Design Report Part II by Melanie Etchart Hernandez

Inner Space.

A JOURNEY FROM ARCHAEOASTRONOMY TO PHENOMENOLOGY.

Part II

Feasibility Design Report By Melanie Etchart

Design Manifesto.-

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Building Analysis

Site Analysis

Environmental Analysis

Schedule Of Accommodation

Case Studies Greenwich Royal Observatory Interview & Kuffner Observatory

Design Precedents

Roden Crater Occidens Museum Jantar Mantar

Concept Work

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Figure Reference

Bibliography

Contents

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Building

Analysis

Moat

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idston Observatory has an irregular quadrangular shape with a fairly balanced symmetry, accentuated by the two octagonal domed towers on each side of the southern corners of the building. The northern half of the observatory housed the astronomerâ&#x20AC;&#x2122;s residence while the southern half was dedicated to the actual Observatory. The building has two levels underground, and two storeys above ground level; the domes rise above the roof level. Thanks to the geological characteristics of the site (see Environmental Analysis), it was possible to construct such a sturdy building as this out of the hard sandstone excavated from the area. A particular feature is the trench or moat, excavated to the full depth of the building. This separates all walls from the adjacent ground in order to avoid any kind of surface vibrations which would affect the functioning of the instruments housed inside (particularly the telescopes). It also prevents certain spaces from being exposed to direct sun light or winds which could alter the temperature. Maintaining the right temperature was an essential aspect in the accurate rating of chronometers. The building was designed to last for a long time and adapt well to possible changes throughout its life.

Residence Entrance

Courtyard Entrance

Stripped Plans. Not to scale.

Entrance to Observatory 6

Staircase Removed

Equatorial

Transit

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AA Three timber frame roofs define the structural grid of the building, with a flat roof on the southern half. Careful consideration must be given when proposing an expansion of the ceiling elevation: the middle roof would be the easiest to remove in order to have the smallest impact on the character of the building.

Stripped Sections. Not to scale. 9

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The Observatory was built with a high level of craftsmanship, which is very noticeable externally and internally. The external faรงades are finished with rusticated ashlar stonework and a great combination of overhanging stone eaves, cornices and consoles. The intricate decoration is better perceived when viewed from an angle. In general, the exterior of the building follows classical standards, apart from the south faรงade, which seems to have been designed under some Gothic influences. The solidity and mass of the building structure make it seem like a fort, but the number of windows transform its character into a place thoroughly connected with the landscape.

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The sandstone of the facade has a darkened look due to non-biological soiling. This has most likely been caused by deposits of airborne particles and rainfall exposure. It is proposed to carry out carefully controlled stone cleaning in order to brighten and rejuvenate the surface without being detrimental to the composition and character of the faรงade.

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A Stone wall has surrounded the Observatory and the Lighthouse since the day of construction. A gate grants access to the hill on the south west end and it remains closed to the public.

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A generous amount of large sash windows give the building certain rhythm and regularity in addition to good lighting in the interior and excellent views to the landscape during daytime. The windows are arranged with a relative sense of symmetry in most of the faรงades. The ground floor is dominated by round-headed sash windows while the first floor contains shouldered arched sash windows. Some of the frames have been removed in the southern elevation and have not been replaced. In order to follow the listing regulations, the windows will need some restoration as they have not only suffered from weathering but also from poor replacement after the damage caused by bomb blasts in WWII. 11

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Interior

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The main entrance to the residential area is through the porch in the western elevation. This gives access to a carefully decorated hall of considerable dimensions. Fine arches segment the walls, and are accompanied by carved pilasters and ornate cornices. The entrance hall leads to the staircase, with the hall at the front, the drawing room to the left and the dining room on the right. The last two are accessed through mirrored doors cutting through the second arch of the hall. The left door has been bricked up and only the right one remains, which leads to the current kitchen space. Whenever appropriate for the design, the stone wall could be exposed in the interior.

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Listed Mahogany Staircase with quatrefoil motifs rising up the strings.

All of the cellar rooms have arched brick roofs apart from the one at the southern end of the building where the floor joists are supported via two beams spanning from east to west and supported on four cast iron pillars. The sash windows in the basement provide good ventilation and allow daylight in thanks to the angled shape of the moat and the perforated 450mm cast iron grills at ground level. The basement is tanked through with asphalt and is 3.6 metres deep, while the sub-basement is 3 metres deep. Fig.35 Fig.36

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Both east and west towers are symmetrical, apart from the flooring level. The equatorial telescope was bigger and required a larger space, whilst the transit telescope occupied much less space. To compensate for the height difference, a three-step staircase was added inside the eastern dome. Both domes used to be accessible via timber staircases from the first floor, also providing access to the flat roof shortly before arriving at the domes. The original mirrored timber staircase which provided access to the Equatorial dome has been demolished and currently this space is only accessible through the roof. The Domesâ&#x20AC;&#x2122; structure is based on a framework of wood. According to the architectâ&#x20AC;&#x2122;s plans, the external faces were originally clad in copper sheet. The interior is panelled with the finest greenheart timber. Each dome could be rotated 360 degrees and had a vertical opening that would allow any desired positioning of the telescopes thanks to an elaborate combination of a metal track and wheel gear system.

Fig.45

Unfortunately, when the domes fell into disuse after the removal of the telescopes, they became prone to water ingress, which drove the building owners to cover all of the surfaces, including the openings, with roofing felt and asphalt, and windows were cut out to re-purpose the space for office use. The domes are therefore sealed and fixed and need restoring in order to recover their precious character. As mentioned previously, the eastern tower used to house the delicate transit telescope under the dome. The three storeys beneath were almost fully occupied by a solid stone column that was filled with gravel to its total height. It served as a base for the transit instrument in order to provide the greatest stability and prevent the transmission of any surface vibration. The pillar still remains intact in the basement storey but the rest of it was demolished to provide office spaces. In order to reinstall the transit telescope, the pier will need to be reconstructed.

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The meteorological hut on the roof is a later addition to Bidston Observatory; especially designed to hold meteorological instruments and the Ostler Anemometer. The observatory was one of the main weather stations in the North West. Detailed recordings were made manually on a daily basis. Fig.64 22

The graph on the right has been created based on the data sheets above. Covering a period of 34 years between 1930 and 1964 shows the number of entirely sunless days. This is relevant information in order to approximately predict the days that observations through the telescope were not possible and can be applied for future predictions.

