taken a voluptuous pleasure in it, I wonder what is the source of this pleasure of “seeing the whole,” of looking down on, totalizing the most immoderate of human texts.” Being present on the 110th floor gives the power of being able to read the current urban life. Needing to get below onto Manhattans own streetside to witness how most people perceive it. The city of New York, like other cities, is commonly seen as variety of features and not the broadview. Hovering above the city is a form of power like academics and politicians, disliked by those who literally walk below, experiencing the city itself. The rulers, those who have high influence, create the story they want to be written without the writer’s knowledge.“”possessed” into a text that lies before one’s eyes. It allows one to read it, to be a solar Eye, looking down like a god.” “It is hard to be down when you’re up.” This quote communicates that when you are the spectator nothing will negatively impact you as if you were the author, the being amongst the mess, grasped by the cities franticness.
It seems as if, from above, the space only a calculated volume of land with no direction, simply a wave. There is always a continuous process of developing characteristics and presence of the place, ongoing and ever changing.“ Unlike Rome, New York has never learned the art of growing old by playing on all its pasts. Its present invents itself, from hour to hour, in the act of throwing away its previous accomplishments and challenging the future.” By exploring the everchanging urbanisation, linking places of space from one to another, we trace our journey, weaving together, drawing our personal map through experience of simply passing by. The weaving is the creation of sentences for those above to understand, expressed unintentionally, visiting concentrated journeys as unconsciously following urban planners cues, street names, monuments and popular cafes, creating a sense of poems placed in amongst geography.
I have learnt, through reading this text, that spatial design is essential for the understanding of our daily life, as we seek freedom from power and rules. Attempting to design our personal spaces as our own and forming our own style. By manipulating insignificant spaces the entire space shifts atmospherically. Designers, architects and engineers are now given a crown, the ability to make change, to create a space for the cities humans to dwell and be at peace away from the readers in the 110th floor.
http://www.arasite.org/decwalk.htm https://www.dezeen.com/2016/06/16/new-york-2020-skyline-new-visualisations-city-realty/
Allegory of the Cave by Plato
Plato. (1935). The Republic of Plato. Davies. J. L and Vaughan. D.J (Eds.), Book VII, The Simile of the Cave. (Pages 235-238). London, England: Macmillan and co. Limited
In the seventh book, the Allegory of the Cave, from The Republic of Plato, Plato desires to illustrate how education affects humankind as a whole. He realises that human beings build and vocalise opinions without any factual acknowledgment of the truth. He writes an allegory where Socrates creates a narrative of a scene where prisoners since birth are confined by chains in a cave. The only view the prisoners had for the entirety of their lives was the cave’s wall side where silhouettes dance, entertaining and informing the prisoners of the outside world. A fire burns at their backs, (figure 1). Between the prisoners and the fire rests a passageway which villages utilise, hidden from the prisoners like puppeteers, lugging along weighted objects. The prisoners attempt to interpret the unknown world through analysing the projected figures upon the wall as if it were a puppet show.
The detained, through this metaphor, represent humankind focusing only on the shadows projected. Our human perspective, symbolised by the cave itself, describes our familiar world, interpreted in different depths by different beings. The prisoners rely, like us, on their poor perspective to form a perception of what is reality. In reality, our thoughts coupled with our physical senses portray a more accurate version of the world. Open-mindedness, and breaking free from exclusive opinion, is symbolised by the freeing from the imprisoning shackles. “Whenever any of them was unchained and was forced to stand up suddenly, to turn around, to walk, and to look up toward the light, in each case the person would be able to do this only with pain and because of the brightness would be unable to look at those things whose shadows he previously saw.” Craving familiarity, the beginning of education is resisted. Forceful motivation will be required due to the need to break old habits. The once imprisoned men glancing back at the blazing firelight admitted ongoing ignorance.
