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Theory Ancient Rome Roman’s term Genius Loci, the spirit of place, refers to the unique and distinct chariacteristics of a place.
Spirit of place is a priority within tribal culture and indiginous architecture.
1800-1850 Romanticism peaked in Europe, mainly through art and literature as a reaction to the industrial revolution. Romanticism concerned itself with the spirit of place.
Late 19th Century Neo-romanticism took elements from romanticism, apparent in philosophy, music, literature and architecture. Highly concerened with ‘re-enchanting the land’ using culturl forms and re-establishing the Genius Loci.
20th Century Architects such as Alvar Aalto with critical regionalism, an a advances in materials and te such as climate, materials an
History
1780 William and Caroline Herschel mapped the heavens.
1297 William Wallace’s army rampaged through the landscape and laid waste to Kielder.
1956 Due t mone closed gers.
1862 Kielder Viaduct was built, extending the route from the border counties into scotland. 1920 The first planting of Kielder forest took place. The ‘canopy’ sculpture signifies this spot today.
19th Century Tile works, lead mining and an iron foundries were all in operation, Kielders economy increased and roads were improved.
18th Century More respectable emplyment within whisky distilleries and colleries. Kielder Caste was built.
1855 Railway construction began in the area.
1890 Plashetts village was established to provide the coal minnig industry with workers.
1940 The indroduction of tractors and ploughs allowed Kielder Forest to be expanded.
1931 Karl Janksy’s experiments with radiowaves led to the invention of radio astronomy.
1930 The first houses of Castle Drive were built to accomodate the forestry workers. Kielder forest soon became a national timber reserve following the First World War.
1950 Timber produ boomed. Kield Forest continu expand. Kielde an industrial a
Summary Unused land, destroyed by war.
2 Land becomes occupied, various indutries established.
Area boomed economically through industry, landscape exploited.
19 Ra to ec
o and Jorn Utzon start to experiment approach that attempts to combine echnology with the local situation, nd local customs.
!979 Christian Norberg-Shulz studied the phenomenology of architecture, publishing his book ‘Genius Loci: Towards and Phenomenology of Architecture.’
!988 James and Roberta Swan studied the relationship betwen the ancient wisdom on the spirit of place with modern science and design.
1996 ‘Log Lookout’, ‘Skedaddle’, ‘Flock’, Kielder Keepsake’, ‘Wave Chamber’ and’Viewpoints’ were created.
to a lack of ey, the railway d to passen1973 A 12 mile toll road was constructed through Kielder Forest, allowing access from the East to the West 1969 The Northumberland and Newcastle Society purchased the viaduct for £1.
When?
21st Century Influenced by these theories, more current architecture draws from place and context as a basis to their designs, whilst looking towards a sustainable future. For example, Charles Barclay Architects, Herzog and De Meuron, Zumthor and David Chipperfield.
1994 Three inital sculptures were built within the Kielder Landscape. ‘Earth, Wind, Fire and Water’, ‘Whirling Beans’ and ‘Shadows’. This wss the beginning of the Kielder Art and Architecture Program
2005 Charles Barclay Architects entered the RIBA competition to design Kielder observatory and won.
1999 James Turrell’s Sky Space was Commissioned.
2008 Charles Barclay Architects finished Kielder Observatory.
2000 Sky Space was built.
uction der ued to er was area.
958 ailway also closed o goods. The conomy fell.
Economy Fell
1971 Kielder Dam was constructed, providing hydroelectric power to the surrounding areas.
1995 The Art and Architecture Program at Kielder was officially established. Now there is over 30 sculptures within the landscape. 1980 Kielder Resevoir was created.
Landscape re-established
2004 Members of the community designed iron panels to be placed along the viaduct, creating a pedestrian walkway with 360 panoramic views.
1998 Isabel Vasseur’s report of Kielder suggested architecture was the way forward for the area.
3 and its hisory Embracing landscape through art and architecture
The Future... Since 2008, over 58,000 people have visited the observatory. They soon hope to build a planetarium to accompany it. 2010 Charles Barclay entered the RIBA forgotten spaces competition with Bonham Gardens.
2013 Northumberland National Park and Kielder Observatory Astronomical Society, have been awarded Gold Tier Dark Sky Park status by the International Dark Skies.Association (IDA)
2013 Charles Barclay Architects won a RIBA award for the Wark Barn Farm project. 2009 Many more projects have appeared throughout the landscape, including multiple stopping points around the lake, such as Robin and Freya’s Cabins.
Astronomy embraces the features of the landscape further.
