Dominic Saliendra . Stage 3 Architecture . Academic Portfolio . Newcastle University . 2020

ACADEMIC PORTFOLIO Stage 3 | 2020 - 2021 Studio 08 - Curating the City Gabriel Dominic Saliendra 180263404

PORTFOLIO Gabriel Dominic Saliendra Stage 3 Newcastle University School of Architecture, Planning and Landscape CURATING THE CITY 2020 -2021

REVISED WORK

NEW WORK

Annotations are for work done after each stage's review. Marked at the bottom corner of the page.

CONTENTS 1.0 Illustrated Reflective Diary 2.0 Framing 3.0 Precedent Case Study Report 4.0 Testing 5.0 Synthesis Illustrated Cultural Bibliography Bibliography and List of Illustrations

1 5 35 43 77 131 137

1.0

ILLUSTRATED REFLECTIVE DIARY My reflection outlines how Third Year has been anything but easy but it has been fruitful. With my main concern from last year being my lack of critical thinking for my designs, the teaching methods in Curating the City has been undoubtedly the best to answer this concern as I had to make sure every single idea had to be backed up by a theoretical background. Furthermore, with limited studio access as well as the workshop, this year was the time I really had to force myself to finally attempt using digital methods for drawing, as I've always relied on hand drawing my plans and sections. Despite these times, I took as a challenge as I knew that in the end, it would all be beneficial for my development.

ILLUSTRATED REFLECTIVE DIARY

INTRODUCTORY CHAPTER Entering university from a fine art and graphic design background, I had not developed any (great) hand drawing, model making or CAD software skills as I mainly used acrylic paints to create my pieces. Due to this, I felt at a massive disadvantage in First Year as everything that I had to do then had nothing to do with what I was good at before university. Throughout Second Year, I focused on working on these skills as I did not want to fall behind my peers but with my hesitance on continuing the degree during First Year resulting in my laziness to work, meant that I still did not have the adequate skills to produce a good quality of work. So, heading into Third Year, I dedicated the summer before the start of the year to working on these skills so that I can at least meet the standard of work that is expected for a Third-Year student. Along the way, I have discovered that I have always had a particular interest in heritage and the way it affects the present and the future. Through this interest, it has allowed me to stay engaged throughout the whole year as it fuelled my motivation to keep working as I try to answer 'how does heritage influence our decisions today and whether we should follow what the past has already established or to change what we consider as heritage today to benefit our present needs.' To achieve this, I took on a methodology that prioritises understanding theoretical readings to provide a base for designing. For ‘Curating the City’, I took on the challenge of understanding the texts of critical heritage studies and the theme of Memory in relation to the World Heritage Site Saltaire, as it was the closest theme out of the 4 we were given that aligned with my interest the most. While it was something new and challenging, it was nevertheless fruitful as this strong theoretical base has been the foundation from which my graduation project has grown. The only drawback I had designing this way is that it took me a while to establish a spatial and form organisation as I kept adding layers to my brief even after the Framing stage which meant that I had to keep changing the design every week at one point. However, once I had established the narrative and the brief, most of the spatial and programmatic elements began to blossom and set themselves within the design.

Design vision collage

'Being part of a design studio which is centred around critical heritage studies and theoretical readings has only enhanced my way of thinking for designing. It has not only taught me the importance of critiquing and scrutinizing the subject and its relevant subbranches, but it also allowed me to realise the importance of a strong background for designing. By analysing heritage and its impact on the socio-cultural context, my desire to only keep what exists has changed after learning that some historical buildings do more harm than good.'1 By making this as the main subject for my Theory into Practise essay, my perspective on what should be kept has transformed. By exploring heritage through the lens of critical heritage studies, I was able to develop a fairer understanding on what should be kept and what should be forgotten for the present day which heavily influenced the impact that I wanted my design to have.

Dominic Saliendra, 'ARC 3015', Theory into Practise (2021), p. 9.

ILLUSTRATED REFLECTIVE DIARY

To understand how my building can impact the site positively, I looked into the Management Plans to understand what is needed to enhance the area. The Professional Practise essay helped to establish the idea that I wanted my design to be a model for other modern developments in other historically significant areas, as one of the objectives in the Management Plans is for modern developments to be more sensitive to its surroundings. Too many developments these days do not consider the history of an area as well as its surroundings, as the modern developments tend to opt for the cheap and quick solutions. They do not consider the fact that an all-concrete building within viewing distance of a WHS site heavily degrades the character of that area. It is for this reason why I opted for my design to blend in with its surroundings as I wanted the design to not only not degrade the sites fabric but to also enhance it. Another aspect that the Management Plans wants is its encouragement for innovative and interesting architecture. With the decision to make the exterior blend with its surrounding, I had to turn to the interior to be able to achieve this objective and this was when the Integrated Construction report and Thinking Through Making came in useful. With the 1:20 section and a 1:10 model of the structure, it helped me to justify how certain atmospheric qualities can be expressed by arranging the structure in a certain way. Had it not been for these two essays, I would not have been able to answer the objectives of the Management Plans.

1:20 Section and Thinking Through Making Model

Finally, I must express how none of these would have been possible had it not been for various people supporting my graduation project but not more so than my studio tutors. Had it not been for them guiding and challenging me to push and achieve a complex scheme all year, I wouldn’t have been able to develop my way of thinking for designing as they have taught me a lot in regard to the implications of design in relation with theory, technology, and professional practise. After this year, I am hopeful that what they have taught me will help me immensely in developing myself as an aspiring architect.

2.0

FRAMING For the Framing stage, we began to understand the project brief with research and readings based on the studio’s four themes: Visuality, Memory, Eco-Assemblage and Urban Form for Saltaire, a 19th century model village. For my subgroup, we explored theme ‘Memory’ and we looked into the current theoretical debates about critical heritage studies and progressive conservation. Understanding how to analyse heritage with a critical perspective was key to building up a grasp on what parts of heritage can be considered as an asset or a hinderance for today and the future. This in turn would allow us to design a proposal that is heavilty influenced by its historical context, and whether the intentions of the design are to support or be against the past heritage of Saltaire. Though the process may have been challenging at times, it was still enjoyable and I am certain that gaining a deeper understanding of critical heritage allowed me to develop a more purposeful proposal.

FRAMING

ORIGINAL DEVELOPMENT

STORY OF SALTAIRE

1853

‘Saltaire, located in England on the outskirts of Bradford, West Yorkshire is named after Sir Titus Salt. It was a purpose built village to house workers for his new textile mill, by the side of the River Aire and still exists today, perhaps the finest example of Italianate architecture in England. In December 2001, Saltaire was designated a World Heritage Site by UNESCO.’ - Saltaire Village Website

‘Uninhabitable Bradford’

1854

By the 1830s, Bradford had become a magnet for people seeking work or business opportunities and had experienced a population growth of 78% in just over 30 years. This was due to the rapid industrialisation of the processes required to convert raw wool into manufactured cloth. Bradford had become a foul and overcrowded place, with many new mills increasing the levels of untreated industrial waste, attracting large numbers of migrant workers and where high levels of poverty and ‘lawlessness’ prevailed.

‘Ideology of Titus Salt’

1863

One of the main figures of the textile industry is Titus Salt. Salt set up his own business in 1835 and by 1850, he had enormous success with the use of alpaca wool to produce a durable, light, and lustrous cloth, but unlike many of his fellow industrialists he did not choose to buy a landed estate. Instead, he was influenced by the poor living conditions of workers in Bradford, his religious beliefs and to provide work for his five remaining sons, to build a grand new mill in rural surroundings away from Bradford, and created an industrial community which he named Saltaire, situated in the Aire valley. Its centrepiece, the Salt’s mill, was designed by the architects, Lockwood and Mason, in the Italianate style and the execution of their plans has bestowed Saltaire with an enduring beauty and charm. Titus Salt’s paternalism forbade unions and public houses but, in general, workers’ lives had improved immeasurably as his original intentions were for Saltaire to have amenities that met education, social, health and leisure needs of its residents.

‘A village frozen in time’ 1876

With its well preserved architecture, the village gained the title of a World Heritage Site as it still encompasses the character it had when as far back as its original development. However, with its title meant that no development can take place within the World Heritage Site boundary. The largest change the area has seen is from its shop frontages and road construction, which are enough to endanger Saltaire’s WHS title itself. With the WHS title and its regulations in mind, my subgroup, under the theme of ‘Memory’, had to critically analyse the benefits and hinderances of heritage, through the Critical Heritage readings and the theory of Progressive Conservation.

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SITE MODEL

= World Heritage Site boundary

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1 2

3 4 THE FOUR ROUTES FOR THE FUTURE OF SALTAIRE’S HERITAGE

1. Embracing its textile heritage

2. Using the arts to establish a new heritage for Saltaire

3. Forget the textile heritage, Saltaire will adapt to the changing world

4. Harmonisation between the past, present and the future

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CRITICAL HERITAGE STUDIES

SALTS MILL

PROGRESSIVE CONSERVATION

Critical heritage studies focuses on the present, because it is in the present when we accept the responsibility for conserving the heritage; the present is the vantage point from which we interpret its meaning and relate it to certain identities. The heritage is a cultural asset as well as a social and political instrument for redefining our cultures, which should not simply be assimilated; instead, the new generations should evaluate it, critically interpret it and confer new meanings on it.

EXISTING FACTORY

ELEVATION

RESTORED FACTORY ELEVATION

RESTORED FACTORY SECTION

VICTORIA ROAD EAST SECTION

The current debate within critical heritage is that retaining heritage can add value, culturally and economically, and by retaining heritage, architects brings change. As architects, we are the agents of that change and we must make changes in a careful and wellconsidered way and one way to do that is through progressive conservation as it looks beyond age, history and aesthetics and offers tool to enhance social, political and cultural meaning within a site. Through the lens of critical heritage, we analysed Saltaire to learn its history regarding heritage, what its current tangible and intangible heritage are and the routes the village can take for the future regarding its heritage.

1971

THE REVIVAL OF THE SALTAIRE CONSERVATION AREA

In the 1980s, the future of Saltaire’s main mill was uncertain. According to a local journalist, Saltaire seemed to be a “ghost village” in the early 1980s, when the demise of industry was becoming inevitable. The local community and authorities had to start thinking about an alternative

1980

DECLINE OF THE TEXTILE INDUSTRY | THE START OF A GHOST VILLAGE

economy. In spite of the Salts Mill’s significance, there were no definite redevelopment plans when Salts Mill ceased its production in February 1986. There were already redundant mills all over the country which were becoming derelict and facing demolition. Not every single industrial building could be

1985

SALTS MILL FACING DEMOLITION | A TIME OF UNCERTAINTY

saved, and those that remained standing would have to be given a new relevant purpose in order to survive. Luckily, Salts Mill was given a new role for Saltaire in 1987 through a visionary called Jonathan Silver. The local entrepreneur who bought the mill embarked on a journey of cultural

1986

A CULTURAL AND HERITAGE-LED REGENRATION

1987

and heritage-led regeneration, which helped kick-start the revival of the Saltaire conservation area, designated in 1971 by focusing on turning Salt’s Mill as an art museum for David Hockney’s work.