Through the quote “If someone, using force, were to pull him away from there and to drag him up the cave’s rough and steep ascent and not to let go of him until he had dragged him out into the light of the sun… Pain, rage, blindness,” Clearly describing the emotion of the journey, the prisoner is being enlightened to new subjects. Advancing hesitantly with pain towards the sunlight is a metaphor for the fresh ability to perceive and understand the truth in all its discomfort and pain. He must break away from old routines. Plato encourages readers to become critical thinkers and tear away from unhealthy customs of ignorance. In many ways, ignorance is effortless where being educated and knowledgeable requires sacrifice. This concept brought to mind the quote from Jawaharlal Nehru, “Ignorance is always afraid of change.” As a human race, we crave ease, unconsciously forming a resistance to surrendering satisfaction. Pain is inevitable, we either are restricted to our experiences in being uneducated – stuck in the dark, or pulling away from our natural tendencies into the new. Freedom is having the ability to inquire about our personal beliefs. Having no other option aside from acceptance is a form of confinement, obediently observing, prohibited from creating our own narrative through questioning.
A case of ignorance is the division between the fortunate and poverty-stricken. The wealthy resist sacrificing their luxuries due to the unwillingness to adjust their norm. Homeless people resist sacrificing their freedom from responsibility to take care of themselves. Learning transformative knowledge, by looking at the sun, triggers a yearning of the prisoner to educate others. The prisoners, unaware of the truth, are stuck in the comfort of the climate of opinion and of ignorance. “The freed person had to engage in the business of asserting and maintaining opinions about the shadows. Would he not then be exposed to ridicule down there?” This Implies that despite humankind’s lack of support of particular beliefs does not determine the truth of the belief and should not manipulate your personal philosophical transformative experience.
I have learnt I should accept all circumstances in reality yet establish a questioning mind, focusing on alternative outcomes and having a constant empathetic attitude. Truth is simply not given to us through education though directing to encounter the truth. The education of individuals is the personal progression from oblivion to knowledge. Plato reinforces that the education of an individual comes down to whether they have a longing to be knowledgeable, the possibility of educating oneself exists in one’s mind from birth.
Figure 1
Diagram of the setup of the cave in the metaphor created by Socrates.
Plato (1935) Plato’s cave, the Republic of Plato. Retrieved from Great Dialogues of Plato (Warmington and Rouse, eds.) New York, Signet Classics: 1999. (page 316.)
Our Sea of Islands by Epeli Hau’ofa
Hau’ofa, E.(1993).The Contemporary Pacific: Our Sea of Islands. Published by: University of Hawai’i Press.
The writer and anthropologist, Epeli Hauʻofa, of Tongan and Fijian descent, has written the chapter ‘Our Sea of Islands,’ centring on the subject of the sizing of natural environments in space. Hau’ofa goes into depth about varying personal and cultural perspectives of the interpretation of living spaces.
Through the connotations in the chapter of ‘Our Sea of Islands,’ the quotes “Islands in a far sea” and “A sea of islands” have conflicting connotations, “Islands in a far sea,” is a quote based off the western/colonials perception of Polynesia and Micronesia, in which suggests the area’s limits due to the minuscule scale of land surface and exclusion due to being a distance from perceived global power. Focusing on space with this approach is pessimistic, stressing inferiority and isolation. In comparison, the extract “the Sea of Islands” indicates that the cluster of islands, surrounding oceans and azure above create one complete body in which is liveable, this was established from the ‘ Oceans people’ viewpoint.