Number of Entirely Sunless Days

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Years Fig. 65 a 23

Views from the Roof

Views to the North

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Views to the South

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Approaches and Vistas

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he Observatory sits in a privileged location surrounded by abundant trees and excellent views towards north , east, west and south. Its elevated position once made it visible from any direction, even from 3 miles away at sea. Nowadays, the building is concealed by overgrown trees located across most of the surrounding area apart from M53 side, where the drivers can gaze at the white domes from about 1.3 miles away in the west. When exploring the site by foot, the Observatory can only be seen from 0.1 miles away in the south, just after passing the ‘Direction Dial’ or from the building’s car park in the east. The building is approachable mainly by car, cycle or on foot, however, Bidston and Birkenhead North train stations are no further than a mile away. Both stations are easily accessible from Liverpool. The nearest bus stops are in Hoylake Road, 0.4 miles away. About 13 different buses stop nearby, and come from all over Birkenhead, New Brighton, Woodside, Beechwood and Liverpool.

Site Analysis

Fig.74 30

Site Analysis

the Observatory, which can be entered through the Gatehouse going underground, or through the buildingâ&#x20AC;&#x2DC;s main entrances; both available for staff, regular visitors or disabled guests.

hen studying the historical context of Bidston Observatory in relation to its location, an urgent need emerged: including the hill and the tunnels in the development of the project. This will allow visitors to reconnect with the historical background of the entire place and perceive the observatory not as an isolated object, but as embedded in a wider context

Nevertheless, as it is a public recreational space, visitors can start the exploration through any of the existing paths available, which will remain untouched by this proposal.

For this reason, two different routes of access to the building are proposed at separate locations.

In contrast to the openness of the surface, it is proposed that the principal access to Bidston Observatory is through the underground tunnels, a factor that will challenge the visitorsâ&#x20AC;&#x2122; perception of space and orientation.

Two different routes of access are proposed. A larger one, which covers most of the hill and encourages visitors to explore and wander through significant historic features of Bidston Hill, and a more direct route towards

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Suggested Route Trail Features Existing Paths Fig.75 32

The access to Tam O’Shanter’s carpark is from Boundary Road, if driving to the hill. The carpark holds an average of 20 - 30 cars.

The beginning of the journey is via King George’s Way. This path is accessible to pedestrians and cyclists from the junction between Upton Road and Boundary Road.

Explore the woods until arriving at Vyner’s Bridge, this being the safest way to cross to the other side of the hill due to the cliff leading to the road.

Stop by the Windmill and confront its dimensions and history. There is plenty of land to be explored and stunning views to be enjoyed in all directions.

After finding the Direction Dial, the Observatory becomes visible, although inaccessible. A stone wall surrounds the building and the old side gate that historically granted access remains blocked. The visitor curiously will try to find a way to gain access.

Passing the Lighthouse the visitor will again wonder where to access it. The same stone wall encloses the building and trees will block the access to the other side.

The Norse Horse Carving is not very obvious and can easily be walked over. It needs restoring and protecting from future erosion.

Finding the Sungoddess and Moongod is not an easy task. The carving also needs restoration and protection from weathering and walkers.

Next to the old Cockpit, the remains of the Ventilation shaft for the Air Raid Shelters elevate off the ground. This will be used as an access to the tunnels, which will connect directly to the Observatory cellars. 33

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Viewpoints

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The highest point of the hill offers stunning views to the horizon, where Liverpool and Wales sit, but also serves as a great location to track the sun path during the day, and the moon and stars at night.

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The Observatory can be accessed from a more direct route through Wilding Way. This is a narrow road that has no designated area for pedestrians. The road leads to a hard-standing area marked out for parking right by the Gatehouse. It slopes down from the top of the hill after the verdant lawn and mature trees by the east elevation of the building. The carpark has space enough for approximately 15 cars. The driveway also continues towards the private perimeter of the Lighthouse, and surrounds the building allowing vehicular access to all of the entrances. Access to the latter would only be allowed for deliveries or disabled visitor.

Fig.94

A set of cemented stairs break through the lawn for pedestrian access leading to the north east corner of the building. The place where the Oceanographic used to be now has a healthy lawn and is surrounded by mature trees. This could be an ideal space for an astronomical garden. The Lighthouse is privately owned, but occasionally is opened to the public. Under previous arrangements, activities within the Observatory could be linked with the Lighthouse.

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Underground Accesses

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Remains of the Ventilation Shaft. Its location will potentially be used as entrance to the tunnels for the visitors who decide to explore the hill before visiting the Observatory.

The Gatehouse by the Observatory could be rehabilitated in order to use it as an alternative entrance to the tunnel that links directly to the sub basement level of the building.

This diagram shows where the best place would be to connect the tunnels with the sub-basement. In addition, the existing emergency exit is located in the adjacent room.

Fig.104 40

Average Measurements: Tunnel Width: 2.15 m Tunnel Height: 2.5 m (including arch) Overall length (N): 153 m Overall Length (S): 74 m Overall Width (E-W): 44 m Overall Depth: 9 m

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Inside the tunnels

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Inside the tunnels

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Fallen tree branches scattered over the hill, patches of grass and gravel as islands framed by puddles of mud. The terrain is abrupt and the rocks seem to have a mind of their own, crawling over each other. Transitioning from the concrete sidewalks we are used to, you are now aware of your steps. Each one becomes an intentional choice. Step here, donâ&#x20AC;&#x2122;t step there. Look down, wonder where the ray of light comes from. Look up and watch the sun reaching through the dense treetops. Feel the warmth, keep walking. The sounds of the city are far, only birds whistle here, there and everywhere. Flapping their wings, landing in branches. Listen to the wind caressing the

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leaves, listen to the sound of every footstep, walk and wander, surrounded by the scent of the forest and the bright yellow gorse flowers. Stand on the bridge and see how the green trees feel warmer. Enjoy the composition of shadows. A reminder that civilization is not far appears between the trees. Follow the car with your gaze until it disappears again, engulfed by a sea of green. Fall back into your mind, into the contemplative consciousness of your own steps only to be brought back to reality by the immensity appearing in front of you. You could always see it from far away and knew it must be somewhere around here but you didnâ&#x20AC;&#x2122;t expect its sudden appearance...

Orbit the hills silent inhabitant, enjoy every detail, feel its surface, look up and lose yourself in its wooden vanes, which found their peace long ago. Look up to the high trees, watch the birds fly, look up to see the sun and, if you are lucky, you can see the moon as well. Take a moment. Liverpool, the sea and Wales lie at your feet, let your eyes wander over the buildings near and far, so small. Feel big, sit down, embrace. Keep walking. Find the direction dial and position yourself. Everything seems so far away!

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And there it is, the observatory. Like a fort guarding the hill it is facing the sun. It lost its purpose but not its pride. You canâ&#x20AC;&#x2122;t get there, not quite yet. Continue downhill, stare at the lighthouse, imagine being there. Look around, observe, discover. Throughout centuries, wanderers like you have left their marks on the stone. Michael, Ella, James, Norsemen worshipping the Sun goddess or a leading horse. Travel back in time again and soak up

The Spirit of the Place.