FRAMING

ANALYSIS OF HERITAGE IN MODERN SALTAIRE

Keeping the Site intact The World Heritage Site Boundary coincides with the extent of Titus Salt’s original development.

Appendix 7 | Figure 13 ‘The immediate surroundings of the World Heritage Site contribute significantly to its visual setting, its ambience and character.

Salts Mill | Visual Arts Jonathan Silver bought the mill in 1971 and embarked on a journey of cultural and heritage-led regeneration, which helped kick-start the revival of the Saltaire conservation area by turning Salts Mill into an art gallery.

Disparity Out of the 11 zones, 7 have problems that degrade or can potentially degrade the site’s settings.

FRAMING

‘Connecting the tangibles and the intangibles’

Victoria Hall | Dance and Music

The Whole Site | Street Life

Day of Dance - A fundraising event for Yorkshire CND. Saltaire Live - Since its emergence, it has allowed Saltaire to be a major folk music venue.

To celebrate Saltaire’s heritage, an annual festival takes place around history and the arts organised by local people to turn this part of the Bradford district into a tourist attraction.

Map 1 | Buildings / Spaces that achieved Progressive Conservation

Map 2 | Buildings / Spaces that need more work done to achieve Progressive Conservation

1 Salt’s Mill 2 New Mill

9 River Aire 10 Leeds-Liverpool Canal

3 The Dining Room 5 Victoria Hall 7 Methodist Church 4 Railway Station 6 The School 8 The Hospital

11 Congregation Church 13 The Almshouses 12 The houses 14 The Wash House

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P RO G R A M M E

P RO P O S A L C O N N E C T I N G T H E PA S T, PRESENT AND THE FUTURE

Based on the research, it is clear that the current programmes within Saltaire focuses more on utilising the visual arts as the main driver for activities. With such an emphasis on the visual arts, it has resulted on the lack of programmes that encourage sports and leisure. Furthermore, Saltaire as a whole lacks any facilities that positively contribute to the environment despite programmes like the West Yorkshire Emissions Strategy 2016 to 2021 placing a heavy emphasis on creating a healthier environment. As a result, my design proposal is based on the revitilisation of sports as an intangible heritage, further contributing to the growing sports heritage currently taking place in West Yorkshire as a result of the many successful Olympic Athletes that came from the county thriving today, and the concept of upcycling, as materials that reach the end of their useful lives can be repurposed for another product. In order to incorporate aspects of Visuality and EcoAssemblege, I read the readings associated to the two themes to provide a theoretical background for the upcycling function and to provide a spatial experience for the public. The following page illustrates the reading and the key quotation that inspired a function within the design proposal.

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‘His provocations for taking questions of delisting and de-registering more seriously stem from the assertion that we still need to think more actively about heritage and its role in contemporary society, and the ways in which heritage is constantly produced and reproduced in the present.’

‘They position the reader as having to be guided as to what sites to go to and what to see in order to have a certain kind of psychological experience.’

‘Ultimately neotechnics is the reduction of waste and ineffi-ciency and beginning transformation of production into art but any achievements in efficient production and design could become new fodder for paleotechnic expansion. Thus, Geddes stated: ‘The present age being Imperialistic, the new age must aim at being Geotechnic: that is, we must regard the world not as something to be administered and exploited, but as something to be cared for, as the gardener converts a waste patch into an oasis of beauty and fertility.’ (Geddes & Slater, 1917, 192)’

FRAMING

SITE & PROGRAMME Regarding the programme proposal, the best site to place the design will be by the Bradford Amatuer Rowing Club, at the western side of Saltaire situated between the World Heritage Site boundary and the Buffer Zone Area. This is due to the history of the Rowing Club, as it was established by a group of sporting organisations in 1867, during an era where there was a particular enthusiasm for ‘athleticism’ and diversification into new activities. Keeping this in mind, the design proposal can embody the origins of the Rowing Club as the main driver for the design, as an extension to the current infrasrtuctures to nurture the athletes of the future while positively contributing to the environment.

Toilets

Rock Climbing

Changing Rooms

Sports Facilities

Storage

Park Boat Crafting, Restoration & Upcycling

Reception

Workshop

Café

Existing Rowing Club facilities

Boathouse 1

Clubhouse

Boathouse 2

‘a schedule of accommodation’

Furthermore, with Jonathan Silver repurposing Salts Mill as an art gallery, effectively exstablishing a new intangible heritage in Saltaire (the visual arts), my proposal can help to foster a new sports heritage within Saltaire.

FRAMING

SITE LOCATION IN SALTAIRE

SITE

VIEW

Bradford Am R

mateur Rowing Club - THE BUILDING’S HISTORY -

‘A rough early decades of constant movement’ ‘Bradford Amateur Rowing Club (BARC) is a British Rowing affiliated club in Saltaire, West Yorkshire. It was founded in 1867 and the clubhouse was built in 1893 on land given to the club by Sir Titus Salt. The club rows on a 600-metre stretch of the River Aire and the two-storey clubhouse built in 1893 still retains much of its Victorian character, with its unique upstairs bar and function room where access to the balcony provides magnificent views of the River Aire and a local conservation area.’ - Bradford Amatuer Rowing Club website

Building Completion: 1893

FRAMING

1867

FOUNDED IN 1867 | THE ORIGINAL BOATHOUSE WAS BUILT IN 1871

RELOCATION | UPSTREAM OF HIRST MILL (1893)

1871

River / Canal

Existing Buildings

New Buildings / Extensions

3 2 4

1 Original Boathouse 3 Victoria Terrace 2 Congregation Church 4 Victoria Road

5 Roberts Park

1 Clubhouse 2 Hirst Mill

THE BRADFORD AMATEUR ROWING CLUB IN THE 1900S

1893

EVICTION, RE-INSTILLATION AND DEVELOPMENT (1922)

1922

THE ADDITION OF THE ‘BARRY WOOD BOATHOUSE’ (2011)

River / Canal

Existing Buildings

New Buildings / Extensions

1 Clubhouse 2 East Boathouse

3 West Boathouse 4 Hirst Mill

2011

1 Clubhouse 2 East Boathouse

3 West Boathouse 4 Barry Wood Boathouse

5 Hirst Mill

HIRST MILL

HIRST LANE

HIRST MILL CRESCENT

LEEDS & LIVERPOOL CANAL

SITE SECTION 1:500 While studying the surrounding area of the site, one clear aspect of the River Aire is the Hirst Weir, which has been there for more than 750 years. Whilst it no longer provides power for a mill, it now provides a particularly picturesque length of slack water suitable for the sports of rowing, canoeing, and fishing. Bradford Amateur Rowing Club has been rowing from Hirst Weir for nearly 150 years and the stretch is also used by Bradford Grammar School, the University of Bradford Rowing Club, Bradford & Bingley Canoe Club and Saltaire Angling Association. The riverside path, part of the Bradford Millennium Way, is extensively used by recreational walkers, cross country runners and cyclists.

BRADFORD AMATEUR ROWING CLUB

RIVER AIRE & HIRST WEIR

SECTION CUT LINE

- FROM THE BRADFORD AMATEUR ROWING CLUB TO HIRST MILL -

The weir is owned by Hirst Weir Limited (HWL) - a company limited by guarantee and with charitable aims, has been created by members of Bradford Amateur Rowing Club to maintain the weir in order to support rowing and other recreational uses of the upstream stretch. Currently under certain flow conditions a large wave forms at the toe of the weir. This hydraulic jump, as it is known, is both a danger to canoeists and the cause of continued erosion and potential failure of the weir. If the weir were to fail it would no longer be possible to row on the river and there would be significant environmental impact on the river as a whole – changing a landscape that has been in existence for more than 750 years. With my design proposal keeping in mind its ability to potentially attract more tourists thereby generating more income, a fraction of this can contribute to the further repair and maintenance of the Hirst Weir.

FRAMING

ISOMETRIC MAPS

SITE ANALYSIS ‘TOPOGRAPHY’ The Bradford Amateur Rowing Club is in an isolated area that is only occupied by the clubhouse and boathouses. On its northern side, it has a large open area that gradually increases by height. Thus, the design proposal must consider the change in levels, and the quick change in levels can be used to heighten the spatial experience.

‘GREEN SPACE’ With only the Rowing Club inhabiting the site, it has left a lot of green spaces available for the public but with its disconnection to the village’s central area, it is left to be unused for most of the year unless festivals and competitions are taking place in the Bradford Rowing Club. With the design proposal, it can utilise the large green space to generate new programmes and provide opportunities to attract locals and tourists to the area.

‘PEDESTRIAN ROUTES’ With the site located at the western side of Saltaire, it is an area that is quite isolated with the road connecting Saltaire to Bingley being the only main connection the area has to the village. As a result, an emphasis for more pedestrian routes to connect the inner Saltaire to the Rowing Club by the River Aire can be seen as a potential route for the proposal.

‘FLOOD RISK’ The River Aire is prone to rising water levels to the point that flooding in the area is possible. Based on the river levels data between January 2020 and December 2020, the most likely months for flooding are during February and October, as the water levels can reach 1.1m with the highest being on the 9th February at 1.743m. In constrast, the least likely months for flooding are during Mid-March and Early July with the water level fluctuating between 0.3m to 0.5m. However, the data has also shown that the flooding can possibly achieve levels reaching 3m. Bearing this in mind, the design propsal could have an incorporation of amphibious architecture to allow the building to be in use all year around despite the weather conditions. High probability of flooding

Medium probability of flooding

Site model covers 0.86km of the site’s surrounding area

FRAMING

CURRENT SITE CONDITION

‘an isolated site that has the potential to be so much more’ Numbers indicate the position of each iteration

FRAMING

BRIEF STUDY: FUNCTIONS & THEMES

Existing Sport: Rowing

Addition: Rock Climbing

Heritage

‘enthusiasm for athleticism & the spectacle of the craftsman’

Eco-Assemblage

Visuality

Boat Crafting, Restoration & Upcycling

Gallery / Museum like function / circulation (theatrical experience)

Diagram showing the connections between the functions and the themes, as the whole design stems from the idea of the origins of the Bradford Rowing Club (enthusiasim for athleticism) and the spatial experience of the user (spectacle of the craftsman). Overall, the design will be curated in a way that embodies space, use and atmosphere.

FRAMING

CONNECTION TO THE THEMES

HERITAGE The addition of the rock climbing function to the existing Rowing Club is a reference to the origins of the Rowing Club. As stated before, there was an ethusiasm for athleticism and a diversification into new activities back in 1867 from the original sporting organisations. By following this principle, it is a way of revitilising the sports heritage that the original sporting organisations tried to establish in Saltaire. Furthermore, the revitilisation of sports as an intagible heritage is my way of asking whether the visual arts, the main intangible heritage in Saltaire as of right now, is the way forward. Maybe sports could better benefit Saltaire in the future as sports continues to grow in the West Yorkshire region.