Polynesia and Micronesia primarily are perceived to be isolated from places of great economic importance and therefore is judged based on the number of resources than the quality of the area itself. The impression that Micronesia and Polynesia being insignificant with little influence is a narrative that is too commonly viewed, this is due to neocolonialism. Being colonized, from the perspective of the majority, affects the perception of the significance of the land by the people. Western minds are indoctrinated economically, politically, and culturally to believe that quantity and quality are closely associated. Therefore as individuals and particularly as a society, an effort is needed to consciously question and challenge these ideas. The mentality and beliefs of the “Ocean people” as they like to be recognised, fixates on taking charge of our own mindset. “Islanders today relish exaggerating things out of all proportion. Smallness is a state of mind.” states a quote which perfectly sums up this entire piece, reiterating that everything is relative, able to be manipulated through comparison. Epeli Hau’ofa, exploring the mindset of those from large continents, analyses the notion of size solely based on the surface area. In comparison, the indigenous of the Pacific incorporate their beloved ocean, constellations and Gods in the heavens above. The spatial living mass itself isn’t the focus of size, but the importance which the features surrounding the land serve. The sense of confinement is formed by the people of power, disregarding the inhabitants of Oceania. Confining those by producing colonial boundaries results in the homelands seeming to lack significance in comparison to the vast oceans, truly ignoring beliefs and traditions of cultures making them irrelevant when they should be respected.
I have come to a personal revelation that with power comes manipulation. As designers our perspective must maintain an optimistic and open-mindedness as of those of the indigenous people, not manipulating others through our authority but encouraging and respecting the faith of all people. This piece of writing refreshed my memory of a quote from Helen Keller “No pessimist ever discovered the secrets of the stars, or sailed to an uncharted land, or opened a new heaven to the human spirit.” and the quote from the famous Malcolm X, “The media’s the most powerful entity on earth. They have the power to make the innocent guilty and to make the guilty innocent, and that’s power. Because they control the minds of the masses.”
The Dollhouse by Susan Stewart
Stewart, S. (1992). On Longing: The Dollhouse, North Carolina, the USA Published by Duke University Press
The chapter ‘The Dollhouse,’ in the novel ‘On Longing’ by Susan Stewart, addresses the fantasies of control which living people hold through the possession of a said dollhouse. It concentrates on how the yearning for expectations beyond the bounds of possibility can be seen as unhealthy and poisoning.
Susan Stewart’s analysis of the dollhouse, paralleling Ben Jonson’s poem ‘To Penshurst’, is based off the natural sense of humankind forming a desire to control all circumstances through the interiority of the miniatures. The quotes “extravagant displays of upper-class ways of life that were meant to stop time and thus present the illusion of a perfectly complete and hermetic world.” and “To have her linen, plate, and all things nigh, when she was far; and not a room but dressed as if it had expected such a guest!” suggest that both Stewart and Jonson reiterate the concept that as humans we like to visualise fantasy in a realistic manner in order for ourselves to believe in a false reality. “The dollhouse is a materialized secret; what we look for is the dollhouse within the dollhouse and its promise of an infinitely profound interiority.” Although our fantasies are usually kept to ourselves, analysing and focusing on the dreams not only encourage us to attempt to control our reality yet it triggers a deeper curiosity to find the unknown – the fantasy amongst the fantasy itself. Stewart reinforces that this natural mannerism occurs in all categories of people, children, women, and the insane. “Worlds of inversion, of contamination and crudeness, are controlled within the dollhouse by an absolute manipulation and control of the boundaries of time and space.” Through this quote, I understand that materialistic Interior space and time, represented by the dollhouse contrasts with the outer public life – ‘the gigantic,’ complete with executive hierarchy, time and space is not so easily captured. The interiority is concealed. Interiority is the ease of regulation.
The extract “the author would be most successful if he chose to “expose” only the best side of a shepherd’s life and conceal its miseries,” proves that the purpose of the ‘miniature’ is the perfecting of our spatial qualities, The evolution of the perfecting through time excluded the labour of the model as it exclusively consists only of the polished moments and therefore the moments are considered nostalgic. The lack of exposing faults shows a moment of control, just through our current day in age, we filter out the imperfections to only display our fantasy lives. The quote “The dollhouse, as we know from the political economy represents a particular form of interiority, an interiority which the subject experiences as its fantasy and prison, the boundaries or limits of otherness, the inaccessibility of what cannot be lived experience.” communicates the idea of the prison-like element being stuck in a unrealistic mindset.