Kielder, England’s remotest village, and the surrounding area was developed during the early 1900’s to accommodate for a national timber reserve and mining after the First World War. Kielder is now home to the largest man-made forest. The Kielder landscape has transformed over the recent years with the introduction to the Kielder Art and Architecture Programme and the largest lake in the Uk, Kielder water. 4
Where? Kielder Observatory is located within the Northumberland landscape in the North West of England. Only a few miles away from the Scottish border, the observatory sits within the Black fell of Kielder Forest. This site was chosen because of the lack of light pollution. The area itself is the third largest protected Dark Sky in the world, making it not only the perfect location for the observatory, but also the numerous installations in the surrounding area, including James Turrell’s Sky Space.
N P h 5o t o g r a p h b y I n g h o u s e F i l m s . c o m
Site Plan
Initial Concept Sketch
Developed Concept Sketch
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Elevation
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References to Form
The original concept for the Kielder Observatory was to create a horizontal land pier that sits within the Black Fell of Kielder landscape, orientated towards its sister project, James Turrell’s Sky Space. Offering views out over the forest, valley and water, it also accommodating for two large telescopes providing a 360 view of the night sky. Constructed from local materials, it consists of a Douglas Fir frame with a Larch cladding. This is intended to reference the economic role Kielder Forest had after the First World War and the former local mining industry. Its is clear that the form has drawn inspiration from the local aqueduct and is often referred to a the deck of a ship sailing across the Kielder Valley.
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1. Entrance ramp 2. Covered Entrance Area 3. Toilet 4. Entrance 5. Battery Room 6. Warm Room 7. Stove 8. Kitchenette 9. Walkway to Deck 10. Meade Turret 11. Observatory Deck 12. Ramp 13. Escape Stair 14. Pulsar Turret 15. Circular Ramp 16. Composting Vault 17. Rooflights
Occupancy Diagrams
Internal and External
Circulation
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How? Massing
Technical Elements of a Rotating Turrett
Sunpath
Energy Resources
Services
Change in Levels and Site Lines
Level of Occupancy
Vistas to Major Points
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Question. What role has Kielder Observatory and the surrounding installations played in altering/enhancing perceptions of the Kielder landscape in terms of the phenomenology of landscape, architecture and the spirit of place over the last 200 years?
Introduction. This essay will be analysing the Genius Loci of the Kielder landscape and drawing a conclusion as to whether it is the landscape itself that defines place or the ‘concrete things’ that are placed within it. It will be determined by looking at the phenomenology of landscape and architecture and applying these theories to Kielder and appropriate movements throughout history, whilst comparing the various installations surrounding Kielder Forest, focusing on Charles Barclay Architects’ Kielder Observatory, looking at how they have enhanced the perception of the landscape.
Site Map of Kielder, Drawn by Megan Ingham, 2015
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A Brief Introduction t o K i e l d e r. The award winning Kielder astronomical observatory was completed in 2008, after Charles Barclay Architects’ proposal won the RIBA competition in 2005. Situated upon the hill, the ‘land pier’ overlooks Kielder Water, the largest man made reservoir in the UK. The use of locally sourced timber makes reference to Kielder’s industrial forestry background, whilst the form makes subtle connections to the area’s mining heritage. The form has obviously derived conceptual inspiration from the surrounding area and its historical context, mimicking the local aqueduct. Some say the observatory resembles the deck of a ship sailing across the rough landscape of Black Fell. As seen on the plans, the layout of the observatory is simple, consisting of a covered entrance area, warm room, battery room, toilet and an external viewing deck providing astonishing views across the largest man-made forest in England. The observatory is also home to two permanent telescopes; a smaller one attached to the warm room and a larger one at the head of the pier, providing a more hands-on experience for the frequent visitors, both amateur and professional. These telescopes are situated within two rotating turrets, positioned so each can provide 360 views of the award winning Kielder dark sky. This scheme is an excellent example of off-grid building, having to use the environment to the best of its ability. Completely self powered through the use of wind turbines, photovoltaic panels and uses a composting WC; it is a commendable example of sustainable architecture within the natural environment. (Barclay, no date) (Etherington, 2008) (Barclay, 2010)
Sketch of Kielder Observatory, Drawn by Megan Ingham 2015
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Genius Loci + P h e n o m e n o l o g y. ‘Our everyday life world consists of concrete phenomena… It also consists of more intangible phenomena such as feelings… This is the content of our existence.’ (Norberg-Schulz, 1991, p. 6)
Genius Loci.
1. The distinctive atmosphere or prevailing spirit of place. 2. The guardian deity of place. (Genius loci, no date)
Phenomenology.