ECO-ASSEMBLAGE To provide the users and the public another activity related to rowing, a boat crafting workshop that also deals with restoration and upcycling is implemented. This is due to the current programmes of the site not providing any crafting activities to the public, so with a new programme, it can attract more people into the site. Furthermore, the implementation of upcycling within the workshop is used as a way of applying aspects of neotechnics. To turn waste into works of art, whether that may be through the new boats being created or simply using the facilities of the workshop to create whatever the user desires. For example, old boats can be transported to the workshop by the narrowboat / canal, instead of these unused boats being dumped in boat graveyards and left to pile up and become more of an eyesore and possible health and environmental risk, they can be restored or used to create other crafts. Through this option, it can be a step to positively contributing to the environment.

VISUALITY In order to attract and keep tourists and the general public in the area longer as its users, I focused my attention to the spatial experience of buildings with the intention to combine the spatial experience with the visuality theme. By curating a users path with carefully placed frames, I had this idea of a museum / gallery like circulation where the users witness the activities at interesting points whether that may be when parts of the boats are being assembled or the curiousity one feels when watching someone scale a wall without a safety rope. Accompanied by the spatial experience, it can leave the users wanting to wait and see what else would happen, thereby creating ‘the spectacle of the craftsman’, establishing the ‘craftsmanship on show’ to be the second half of my brief. To help me to achieve a design vision that embodies these 3 themes along with my reasons behind them, I looked into several precedents that I thought had certain aspects of each theme whether that may be through their use of materiality or how they designed their spaces to suit their programmes.

FRAMING

THERME VALS | Peter Zumthor

‘Built over the only thermal springs in the Graubunden Canton in Switzerland, The Therme Vals is a hotel and spa in one which combines a complete sensory experience designed by Peter Zumthor.’ For the spatial experience with materiality, I looked at Zumthor’s Therme Vals. With the use of space, light and atmosphere to heighten the user’s experience within his design, I plan to try and achieve the same thing but for my design, I’ll have to experiment with sandstone to try and achieve this effect.

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NORWEGIAN MOUNTAINEERING CENTER | Reiulf Ramstad Arkitekter

‘The Norwegian Mountaineering Center is anchored in an innovative interpretation of nature’s fantastic dimensions and the dramatic experience of mountaineering. The design of the building is based on its function as a mountaineering center and gathering place for both locals and visitors. This provides the structure with a characteristic volume communicating its contents with exciting and unique geometrical expression.’ To try and understand the function of a facility with a rock climbing aspect.

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NAVET | Helen & Hard

‘Integrated into the landscape, Helen & Hard’s design comprises a timber shell, which surrounds the central exhibition hall at the heart of the museum. with a particular focus on the region’s nautical and naval history, the building will explore the island’s cultural heritage and present engaging exhibits that encourage interactivity.’ For this precedent, I was particularly interested at how the people moved around the atrium space, with the boat being the main subject to look at. For my design, I plan on applying this for the boat crafting workshop and the rock climbing facilities.

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PORTSOY BOATBUILDING CENTRE | Brown & Brown Architects

‘Built upon the ruins of a derelict building in Portsoy harbour, the new boatbuilding centre employs a minimal materials palette which sites within the reconstructed external stone skin.’ Regarding this precedent, I analysed its functions so that I am able to understand the needs for a boat crafting workshop as well as its how to create a warm interior atmosphere with its minimal materials palette.

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CASTELVECCHIO | Carlo Scarpa

‘The arches act like filters, from one room to the other. We notice that the main beam divides the roofing into two pieces and seems to indicate us the path to follow. The way goes on throughout the exhibition without hitches, leaving us often speechless, guiding us onto the top of the surrounding walls, in a succession of spaces designed with masterly care.’ Ideas of continuity and permeability. People can continue moving, seeing all of the activities happening.

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BISHOP KING EDWARD CHAPEL | Niall McLaughlin Architects

‘The project encapsulates two architectural images. The first is a gentle hollow in the ground as a meeting place for the community. The second is a delicate ship-like timber structure that rises into the treetops to gather the light from the leaves. The first idea speaks of ground, of meeting in the still centre. The second idea suggests an uplifting buoyancy, rising towards the light. The way in which these two opposite forces work off each other is what gives the building its particular character.’ Theoretical background for the inclusion of boat-like construction for modules.

3.0

PRECEDENT CASE STUDY REPORT For our precedent case study, my subgroup had to analyse the Tai Kwun - Centre for Heritage and Arts under 4 questions. In my case, I had to answer the question: ‘How is the case study conceptualised and framed (theorised) and communicated (verbal, graphic, tectonic), for the agenda of curating the site towards a progressive conservation & embodied reading.’ The analysis ended up being quite useful as I used the report as an opprtunity to explore different ways to illustrate what I wanted to say and it helped me to understand more on how a set of curated programmes can enhance a user’s experience.

Figure 2a

CASE STUDY | THEORY AND CONCEPTUALISATION

‘... a rare ‘courtayrd’ im the middle of one of the densest cities in the world.’

Figure 2b The former Central Police Station, the Central Magistracy, and the Victoria Prison, is a walled compound of heritage buildings at the commercial center of Hong Kong Island. Established by the British after 1841 as the colony’s main police station, magistracy, and prison, the site is one of Hong Kong’s most important remaining historic monuments. Following its decommissioning in 2006, the entire compound was vacated, leaving a set of open grounds and a collection of unique buildings.1 Most of the Hong Kong’s colonial architecture were not protected, and therefore bulldozed for redevelopment but after

the Central Police Station compound was fully decommissioned, Herzog & de Meuron was appointed by The Hong Kong Jockey Club to work on a design proposal for the revitalisation of the Central Police Station.2 With the Hong Kong public growing frustrated living in a city where profit is always before people, The Jockey Club realised that if done well, this prime yet delicate site (Figure 2b) had the qualities to deliver something unique, both for the old generation longing for a reminder of the past and a new generation looking for a sense of identity in a world where every city is starting to look the same.

CASE STUDY | HERZOG & DE MEURON: JC BUILDINGS

‘Versatility of cast aluminium’

Figure 2c Herzog & de Meuron combined conservation and adaptive reuse towards progressive conservation. As part of their intervention, they installed two new buildings. JC contemporary, a gallery building with a contemporary art space, and JC cube, an auditorium building for the performing arts, film screenings, educational events, and more. The two new buildings by the firm have a contemporary design language that contrasts with the surrounding historic structures with its square shape and cast aluminium facades; a material that sets the structures

apart among the site’s masonry blocks. Figure 2c further shows the materials capabilities to have multiple functions despite its simplicity. Furthermore, with the use of a strikingly different material, it allows the idea of a new heritage to foster within the area. If the colonial architecture is a reminder of Hong Kong’s history, then the new JC buildings are the symbols for a new heritage in the area, a heritage driven by the visual arts.

CASE STUDY | THE PARADE GROUND

‘A courtyard surrounded by the past’

THE PRISON YARD

JC Cube

porary

JC Contem

A THE PARADE GROUND

Figure 2d The compound is defined and structured by two large courtyards: the Parade Ground and the Prison Yard. H&dM had the goal to preserve the openness and distinct character of both and to reactivate them for public use as a new type of urban found space as these spaces will define the site physically and programmatically as places of gathering, cultural exchange, leisure, and respite.3 With

Figure 2f

A | Gathering

these, it provides the public a place to breathe, an aspect that is yearned for in a city of contested space. The Parade Ground (Fig. 2d) is surrounded on each side by several of the site’s most historic buildings, resulting in a formal open space with generous room for public recreation, events, direct access to restaurant and retail attractions, as well as smaller-scale

B | Cultural Exchange

CASE STUDAY | THE PRISON YARD

‘Reimagining the former prison yard’

THE PRISON YARD

D B

JC Cube

porary

JC Contem

THE PARADE GROUND

Figure 2e cultural and educational spaces. The Prison Yard (Fig. 2e) was transformed from a rough and forbidding area to a new open public space dedicated to cultural programming. Adding a new arts and cultural program was one of the key strategies to opening up and activating the former Prison Yard. To ensure that the site can support itself, income from these establishments contribute to the

maintenance and sustainability of the site. To establish the compound as an integral part of Hong Kong’s cultural life, the Tai Kwun Heritage Department has conducted extensive research on the site’s history, and developed a series of heritage storytelling programmes, guided tours and education activities.

JC CUBE

C | Leisure

D | Respite

CASE STUDY | HISTORICAL PROGRAMME

‘Site-wide heritage interpretation through self-guided walks’

1 | The Story of Central Police Station

2 | Victoria Prison: Hong Kong’s first jail

3 | Role of the Central Magistracy

4 | From the perspective of a prisoner

5 | Architecture and Conservation

Figure 2g

6 | Historical Signage

CASE STUDY | PROGRAMME STORYBOARD

‘Experiencing the past’

1.1 The Story of Central Police Station

1.2 Ethnically diverse teams

1.3 The beat goes on

1.4 Going for promotion

1.5 Operation Central

2.1 Life in Victoria Prison

2.2 Food at Victoria Prison

2.3 Immigration at Victoria Prison

2.4 Prisoners Admission

3.1 Evolution of Central Magistracy

3.2 The Court Rises

4.1 Charge Room

4.2 Holding Cell

4.3 Central Magistracy Holding Cell

4.4 Magistracy

4.5 Prison main entrance

4.6 Fingerprinting Office

4.7 Imprisoned

5.1 Salvaged Floor Tiles

5.2 Strengthening staircase balustrades

5.3 The 1905 Extension

5.4 Mural, Mural on the wall

5.5 Barbed wiere and glass shards

5.6 The radial-plan prison

5.7 The Sally Port and Red Circle

5.8 The former main gate

5.9 Dock and the underground passage

6.1 Victoria Immigration Centre

6.2 N.C.O.S Barrack Room Central

6.3 Defend Post 1

6.4 Look Left Look Right

6.5 The International Arbitration Centre

6.6 Cell Number 3

6.7 Rear Gate

6.8 The Cleaning Work

Figure 2h The department has also created a series of self-guided walks available through their app so that people that want to explore the site themselves are able to still learn its history and gain the education about the site the same way they would have from the guided tours.5

In the end, it is a place where – even if you’re not into art – you can sit under on the shade of one of the majestic trees and see the surrounding skyscrapers in a new light, as an interesting décor that perfectly frames an almost forgotten site that reminds you of the city’s unique history.6

4.0

TESTING The explored themes and concepts from the Framing stage which were inspired by the Rowing Club and the influence of the theoretical readings have been further explored and applied at a larger scale, as I look into the possibility of my design becoming a model for other modern developments, as a response to Figure 13 in Appendix 7 (page 13). Testing has grounded some of the instinctual choices I made during the Framing stage as I attempted to integrate the characteristics of the six precedents I chose in the beginning into the following iterations, and further exploring the effects my building could have on the present and future heritage of Saltaire. The design process starts from the need from picking a certain area of each site. It will be quite evident through the first few iterations, as the following pages will highlight each iteration moving from place to place. Afterwards, there was the need to create a circulation route that takes advantage of the frames set for the activities for the visitor just like the Tai Kwun case study, but this evolved into not only considering the route but how the building sits within the site in a way that complements the WHS Management Plan and how it adheres to the Leeds & Liverpool Conservation Management Plan. To achieve this, the analysis of the two Management Plans was important.