Environmental Analysis

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Weather conditions are an important aspect to be considered for the functioning of indoor and outdoor observations. The adjacent graphs show the annual average of temperatures, precipitation, rain days, wind speed and snow days throughout the year, based on historical records. Rain will be the most detrimental factor for the journey to occur. Assuming that the graph predicts the actual days of rain, it can be considered that the hill can be visited without rain at least half of the days of the month in all the months apart from summer months.

Fig.130

WINTER Sunrise: 08:27 Sunset: 15:51 Noon: 12:00 - Altitude: 13.13째

SUMMER Sunrise: 04:44 Sunset: 21:40 Noon: 12:00 - Altitude: 59.92째 Sun Path at summer and Winter Solstice.

Fig.131

Prevailing Western Winds 51

Light Pollution

Fig. 131 World night lights as seen from space in 2012

ight pollution is one of the main reasons why Bidston Observatory and many other observatories around the world became inoperable and it has limited the astronomical interest of the common citizen. Light pollution not only affects the way we perceive the night sky, but it also affects nocturnal wildlife migratory and breeding patterns; it wastes energy which implies a waste in cost and carbon footprint and last but not least, it harms human health. Many species, particularly humans, are dependent on body cycles that are regulated by light and darkness, which affects human metabolism and sleep. Artificial lighting is needed at night for obvious safety reasons; the problems is that most of the lights used outdoors have an unnecessary glare that shine towards the sky instead of the ground. Inefficient and misdirected light cause a glow in the sky that is a complete waste of energy, and blocks our vision of the night sky. There are alternative measures to reduce light pollution: - Use of motion sensor lighting. - Replacing outdoor lights with lowglare fixtures: LEDs are long lasting and inexpensive and can they light where is really needed. Particularly Amber LEDs are recommended for maintaining a minimum level of light pollution.

Fig. 132 Effect of light pollution in the night sky

Fig. 133 View from Bidston Hill at Night 52

Fig. 134 Great Britain

Figures 134 - 136 show different zooms of Great Britain’s light pollution map and effect on night sky visibility (Avex, 2010): White : 0-15 visible stars (without planets). Magenta: 25-80 visible stars. Principles constellations began to be recognizable. Red: 80-150 stars : constellations and others stars appears.

Fig. 135 England’s North-West

Orange: 150-250 stars in good conditions. Yellow: 250-500 stars. Strong light pollution but the Milky Way can appear in good conditions. Green: 500-1000 stars : far peaceful suburbs, Milky Way many times visible but very sensitive to the atmospheric conditions. Typically, the glare of light pollution take a large place in the sky and reach at 40-50° of elevation. Cyan: 1000-1500 stars. Blue: 1500-2000 stars. Night blue : 2000-3000 stars. Very good sky. The Milky Way is present and powerful. The light glares are far away and scattered, they don’t affect the sky quality.

Fig. 136 Merseyside 53

Geology of Bidston Hill sandstone

Geological Map Data ©NERC 2016. © Crown Copyright and Database Right 2016. Ordnance Survey (Digimap Licence).

Fig. 137 Map showing the Triassic Keuper sandstone in yellow 0

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Melanie Etchart Hernandez Leeds Beckett University

ising up to 70 metres above sea level, Bidston Hill is one of the highest points on the Wirral peninsula. Its elevation it’s a result of the stratification of Triassic Keuper Sandstone. This type of sedimentary rock is a weathered conglomeration of sand grains and minerals through time. Exposed to extreme heat and pressure, sandstone metamorphoses to Quartzite, a stone that is increasingly used in architecture. Triassic Sandstone can communicate a lot of information about its components and age by the look of its grains and strata, and it is also a versatile stone for construction, although it is not very resistant in extremely cold conditions. The nature of the stone results in a very abrupt landscape with irregular slopes and elevations through the hill. The soil accumulates in the lower parts of the walkways, creating puddles of mud. To be sensitive with the landscape, it is crucial to preserve the spontaneous shapes of the outcrop; therefore, if any paths are to be designed to ease the circulation through the hill, they must work in consideration with this geological feature.

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From the darkness of the unknown to the clarity of knowledge

Schedule Of Accommodation

arly concept piece exploring the process of the journey. It shows the vertical circulation within the building already defining the main activities: Question, Explore, Experiment, Analyse and Reflect.

Fig. 141

Schedule of Accommodation

he philosophy of this project is to work towards a journey that will turn visitors into explorers of their own perceptions, of the natural world that surrounds them and the human efforts to understand this world. This has to be achieved through a gradual display of elements that awake a sense of wonder, and encourage new understandings and interpretations. As explained previously, a trail through the Hill will be the perfect way to ease the explorers into a meditative state of mind that will later be challenged by a journey that starts underground and rises to the top of the building in vertical stages.

ENTRANCES: Apart from the main entrances

of the building in the west, east and south faces, two other entrances are allocated outside of the building to enable an underground access and a vertical circulation. Entrance No.1 will lead to the QUESTION space, while Entrance No. 2 will link directly to the Observatory Sub basement.

Entrance No. 1: Through the Ventilation Shaft of the Air Raid Shelters.

The entrance should become a feature in the landscape and has to be discovered in an exploratory manner. An inviting ramp should lead to the underground level. However, since the floor level difference from over ground to underground is approximately 9 meters, a staircase will be required for the rest of the decline. When possible the sunlight will be guided to the lower levels of the entrance in addition to the minimum artificial lighting required for safe transit (50 lux) The entrance must be a transitory stage between light and darkness, from day to â&#x20AC;&#x2DC;nightâ&#x20AC;&#x2122;. It will also require controlled access due to the risk of illegal trespassing or vandalism. KEYWORDS: INVITING, TRANSITION, MISTERY.

Entrance No. 2: Through the Gatehouse outside the Observatory going

underground linking to the tunnel coming from the Air Raid Shelters and leading to the Observatory Sub Basement. Since this will also be the entrance for the disabled, a lift will be incorporated. The tunnel will connect the gatehouse to the sub-basement at the same level of depth (6.5 meters underground). This Entrance will also serve as a circulation regulator to control the amount of people that access the observatory at once, considering that sub basement has limited dimensions

QUESTION:

(WWII Air Raid Shelters). Atmospheric space where the visitor will immerse in a quest for understanding the surrounding phenomena and its individual relation to it, resembling our ancestors’ emotions and questions they asked while looking at the sky. ‘Question’ is a very large net of tunnels that will become a maze-like evocative space. It will make the Explorers wonder their ‘time’ and ‘space’ perception through a feeling of disorientation. The atmosphere of the underground experience should immerse the visitor into a contemplative and curious mood. This will be achieved through: - Distortion and controlled direction of light and shadow - Vertical openings to the over ground that let natural light in and frame the sky, with seating areas to allow relaxed contemplation. - An installation based on light, reflection, alignments, motion and repetition and aided by sound. In this particular case, the following options are taken into consideration: o Sound absorbing materials o Sound reverberating materials o Reflection of light through polished surfaces, or liquids. o Use of reflective elements to increase apparent depth. o Use of mist or smoke to intensify light paths. o Movement detection / Infrared sensors triggering sounds or moving light elements. A new tunnel will be added to the existing ones, which will connect with the gatehouse also added tunnel. The depth difference between the Air Raid Shelters (9 meters) and the Observatory cellars (6.5 meters) will be compensated with an overall inclination of 0.65% from the southwest end of the Shelters to the Gatehouse underground level. KEYWORDS: UNKNOWN TERRITORY, DISTORTION, DISCOVERY, ORIENTATION, CONTEMPLATION, STAR LIGHT, ABOVE EYE LEVEL.