The detail is designed with accuracy. Space is managed for cultural purposes, realistically representing material, reviving the significant historical events instantly back into existence. Dollhouses are prudently fashioned for accurate downscaled use. The miniatures mostly are overrepresented and exaggerated portrayals of familiar interiors (figure 1). The artist Tim Jeffs, who is known to over-commit to the details of the of animals, (figure 2), composures struck me as having a resemblance to the characteristics of the miniatures. Through the quote “In these small reconstructions, nativities were included to give them a greater truth.” Stewart suggests that despite the dollhouse being of a dream state, individuals exaggerate scenes of realism for entertainment. This piece of writing proves that as a result of the excessive personality, the fantasy of the set portrays a genuine existence through its miniaturization.
As a designer, I can understand the need for fulfilling the desire to create perfection. Through this piece of literature, I have understood that it is healthy and can be a necessity to be able to control a certain aspect of your life in order to be able to accept the actuality of the incapability of controlling outer aspects. However, it is important to be aware of the borderline between fantasy and dream. It is crucial to remind ourselves and our clients of reality.
Figure 1
Photograph of the dollhouse – miniature palace designed for Queen Mary by Lutyens, 1923.
Lutyens(1923) Queen Mary’s dollhouse. Retrieved from https://www.countrylife.co.uk/out-and-about/theatre-film-music/living-in-lilliput-queen-marys-dolls-house-139879
Figure 2
Tim Jeffs very detailed ink paint artwork of the characteristics of an Elephant.
Jeffs. T(2013) African Elephant. Retrieved from https://imgur.com/gallery/o2YFX 2013
Cleopatra’s Needle by Alfred North Whitehead
Whitehead. A. N (1920). The Concept of Nature: Cleopatra’s Needle from Chapter 8, (Pages 165-166). Cambridge, England: Cambridge University Press.
The extract from ‘Cleopatra’s Needle’ in the novel of ‘The Concept of Nature’ written by Alfred Whitehead is a piece which guides the reader to be in a position to be able to comprehend yet scrutinize scientific interpretations of everyday occurrences. The observation and reflection using basic concepts of time and space in relation to two simple events; a male being crushed on the Chelsea Embankment and ‘Cleopatra’s Needle’ positioned on the Charing Cross Embankment.
To analyse an observed occurrence, the essential factors of knowledge are the location, the time, and the event’s distinct character. Defining this time and space is a bizarre concept, the basis of the definition of the event is in relationship to a number of other major events by comparing it to the location nearby chosen observations which are personally identifiable. (Figure 1) “the man was run over between your tea and your dinner and adjacently to a passing barge in the river and the traffic in the Strand,” I understood that the identity of other observations differs personally, We analyse differently from the next individual as our minds vary due to cultural differences, experiences and ages. As a society, we interpret common events distinctively by using varying factors of these occurrences expressing spatial quality, time and the distinctive features it holds.
What is an experience without the element of short-lived time? Although an event doesn’t necessarily have to exist with a functioning appearance, events do however conceal a component of time, an indefinite existence. The enduring motionless characterisation of a monument’s, specifically Cleopatra’s Needle, relationship with the surroundings, however, seems weak due to the lack of ability to enhance our daily routine. Although amongst the routine of happenings it does have the power to manipulate the atmosphere of the spatial realm absorbed by local civilians. Identifying a flow of events that controls the characterisation of a specific event, without having to be observed is possible to assist the identification. Defining a monument, like Cleopatra’s Needle, adequately through a conceptual manner, we are able to give the illusion that there is no change and a sense of permanence. However, scientifically, just as any given individual can see the varying state of blemishes, there constantly is a movement of molecules displaying the sense of a temporary state. So does this relationship with time result in the fact that there is now a more intimate relationship between the monument and its surroundings? “The more abstract your definition, the more temporary the Needle.” This quote assists in my understanding that the human mind has the power to change the perception of such situation whether you personally are a critical/abstract thinker or having a factual/black and white thought process. An individual’s defining thought process affects and manipulates the permanence perceived of the needle or any other event. This quote from William Shakespeare, ”There is nothing either good or bad but thinking makes it so.” concentrates on the topic that humans do manipulate and define the qualities of any event into how we desire to perceive it.