1. An approach that concentrates on the study of consciousness and the objects of direct experience. (Phenomenology, no date)
The text, Genius Loci – Towards a Phenomenology of Architecture by Christian Norberg-Schulz discusses how ‘environment’ and ‘place’ are an integral part of our existence and how phenomenology is a return to things. Architecture is a way of celebrating landscape and place and affects everyone on a daily basis.
‘What then do we mean by place? Obviously we mean something more than abstract location. We mean a totality made up of concrete things having material substance, shape, texture and colour. Together these things determine an environmental character.’ (Norberg-Schulz, 1991, p. 6)
How a place is experienced and the ‘concrete’ things that are placed within it determine the activities that take place. So does this in turn mean the concrete things within a place depict the genius loci? Over the past 200 years Kielder has transformed multiple times. From a barren landscape, destroyed in battle to an exploited coal-mining town, to what it is now; a picturesque landscape used to the best of its ability and celebrated for its impressive dark skies. As the landscape has been transformed, so has its genius loci. ‘According to ancient Roman belief every “independent” being has its genius, its guardian spirit. This spirit gives life to people and places, accompanies them from birth to death, and determines their character or essence…. The genius thus denoted what a thing is, or what it ‘wants to be’’. (Norberg-Schulz, 1991, p. 18) 14
The way people use and experience the landscape has been altered and enhanced. However, perhaps the genius loci of the Kielder landscape has always been the same but celebrated in different ways by the way we have occupied it. The Kielder observatory embraces the surrounding landscape within its underlying concepts; the form enriches the visitor’s perception of the landscape from what it once was. NorbergSchulz refers to the poem A Winter Evening by Georg Trakl in his text. This poem explores the phenomena of the inside and outside. How do we distinguish between the inside and outside? ‘An opening makes us experience the inside as a compliment to the outside.’ (Norberg-Schulz, 1991, p. 9) This is something that Charles Barclay Architects have respected within the design of the observatory. This will be discussed further within the next chapter. Another area of phenomenology of architecture, relevant to the Kielder landscape is the idea of natural structure. Heidegger stated ‘the boundaries of a built space are known as floor, wall and ceiling. The boundaries of landscape are structurally similar, and consist of ground, horizon and sky.’ (Norberg-Schulz, 1991, p. 13) Man has a tendency to look at the landscape and add what they think is missing but this then alters how the landscape is perceived. The more contemporary introductions to the Kielder landscape have started to take more influence from natural structure and historical context. This could be an example of how architecture has progressed and learnt from movements and theories over recent history, for example, romanticism and regionalism. Perhaps this is a sign of what architecture is moving towards. Lastly, with the recent installations by the Kielder Art and Architecture Programme, the idea of orientation is a distinctive character of the area. Kevin Lynch and his theories on way finding are reflected within the landscape. The key principals Lynch discusses are identity, landmark, paths, regions, maps, signs and sights. The installations create landmarks and stopping places; nodal points where people can observe and reflect, establishing a sense of place. This makes the landscape more relatable and engaging to whomever experiences it, something that is integral to Kielder’s success as a tourist destination. (Norberg-Schulz, 1991) Figure 1, Kielder Valley
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The History of K i e l d e r. 1800 - 1950
1950 - 1970 1920 - 1995 1995+ ‘The Canopy’ ‘The Veiwpoint’ ‘Freya and Robin’ ‘Kielder Observatory’
Figure 2, Landscape Development
Over the years Kielder landscape has been drastically altered due to national requirements. It is now home to the Europe’s largest man-made forest and reservoir and has won awards for its amazing dark sky. This chapter will navigate through each of these time frames, exploring the various movements and theories that encouraged spirit of place such as, romanticism, neoromanticism and the sublime, relating back to context. It will also investigate how the changes and additions over time have affected Kielder in terms of landscape phenomena and compare Kielder observatory to the other surrounding installations.
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1800 - 1950 | Industrial Kielder During the 1800’s Kielder was an industrial area, rich in coalmines. Plashetts Village was built in 1890 to accommodate the mineworkers and their families. Situated on top of the hill overlooking the North Tyne Valley, the village consisted of many terraces either side of the wagon way. In 1862 the Kielder viaduct was built to bridge the gap over the North Tyne River. It was constructed to transport coal from the Plashetts Colliery to Iron works around the country. As the industry grew it began to transport other things such as live stock, agricultural materials and eventually passenger services. (Plashetts village - Kielder art & architecture, no date) (Our History, no date) Figure 3, Plashetts
During this time the Kielder landscape was exploited to satisfy the needs of the country and was heavily populated with buildings, wagon ways and other industrial structures supporting the mines. The way the area was developed and what was placed into it, made the Kielder landscape look murky and polluted and these characteristics defined its genius loci. Furthermore, Kielder was transformed into an industrial area due to the characteristics of the environment, the coal rich soils for example. So does this mean the genius loci is derived from what the landscape itself has to offer?