Fig. 143 58

Fig. 144 Eduardo Chillida. Mount Tindaya

Fig. 145. United Visual Artists. Parallel

Fig. 146 Anthony McCall. 5 Min. of Pure Sculpture

Fig. 147 United Visual Artists. Momentum

Inspiration

Fig. 148. Steven Holl. Simmons Hall 59

EXPLORE: (Sub basement and Basement)

Interactive exhibition on Archaeoastronomy and ancient peopleâ&#x20AC;&#x2122;s perception of the influence the cosmos had on them.

The three main areas of focus will be Prediction and Spirituality and Alignments. The Sub basement dimensions are not suitable for exhibition, however the space will serve for reception into the building and provide circulation space towards the upper level basement. The exhibition will spread over the basement level and will combine large display screens with individual interactive zones; encouraging visitors to individually create their own opinions over the proposed materials and keeping the connection with their inner self that has been awakened in the tunnels. They will also learn how previous civilizations used landscape and architecture alignments to track the motion of the celestial phenomena and understand the framing of the sky, which they previously experienced in the tunnels. The Prediction space will be a standard display showing the remaining ancient records of different cultures on their attempt to keep time and predict celestial events for example: Replicas of the Mayan Dresden Codex, Inca Quipu, Babylonian Clay tablets o a working replica of the Greek Antikythera Mechanism. Video display and projections of the celestial phenomena this cultures used to record: Venus and Mars retrograde motion, sun and moon eclipses, comets and asteroid showers. It will be important to project the animations above eye level, to force visitors to look up as if they were looking to the sky. Perhaps a part of the ceiling between Basement and ground floor can be opened to increase the height. The Alignments section will show and teach visitors on the ancestral efforts of arranging architecture towards celestial events (Stonehenge, Incas, Mayans): This section will require the biggest space as large models will be displayed and screening spaces will be required to display short films on Archaeoastronomy theories of alignments around the word. In addition there will be interactive models for visitors to explore the arrangement of architecture with solstices or equinoxes. Finally, in the Spirituality: Visitors can compare their identity with astrology based on ancient cultures, they can also interact with Orrerys or Armillary Spheres to visualize the planetary alignment of the day they were born, or the zodiac position in a particular day and location and how does that influence their lives according to astrology beliefs of Chinese, Babylonian or Mayan. Interactive touchscreens in individual booths for astrology readings.

Alignments Prediction Spirituality

KEYWORDS: INTERACTION, INSIGHT, IDENTITY, TIME TRAVEL.

Fig. 149

Fig. 150 Dresden Codex (6 pages) 205mm x 1850mm. Paper

Fig. 151 Quipu. 1000mm x 1500mm x 30 mm

Fig. 153 Antikythera Mechanism Replica. 500 mm x 300 mm x 200 mm

Fig. 152 Cuneiform Tablet. 150mm x 200mm x 50 mm

EXPERIMENT: (Ground Floor) Astronomical tool assembling workshop, learning through making.

Here visitors will enter a naturally lit workshop space where they can assemble early astronomical tools. The workshop will contain a series of workbenches; on each one a selection of prediction and pre-telescope astronomical observation tools will be studied and assembled. This is possible due to the simplicity of many early astronomical tools, and the space will demonstrate this aspect to the visitors. People will learn in a hands-on way, how so much could be found out about objects so far away with such simple tools. Feeling by making will bring people closer to the cosmos. This will be a place of activity and play for all ages. Virtual displays will also aid the experimentation process. Storage space will be required. Workbenches must be of at least 1000mm x 7000mm x 3000mm in order to accommodate 4 - 6 people standing comfortably. Tool boards must be accessible for all the users in one workbench without interfering the circulation of other users. Adjustable spotlights are required for precision work. Smaller work benches will be available for kids and lower workbenches with adjustable stools for people that require sitting down. A room for astronomy students and amateurs will be allocated for further research and practice of tool making, meetings and research. KEY WORDS: ACHIEVEMENT, DISCOVERY, PARTICIPATION, HANDS-ON.

Experts/ Students workspace Public Workspace

Fig. 154

Fig. 157 Quadrant. 650mm x 400mm

Fig. 155 Mural Quadrant. 1500mm x 1500mm x 150 mm

Fig. 158 Quadrant.350mm x 350mm

Fig. 156 Mechanical Orrery. 800mm x 1000mm x 1000 mm

Fig. 159 Armillary Sphere. 400mm x 600mm

ANALYSE: (First floor) Combination of standard and interactive display focused on the foundation of Astronomy as a science through star mapping and the origin of telescopes. Highlighting how astronomy gained importance by aiding navigation and the role of the Observatory within this context.

Standard of display of historical star maps and celestial globes. Display of early telescopes. All this can be digitally supported, to show functionality without a night sky. Small telescopes with different lenses can be tried to understand the difference image produced between them. Star mapping will be linked with timekeeping and navigation: Bidstonâ&#x20AC;&#x2122;s observatory original fields of interest. Virtual interactive screen to locate and map stars, visitors can recognize constellations or create their own. Astronomical records and tools originally used or created at the observatory will be displayed. A set of screens will show a Timeline with the most important facts about the life of the Observatory, highlighting its historical relevance while showing remaining instruments used for rating of chronometers, timekeeping, tidal prediction and meteorological studies. Most of the objects will be brought back from Liverpool Museums. LED Displays will Show real-time information, that we also owe to Bidstonâ&#x20AC;&#x2122;s Research - Weather, distances, Tides and Time. KEYWORDS: HISTORICAL APPRECIATION, ONE WAY CIRCULATION, BIDSTON OBSERVATORY FOUNDATIONS.