TESTING

P RO J E C T

AIMS FOR THE 'HOUSE OF THE C R A F TS M A N ' During the Testing stage, it is important that I create ideas that embody the statements presented on the right, as that list simplifies the design vision that I created during the Framing stage. Half of the list is from the Leeds & Liverpool Conservation Management Plan as the planned programme for my building will deal with the Leeds & Liverpool Canal a lot so it is necessary for me to follow at least three of the objectives created by the Canal Management Plan. Overall, the top two statements are the main statements for concern as they are the main reasons why I am designing my building.

TESTING

- STATEMENTS TO REMEMBER WHILST DESIGNING -

ADHERE TO THE MANAGEMENT PLANS BECOME A MODEL FOR OTHER MODERN DEVELOPMENTS IN HISTORICAL AREAS

PRESERVE AND ENHANCE FEATURES AND DETAILS THAT CONTRIBUTE TO THE CHARACTER OF LEEDS & LIVERPOOL CANAL * MAINTAIN CONTACTWITH THE LOCAL COMMUNITY * IMPROVE THE QUALITY AND AMENITY VALUE OF THE PUBLIC REALM AND SPATIAL LINKAGES TO THE LEEDS AND LIVERPOOL CANAL * MAINTAIN THE KEY VIEWS OF THE BUFFER ZONE

* Statements with an asterisk are extracts from the Leeds & Liverpool Conservation Management Plan

TESTING

- CRAFTSMEN BOAT WORKSHOP

UPCYCLING WORKSHOP

material storage

workbench spaces

machine area

storage

workbench spaces steam-bending area testing pool finishing area repair space ramp COAT ROOM

LIF

RESTAU

kitc

CAR PARK (FOR VISITORS, STA

MUSE

PROGRAMME LIST - user requirements 47

TESTING

- ATHLETES -

- PUBLIC -

CHANGING ROOM

RECEPTION

showers

VIEWING GALLERIES

locker room

rock climbing

GEAR SHOP

river

CLIMBING WALLS

workshops

STORAGE

LOUNGE

climbing equipment

URANT

chen

AFE

AFF, AND MATERIAL DROP OFF)

EUM

For the following iterations, these will be the list of spaces that will be used to create the building.

TESTING

FIRST ATTEMPT

To make my design vision possibile, I have to figure out the spatial configuration of the design first. The iterations presented are my attempts at trying to find the right spatial configuration in a large site. One consists of the programmes being very close together while another spreads out the programmes across much of the site.

Iteration 1.1 Plan sketch

Iteration 1.1 Elevation sketch

Iteration 1.3 Plan sketch

Iteration 1.2 is one of the more developed iterations as I had the idea of what it will look like after reading ‘Combs, cages, and thickets: Niall McLaughlin and an architecture of line’. The paper is an analysis on the design philosophy of Niall McLaughlin and his team and the most notable influence his work had on my drawing. This is due to his use of timber to create his buildings but I’ve also linked his work to its resemblence to the parts of a boat’s construction. With this, I planned on creating the interiors of my buildings the same way McLaughlin designs his.

TESTING

‘finding the right spatial configuration’

After progressing on, I came up with the 4th iteration that allows permeability through the design after listing out all of the occupational users of the design. This list consists of: the athlete, the boat craftsman, the upcycling workshop head, and the visitor. While I took into consideration the needs of the athlete, craftsman and upcycling head, I realised that the visitors would have to walk through the whole building just to get to the riverside.By creating an open space within the middle of the design, it allows the visitors to head directly to the river side if they are spectators of the rowing events.

Iteration 1.2 Plan sketch

Iteration 1.4 Plan sketch Iteration 1.2 Elevation sketch

TESTING

1 | DISPERSED

The building’s form will follow the Clubhouse and West Boathouse’s axis.

Dividing the form to create modules for specific programmes. All are rectangular shaped except the Boat Crafting Workshop with its oval shape as it is inspired by the Bishop Edward King Chapel by Niall McLaughlin Architects.

AXIS

CUT

EXTRUDE

VISIBLITY

The Rock Climbing facility, Boat & Upcycling workshops and the Material Preparation room modules are extruded to provided its users with highers ceilings, which are necessary for their respective programmes.

Visitors, or anyone, can see all of the programmes from above from the walkway.

TESTING

‘Conceptual diagram’

Spreading the modules around the green space to create a ‘Park’ aspect. Also, by spreading the modules out, it prevents the design from looking ‘out of place’ as a large building in the middle of the green space can be disrupting to the landscape.

Raising the modules in the flood zone with stilts so that all facilities can be used throughout the whole year.

DISPERSE

RAISE

PERMEABLITY

LANDSCAPING

Visitors for events such as the Regatta can head directly from new entrance to the riverside to watch the event. Regatta days tend to have a large number of spectators only to watch the event.

The addition of vegetation / greenery within the design can fill the gaps in the site.

TESTING

2 | FLUIDITY

2 | Lower Ground floor plan

2 | Ground floor plan

Site Plan

Designing the workshop sizes

However, the ‘dispersed’ iteration is not feasable for the site as spreading the programme throughout the whole site will require a lot of underbuilding. This will only make the flooding in the area worse as the concrete underbuilding contributes to the decrease of water infiltration in the soil, thereby increasing the surface run off in the site. For this reason, I chose to make the design a lot more compacted, with this iteration being located on the western side of the BARC. From this area, the design will sit in a more flood prone area as it is next to the river, so it was necessary to elevate the building from the ground. To make the most out of the elevated space, it will be used as the storage area as well as the access for the materials delivery from its western side.

TESTING

PLANS AND PROCESS

2 | First floor plan

2 | Second floor plan

Sketch section of the idea

Route of the visitor

Also, a focus for this iteration is trying to make the circulation within the building as fluid as possible whilst providing the frames of the activities for the visitors. One way I tried to exemplify this is through the voids of the boat workshop and the museum, the middle and right side of the drawings respectively. The voids that are encased by the circulation routes provide the visitors opportunities to look down and witness the activities from a different perspective (an idea that was heavily influenced by the Navet precedent by Helen & Hard), further illustrating the ‘craftsmanship on show’ half of my brief. However, this only really works for the boat workshop for this iteration as it is this section of the design that I focused on the most.

NEW SITE

DOWLEY GAP MILL

MOVING TO ANOTHER SITE After testing two possibilities for the site by the Bradford Amateur Rowing Club, its been found to be too open and too flat of a space to create an interesting architectural piece. Furthermore, the lack of access between the site and the canal proved to be a much bigger problem than anticipated because as the narrowboat repair and restoration programme of the design continued to develop, the further it proved that the site was not suitable for the designs functions as the users would need to grab the boats from Hirst Lock, then circle their way around the River Aire to the other side by the closest bridge for vehicles and then onto the site, as illustrated by the diagram on the right. Due to these reasons, it was better to move the site for the design to the Dowley Gap Mill area, which is 600m west from the Bradford Amateur Rowing CLub. This site is much better for the intended programmes of my building as there is already a nearby access to the Canal and the site also sits on a slope, which is already visually appealing in comparison to the flat site by the Rowing Club. Finally, the site’s position also marks the start / end of the Rowing Club’s rowing course. Should the course end at the Dowley Gap Mill area, my building can become a landmark during the annual Regatta events, as it symbolises the finish line for the race as well as a place to hold award ceremonies and celebrations.

PREVIOUS SITE

BRADFORD AMATUER ROWING CLUB

LEAVE THE BOAT ACQUIRE THE BOAT

Dowley Gap

Mill & Aqueduct - THE SITE’S HISTORY -

‘A historically rich site that has been reduced to normality’ The Dowley Gap area is situated at the western edge of the Saltaire WHS Buffer Zone. The sites importance started when the Aqueduct was built in the area, designed by the famous engineer James Brindley (left). Furthermore, its an important area to the Saltaire and Bingley region as it contains architecture that originates back to 1818 as well as its scenic landscape that provides a calming atmosphere for the locals walking by. Due to this, the Leeds & Liverpool Canal Conservation Management Plan (LLCCM) has marked the area of high historical signifance with unlisted but acknowledged buildings and Grade II listed structures. The following page illustrates the site’s history as it explores the development of the site through a series of diagrams along with a timeline.

Mill Completion: 1818

1773

COMPLETION OF THE AQUEDUCT (1773)

1818

COMPLETION OF THE WORSTED MILL & THE COMPLEX (1818)

River / Canal

New Buildings / Extensions

Existing Buildings New Buildings / Extensions

1 1

1 Seven Arches Aqueduct

1 Dowley Gap Mill Complex 2 Seven Arches Aqueduct

A DRAWING OF THE DOWLEY GAP AQUEDUCT , PUBLISHED IN GERMANY DURING THE 1970S

1893

THE MILL IS NOW DISUSED (1893) | INSTALLATION OF THE SEWAGE WORKS

1990

FULL CONVERSION TO A DWELLING COMPLEX (1990 TO 2005)

River / Canal

Existing Buildings

New Buildings / Extensions

2005

1 Dowley Gap Mill Complex 3 Dowley Gap Sewage Works 2 Seven Arches Aqueduct 4 Fellmongering Hills

1 Dowley Gap Mill Complex 3 Dowley Gap Sewage Works 2 Seven Arches Aqueduct

DOWLEY GAP SEWAGE WORKS

DOWLEY GAP MILL COMPLEX

RIVER AIRE

LEEDS & LIVERPOOL CANAL

SITE SECTION 1:500 The Dowley Gap Mill area has three Grade II listed structures, the Dowley Gap Aqueduct, the Dowley Gap Locks, and Scourer Bridge, with the last two being further west where the site section has been taken The Aqueduct, designed by James Brindley and constructed by John Longbotham (who also designed the Bingley Locks) was made to carry the Leeds-Liverpool Canal at a height of 9m over the River Aire and due to the risk of flooding, it has pitched stones beneath the aqueduct to protect its foundations. While also known as the Seven Arches Aqueduct, the River Aire only flows through the two western arches as presented in the drawing in the previous page.

NORTH HILL

SECTION CUT LINE

- FROM THE DOWLEY GAP MILL COMPLEX TO THE NORTH HILL -

As stated before in the site introduction, the connection between the Dowley Gap Mill and the Bradford Amateur Rowing Club is established as the site can either be the start or the end of the rowing course. With this in mind, the original idea of my design is kept but with the new site, I could amplify its theatrical experience as the transfer of boats from water to land can intrigue those around the design. Furthermore, this idea builds off at the fact that it also serves those during the Regatta events, as their experience during the day doesn’t have to stop with the rowing events. After the races, they can wander around my design and see the process of crafting and restoration in the moment, take part in rock climbing, or even the simple idea of wandering around the museum to see the history of the Leeds-Liverpool Canal.