Louis Kahn stated ‘The genius thus denoted what a thing is, or what it ‘wants to be’’. (Norberg-Schulz, 1991, p. 18) If these physical traits determine what is put into the landscape, this must mean that the landscape defines its own spirit of place.
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1950 - 1970 | The Fall of Industrial Kielder The 19th century was the height of the romanticist movement, with artists and philosophers like William Turner and Edmund Burke coming to the forefront. Romanticism was described by Rousseau as ‘the return to nature’, as a reaction to the industrial revolution. It played on the emotions of apprehension and terror but encouraged people to confront aesthetic quality and the sublimity of a landscape.
‘Burke saw nature as the most sublime object, capable of generating the strongest sensations in its beholders.’ (The romantic sublime, 2013)
This movement had a strong influence on the transformation of the Kielder landscape; industry was rejected and the beauty and sublimity of the natural environment and railway went out of business (as it made no money). In 1962 the forestry commission purchased the aqueduct with the intentions of demolishing it, however the community came together to save the historic landmark; it has now been transformed into a walkway over the river and is one of the few remaining elements of industrial Kielder. The transformed aqueduct shows influences from the neo-romanticist era, a movement highly concerned with ‘re-enchanting the land’ and re establishing the genius loci. Moreover, could the historical context be a factor in determining the characteristics of the current landscape?
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Concept Sketch, Drawn by Megan Ingham 2015
1920 - 1995 | The Transormation of Kielder In 1920 the first plantation of Kielder Forest took place to accommodate for the countries requirements for timber during the war and the mass production of the modernist era. In the 1950’s, the timber industry began to thrive and Kielder forest expanded, now known for being the largest man-made forest in Europe. The introduction of the forestry commission was one of the most drastic changes to the Kielder landscape, along with the Kielder reservoir, the largest by volume in the UK. With the addition of the forest and the lake, people’s perception of the Kielder landscape began to change, it was seen as a place of beauty again, rather than a place of work. The forest did bring in more jobs but now the area makes most of its money from tourism; people want to come and experience the splendor of the transformed Kielder landscape. When people visit a landscape, they use the word ‘look’; sight is the main sense evoked. The transformed Kielder landscape is much more attractive to the eye, thus enhancing people’s opinion of it. The environment is now described as ‘serene’ and ‘picturesque’, very different to industrial Kielder, has the genius loci therefore changed?
Figure 4, Landscape Over Time
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1995+ | Present Day Kielder The realisation that Kielder is now reliant upon tourism has driven the celebration of Art and Architecture within the landscape. The Kielder Art and Architecture Program was founded in 1995 with the three initial sculptures, Earth, Wind, Fire and Water’, ‘Whirling Beans’ and ‘Shadows’. Since then over 35 projects have been commissioned. Along with the Kielder observatory, each piece celebrates the landscape in a different way, whether it is celebrating the history, the views or just telling a story, for example...
Viewpoint
Robin’s Cabin
Freya’s Cabin
Canopy Diagram of Kielder Water, Megan Ingham 2015
The Canopy
‘The Canopy’ is a performance space situated within Smuggler’s Rig, the site of the first plantation of Kielder forest in the mid twenties. It is a sculpture that celebrates the history of the area; it ‘reflects the gradual cultivation and evolution of the surrounding forest.’ (Canopy/ canopy score performances - Kielder art & architecture, no date) A charred timber structure sits on the ground, creating a performance space that frames the view of the forest. Hanging overhead is a web of cable ties, creating a semi-transparent form representing two abstracted maps of Kielder Forest, whilst the contours of the form relate to the varying ages of trees. Every element of this piece relates to the site and its historical context whilst giving something back to the landscape. It shows how something that has been built for industry can also be portrayed as something beautiful and artistic. Figure 5, The Canopy 20
Viewpoint ‘Viewpoint’ is a three-dimensional form that sits on the North shore of Kielder Water; it is a representation of the viewpoint symbol on an ordinance survey map. ‘This sculpture questions existing ideas of what makes a picturesque view, offers a frame for the landscape and encourages a visitor to consider the experience of looking.’ (Viewpoints - Kielder art & architecture, no date) As discussed before, when people experience a landscape, it is all about ‘looking’. This installation takes that sense and exploits it, making it work to the best of its ability. Unlike The Canopy, this installation is about celebrating the present, admiring what is there now, creating a strong link to the environment and encourages people to engage with the striking Kielder landscape. Figure 6, Veiwoint