Bidston Observatory Exhibition Star maps Exhibition

Fig. 160

Fig. 161 Doodson Lege Tide predicting Machine. 1800mm x 2500 mm x 700mm

Fig. 163 Lord Kelvin Tide predicting Machine. 1800 mm x 1500 mm x 500 mm

Fig. 164 Observatory Self registering Anemometer. 1700 mm x 1000 mm

Fig. 166 Observatory’s Stereograph. 800mm x 500 mm x 400 mm

Fig. 167 Bidston Observatory’s Astronomical Regulator clock. 1000 mm x 400 mm

Fig. 162 Celestial Globe. 700mm x 450mm

Fig. 165 Bidston Observatory’s Presicion clock. 1500 mm x 400 mm

REFLECT: (Domes and Roof)

Distributed between indoor/outdoor space where the visitors feel enlightened by the knowledge they acquired. They have finally reconnected their inner self with nature and the celestial world.

Minimalist but immersive space, views to the landscape and openness to the night sky. The Visitors have the possibility to feel empowerment when opening the domes and using the telescopes to look at the stars. Both Transit and Equatorial telescope will be restored and reintroduced in the observatory. The stone pier of the transit tower will be reconstructed. The possibility to open the middle roof and remove the meteorological hut will be considered. The Ostler anemometer will be reallocated and the roof intervention will resemble its shape in order to maintain the character of the building. The Roof space offers seating areas with adequate inclination to comfortably observe the sky. Light and shadow play an important role in this space, the sky and the landscape are the protagonist, the materials used should work with this factor. Fig. 168 Transit Telescope. 1700mm x 1700mm x 1700mm

KEYWORDS: CONTEMPLATION, MEDITATION, RECONNECTION.

Fig. 169 3000mm

Equatorial Telescope. 3000mm x 1500mm x

Fig. 170

Fig. 171

Fig. 172

Inspiration 67

GENERAL SPATIAL CONSIDERATIONS:

he configuration of the spaces requires controlling the number of visitors who can access the facilities at the same time. It is estimated that no more than 30 people should be in the same station at the same time. Designating transition spaces will be fundamental in order to preserve tranquillity during the journey. The transition spaces will retain visitors to allow the following areas to be cleared. This â&#x20AC;&#x2DC;retentionâ&#x20AC;&#x2122; will be achieved by carefully planning interactivity times, and through displays of short films that will also set the mood for the following exhibition spaces. Wherever possible, a one way circulation system will be arranged. Strategies to aid this would be to locate toilets by the staircase on every level from the gatehouse to the first floor and include at least one disabled toilet in the ground floor. A cloakroom could be located in the Gatehouse and / or on the ground floor. The spiral staircase in the East tower is potentially the best option for exiting the building at the end of the journey, as the tower can be accessed from the roof, and runs all the way down to the southern end of the building. Both southern and eastern accesses to the building are ideal for exiting the building since they offer panoramic views to the southern sky and to the Liverpool skyline in the north. The Courtyard can potentially be roofed in order to connect the Coalhouse with the Main building. This new space could accommodate a small eating area and provide room for a lift. The old site of the Oceanographic is an ideal area for night sky observation. Likewise, the southern end of the building by the top of the hill offers a great clear sky and views to the horizon. This area will be particularly considered for the development of astronomical gardens or night sky viewpoints.

Fig. 173 Sketches exploring the building and accommodation of the proposed spaces.

Case Studies Greenwich Royal Observatory Vienna Observatories

Case Studies

Fig. 174

Greenwich Royal Observatory

Fig. 176

Greenwich Royal Observatory 51.4778°N, 0.0015°W London, UK

reenwich Royal Observatory was built in 1675 in order to solve the problem of calculating precise time and location during sea navigation by studying the Moon and the stars. It was designed by Sir Christopher Wren, who was an astronomer but also an architect of significant landmarks like St. Paul’s Cathedral. Built from second hand materials in an English Baroque style, the Royal Observatory was the first purpose-built scientific research facility in Britain. It was closed just after the Second World War in 1947, due to light pollution, and has since been relocated. The building has remained as a museum since then. In the 1960s, the observatory became part of the Maritime Museums, and opened to the public after renovation. “Since 2007, the new astronomy galleries and the Peter Harrison Planetarium have aimed to inspire visitors with modern discoveries in astronomy and space exploration” (National Maritime Museum, 2012, p.69).

The following images show the continuous expansion of Greenwich Observatory between 1676 and 1902. Technological development of astronomical tools demanded additional space to fit new artefacts and telescopes. Fig. 177

Fig. 178

1676

Fig. 179

1760

Fig. 180 1788

Fig. 181 1845

Fig. 182 1863

Fig. 183 1888

Fig. 184 1901

Fig. 185 1902

Fig. 186 1913â&#x20AC;&#x2122;s aerial map

he buildings that compose the Royal Observatory are:

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The Weller Astronomy Galleries - 3 main galleries Astronomy Questions, Astronomy Explore and Astronomy Inspires, plus the shop and café.

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Altazimuth Pavilion – exhibition about the Sun.

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Time and Society and Time for the Navy

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The Meridian Observatory

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Flamsteed House – Time and Longitude, Time and Greenwich, Camera Obscura, Astronomer’s Residence and Gardens and the Octagon Room (for observation).

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Peter Harrison Planetarium

Ground Floor: The Weller Astronomy Galleries

Astronomy Questions

Royal Observatory Greenwich

Astronomy Astronomy Explores Inspires Begin your journey here

Ticket Desk

Ground Floor Entrance

The Weller Astronomy Galleries

Astronomy Shop Gagarin Terrace Astronomy Café

Gallery

Lower Ground Floor: The Peter Harrison Planetarium

Peter Harrison Planetarium Take a spectacular journey through space and time (show ticket required)

Altazimuth Pavilion

Lower Ground Floor Ticket Desk The Peter Harrison Planetarium

The Royal Observatory is the historic home of British astronomy, GMT and the Prime Meridian. Established in the 17th century as the first state-funded scientific centre in Britain, it was from here that the great scientists of the time precisely mapped the stars to help navigate at sea. Centuries later, the legacy of the Royal Observatory continues to define global time zones and the Prime Meridian of the World. Walk in the footsteps of the Astronomers Royal, discover their stories, and experience the past, present and future wonders of astronomy.

Meridian Observatory The history of observing in Greenwich

Time and Society

• Meridian Line Stand aside the world-famous Meridian Line, with one foot in each hemisphere, and take in dramatic views of London. • For families Inspire your budding space scientists with planetarium shows and hands-on fun at the Astronomy Centre, including touching a 4.5-billion-year-old asteroid. • Great Equatorial Telescope Venture inside the huge dome to see the telescope that gave astronomers new views of the Universe over 100 years ago. • Planetarium See the stars and visit distant worlds in live shows presented by expert astronomers, or spectacular cinematic shows based on the latest science.

Where next...

Ticket Desk

Great Equatorial Telescope The largest refracting telescope in the UK

Must see...