TESTING

ISOMETRIC MAPS

SITE ANALYSIS ‘LEVEL CHANGE’ The Dowley Gap complex is situated at the bottom of a steep hill that is covered in greenery. However, the design will tackle the steep level change between the site and the River Aire, as the boundary between the two is separated by a 9m height difference. While I found the change a daunting challenge in the beginning I found that it can be used to create a more interesting design, as a response to connect the two spaces.

‘WATERWAYS CONNECTION’ Another interesting point about this site is that the River Aire and the Leeds-Liverpool Canal intersect at this area as the River Aire bends to the south as it passes under the Leeds-Liverpool Canal. With no current structures that connect the two waterways, my design could be used to connect the two to provide a theatrical experience based around the cranes used for a boat workshop.

‘EXISTING STRUCTURES’ The site also has a former mill that was transformed into housing, but there are also some vacant / underused buildings in the area. There is also a stone wall to establish a boundary between the houses and the existing Sewage Plant in the south side. My design can make use of the underused buildings available in the area to reduce the amount of construction needed to make my design.

‘FLOOD RISK’ Just like the Bradford Amateur Rowing Club, the Dowley Gap site is also vulnerable to flooding, as it is situated right next to the River Aire and the Leeds-Liverpool Canal. However, the site may experience the flooding at a lesser extent in comparison to the Rowing Club as it is 9m above the River Aire. Nevertheless, the potential for flooding cannot be ignore so my design has to be elevated in some sort of way to respond to this.

High probability of flooding

Medium probability of flooding

Site model covers 0.86km of the site’s surrounding area

TESTING

CURRENT SITE CONDITION

‘the point of intersection between the river and canal’ Numbers indicate the position of each iteration

TESTING

3, 4, 5 | IMPROPER, COMPACTED & TERRACED

3 | Ground floor plan

4 | Ground floor plan

3 | Ground floor plan

4 | First floor plan

3 | Site plan

4 | Site plan

Since moving to a new site, I did find it quite challenging to begin with as it took place halfway through the Testing phase. Unsuprisingly, this made the Testing phase quite difficult as each week came with additional site constraints so a new idea was produced each week.

TESTING

A A

5 | First floor plan

5 | Ground floor plan

PLANS AND THE PROCESS

5 | Second floor plan

5 | Third floor plan

5 | Site plan

5 | Circulation sketch diagram

Each new idea also involved testing around the whole area. as illustrated by the drawings above. It was difficult designing on the site because it was very different in comparison to the first site by the Rowing Club where I already had a design vision heading into the Testing stage.

TESTING

SECTION A-A After testing several iterations in Dowley Gap, the fifth iteration proved to be the idea with the most potential as it uses the slope of the North Hill as one of its main characteristics, thereby harnessing the complexity of the site that would then translate to the interior of the building. The idea for this design comes back to the 'craftsmanship on show' half of the brief as it provides a generous amount of frames / openings for visitors to view the activities, an idea that was lost in the third and fourth iteration. By going back to the brief that I created and questioned why I created that brief, only then did I manage to create an idea that was playful and interesting. To be able to develop this idea further, I studied the Yusuhara Town Hall (the main inspiration for the boat workshop space replacing the Bishop King Edward Chapel) to develop the workshop space further as I wanted to express the theme of weightlessness, a word that is synonymous with boats themselves as I wanted to express an atmosphere where a heavy structure could seem so light.

BRIDGE

BOAT WORKSHOP

TESTING

RESTAURANT

MUSEUM | BOATS

ROCK CLIMBING

PRECEDENT STUDY YUSUHARA TOWN HALL The Yusuhara Town Hall, designed by Kengo Kuma in Yusuhara, Japan, is constructed from local Japanese cedar allowing the complicated system to appear light and delicate. Its structural system can be best viewed from the meeting hall / atrium where all of the major components are exposed. The main structure consists of a double lattice girder system with intermediate supports. The diagram on the left shows the structural grid of the building to help determine where the columns should be placed. Taking inspiration from this, I applied it onto my own design to help me to construct the boat workshop area as I needed a large internal space to provide the boat craftsmen the necssary space to work on their craft. Structural grid of the Yusuhara Town Hall

TESTING

Structural grid of my design through overlayed plans

- FRAMING THE WORKSHOP Another reason for having the atrium space within the design is to construct the spaces for the framed views for the visitors. In the Yusuhara Town Hall, the first floor has a walkway that not only allows access between the two wings of the building but it also provides an opportunity for the visitors roaming around this part of the building to witness the activity taking place in the atrium space. In regards to the Town Hall, it could be a performance or a public lecture taking place. For my design I plan on taking this concept so that the visitors of my building have the opportunity to witness the boat craftsmanship in the workshop as they roam around the First floor and the south side of the Second floor, further exemplifying the ‘craftsmanship on show’ half of the brief. Viewing platform on the First Floor of the Yusuhara Town Hall

TESTING

THINKING THROUGH MAKING ‘Evoking weightlessness’ As I was very interested with the structure of the Yusuhara Town Hall with its connection to traditional japanese wood joinery, I made it as my focus for research for my Thinking Through Making model, as it also evoked that theme of weightlessness that I am looking to achieve in my building.

‘Making the model’ The opposite page shows the process of constructing the 900 x 408mm model at home as the Thinking Through Making timeframe took place during a lockdown period. With the workshop unavailable, I had to make the most out of the tools available at home. Furthermore, with the workshop closed to students, I couldn’t exactly replicate the structure used in the Yusuhara Town Hall as I didn’t have the materials and equipment to create the notches for the other parts of the structure as seen on the diagram below where the beams cross each other.

Beams notching method

*Notch is 100 x 100mm

‘Aesthetic & Sustainability’ The Thinking Through Making 1:10 structural model has taught me the possibility of achieving a dramatic atmosphere through the structure. Instead of using a normal singular column, by breaking it down to four parts, it creates the illusion of smaller columns supporting the loads. The atmosphere becomes lighter, figuratively and literally as well as lights can get through the structure. Furthermore, by breaking down the columns, it contributes to saving more materials as the split column achieves the same structural strength one massive column would have.

TESTING

PROCESS

‘making the most out of anything’

TESTING

6, 7 | ERROR AND SOLUTION

6 | Ground floor plan

7 | Under croft

6 | First floor plan

7 | Second floor plan

6 | Second floor plan

7 | Site Plan

In an effort to try and provide a better circulation for the visitors, I seperated each of the programmes into their own modules, which is only tied together by the central courtyard space that acts as the heart of the design, as shown in the sixth iteration. However, this meant that the design has lost its complexity as seperating each programme on its own has turned the whole building

TESTING

PLANS AND PROCESS

7 | Ground floor plan

7 | First floor plan

7 | Third floor plan

7 | Watch tower plan

7 | Sketch of the section

7 |Parti section

quite monotonous. The idea that the users can see the craftsmanship from the workshop and the tower while wandering around the building has been lost. Therefore, it was necessary to go back and develop the fifth iteration further and to do that, I looked into the Chäserrugg by Herzog & de Meuron.

PRECEDENT STUDY CHÄSERRUGG The Chäserrugg, designed by Herzog & de Meuron, situated at the easternmost peak of the Churfirsten Massif, Switzerland was created to renovate the aready existing cable car station and restaurant. A key characteristic of the building is its large sloped roof that covers most of the design except for the cable car station (left). This was an important precedent to study as it shares a similar shape with the fifth iteration where both buildings are covered under a single large roof, which is much better in contrast to the dispersed layout of the sixth iteration. The Chäserrugg also exposes its timber structure, even more so than my attempt as the timber beams extend all the way out by at least 3m, creating that sense of weightlessness that I have been trying to achieve. Section of the CHÄSERRUGG

TESTING

Uniting the programmes under a single, large roof

- THE BRIDGE BETWEEN THE WORKSHOP & THE TOWER Another reason why this is an important precedent is that it provided me an example on how to further enhance the design of the restaurant space. Before it was just a programme to fill up the remaining space but through this precedent, it can act as the bridge between the workshop and the tower, as it can be the major vantage point for the visitor to see both activities from a single area. The purpose of the restaurant has evolved from just a nice area for breaks and comfort to an important section for positioning the visitor for them to witness the activities, either while they are wandering around the building or during their time in the restaurant. Therefore, another major piece of the design is improved, and the last piece left is the rock climbing tower. The ceiling in the restaurant area follows the gradient of the roof

5.0

SYNTHESIS After finally settling with a site and achieving the overall form of the building at the end of the Testing stage, the Synthesis stage consisted of developing the spaces further to bring another layer of complexity into the design. These consisted of: integrating a crane with the building's structure (which became an important aspect for the ARC 3013 Integrated Construction report), developing the roof further so it can not only be accessible but habitable, and the circulation around the tower. This is due to the past iterations having only one way to the watchtower, so another circulation route for the tower can greatly benefit not only how it looks but how it can be used. Moreover, this Synthesis section primarily follows the journey of the visitor, as the following pages takes you on a journey in the eyes and experience of the visitor. This was done to show how the building is still connected to Saltaire despite how far away it is from the World Heritage Site boundary and how each area of the building caters towards the experience of the visitor.

SYNTHESIS

FURTHER DESIGN DEVELOPMENT: DEVELOPING THE CRANE IDEA FURTHER

As a boat workshop in a congested site in a way that trucks with cranes can’t easily enter the area, the idea to include a crane to the design was suggested early on the design stage. The main challenge of including a crane to the design was the idea that it could also act as an extension to the building’s structure. The sketches below illustrates the development of the crane idea.

3 3

The gantry crane proved to be the best option for the workshop as it had the structural stability that was needed to ensure the safe operation of the crane, as evidenced by its use by other large boat workshops, and the flexibility of moving through the whole workshop and right out to the canal, as presented by the image on the right.

PRODUCED BY AN AUTODESK STUDENT VERSION

SYNTHESIS

- 1:20 SECTION DRAWING WITH THE GANTRY CRANE -

PRODUCED BY AN AUTODESK STUDENT VERSION

* An extract from the ARC 3013 Integrating Technology Report

THE ENTRANCE AS A FRAME ITSELF By continuing the columns to the outside, not only did it allow the gantry crane to move all the way out to the main canal but it also created an entrance for the building. The columns act as a visual guide for the building as the visitor's eyes follow the columns which eventually lead up to the building asthey are walking by the Canal path.

- THE COLUMNS AND THE DOCK But the entrance as a frame isn't only limited to the visitors. While the symmetrical columns are to introduce the visitor to the building, the workshop's dock frames the nature in the surrounding area. Exposing greenery into the interior can potentially reduce stress and increase the worker's productivity.