Freya and Robin’s Cabin ‘Freya and Robin’s Cabins’ ‘are physical manifestations of a love story embedded in the stunning landscape of Kielder Water and Forest Park’. (Design, Cook, and CMS, 2012) The two huts face each other across the lake, creating stopping places for visitors. Similarly to the other installations discussed, it is about ‘enhancing a sense of place along the Lakeside Way.’ (Design, Cook, and CMS, 2012) Studio Weave has used the landscape as a stage, a backdrop to tell a story. The designs are derived from both the characters and the surrounding areas, using locally sourced materials. Both cabins had to be beautiful whilst being practical and structurally capable of having a purpose and enduring the harsh Northumberland Weather. This idea is similar to that of a traditional folly, to place something decorative within the landscape. Sir Hugh Casson stated ‘the mark of a true folly is that it was erected to satisfy and give pleasure to the builder, and to greatly surprise the stranger.’ (Whitelaw, 2005) Figure 7, Freya’s Cabin 21
Kielder Observatory ‘Kielder Observatory’ is one of the major recent installations into the Kielder landscape. The pierlike structure is a landmark, a viewpoint and a reference to the industrial history of Kielder, whilst also providing a purpose in the modern day Kielder landscape. It encapsulates all of these factors within itself, whilst catering to Kielder’s modern day purpose as a tourist destination. In close proximity to James Turrell’s Sky Space the Black Fell area is given a new objective, exploiting the award winning dark skies. They have taken what the landscape ‘wants to be’ and put concrete things into it to enhance it’s meaning. Charles Barclay Architects used locally sourced materials within the build, ‘The Douglas fir frame and larch cladding serve as reminders of the Kielder Forest’s economic role and relate to the timber structures of the former local mining industry, pit props and trestle bridges.’ (Etherington, 2008) The whole scheme, from concept, to materiality, to function is noticeably making reference to its surroundings, making it part of the place, not simply a concrete thing obliviously placed within a site. By doing this Charles Barclay architects have made the observatory part of the landscape, using it as a tool to enrich the genius loci.
Figure 8, Kilder Observatory and Sky Space
22 Elevatiom Drawn by Megan Ingham 2015
Kielder observatory has a very basic form; an oblong structure with access and a viewing deck looking out towards the North East over the Kielder Valley. Considering Heidegger’s theories regarding the similarities between the boundaries of built space and the landscape, the observatory has taken obvious influences from the Kielder landscape. The long thin deck represents ground, the larch clad walls complement the existing horizon and the open ceilings of the viewing deck open the form to the sky.
Massing
Nodes Circulation
The openness of the observatory is an integral part of the design. Firstly, for fulfilling its purpose as an observatory, the structure needs to open out to accommodate the telescopes. Secondly, referring back to Georg Trakl’s, A Winter Evening, by opening up the North East façade Charles Barclay Architects have created a strong relationship between the inside and out, making some areas, like the entrance hard to distinguish as internal and external. The form is a compliment to the Kielder Landscape and enriches the sense of place, encouraging the user to acknowledge the landscape as part of the overall experience.
Nodes
Axis Diagrams by Megan Ingham 2015
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Energy Source Diagram by Megan Ingham 2015
The Future o f K i e l d e r.
Kielder Landscape has progressed with the times, surviving the industrial revolution, providing during the war, transforming over time and is now thriving through tourism. The observatory itself is an excellent example of a sustainable build in a natural environment, showing the use of modern technologies within the landscape. However, this is not the only way the area is continuing to move forward with strong prospects for the future. The observatory is now seen on a much wider context, broadcasting live feeds across the North East. Plans are also now in place for a planetarium to be built next to the observatory after its astounding success over the past seven years. This shows Kielder is now embracing science as well as art, using it to its advantage and making the most of what the landscape has to offer. The sustainability factor of modern day construction inspires the appreciation of the environment over the exploitation of it. Perhaps the phenomenology of place and genius loci is somehow influenced by not only what the landscape wants to be, but also by the ever-changing demands of an evolving society. Figure 9, Kielder Observatory
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Conclusion. After analysing the theory of phenomenology in architecture within the landscape, the history or Kielder and relevant movements, I consider that it is not just one thing that defines the spirit of a place. The characteristics of a place are defined by how we use and perceive it; the concrete things we put within it are capable of enhancing or manipulating this. However, you wouldn’t put an observatory where you can’t see the stars, nor would you dig a mine where there isn’t any coal; the concrete things are there for a reason. The landscape does define what it ‘wants to be’ and we as human beings take influence from every aspect of our surroundings, to add to it and encourage people to experience it. The concrete things are simply there to aid people in seeing the beauty of a place.