Octagon Room Christopher Wren’s magnificent observing room Astronomer’s Garden Time for the Navy

• Queen’s House Art Gallery 450m from main entrance • National Maritime Museum 400m from main entrance • Cutty Sark 950m from main entrance

Time and Longitude

Main Entrance Meridian Shop

Time and Greenwich

Meridian Line Meridian Courtyard Flamsteed House Explore where the Astronomers Royal lived and worked

Camera Obscura

Fig. 187

Key Paid areas Permanent galleries Retail, café & facilities Lifts, corridors, walkways No public access

The Weller Astronomy Galleries:

he contrast between the architecture of the building and the interior design is very impressive, and noticeable as soon as the reception space is entered. Elements of the interior (lighting, reflection, structures) drive the attention towards carefully selected items or pieces of information on display. The light is dim and the windows are darkened to reduce the access of natural light, so it feels as though you have walked into the night time. The atmosphere is very technological and futuristic and there is natural flow between the three main galleries. The first space, ‘Astronomy Inspires’ makes you question what your knowledge is about the infinite amount of elements in the universe, and suggests briefly how humans started to answer that very question. The three panel projection display almost fills a 180 degree view of video, which is very immersive. The second space is ‘Astronomy Explores’ which questions what we know about space, and how we know it, by inviting visitors to explore some of the tools used by astronomers. Keywords: Irregular – polygonal – ergonomic – minimalistic – sharp – continuous – optimising the space – condensed – interactive – graphically considered

Fig. 188-195

Each panel of information is accompanied by an interactive element. The information is easily understandable, which quickly attracts the attention of the users.

Fig. 196-203

The final space is ‘Astronomy Questions’, which brings the philosophy of the astronomers closer to the public. It is a space where you learn about what type of questions astronomers are asking, and what they are doing to find out the answers. The space is mainly filled with a big colourful double sided interactive screen. It fits about four people on each side. By moving probes across the screen, you can select information that you want to see, or the answers to the questions that have been proposed. On the top of every seat, there is a speaker that narrates the information. The sound is focused to where the person is sitting, which again, is very immersive, you feel as though you are in a capsule. It is also easier to achieve this feeling through the darkness of the room. The seats are clamped onto some rails, so they can be easily arranged– you can interact with screen individually or in groups, and the screen will adapt to the seating layout.

Fig. 204-210

The space is fairly small, but by being so interactive, and the amount of information learnt over a short space of time, it makes you feel very invigorated and inspired, which is then accentuated on the way to the planetarium on the Lower Ground floor by crossing the temporary exhibition space filled with Astro-photography. This is an impressive collection of astronomical phenomena captured by people from all over the world, in a multi layered display that combines still images on light boxes and interactive touchscreens distributed irregularly around the square space. All these images serve to prepare the visitors for what they are about to see in the planetarium.

Fig. 211-217

Fig. 219

The Peter Harrison Planetarium

was added in 2007. It was built following astronomical coordinates and planes, defined by the stars and ellipses – specific to its location in Greenwich. The truncated bronze cone covering the dome its one of the “single largest uses of bronze in the world”. (Exhibition panel at Greenwich Observatory) Three 45 minutes sessions a day with a presenter providing a live show, using two projectors on each side of the dome, give life to the planetarium. The shows are designed to entertain different audiences – both children and adults. It also is used as a cinema on selected dates, displaying space related films. The materials and finishes of the interior are modern, sophisticated and minimalistic, with a textured touch given by the individually lit wooden slats that surround the circumference of the interior of the dome. There is a marked contrast between the light materials of the interior, and the heavy bronze structure of the exterior architecture. The seats are reclinable, all facing in the same direction. The one way arrangement of the seats made it difficult for those in the first row to see the back of the dome. The projection of the sky in the dome extends the space infinitely, when at first instance it appears to be rather small. This feeling of infinity of space is amplified by a very mind opening and inspiring show, driving a craving for more knowledge and understanding; to the point where a feeling of disorientation and disappointment comes with the return to reality when the space is lit again.

Fig. 218

The Astronomy Galleries, like the rest of the observatory, have a very good use of narrative and circulation. Every space has a very defined journey through it that informs, educates and inspires the public, while following a chronological and natural order of events or experiences.

Fig. 220 80

Fig. 221 Fig. 224

Fig. 222

Fig. 223

Fig. 225

Fig. 226

Fig. 227

Fig. 228

Fig. 229 81

he curiosity that was cultivated in the Astronomy Galleries follows the visitor all the way to the following galleries: The Altazimuth Pavilion, Time for the Navy, The Astronomy Garden, The Meridian Observatory and The Flamsteed House. These galleries hold a detailed exhibition of the historical progression of inventions in astronomy, navigation and time keeping. The journeys through the spaces are still very fluid but they are not as interactive as before. They gradually help the visitor to understand why astronomy is so related to our need to locate ourselves; not just in context with the rest of the earth, but also within the rest of the universe, and to also determine a time keeping system effective enough to be used internationally. The problem of sea navigation is addressed in its historical context, and the display demonstrates the attempts of inventors and scientists to come to a practical solution: defining longitude. The Meridian Observatory was originally a place for astronomers to observe and map stars. The extensive display shows a series of telescopes and astronomical tools aligned on a meridian, allowing accurate and repeated observations on heavenly bodies as they appear to revolve around the celestial pole over the course of the night.

Fig. 230-238

The first space ever used for observation within the building, later extended with the addition of new acquisitions, is the room housing the wall quadrant used by the first Astronomer Royal Flamsteed. The first recorded observation was made 1689 and the last on 1719. In total, over 28,000 observations were made with the instrument providing much of the data needed for a catalogue of 2935 stars.

83 Fig. 240

Fig. 239

Fig. 241

Fig. 242-244 Unlike the Equator (Latitude 0º0’00’’), the natural line that separates southern and northern hemispheres, there is no line that separates east from west. Until 1884, the location of this line varied, ‘In 1884 the Prime Meridian was defined by the position of the large ‘Transit Circle’ telescope in the Observatory’s Meridian

Observatory. The transit circle was built by Sir George Biddell Airy, the 7th Astronomer Royal, in 1850’ (The Royal Museums Greenwich, 2015, p.1). This line became internationally accepted and became the convention reference for mapping and charting.

Fig. 245

Prime meridian of the world, Longitude 0º00’00’’. The Royal Observatory became the home of the

The Time and Longitude Gallery,

held in Flamsteed House, also has a one way circulation system that poses an initial question: “Where are we?” The exhibition displays work that aimed to develop an effective response to the question. It progressively educates you in the inventions that led to that response through interactive activities and displays, explaining how important it was to define longitude lines and transport watches for sea navigation. Since most of the time keepers were ineffective at sea, it was important that the crew understood astronomy, because being able to observe the

planets, particularly Jupiter and its moons, which was always in the night sky, allowed them to calculate an approximate location. The problem was that it was hard to get a steady sight using a telescope on a moving ship, so different civilisations tried to invent artefacts to try to tackle this issue, for instance the Astrolabe, the Armillary sphere, the compass and chronometer. This was the main reason for Greenwich to be built, to try to tackle this issue as well. It came up with two successful options: The Astronomical Method: or Lunar-distance method, which allows the calculation of longitude with the use of accurate celestial maps and charts with records of predicted positions of celestial references like the moon of a long period of time. The Timekeeping Method: By knowing the variation in local time between two places on earth the distance in longitude could be known, since the earth rotates 360º a day, that is, 15º an hour. Greenwich also tackled the issue of carrying ‘home’ time in the ship, inventing the first sea chronometer.