SYNTHESIS

FURTHER DESIGN DEVELOPMENT: CREATING A MORE HABITABLE ROOF

The last minor piece of the design that is left to be improved is the roof. Throughout all of the iterations, it is evident that the roof has been left on its own, with no other purpose other than its typical purpose. With such a large surface area on a 11 degree angle, it would have been a wasted opportunity if I didn't do something with the large roof.

9 As illustrated above, the development of the roof was done in steps. The first was making the roof itself accessible to the public and to be used as a viewing platform for the annual Regatta races from the Rowing Club. The second was adding a green roof, influenced by the Therme Vals as it tries to integrate itself into the hill site with its green roof.

SYNTHESIS

- DEVELOPMENT OF THE ROOF -

From the green roof, the visitors can also peek into the workshop from the skylgihts

SYNTHESIS

FURTHER DESIGN DEVELOPMENT: EXTENDING THE CANAL Another aspect to note from the progression to the current design is the extension of the canal. Beforehand, the lack of available data for the site and the inability to be able visit meant I had to guess where the slope begins to rise. After working on the site even more, I eventually spot the mistake and adjusted the site model. However, it also meant that the design had to be relocated further into the hill to continue with the idea of the building working with the slope but this only provided me with the opportunity to create a distinctive entrance for the building. Furthermore, the canal being extended further into the slope will only benefit the users of the canal, as it can decrease the potential traffic the building could cause in the future.

detachable bridge

DOWLEY GAP COMPLEX

LEEDS & LIVERPOOL CANAL

BRIDGE CANAL

BOAT WORKS

'site section' Also, another purpose for extending the canal into the building is to allow deliveries for both the workshop and the restaurant, as the main method for transporting goods and materials to the building will be through the canal narrowboats. To allow these boats to enter the workshop, the boats themselves can be lifted above the detachable bridge and tinto the workshop or the bridge itself can be lifted by the crane and the boats can make their way to the boat dock, where it will then be picked up by the crane. After all of these were developed, I had the opportunity to create a site model with the finalised design.

MILNER FIELD FARM

PRODUCED BY AN AUTODESK STUDENT VERSION

ROCK CLIMBING TOWER

Section cut line on the site plan

PRODUCED BY AN AUTODESK STUDENT VERSION

T SHOP

SYNTHESIS

FINAL M

1:500 | 77

MODEL

78 x 482mm

SYNTHESIS

FINAL MODEL - HOUSE OF THE CRAFTSMAN -

1:500 model that shows the design within the site’s context.

SYNTHESIS

FINAL MODEL - HOUSE OF THE CRAFTSMAN -

The white plastic for the model and the white flowers are used deliberately to highlight how the design seeks to blend with its surroundings.

SYNTHESIS

PRODUCED BY AN AUTOD

PRODUCED BY AN AUTODESK STUDENT VERSION

SITE PLAN

ESK STUDENT VERSION 91

SYNTHESIS

DESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

0 5 10

40m 1:1000

PRODUCED BY AN AUTO

SYNTHESIS

UNDER CROFT

PRODUCED BY AN AUTODESK STUDENT VERSION

KEY 1 Storage 2 ‘Combined Heat & Power’ Plant Room

0 1 2

10m 1:200

SYNTHESIS

GROUND FLOOR

8 9 3

4 PRODUCED BY AN AUTODESK STUDENT VERSION

11 6

PRODUCED BY AN AUTODESK STUDENT VERSION

KEY 1 Reception 2 Joinery Workshop 3 Cutting Area 4 Assembly Area

5 6 7 8

Finishing Area Repair & Restoration Area Canal & Testing Area Male Toilets

0 1 2

9 Female Toilets 10 Kitchen 11 Office 12 Coat Room

Fire Escape

10m 1:200

SYNTHESIS

FIRST FLOOR

5 4

PRODUCED BY AN AUTODESK STUDENT VERSION

KEY 1 Museum | Boats 2 Museum Storage 3 Café 4 Café Service Room

5 6 7 8

Café Staff Coat Room Café Storage Male Toilets Female Toilets

0 1 2

9 Seating

10m 1:200

SYNTHESIS

SECOND FLOOR

11 12

PRODUCED BY AN AUTODESK STUDENT VERSION

KEY 1 2 3 4

Museum | Canal History Restaurant Reception Restaurant Seating Restaurant Office

5 Service Room 6 Bar 7 Walk-In Freezer 8 Beer Room

0 1 2

9 Kitchen 10 Toilet 11 Kitchen Staff Coat Room 12 Dry Storage

10m 1:200

SYNTHESIS

THIRD FLOOR

4 5

PRODUCED BY AN AUTODESK STUDENT VERSION KEY 5 6

Boiler Room Rock Climbing

WATCH TOWER

PRODUCED BY AN AUTODESK STUDENT VERSION

1 Outdoor Seating 2 Lounge 3 Male Changing Room 4 Female Changing Room

0 1 2

10m 1:200

SYNTHESIS

ROOF PLAN

PRODUCED BY AN AUTODESK STUDENT VERSION

0 1 2

10m 1:200

SYNTHESIS

DIAGRAMS

FUNCTION DISTRIBUTION

Boat Craftsman

Visitor

Athlete

The building is divided into thirds, each designated to a user type. These thirds are tied together by the circulation route as it is important for the visitors to be able to see at least one activity from every point.

GREEN ROOF | LIFTING THE ORIGINAL HILL

Green Roof

Not only does it make the roof habitable but the idea that the green roof acts as an extension to the original hill reinforces the idea of my building blending in with its surroundings.

SYNTHESIS

- KEY CHARACTERRISTIC -

Lifting the boat or the bridge for boat access to the workshop

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SYNTHESIS

JOURNEY OF THE VISITOR

B.A.R.C House of the Craftsman

Saltaire Station

1:10000 Map showing the route of the tourist from Saltaire station to the House of the Craftsman and the athletes from the Rowing Club

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SYNTHESIS

'from the Mill & onto Dowley Gap & into the building' As the building is located at the western edge of Saltaire, it was important to show how the visitors would be able to reach the building from the train station at the heart of Saltaire. The 1:10000 map on the left illustrates the quickest way for the visitors to reach the building as they use the existing canal path, through Hirst Wood, to reach the building. For the athletes from the Bradford Amateur Rowing Club, they can simply follow the path by the river bank to reach the building.

B.A.R.C

Dowley Gap Aqueduct Hirst Wood Start & Finish

Moreover, to link the site with Saltaire despite its distance, the building can be an addition for the 'Escaping the city in Saltaire' tour. Currently, the tour's route (above) circles around the River Aire and the Leeds & Liverpool Canal, with the Bradford Amateur Rowing Club and the Dowley Gap Aqueduct as some of its main points for interest. With my design, it can further enhance the content of the tour, thereby enticing more people to take part as the building provides activities that will be new to the area.

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SYNTHESIS

C I R C U L AT I O N

DIAGRAM A C A R E F U L LY C U R AT E D C I RC U L AT I O N RO U T E The circulation route within the building takes full advantage of the frames set that exhibit the boat craftsmen and the athletes using the rock climbing tower. As illustrated by the diagram on the right, the circulation path of the visitor weaves its way through most of the spaces, as it always passes by one of the building's important activities. This is one of the building's most important features as this route embodies the 'craftsmanship on show' half of the brief. The following pages will show this through a set of renders as the atmospheric images will show the experience of the visitor from their arrival to the site to the top of the tower.

The typical route of the visitor through the building

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SYNTHESIS

CONNECTING BACK TO HISTORY THROUGH THE VISUAL ARTS As the visitors will be arriving from Saltaire, they will first notice Salts Mill and its monumental chimney. Through the chimney, ithe building establishes itself as a landmark for Saltaire as it can be seen far and wide. Taking an inspiration from this idea, the tower from my design could be seen as another destination for the visitor as it catches their attention once they look west.

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'Lockwood and Mawson's illustration of the Salts Mill before its construction' Furthermore, after seeing many paintings and illustrations depicting Salts Mill, I thought I could use this opportunity to adapt a painting approach to my renders (as already seen from 'The Entrance as a frame itself') as this approach subtly hints at my work connecting back to the history, or the interpretation of the history of the site.

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APPROACHING THE SITE As the visitor approaches the site from Saltaire along the Leeds & Liverpool Canal, they will instantly catch the tower of the design from the Aqueduct as it dominates the skyline whilst the rest of the building is hidden behind the trees, which were preserved from the original site.

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24m - height of the tower

40m - height from the ground floor

22m - height of south facade

68m - height of the chimney

The monumentality of the design through the tower is important as it establishes another landmark in Saltaire as seen on the diagram. Whilst the Salts Mill embodies the intangible heritage of textile and visual arts, the rock climbing tower looks to represent sports as an intagible heritage in the area as it challenges what is the intagible heritage of modern Saltaire.

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SYNTHESIS

THE DIAGRAM VISUALISED

SYNTHESIS

'the rock climbing tower tower (1) in relation to the chimney in Salts Mill (2)'

HAND CRAFTING WITHIN THE BUILDING During the height of the Salts Mill's textile era, its main purpose was to turn raw Alpaca wool into consumer-ready cloth. To highlight its importance, Henrey Marvell Carr was commissioned to execute a series of murals for the still functioning wool mill in the late 1950s, a few decades before its decomission.

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Henry Marvell Carr's murals depicts the work done within the Salts Mill during its textile era Hand crafting is an important activity for both buildings. Whilst for the Salts Mill it was a creation of wool and textiles, for my building it is the boat workshop and its crafting, repair and restoration. The textiles aspect of the Mill was celebrated through these pieces by Carr so it was necessary for me to celebrate the boat workshop as well as it continues the activity of making in Saltaire.

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CELEBRATING THE WORKSHOP As the first major viewing gallery of the building, it would be fitting if all of the users are greeted with a structure that piques the users curiosity, and it is able to do this through its exposed construction, as the column and beam arrangement (which was explored in the Thinking Through Making section) evokes a sense of weightlessness.

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- WITH A STRUCTURE THAT MAKES ONE LOOK UP FOR A WHILE The added feeling of weightlessness through the primary structure further enhances the atmospheric qualities of the workshop, as it makes people question how such a delicate structure can support a heavy load. A question that I've explored since I looked at the Bishop King Edward Chapel during the Framing stage.

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SYNTHESIS

1:20 Technical Section

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SYNTHESIS

EXTRACTS FROM ARC 3013 The ARC 3013 technology report helped me to achieve a structure that celebrates the workshop as I had to think about how I can take advantage of the slope on the site. The 1:20 technical section best exemplifies the drawings design purpose is to highlight the multiple vantage points people can go to to witness the activities. The sloped site allows this idea to be possible as each floor can overlook each other, whether that may be from the bottom looking to the top or from the middle with the opportunity to see both activities from one spot.

