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A reection by Patrick Owens

Perception, Memory & PlaceStreet Society: Narratives of the Built Environment

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Image courtesy of Alan Jones

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Perception, Memory & PlaceStreet Society: Narratives of the Built Environment

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ABSTRACT:

This book has been created as aretrospective piece. Consciouslyundertaken not as attempt toconvey the substantial volumeof work completed during theproject, but in an effort to identifyand communicate the learningoutcomes gained. This body of workis intended not as a ‘celebration’ of the project but rather, as a critique ,

with the aim of establishing a basefor further exploration.

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INTENTION:

The aim of this work is to considerthe parameters of how buildingoccupants undrestand their owndwellings/building stock and howmemory, usage and embeddedtradition inuence our readingof the built environment. Manyarchitectural theorists, includingHiedigger, Venturi and Rapoporthave explored our understandingof ‘place’ in terms of memory andwhether it holds meaning for eachindividual. In the rural landscapeof Ireland, with its history of intergenerational ownership andvernacular cluster development,the links between tradition andusage are of particular interest.

(Hourrigan, N. (2012) Street Society

Brief)

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OWENS FAMILY FARMSTEADDocumenting a Typology

a building designed by an amateur…. guided by a series of conventionsbuilt up in it’s locality… the function

of the building would be thedominant factor... local materialswould be used as a matter of course,other materials being chosen andimported quite exceptionally.’

(Brunskill. R, 1965)

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At a basic level, the intention of this project was to document

the building, its location anddevelopment through the creationof carefuly considered modelsand line drawings. The projectwas undertaken as an excercise inproducing a body of work whichuses an economy of line andmaterial to convey accurately theessential elments of the farmstead.

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MEMORY:

Pietro Belluschi describedvernacular dwellings as,‘communal art, not produced by afew intellectuals or specialists butby the spontaneous and continuingactivity of a whole people with acommon heritage, acting under acommunity of experience’. (1993)

Belluschi’s dention surpassesthat of Brunskill, recognisingthe importance of community,experience and heritage. The

underlying ambition within thispiece was to examine how memory,usage and embedded traditioninuence a reading of the built

environment.

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This drawing displays thepoints established within the

narrative as signicant in termsof holding memories, traditionor the creation of a sense of place.

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1. The Long Field2. The Well Field3. The Dam Field

4. Kilaraine5. The Big Field6. Andy’s March

7. The Wee Bottom

Field Names

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communal boglandneighbouring familys& their sectionsof bogland. Owens’family plot depicted

in red.

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Throughout the narrative theintrinsic link between the built

environment, memory and asense of place was repeatedlyidentied. Discussion regardingthe built environment in a literalor architectural sense was limitedand often short lived. However,the buildings were describedat great length and with vigourwhen constructed around aframework of dialogue based on

past generations, local events andthe practice of farming. From theinitial stages of the narrative it wasclear that the built environmenthad arose from, and was shapedby neccesity. Architectural style orambition was virtually non existant.The role of the dwelling house wasone of the most striking ndingsof the documentation process,the building functions not only asa home but as a means by whichthe primary activity of farming can

occur.

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PERCEPTION:

The perception group working inthe absence of multiple sources,with complete reliance on thenarrative produced a distilled yetabstract version of the narrative

established with the client.

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The work of the ‘perception group’produced an abstract yet distilled

version of the narrative establishedwith the client. The comparisonbetween the ‘perception’ and‘memory’ group did not producea series of striking differences, aswe initially predicted. Howeverthe team did produce a seriesof drawings and models whichestablished several outcomes.

Firstly, that the owner did notdifferentiate between the dwellinghouse and the farmstead butconsidered them as a singleelement, with the house simplyforming part of the courtyardaround which all activity iscentered. Secondly, that the farmstead is

considered by its owner as part of awider community, centered aroundthe shared communal bog-land,although this shared space is nowlargely unused, it was identiedas a key factor in establising asense of place which still remainsprominent in this rural community.

The narrative was consistantlyheld at two distinct scales, that

of the wider area and community,relating to the previously discussedbog-land, as well as individual eldnames and local landmarks.

The second scale was much moreintimate, regarding the dwellinghouse and immediate farmbuildings, detailed elements suchas the peculiar width of a stable

door or the location of a particulartree were meticioulsy described.As the details were relayed theoccupant accompanied each onewith a practical reason to accountfor each element.

Throughout the narrative thebuildings were regarded by theowner as secondary elements,

providing a framework aroundwhich everyday life occurs,. Thiswas evident particularly whenthe farmer was asked if there wasanything that he would like thegroups help to design, the answerwas a simple “No thank you, I thinkI have everything I need for now”

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ACKNOWLEDGEMENTS

I would like to take this opportunityto thank our project tutor NessaHourrigan, who generouslycontributed to my understandingof the subject through thecontribution of her work andknowledge.

The creation of this project hasbeen largely dependent on the

kind assistance and goodwill HughOwens who generously devotedhis time and attention withoutwhich the project could not havematerialised.

Tutor: Neasa Hourigan

Students: Patrick OwensJonathan Heaney Jonathan NelisAaron FarrellMatthew LucasEmma-Louise RygalskaEdel McGee

Brendan Conway