Fig. 246-49

Fig. 250-58

Fig. 259

The Great Equatorial Telescope Installed in 1893, the Great Equatorial Telescope has a 28 inch lens that took 8 years to polish. It served to observe double stars, starlight analysis and space photography. Its the largest of its kind in England, and at the time, one of the largest in Europe, improving Greenwich international standard and reputation. Fig. 260

Fig. 262

Fig. 261

Christopher Wrenâ&#x20AC;&#x2122;s Octagon Room One of the few remaining interiors designed by Wren in London. The room located at Flamsteed House, houses a selection of time pieces and astronomical instruments. The large windows offer stunning views to the park, the City and the river Thames. The space is hirable for private events.

Fig. 266

Fig. 263-265

Altazimuth Pavilion Named after the instruments it housed originally to measure Altitude and Azimuth, currently hosts an exhibition about the Sun in the ground floor. Historic instruments are still kept in the upper floor, occasionally open to the public.

Fig. 267-270

Time for the Navy Located where originally Royal Navy Chronometers were tested and rated, this small gallery shows an extensive collection of these instruments, used on many ships which explored, traded, patrolled and fought all over the worldâ&#x20AC;&#x2122;s oceans.

Fig. 271-275

Fig. 276-84

Multiple Sundials and historic telescopes are on display on the Astronomical gardens. When the weather is good, different astronomy societies organize sun observations in this area. This space was designed by Flamsteed.

Astronomical Gardens 90

Time Ball The Time Ball has operated since 1833, every day at 1pm. Being one of the first public time signal broadcast in the world, it would be extremely useful for navigators on ships in the Thames and London docks. Sea captains about to sail could rate their chronometers precisely. A personal time keeper or watch was very expensive at the time, so the time ball would also serve as a time reference for the citizens of London. It was originally manually operated, eventually it was mechanically dropped with a time regulator.

Fig. 285

Fig. 286

Fig. 287 91

Fig. 288

Large symmetric windows provide the Octagon room with stunning views to the park and London Skyline. These windows were originally designed by Wren to give Flamsteed accessibility to look through his small telescopes and quadrant, unfortunately difficult weather situations and light pollution now make this task difficult with the allocated instruments.

The journey from the Meridian Observatory to the Great Equatorial Telescope Building through the small balcony offers an unexpected and impressive view of the Observatory buildingâ&#x20AC;&#x2122;s roofs and the city of London in the background. It also plays an important role in the carefully designed circulation since it provides a sense of openness and light before crossing the narrow door that accesses the dome and the immensity and articulation of the telescope shocks the visitor.

Fig. 292 Fig. 291

Fig. 289-290

92 Fig. 299

Fig. 293 Fig. 294

Various sites were considered for the construction of the Observatory. Although, when Wren proposed the ruins of Greenwich Castle, the decision was taken without hesitation. This site offered solid foundations that could be rescued, and a Royal park location, on high ground, away from London’s smoke, but accessible and visible from river or road.

Views, Vistas, Approaches

Fig. 296-298

Fig. 295

‘Maritime Greenwich is a UNESCO World Heritage Site, and its grand views and architecture are the result of centuries of construction and changing uses. Climb to the top of the hill in Greenwich Park and outside the Royal Observatory you will find a fantastic viewpoint in front of the statue of General Wolfe.’(RMG, 2011)

Context

Maze Hill Station (7-minute walk from here)

Entrance

The Royal Greenwich Observatory is surrounded by significant museums as described in the image. Likewise, Greenwich University and Greenwich market can be found in the surrounding area. This compact arrangement of intellectual hotspots attracts tourists from all over the world.

(River boat terminal)

Royal Museums Greenwich out exploring four world-cl heart of spectacular maritim Entrance

Royal Observatory Greenwich

Discover and futur astronom of time. T journey t historic h astronom Prime Me how grea mapped

National Maritime Museum

Experien largest m filled with stories of and ende Discover and trailfierce bat shipwrec and ordin

The Queenâ&#x20AC;&#x2122;s House Art Gallery

Discover art collec the histo of the 17t Queenâ&#x20AC;&#x2122;s the retrea queen, H and one o importan English a

Cutty Sark

Venture a beneath Cutty Sar surviving the fastes of her tim adventur and her c cargo spa

Entrance

Greenwich Station (7-minute walk from here)

DLR Cutty Sark (3-minute walk from Cutty Sark)

Fig. 299

Planetarium Vienna Kuffner Observatory

Fig. 300 X

Planetarium Vienna & Kuffner Observatory 48.2125째 N, 16.2911째 E Vienna, Austria

he Planetarium Vienna was the first astronomical Institution in Austria that I visited to find out more about the strategies used to educate people about astronomy. Hannes Richter, responsible for program management and product development of the Vienna Observatories, kindly took some time to give me insights into this field. Furthermore he arranged a visit to Kuffner Observatory for me. My interest in this Observatory is based on its educational approach, and also because it was constructed only a couple of decades after Bidston Observatory, meaning that the technology used and field of study would be similar in both buildings. It is located on the other side of Europe, therefore it also offers me a good perspective on how the subject of astronomy and the architectural aspects related to this field have been approached in different parts of the world. I visited the facilities on two occasions; firstly I attended one of the observation sessions at night, and secondly, Markus Meixner-Schoretits, technician of the observatory, kindly received me and explained the functioning of the Observatory and its equipment to me. This Case Study is divided in three sections: - Interview with Hannes Richter - Kuffner Observatory: The Research - Kuffner Observatory: The Experience 96

Fig. 301

nterview with Hannes Richter, Program Management and Product Development of the Vienna Observatories, a part of the "Wiener Volkshochschulen".

M: One of the 2 telescopes still works, and the tidal prediction mechanisms still work and has been transferred to other tidal institutions. H: I read there has been a lot of scientific activity in the building during its life, very interesting. OK, so now that I have a better background about the observatory I can try and help you with your project. I have also arranged a meeting with Markus tomorrow in Kuffner Observatory, which will suit better as a case study, and he will be able to explain you the functioning of the instruments in place, and you will have access to some equipment that is not accessible to the public. Feel free to ask him any questions, he is an astronomer and has worked in the observatory for a long time.

he interview with Hannes was a great opportunity to explore and discuss the possibilities of educational outreach with a professional astronomer. As a Program Manager for the biggest astronomic institutions in Vienna, he has deep understanding of the common public interests in the field, and works towards a satisfactory plan to run the activities. In overall, it underlined the requirement of interactivity and immersiveness of the journey as well as the importance of a balanced use of Technology to spark the human curiosity. Here are some fragments that highlight the 2 hour interview:

M: That is great, thank you very much! H: I will focus this meeting more on the astronomy and science communication as it is my duty to organize events and coordinate the appropriate staff, but also select the message both the planetariums and the observatories (Urania and Kuffner) want to transmit and how it is achieved.