Technical Secttion Key

Primary Structure Connections

1 Roof (top to bottom) Grass / Turf 200 mm Intensive Substrate 40-75mm Drainage Board 4mm FSM 600 0.2mm PE Foil 4.2mm AP2 (cap sheet) 2mm BauderTEC SPRINT DUO 100mm PIR Tapered 2.5mm BauderTEC KSD Mica (Vapour Control Layer) 165mm 5-layer CLT panel

2 Exterior Wall (inside to outside) 165mm 5-layer CLT Wall 290mm renewable insulation between 40mm timber I-beams Breather Membrane 40mm Fixing battens 50mm Cedar cladding

3 Intermediate Floor (top to bottom) 15mm wooden floor finish 50mm screed with underfloor heating pipes 45mm Footfall sound insulation 10mm Plywood board Joists and cavity for services 165mm 5-layer-CLT Panel

4 Undercroft (top to bottom) 190mm in-situ concrete floor slab Vapour control layer 135mm rigid polyeurethane insulation, on damp proof membrane In-situ, tanked concrete raft foundation, resting on concrete pile foundations

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SYNTHESIS

Second Floor

First Floor

THE MUSEUM Saltaire is currently lacking an area where it illustrates the story and importance of the Leeds & Liverpool Canal. Despite the many galleries within Salts Mill, not one depicts the story of the Canal. As it was an important waterways connection throughout its construction to now, I thought it was necessary to have a museum space that illustrates its story, solidifying its importance and providing the visitors a place that can teach them about the canal. The lower part of the museum on the First Floor will exhibit the types of boat regularly used in the canal throughout its time as it had various uses since its construction. These range from the typical narrowboats used in most canals to the rowing boats used from then and now. The upper part of the museum on the Second Floor will exhibit illustrations of the canal's history. From a key route to transport materials to and from the Salts Mill textile era to an important waterway connection during the First World War, it would have been disappointing if these sets of stories would be lost if I didn't include the museum space.

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SYNTHESIS

THE ROCK CLIMBING TOWER THE DRIVER FOR CHALLENGING THE VISUAL ARTS Exploded axonometric of the rock climbing tower section model

Watchtower Exterior walkways Rock climbing walls

Externally, the tower looks to be another landmark for Saltaire, but its internal purpose is to embody the brief, where the 'enthusiasm for athletcism' is the 'craftsmanship on show'. The exploded axo shows how while on the outside the tower is shaped like a block, its interior is distorted due to the rock climbing walls. After realising this change between the internal and external, it became an aspect that I wanted to be shown and experienced through the circulation route, where the visitor can visually shift between the two. Before the Synthesis stage, the circulation route consisted of a long and narrow route that came with long balconies that provided almost no excitement for the user of this route (below). Now, the route has moments where the wall punches into the interior, as the visitor circling around the tower can sometimes witness the athletes scale up the walls. Furthermore, the rock climbing tower also has a theoretical reason for why it has been included. As mentioned before and in the Programme Proposal (p. 15), the building seeks to be the driver for revitilising sports as an intangible heritage for Saltaire. With the number of successful athletes from West Yorkshire rising, especially for rock climbing, the tower could become contribute to this trend as the tower could symbolise the importance of sports for the area, potentially inspiring even more people in West Yorkshire.

1. The tower after the Tech review

2. Trying to find the right configuration

3. Final iteration of the tower

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SYNTHESIS

Area of the building where the model is found

The 3D printed 1:200 section model of the rock climbing tower was created to show the circulation behind the rock climbing walls as well as to show the gaps between the circulation and the walls to allow the visitors to catch glimpses of the athletes scaling the tower

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SYNTHESIS

MODEL - ROCK CLIMBING TOWER SECTION -

Furthermore, by adding the scaled people in the model, it allows one to perceive how big the tower really is. This is an important reminder for me as well as I can tend to forget how large the designs that I produce can be.

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SYNTHESIS

MODEL - THE WATCH TOWER -

Finally, the section model is topped with the watch tower viewing gallery. After the visitor finishes their journey around the tower, the watch tower area provides them a space that is completely different to the rock climbing.

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REACHING THE TOP The watch tower viewing gallery allows the visitors to take a step back, relax and socialise while offering views of the surrounding area after ascending the tower. This area also marks the end of the users journey through the building.

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- AN INTIMATE SPACE AT THE TOP OF THE TOWER To be able to experience the height of the space, the users can open the shutters to allow the wind from the outside to flow into the viewing gallery, an aspect that will be helpful during the summer.

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SYNTHESIS

SECTION A-A With a building that hosts a number of programmes that doesn't really sound like it should work together at all since I created the brief during the Framing stage, it has been my goal ever since to try and show that it does work well together through a single section drawing. The Testing stage section (p. 67 - 68) was my first successful attempt at tying together all of the programmes through a single section. Ever since then, I have been refining the design through sectional drawings to try and keep that same level of complexity of my building whilst providing an interesting drawing. Now, for the Synthesis stage, the section presented here embodies what I've been trying to achieve. The brief in visual form. A section that brings it all together.

SYNTHESIS

Section cut line on the overlayed plans

THE HOUSE OF THE CRAFTSMAN Salts Mill has been the subject for many paintings ever since its reputation grew due to how much the building has contributed to Saltaire. Optimisitcally, should the House of the Craftsman's future achieve the same impact the Salts Mill once did, then hopefully it can also be immortalised through the works of the artists of West Yorkshire.

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- EXHIBITED IN THE SALTS MILL GALLERY DECADES LATER 'As the Salts Mill was the symbol for the textile and visual arts intagible heritage, both greatly contributing to Saltaire, the House of the Craftsman brought sports to the area, establishing a new intangible heritage in Saltaire. It was a place that allowed artisans and athletes alike to work on their crafts whilst the visitors enjoy watching the process.'

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ILLUSTRATED CULTURAL BIBLIOGRAPHY

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ILLUSTRATED CULTURAL BIBLIOGRAPHY

48H FLOORPLAN BATTLE: INCLUSIVE PARLIAMENT COMPETITION ENTRY Collaborators: Daniel Mijalski, Afnan Iman Abdul Halim and Julian Djopo With trips cancelled to visit sites to benefit my dissertation and my exposure to the different styles of architecture in general, I took part in a few competitions as a way to continue the working rhythm that I’ve built up over the course of the second semester of 2nd Year in the hopes that it can carry on into Third Year.

FINALIST | Picnic Parliament: the Illusion of Democracy Our project envisions an open air parliament that invites the public to attend hearings and present their own ideas for debate, all in a public communal space, with amenities such as food trucks and playgrounds. While utopian, we also chose to satirise how such a transparent and inclusive government could be used as a facade to benefit the wealthy elite and undermine true democracy.

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ILLUSTRATED CULTURAL BIBLIOGRAPHY

FUTURE PUBLIC SPACE COMPETITION ENTRY Collaborators: Daniel Mijalski, Afnan Iman Abdul Halim and Julian Djopo

Democratising Suburbia City borders are universally defined by suburbia. In the future, as cities expand, the urban will inevitably spill over into the suburban. Our project envisions how this conflict can be mediated through public space, creating dialogue between the urban, suburban, and rural

Our proposal for suburban redevelopment centres around transit stations in order to better link the urban and suburban. By converting excess space around stations typically allocated for car parks into communal and market spaces, walkability from the station to suburbs is improved whilst providing secondary activities. In order to create meaningful dialogue, the rural should also be allowed to spill over into the suburban. The market spaces allow farmers to sell their produce to both urban and suburban-ites directly, stimulating the local economy, while serving as a cultural exchange. Furthermore, the borders between urban and rural are blurred in the threshold of suburbia, turning the abstract idea, into a concrete, physical relationship between inhabitants of both. Finally, a mix of mid-rise private and social housing, would spring up in response to the new public space, densifying the suburbia. This new urban-rural relationship would transcend that of economical advantage, and into one of mutual respect.

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ILLUSTRATED CULTURAL BIBLIOGRAPHY

THE PAINTING THAT INSPIRED THE RENDERS During the lecture where the studios were being introduced at the beginning of the year, this painting of Salts Mill was shown by Neil and Jianfei as part of their presentation for 'Curating the City'. Not only did this painting solidify my decision to choose the studio along with the idea of challenging the World Heritage Site, but it ended up becoming the main inspiration for my renders. The idea that I could adopt a painting style for my renders stayed hidden through most of the First Semester, as it was not an idea I planned to do until I experimented with the skies of the site sections which took place early in the Testing Stage. It was important that I experimented with the style early on as I needed to know whether to go for a more watercolour approach or a Renaissance style painting.

Illustration of Saltaire Village pre-1857

In the end, I went for the Renaissance style of painting as it gave the images a dramatic atmosphere through the colour palette I used. These were dark grey, orange, green and beige with differing shades in each render and I did this as I thought it gave that warm and delicate atmosphere that I hoped for my building to give yet the colours contrasted each other enough to give that dramatic atmosphere.

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ILLUSTRATED CULTURAL BIBLIOGRAPHY

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BIBLIOGRAPHY AND LIST OF ILLUSTRATIONS