‘The [place] is not already there before the bridge is. Before the bridge stands, there are of course many spots along the stream that can be occupied by something. One of them proves to be a (place), and does so because of the bridge. Thus the bridge does not come first to a [place] to stand it in; rather a [place] comes into existence only by virtue of the bridge.’ Heidegger (Sharr, 2007, p. 52)
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Illustration List Kielder Art and Architecture, (no date), Plashetts Village (1890-1920), Available at: http://kielderartandarchitecture.com/art-architecture/projects/plashetts-village.html, (Accessed/downloaded: 6th November 2015) Blankendale Photographic Collection, (1948), Kielder Castle From Kielder Burn, Available at: http://communities.northumberland.gov. uk/009055FS.htm (Accessed/downloaded: 6th November 2015) Etsy, (no date), Zodiac, Large wall art, Constellation map, Gemini, 92, Available at: https://www.etsy.com/listing/150253950/zodiac-large-wall-art-constellation-map, (Accessed/downloaded: 6th November 2015) Kielder Art and Architecture, (no date), Far Colliery, Available at: http://kielderartandarchitecture.com/art-architecture/projects/plashetts-village.html, (Accessed/downloaded: 6th November 2015) Kielder Art and Architecture, (no date), Plashetts Incline, Available at: http://kielderartandarchitecture.com/art-architecture/projects/ plashetts-village.html, (Accessed/downloaded: 6th November 2015) Walter Percy Collier, (no date), Kielder Viaduct, Available at: http://www.visitkielder.com/play/history, (Accessed/downloaded: 6th November 2015) Kielder Art and Architecture, (no date), Stone and Tile Row, Available at: http://kielderartandarchitecture.com/art-architecture/projects/ plashetts-village.html, (Accessed/downloaded: 6th November 2015) Kielder Art and Architecture, (no date), Canopy, Available at: http://www.kielderartandarchitecture.com/canopy.html, (Accessed/downloaded: 6th November 2015) Kielder Art and Architecture, (no date), Shop Row, Available at: http://kielderartandarchitecture.com/art-architecture/projects/plashetts-village. html, (Accessed/downloaded: 6th November 2015) The editors of Encyclopedia Britannica, (no date), Karl Janksy, Available at: http://www.britannica.com/biography/Karl-Jansky, (Accessed/downloaded: 6th November 2015) Ruth Tittensor, (no date), 5, Available at: http://www.ruthtittensor.co.uk/blog/, (Accessed/downloaded: 6th November 2015) John Alsop, (1925), Plashetts Station Looking East, Available at: http://www.disused-stations.org.uk/p/plashetts/, (Accessed/downloaded: 6th November 2015) Walter Percy Collier, (no date), Passenger Train Steaming North to Kielder and into Scotland, Available at: http://www.visitkielder.com/play/history, (Accessed/downloaded: 6th November 2015) Instalbiz, (no date), Kielder Dam, Available at: http://www.instalbiz.com/news/1-full-news-uk-hydroelectric-power-station-project-in-teesdale_135.html, (Accessed/downloaded: 6th November 2015) Visit Kielder, (no date), Kielder Drive, Available at: http://images.visitkielder.com/news/201304A-trip-down-memory-lane-for-busy-forest-commuter/kielderdrive.jpg, (Accessed/downloaded: 6th November 2015) Chris Leachman /Alamy, (no date), Kielder Water was built to supply Teesside steel works and chemicals factories but today the reservoir sits largely unused, Available at: http://www.theguardian.com/environment/blog/2012/feb/24/water-companies-conserve-supplies-drought, (Accessed/downloaded: 6th November 2015) Kielder Art and Architecture, (no date), Earth, Wind, Fire and Water, Available at: http://kielderartandarchitecture.com/art-architecture/projects/earth-wind-fire-amp-water.html, (Accessed/downloaded: 6th November 2015) Kielder Art and Architecture, (2009), Janus Chairs, Available at: http://kielderartandarchitecture.com/art-architecture/projects/earth-wind-fireamp-water.html, (Accessed/downloaded: 6th November 2015) Kielder Art and Architecture, (1997), Skeddadle, Available at: http://kielderartandarchitecture.com/art-architecture/projects/earth-wind-fireamp-water.html, (Accessed/downloaded: 6th November 2015) Visit Kielder, (no date), Sky Space, Available at: http://images.visitkielder.com/news/201304A-trip-down-memory-lane-for-busy-forest-commuter/kielderdrive.jpg, (Accessed/downloaded: 6th November 2015) 26