As a human in society, we have to become cautious of how we perceive situations and events, ignorance of the perception of truth is unhealthy however we need to understand how to have a thorough understanding of all perspectives.
Figure 1
Becca Hamberg’s cleverly angled photograph of Cleopatra’s Needle positioned on the border of Charing Cross Embankment, visible relation with surrounding events.
Hamberg.B (2015) Cleopatra’s Needle – London. Retrieved from https://www.thinglink.com/scene/629489258691821570
Beyond Space and Time by David Harvey
Harvey. D, (1990). Kastner. J (Eds.). (2012). Nature: Beyond Space and Time. (Pages 40-41). London; Cambridge, Mass: Whitechapel Gallery; MIT Press
Beyond Space and Time by David Harvey is a significant piece of writing which addresses the important topic of ignorance when it comes to the acknowledgment of the origin of meals. He states that it is essential to uncover every ingredient used in the manufacturing of the meal, unveiling a reliable connection to a variety of communities around the world. Diving deeper into this specific concept, our dependency is revealed when examining the raw materials used. Ignorance is common in the practice of meal consumption as we commonly neglect the countless unconscious geographic relationships embedded in the system of labour production.
Karl Marx, a German philosopher, economist, sociologist, and socialist revolutionary, established a convincing concept which surrounds the basis of the fetishism of commodities. “Fetishism in anthropology refers to the primitive belief that godly powers can inhere in inanimate things. Marx borrows this concept to make sense of what he terms “commodity fetishism.” As Marx explains, the commodity remains simple as long as it is tied to its use-value.” This is a quote written by Dino Franco Felluga in 2002 explaining that the appreciation for the labourer becomes disconnected once the commodity is exchanged through the relationship with money. Finance based individuals handle commodities as if the items themselves have worth instead of the investment of labour that went into its production. Goods are fetishes, we create a hierarchy without reason which ranks specific goods above others despite whether it contains an abundance of purpose. This fetish is a control which we have been manipulated to believe is justifiable.
Marx, through his concept, emphasises the origin behind the hiding of the geographical information in the markets and the other sources. “The grapes that sit upon the supermarket shelves are mute; we cannot see the fingerprints of exploitation upon them or tell immediately what part of the world they are from.” Through this quote, I have understood that from observing the goods we are unable to identify the production quality, whether laboured by well paid Italians or manufactured through exploitation, the produce themselves is unable to communicate its geographical journey and therefore unable to remove the heavy weighted ignorance through our society. Personification is shown as the muting of the grapes parallels the labourer’s dehumanisation as having their voice stolen from them, not being able to possibly communicate their struggles. Our experience of the marketplace has a personal spatial quality which contrasts the qualities of the origins of the produce.
The issue with our materialistic consumption which instructs the education of the practice of good production and the qualities of such spaces and time also faces the concerns of significant moral issues. The fetishism of goods through the terms of geographic and social relations is understood. The consumers and producers due to this ignorance no longer have a relationship. “We cannot reasonably go to church on Sunday, donate copiously to a fund to help the poor in the parish, and then walk obviously into the market to buy grapes grown under conditions of apartheid. We cannot reasonably argue for high environmental quality in the neighbourhood while still insisting on living at a level which necessarily implies polluting the air somewhere else.” Through this extract, I have learnt that as individuals in society, we have the responsibility to become educated by disclosing and dismantling this deceit that aesthetic pleasure connects with the quality of the produce, which we have been manipulated into believing ignoring the fact of exploitation and justifying its purchase. There is integrity with having knowledge of these wider spatial qualities defined by the physical journey made by the ingredients in our meals. I, as a member of society, understand that through my work in design and in my everyday life must look into and research the geographical journey of possible textiles and to certainly be sure that the record is ethical and the material is ethically created.