PORTFOLIO LIST OF FIGURES Page 5-6, 7, 8, 10 Group work Page 19-20 Bradford Amateur Rowing Club: The Building’s History – Modified by Author from Hear the Boat Sing. (2016). Don’t Smile For The Camera: Some Old Crew Pictures. [online] Available at: https://heartheboatsing.com/2016/11/09/dont-smile-for-the-camera-some-old-crew-pictures/ [Accessed 3 March 2021]. Page 21-22 The Bradford Amateur Rowing Club in the 1900s – Modified by Author from Bradford Amateur Rowing Club. (2021). Members. [online] Available at: https://www.bradfordrowing.co.uk/members/ [Accessed 3 March 2021]. Bradford Amateur Rowing Club Aerial View – Modified by Author from Google Maps. (2021). Current Site Condition. [online] Available at: https://www.google.com/maps/place/Bradford+Amateur+Rowing+Club/@53.8418133,-1.8063283,600m/ data=!3m2!1e3!4b1!4m5!3m4!1s0x487be45037999a93:0x887547dffb611910!8m2!3d53.8418133!4d-1.804145 [Accessed 16 December 2020]. Page 29 THERME VALS | Peter Zumthor – Robeson, Dion. (2020). Therme Vals. [online] Available at: https://www.dionrobeson.com.au/therme-vals [Accessed 16 December 2020]. Page 30 Norwegian Mountaineering Center | Reiulf Ramstad Arkitekter – Fotograf André. (2016). norwegian mountaineering center. [online] Available at: https:// afasiaarchzine.com/2016/09/reiulf-ramstad-6/ [Accessed 16 December 2020]. Page 31 NAVET | Helen & Hard – Archdaily. (2017). Helen & Hard Win Competition to Built Waterfront Cultural Museum in Norway. [online] Available at: https://www.archdaily.com/875396/helen-and-hard-win-competition-to-built-waterfront-cultural-museum-in-norway [Accessed 16 December 2020]. Page 32 PORTSOY BOATBUILDING CENTRE | Brown & Brown Architects – Rigden, Nigel. (2015). Portsoy Boatbuilding Centre. [online] Available at: https:// architizer.com/projects/portsoy-boatbuilding-centre/ [Accessed 16 December 2020]. Page 33 CASTELVECCHIO | Carlo Scarpa – Onniboni, Luca. (2021). Castelvecchio Museum – A masterpiece by Carlo Scarpa. [online] Available at: http://www. archiobjects.org/museo-castelvecchio-verona-italy-carlo-scarpa/ [Accessed 16 December 2020]. Page 34 BISHOP KING EDWARD CHAPEL | Niall McLaughlin Architects – Frearson, Amy. (2013). Bishop Edward King Chapel by Niall McLaughlin Architects. [online] Available at: https://www.dezeen.com/2013/06/19/bishop-edward-king-chapel-by-niall-mclaughlin-architects/ [Accessed 16 December 2020]. Page 55-56 Moving to another site – Modified by Author from Google Maps. (2021). Moving to another site. [online] Available at: https://www.google.com/ maps/@53.8413338,-1.8108541,1019m/data=!3m1!1e3 [Accessed 24 May 2021]. Page 57-58 Dowley Gap Mill & Aqueduct – Modified by Author from Wikipedia. (2021). James Brindley. [online] Available at: https://en.wikipedia.org/wiki/James_ Brindley [Accessed 25 May 2021]. Page 59-60 A DRAWING OF THE DOWLEY GAP AQUEDUCT , PUBLISHED IN GERMANY DURING THE 1970s – Clogs & Gansey. (2006). Newsletter of the Leeds & Liverpool Canal Society No.17 Spring 2006. [pdf ] Available at: https://www.leedsandliverpoolcanalsociety.co.uk/ [Accessed 25 May 2021]. Page 64 Dowley Gap Aerial View – Modified by Author from Google Maps. (2021). Current Site Condition. [online] Available at: https://www.google.co.uk/ maps/@53.8406878,-1.8166763,333m/data=!3m1!1e3 [Accessed 25 May 2021]. Page 69-70 Precedent Study – Yusuhara Town Hall - Top Left – Vir·tu·al Ge·om·e·try. (2006). YUSUHARA TOWN HALL / KENGO KUMA AND ASSOCIATES. [online]. Available at: <https:// virtualgeometry.tumblr.com/post/642918203359625216/yusuhara-town-hall-kengo-kuma-and-associates?is_related_post=1> [accessed 3 May 2021]. - Structural grid of the Yusuhara Town Hall – Macraild, Matt. (2008). Yusuhara Town Hall. [online]. Available at: http://neworleanscityhall.blogspot. com/2008/02/yusuhara-town-hall.html [Accessed 12 May 2021]. - Viewing platform on the First Floor of the Yusuhara Town Hall – Utomo, Kusno. (2021). Yusuhara town hall by kengo kuma. [online] Available at: https:// www.pinterest.co.uk/pin/489766528197114421/ [Accessed 12 May 2021]. Page 75-76 Precedent Study – CHÄSERRUGG – Atlas of places. (2019). Chäserrugg. [online]. Available at: https://www.atlasofplaces.com/architecture/chaeserrugg/ [Accessed 13 May 2021]. Page 105-106 CONNECTING BACK TO HISTORY THROUGH THE VISUAL ARTS – Institution of Civil Engineers. (2018). Salt’s Mill. [online] Available at: https://www.ice.org.uk/what-is-civil-engineering/what-do-civil-engineers-do/salt-s-mill [Accessed 6 June 2021]. Page 111-112 HAND CRAFTING WITHIN THE BUILDING – Mabvith. (2021). Henry Carr 7. [online] Available at: https://www.flickr.com/photos/ mabvith/49418921913/sizes/4k/ [Accessed 6 June 2021]. Page 135 Illustration of Saltaire Village pre-1857 - https://www.mylearning.org/stories/saltaire--victorian-model-town-then-and-now/522? [Accessed 6 June 2021].

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BIBLIOGRAPHY AND LIST OF ILLUSTRATIONS

BIBLIOGRAPHY Detail, Chäserrugg – The Height of Modesty? (2016) <https://www.detail-online.com/article/chaeserrugg-the-height-of-modesty-26913/> [Accessed 3 June 2021]. Young, Robert. ‘Free cities and regions – Patrick Geddes’s theory of planning,’ Landscape and Urban Planning, Volume 166 (2017): 27-36 (p.27) <https://www. sciencedirect.com/science/article/abs/pii/S016920461730066X> [Accessed 11 February 2021]. World Heritage Committee, NOMINATION OF SALTAIRE VILLAGE FOR INCLUSION IN THE WORLD HERITAGE LIST (London: English Heritage, 2001), p. 69. Winter, Tim and Waterton, Emma. ‘Critical Heritage Studies’, International Journal of Heritage Studies, 19.6 (2013): 529-531 (p. 530) <https://www.tandfonline. com/doi/abs/10.1080/13527258.2013.818572> [Accessed 10 February 2021]. Saltaire Village. SALTAIRE: World Heritage Site: 1028 (2021) < https://saltairevillage.info/Saltaire_World_Heritage_Site_1028.html> [Accessed 11 February 2021]. Níall McLaughlin Architects. Bishop Edward King Chapel, Oxford (2012) <http://www.niallmclaughlin.com/projects/bishop-edward-king-chapel-oxford/> [Accessed 11 February 2021]. Harrison, Rodney. ‘Forgetting to remember, remembering to forget: late modern heritage practises, sustainability and the ‘crisis’ of accumulation of the past’, International Journal of heritage Studies, 19:6, 579-595 (p. 579) <https://www.tandfonline.com/doi/full/10.1080/13527258.2012.678371> [Accessed 11 February 2021]. Reynolds, Pamela. Saltaire: how it happened... (2021) <https://saltairevillage.info/saltaire_history_0001a.html> [accessed 3 February 2021]. English Heritage, CONSERVATION PRINCIPLES POLICIES AND GUIDANCE (London: English Heritage, 2008), p. 22. Dewhirst, John. The origins of Bradford Rowing Club, 1867-2017 (2017) <https://bradfordsporthistory.com/2017/08/13/the-origins-of-bradford-rowingclub-1867-2017/> [accessed 3 February 2021]. Dewhirst, John. A tale of two cities: the significance of sport in the Bradford identity (2017) <https://bradfordsporthistory.com/2017/07/16/a-tale-of-two-cities-thesignificance-of-sport-in-the-bradford-identity/> [accessed 3 February 2021]. Bradford Council, Leeds and Liverpool Canal Conservation Area Management Plan (Bradford: City of Bradford Metropolitan District Council, 2006) p. 88. City of Bradford Metropolitan District Council, Leeds-Liverpool Canal Conservation Area Management Plan (2021) <https://www.bradford.gov.uk/environment/ conservation-areas/leeds-liverpool-canal-conservation-area/> [accessed 24 March 2021]. Moir, J. 'Seeing the sites: Tourism as Perceptual Experience', Tourism and Visual Culture, Volume 1 (2010): 13 < file:///C:/Users/44788/Documents/Architecture/ Curating%20the%20City/Readings/Theme%201.%20Visuality/1_Moir_James_C13_SeeingtheSites_in_Tourism+VisualCulture_.pdf> [Accessed 10 February 2021]. Rovang, S. The Invention of Labor: British Industrial Architecture and Representations of the Working Class (2019) <https://www.sah.org/publications-and-research/sahblog/sah-blog/2019/07/01/the-invention-of-labor-british-industrial-architecture-and-representations-of-the-working-class> [Accessed 24 March 2021].

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BIBLIOGRAPHY AND LIST OF ILLUSTRATIONS

CASE STUDY LIST OF FIGURES Figure 2a - Site photo Image from Herzog & de Meuron, 2018. 5 Things To Know About Tai Kwun Centre For Heritage And Arts. [online] Available from: https://hk.asiatatler.com/life/5things-to-know-about-tai-kwun-hong-kong [accessed 11 December 2020]. Figure 2b - ‘... a rare ‘courtayrd’ im the middle of one of the densest cities in the world.’ Author’s own Figure 2c - ‘Versatility of cast aluminium’ Author’s own Figure 2d - ‘A courtyard surrounded by the past’ Author’s own Figure 2e - ‘Reimagining the former prison yard’ Author’s own Figure 2f - Simple Site Sections Author’s own Figure 2g - ‘Site-wide heritage interpretation through self-guided walks’ Author’s own Figure 2h - ‘Experiencing the past’ Images from Jockey Club CPS Limited, 2020. Tai Kwun.Mobile App. Version 1.3.3. Available from: https://play.google.com/store/apps/details?id=com.taikwun. app&hl=en&gl=US [accessed 29 November 2020].

BIBLIOGRAPHY Tang, T. TAI KWUN: HONG KONG’S NEWEST HERITAGE HOTSPOT (2020) <ttps://i-discoverasia.com/hk-hidden-heritage/> [accessed 29 November 2020] DRIVENxDESIGN. Tai Kwun Central Police Station Revitalisation Project (2020) <https://drivenxdesign.com/HKG18/project.asp?ID=17628> [accessed 29 November 2020] Arup. From police station to cultural hub: Transforming a Hong Kong landmark (2020) <https://www.arup.com/projects/central-police-station> [accessed 29 November 2020] Herzog & de Meuron. Tai Kwun, Centre for Heritage & Arts (2018) <https://www.herzogdemeuron.com/index/projects/complete-works/276-300/296-tai-kwun. html> [accessed 30 November 2020] Tai Kwun. Programmes (2020) <https://www.taikwun.hk/en/taikwun/programmes/contemporary_art> [accessed 30 November 2020] archello. Tai Kwun (2020) <https://archello.com/project/tai-kwun> [accessed 30 November 2020]

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END NOTES 1 archello, Tai Kwun (2018) < #https://archello.com/project/tai-kwun> [accessed 29 November 2020]. 2 Kim Megson, Herzog and de Meuron transform historic Hong Kong police station and prison compound into arts venue (2018) < #https://www.cladglobal.com/ news.cfm?codeid=337794> [accessed 29 November 2020]. 3 archilovers, Tai Kwun Centre (2021) <https://www.archilovers.com/projects/286646/tai-kwun-centre.html#info> [29 November 2020]. 4 archello, Tai Kwun (2018) <https://archello.com/project/tai-kwun> [accessed 29 November 2020]. 5

Tai Kwun, Heritage at Tai Kwun (2021) <https://www.taikwun.hk/en/taikwun/programmes/heritage> [accessed 29 November 2020].

6 Tiffany Tang, TAI KWUN: HONG KONG’S NEWEST HERITAGE HOTSPOT (2021) <https://i-discoverasia.com/hk-hidden-heritage/> [accessed 29 November 2020].

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School of Architecture, Planning and Landscape Newcastle University

Dominic Saliendra . Stage 3 Architecture . Academic Portfolio . Newcastle University . 2020 – 2021