Visit Kielder, (no date), Iron Panels, Available at: http://www.visitkielder.com/play/history, (Accessed/downloaded: 6th November 2015) Dezeen, (no date), Kielder Observatory, Available at: http://www.dezeen.com/2008/07/24/kielder-observatory-by-charles-barclay/, (Accessed/ downloaded: 6th November 2015) Studioweave, (no date), Freya’s Cabin, Available at: http://www.studioweave.com/projects/detail/freya-robin/, (Accessed/downloaded: 6th November 2015) Figure . Tammy (2014) Kielder forest - top scenic drive Available at: https://tammytourguide.wordpress.com/2014/05/29/kielder-forest-top-scenic-drive (Accessed: 6 January 2016). Viewpoints - Kielder art & architecture (no date) Available at: http://kielderartandarchitecture.com/art-architecture/viewpoints.html (Accessed: 6 January 2016). Sutton, B. (2014) Adventure journal – Kielder observatory, Northumberland, U.K Available at: https://adventure-journal.com/2014/10/weekend-cabin-kielder-observatory-northumberland-u-k/ (Accessed: 6 January 2016). Rolex learning centre (2010) Available at: http://openbuildings.com/buildings/kielder-observatory-profile-265 (Accessed: 6 January 2016). Jesse’s decor (2012) Available at: https://www.pinterest.com/pin/8303580534376884/ (Accessed: 6 January 2016). Daniel, B. (2013) Wind farm test masts at Kielder forest set for approval Available at: http://www.thejournal.co.uk/news/north-east-news/kielder-forest-wind-farm-test-6353017 (Accessed: 6 January 2016).
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References Barclay, C. (no date) Kielder Observatory. Available at: http://cbarchitects.co.uk (Accessed: 5 January 2016). Etherington, R. (2008) Kielder observatory by Charles Barclay architects. Available at: http://www.dezeen.com/2008/07/24/kielder-observatory-by-charles-barclay/ (Accessed: 5 January 2016). Barclay, C. (2010) I emailed Charles Barclay Architects and received documents and drawings form the project. I have used this information to inform my discussion and have cited appropriately within the text. Genius loci (no date) in Oxford Dictionary. Available at: http://www.oxforddictionaries.com/us/definition/american_english/genius-loci (Accessed: 5 January 2016). Phenomenology (no date) in Oxford Dictionary. Available at: http://www.oxforddictionaries.com/us/definition/american_english/phenomenology (Accessed: 5 January 2016). Norberg-Schulz, C. (1991) Genius Loci: Towards a Phenomenology of architecture. New York: Rizzoli International Publications. Plashetts village - Kielder art & architecture (no date) Available at: http://kielderartandarchitecture.com/art-architecture/projects/ plashetts-village.html (Accessed: 5 January 2016). Our History (no date) Available at: http://www.visitkielder.com/play/history (Accessed: 5 January 2016). The romantic sublime (2013) Available at: http://www.tate.org.uk/art/research-publications/the-sublime/the-romantic-sublime-r1109221 (Accessed: 5 January 2016). Canopy/ canopy score performances - Kielder art & architecture (no date) Available at: http://www.kielderartandarchitecture.com/canopy. html (Accessed: 5 January 2016). Viewpoints - Kielder art & architecture (no date) Available at: http://kielderartandarchitecture.com/art-architecture/viewpoints.html (Accessed: 5 January 2016). Design, Cook, R. and CMS, B. (2012) Projects. Available at: http://www.studioweave.com/projects/detail/freya-robin/ (Accessed: 5 January 2016). Sharr, A. (2007) Heidegger for architects (thinkers for architects). New York: Taylor and Francis(Routledge). Whitelaw, J. W. (2005) Follies. 2nd edn. United Kingdom: Shire Publications.