Birth by Michel Serres
Serres.M (2008).The five senses: Birth. London; New York Published by Continuum
Composed by Michel Serres, Birth from the novel of ‘The Five Senses,’ is subjected about the rebirthing of the soul due to the brief removal from the spatial realm of reality caused by a hazardous fire alight on board a ship, forming a wrecked body of danger. Specific atmospheric environment manipulates the spatial experience of individuals.
Fire does not have a complementary relationship with the ship. The intolerance of fire endangers the state of existence of the members on board. Smoke deriving from the blaze manipulates the well being of individuals, left in desperation with fewer active senses. This is known through the quote “Smoke stings your eyes, it fills the whole space, chokes you. Blinded, you have to lie down. You can only grope your way out. Touch is the last remaining means of guiding yourself.” A connection of the mind and body as they are equally forced into a struggling, fighting against being torn away from the interior of reality. The characteristics of ships prevent easy accessibility which amid a crisis is required and therefore is a hindrance to productivity, possibly permanently compromising an individual’s quality of life. The contrast of atmospheric conditions of the interior state panics individuals, hopelessly frozen in motion from the dense environment. Struggling to escape the deathly spatial qualities of the confined ship. Scorching climate suffocating at a slow pace. A sudden change in motion in the ship frees lives though beginning a disequilibrium in balance. Disunion of limbs may occur as a result of the determination to cling to life. The interiority belonging to our person is manipulated through trauma to trigger illusional limbs, rejecting the truth.
This piece of literature written by Michel Serres emphasises the sense of interiority of the circumstance of fight or flight, our physical body, the confinement of the ship itself and the interior state of life. Through the descriptions “I was inside, I was outside. Who was this ‘I’?” and “Long enough for my body to think, for my body to learn once and for all to say ‘l’ in the truest sense of the word. ” I have understood through this quote that in event of a crisis our interiorities subdivide, our soul separating from our bodies and so on, intensifying the state of the authority which the soul has gained, beginning to be unable to identify the previous definitions of oneself, the soul is the newly titled “I”.
A spatial state of slipping from the threshold of the interior to exterior existence is experienced, our soul offering an alternative outcome as it meets with the physical form. “A pilot says I for his whole vessel, from the depths of the keel to the tip of the mast, and from the quarter to the boom, and that the soul of his body descends into the soul of the boat.” Through this quote, I understood that by having responsibility for another being, it combines the ‘I’ collectively, an integration of souls with the bodies, like his with the ship’s resulting in a personal understanding yet productive manner during the sailing through life. The capturing of this spatial experience is valuable as it represents when two forms of interiors come together to become one joint space and as a result, becomes more effective. Frequently neglected, we maintain the ownership of our soul. Born once again through the fight for life, fortunately re-entering reality.
Through viewing the oil paintings created by Zack Dunn (figure 1), our mind and body as a collective is manipulated to respond to the atmosphere created. Our mind changes from being calm to being fearful, working with our body which works up a sweat and triggers our heart to race. This emotional manipulation reminded me of the quote by the architect Luis Barragán which states “Architecture is art when one consciously or unconsciously creates aesthetic emotion in the atmosphere and this environment produces well being.” This piece is a reminder that the creation of experience affects the minds and bodies of individuals differently. Depending on the state of the environment we are manipulated to react in a certain way.
Figure 1
An oil painting of a frightening monstrous being composed by Zack Dunn
Dunn. Z (2016) Horror Painting. Retrieved from http://www.boredpanda.com/horror-art-oil-paintings-zack-dunn/?utm_source=google&utm_medium=organic&utm_campaign=organic
Beyond Wilderness and Lawn by Michael Pollan
Pollan. M (1998), Gieseking, J. J., Mangold, W., Katz, C., Low, S., & Saegert, S. (Eds.). (2014). The people, place, and space reader: Beyond Wilderness and Lawn, (page 273-276), published by Routledge.