Bibliography Janaway, C., Singer, P., Tanner, M. and Scruton, R. (2001) German philosophers: Kant, Hegel, Schopenhauer, Nietzsche. Oxford: Oxford University Press, USA. Furst, L. R. (1969) Romanticism. New York: New York, Barnes & Noble [1969]. Umberger, L., Doss, E., Kohler, R. and Stone, L. (2007) Sublime spaces and visionary worlds: Built environments of vernacular artists. United States: Princeton Architectural Press. Thorlby, A. K. (1967) The romantic movement. London: Prentice Hall Press. Sharr, A. (2007) Heidegger for architects (thinkers for architects). New York: Taylor and Francis(Routledge). Norberg-Schulz, Christian. Genius loci: Towards a phenomenology of architecture. Rizzoli, 1980. Nesbitt, Kate. “The sublime and modern architecture: unmasking (an aesthetic of) abstraction.� New Literary History 26.1 (1995): 95- 110. Northumbrian Water Authority, Kielder Water: the commemorative handbook, Burrow, (1982) 28
Gussin, Graham; Northumberland County Library, Reservoir, (Northumberland): Northumberland County Li¬brary, (1996) Gaston Bachelard, the poetics of space, 1958, Peter Zumthor, Thinking Architecture Kielder Art and Architecture, (2015), Kielder Art and Architecture, Available at: http://www.kielderartandarchi¬tecture.com/history.html, (Accessed: 7th November 2015) Kielder Observatory, (2015), Kielder Observatory, Available at: http://www.kielderobservatory.org/about/, (Accessed: 7th November 2015) Charles Barclay Architects, (2015), Charles Barclay Architects, Available at: http://cbarchitects.co.uk, (Accessed: 7th November 2015) Rose Etherington, (2008), Kielder Observatory by Charles Barclay Architects, Available at: http://www.dezeen.com/2008/07/24/kielder-observatory-by-charles-barclay/, (Accessed: 7th November 2015) Will Clinton, (2012), MORE ABOUT: Kielder Observatory - Northumberland, United Kingdom, Available at: https://moreaedesign.wordpress. com/2012/01/27/more-about-kielder-observatory-northumberland-unit¬ed-kingdom/, (Accessed: 7th November 2015) ArchDaily, (2013), Kielder Observatory/ Charles Barclay Architects, Available at: http://www.archdaily.com/433232/kielder-observatory-charles-barclay-architects, (Accessed: 7th November 2015) I emailed Charles Barclay Architects and received documents and drawings form the project. I will be using these documents as a reference and will cite them appropriately in the essay. Visit Kielder, (2015), Kielder Forest and Water Park, Available at: http://www.visitkielder.com/play/history, (Ac¬cessed: 7th November 2015) History - Kielder art & architecture (no date) Available at: http://www.kielderartandarchitecture.com/history.html (Accessed: 5 January 2016). About us • Kielder observatory (no date) Available at: http://www.kielderobservatory.org/about/ (Accessed: 5 January 2016). MORE ABOUT: Kielder observatory- Northumberland, United Kingdom (2012) Available at: https://moreaedesign.wordpress.com/2012/01/27/ more-about-kielder-observatory-northumberland-united-kingdom/ (Accessed: 5 January 2016). Observatory in Northumberland (2015) Available at: http://www.detail-online.com/inspiration/observatory-in-northumberland-103364.html (Accessed: 5 January 2016). Kielder qualitative response (2015) Available at: http://sovibrant.co.uk/kielder-qualitative-response/#prettyPhoto (Accessed: 5 January 2016). Kielder observatory: A history • Kielder observatory (no date) Available at: http://www.kielderobservatory.org/about/history/ (Accessed: 5 January 2016). Tourism, N. (1999) Dark sky Factsheet. Available at: http://www.visitkielder.com/play/discover/dark-skies (Accessed: 5 January 2016). Plashetts village - Kielder art & architecture (no date) Available at: http://kielderartandarchitecture.com/art-architecture/projects/plashetts-village.html (Accessed: 5 January 2016). Council, N. C. (2003) Northumberland communities - Kielder- Kielder castle from Kielder burn. Available at: http://communities.northumberland. gov.uk/009055FS.htm (Accessed: 5 January 2016). The Kielder observatory - in-house films (no date) Available at: http://www.inhousefilms.com/work/kielder-observatory/ (Accessed: 5 January 2016). Viewpoints - Kielder art & architecture (no date) Available at: http://kielderartandarchitecture.com/art-architecture/viewpoints.html (Accessed: 5 January 2016). Canopy/ canopy score performances - Kielder art & architecture (no date) Available at: http://www.kielderartandarchitecture.com/canopy.html (Accessed: 5 January 2016). Design, Cook, R. and CMS, B. (2012) Projects. Available at: http://www.studioweave.com/projects/detail/freya-robin/ (Accessed: 5 January 2016). The romantic sublime (2013) Available at: http://www.tate.org.uk/art/research-publications/the-sublime/the-romantic-sublime-r1109221 (Accessed: 5 January 2016).¬ 5. Design principles for Wayfinding (1997) Available at: http://www.ai.mit.edu/projects/infoarch/publications/mfoltz-thesis/node8.html (Accessed: 5 January 2016) 29
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