The piece ‘Beyond Wilderness and Lawn’ by the author Michael Pollan is mainly subjected to the dividing relationship between the grass verge-ness of urbanism and the exclusive wilderness reserves in America. Nature affects the state of individuals well being and subconsciously manipulates the time spent strengthening relationships in a pleasant environment. Gardens, present among cities, serve as an unconscious environmental crisis reminder for the current American society.
Gardens are aesthetic yet crucial. Conventional gardens either consist of plants for cultivating or manicured gardens which accommodate a spectrum of ornamental flowers for the sole purpose of admiration. Thinking outside of the traditional purposes of the conventional garden, it is essential to merge the boundaries present in western cities between urban civilization’s pointless front lawns and the detached wilderness reserves. “Some 8 per cent of the nation’s land has been designated as wilderness, while the remaining 92 per cent has been deeded unconditionally to civilization— to the highway, the commercial strip, the suburban development, the parking lot, and, of course, the lawn.” This extract written by Pollan has made me aware of the improbability that the opposing ideas of the lawn and wilderness were invented to coexist. Society unconsciously associates the relationship in a binary style, ignoring an opportunity for a compromise, the concept of the ‘zero-sum’ comes about – Increasing urban land results in a decrease in greenery and vice versa.
Unquestionably, environmental awareness is enhanced by the appreciation of the wilderness in America, however not to a sufficient quantity for a solution. However, Henry David Thoreau, a transcendentalist stated: “In the wilderness is the salvation of the world.” Michael Pollan, however, disagrees with this statement as he describes the wilderness as an exclusive section of land and therefore not a salvation. I agree. In contrast, Pollan introduces the idea that grass verges are a contributor to the current environmental issue due to the unreasonable costs of maintenance with water and energy and therefore becomes environmentally counterproductive.
The quantity of inner city urban gardens amongst the concrete jungle is rare, this is proven through the quote, “The idea of a “middle landscape”—of a place partaking equally of nature and culture, striking a compromise or balance between the two— has received too little attention, with the result that the garden in America has yet to come into its own.” The compromise will, therefore, mend the division and will assist in the rebuilding of environmental sustainability. The land is sustainable when it is used for such things as community gardens, medicine, or wildlife. Through an epiphany, I am lead to believe there is a benefit of the garden on civilians in urban environments. Unconsciously manipulating individuals mental health and wellbeing positively, gardens benefit all including individuals, businesses, and schools, through stress-relief, heart health, body strength, and energy fulfilment. By dressing the towering architecture in greenery, there is actively an unconscious manipulation of mood and atmosphere due to the individual interpretations of the spatial transformations. (Figure 1).
With the new knowledge from this literature, I understand that the compromise between wilderness and lawn has not been completely explored. Urban gardens are a necessary compromise as they benefit civilization through the inherent manipulation which nature in our everyday environment enhances. Affecting well being and benefiting relationships. This concept brought to mind the traditional view of the Maori people. The Maori proverb of “Whatungarongaro te tangata toitū te whenua” – As man disappears from sight, the land remains.” as in the Maori culture, the people, as part of the land, identify themselves with a relationship to the land and the natural elements from their birthplace. Nature, available to be bonded over, reinforces and creates relationships. The relationship with the environment is a sacred connection, nourishing and nurturing people of all ages through medicines and meals.
As designers, it has become our responsibility to include natural and sustainable features. Urban gardens will benefit the future to come. “Wilderness is a necessity there must be places for human beings to satisfy their souls.” This saying by John Muir doesn’t necessarily have to relate exclusively to wildernesses alone, integrated nature creates a sense of satisfaction and rest while being amongst the heart of the city.
Figure 1
An architectural project focusing on the compromise of urbanisation with natureTan. G. (2015) Future of us, Singapore. Retrieved from https://www.arch2o.com/future-of-us-sutd/
Zaraspaces 