M: So my idea is to recover the building by designing an Astronomy Centre with a little twist from the conventional, concentrating on experiments and exploration from the visitors rather than the standard walk by glass boxes with old equipment and telescopes.

So your building seems very good in size, and I think you have great possibilities to do much more than we can do here.

(…) H: Is there any astronomical instrumentation still in the building?

M: Indeed, I am also considering the use of one of the largest Air Raid Shelter in the UK from the WWII, luckily, underground Bidston observatory. I also count with 2 basements and 2 floors, 2 domes, the roof, and a great green area around the building.

M: No, there is only a meteorological hut that needs to be preserved. The rest of the equipment that belonged to the building has been transferred to Liverpool World Museum and the University of Liverpool.

H: that is very interesting! You can have a lot of fun there. (…) There is a very interesting project in Garching bei München,

H: Is the equipment still functioning? Because if so, it could be transferred back to the observatory… 97

Germany, called European Southern Observatory, which is funded and established by different countries in Europe with the aim of observing the southern hemisphere sky, it has built and operated some of the largest and most technologically advanced telescopes. They have a very interesting visitor centre and a room called ‘Weltraum’ (German for Space) it’s a several stories room with glass walls where pictures of the space are projected and the nature of the materials with the projection create a very atmospheric experience. Maybe that serves as a reference or inspiration? (…) I saw your building has two domes, I think the instruments

Fig. 303

Fig. 304

that use to be in the building should be transferred from the museums back to it, but maybe using the symmetry of the architecture as a contrast between historical and new, modern technologies? I have no idea how bad the light pollution is, but I guess the observatory, like all the others is facing south? M: Yes, the domes are facing south, and its much more light polluted nowadays since the surrounding area and the vicinity to Liverpool has developed greatly since the construction of the observatory. H: I cannot give you a lot of input on the architectural side, but in the astronomical communication side, it would be interesting to show people old technology and its possibilities, for instance, showing people the planet Jupiter, with old instruments, and then contrast the observation with more modern telescopes? I mean, if money is not a limit, the installation of radio telescopes can be interesting, since these are not weather dependent on the observation. M: This is actually the main idea I want to develop in my design. In the earliest stage of the project, I was highly interested in the understanding and observation of the cosmos through ancient or more classical instruments, but eventually, I am finding more important to actually show the contrast between how astronomical knowledge has developed through history. Things like Jantar Mantar in India, or the Antikythera mechanism for example are serving of huge inspiration for me, to see how without any electronic technology, these tools have been developed to understand the stars and our position in the space. H: Well, you also have Stonehenge in England, which can be an inspiration for your landscape, lets say for example, to mark

certain positions on the land to give people the impression of ancient astronomy and also allowing the to observe different things depending on where they stand. I have no experience realizing something like this but of course it is possible.

space to create a dome rather than the other way around. So it can be an example for you to realize a planetarium in a different room instead of the domes. I think you should find balance between your philosophical approach and a more straightforward approach to get a bigger flux of people through the building, which also means, keeping it funded.

M: Indeed, I find very important to transmit this contrast, because for ancient cultures, astronomy was in some cases a religion, but mainly it has been through out history, a response for human curiosity, so the journey to the building has to respond to this curiosity and be almost emotional about it. I think starting the journey from the underground towards the top of the building is a good metaphor, from the darkness of the unknown, to the clarity of the information. When I visited the planetarium and the observatory myself, I experienced a strong feeling of questioning our place in the space, our existence, I was awed by time and size proportions, disoriented when there was scaled comparisons of the earth with other planets, and our sun with other stars.

(…) I think the location of your building can be accessible from cities like Liverpool and Manchester, which have big universities and astronomy societies that can also make use of the building in a more expertise way. M: Exactly, I have contacted few astronomy societies around the area and they seem really interested about the project too, I think is a good idea to also provide space for them to use freely, a learning and research facility.

H: This is something that can be included, it depends if you have room enough to build it, but we had some installation going on last year in a square open air in Vienna, it was like a ‘Planet Road’ where we placed scaled versions of the planets, starting from the closest to the sun. We had experiments in every station and telescopes, lets say for example, with had a little camera where to watch the faces of Venus, like the faces of the Moon. You could maybe consider doing it in a larger scale; lets say the universe rather than the solar system.

H: In some point we wanted to open talks for a more enthusiastic crowd, a bit more expertise type of talks, that go a bit beyond the basic astronomy understanding. Not many people attended, the fact is that people just want to look through the telescope; they want to interact with the tools. So we had to plan this visits, weather dependent though. That means, we let people reserve for weekly observations, but if the weather is not good, we communicate though Facebook or email. You should have fixed kids activities, because kids are happy with everything, they will keep the numbers up. It is good for them to explore, play with things, and not look things in boxes. But for adults, you will be more weather dependent if you want people to look through the telescopes. Things like a Radio Telescope, will allow you to make observations without depending on the weather.

I was also wondering, what king of audience you want to attract? Because we do a lot of different formats to deal with different crowd. We start with preschool but we try to cover all ages in our programs. Are you interested to be more a science centre, as in for more experts or enthusiastic? M: I was thinking it should cover all ages, although I will be more focused on amateurs and enthusiastic who also want their children to be educated in the field from an early stage. The original philosophy was to stay away a bit from the ‘conventional’ science centre where families or schools take children but more to have an insight almost ritualistically of astronomy and the philosophy/curiosity behind it. I want to provide a more inspirational type of experience.

M: That’s how I thought to tackle the issue of the weather, letting people make instruments, experiment in the making, and not just on the observing. H: Yes, that is very good… I don’t have experience with this but I think it would be good to look into that. M: Regarding the planetarium, are there any improvements you think could be made here?

H: I understand. In this case you would need a more expertise approach. More importantly when it comes to the making of tools and experimenting. These things obviously need to be done with extreme precision in order to function correctly. You would need workshops, lectures…

H: Well, we have one of the best star projectors in the world, but the truth is that to have an optimum display, about 8 projectors are needed and we have only 3. The future of planetariums is no star projectors but a Full Dome projection, which means, the dome itself is composed of screens on high definition then the possibilities are endless. We focus in the star projections and live communication with the visitors. The problem with places that hold full dome projection is that they tend to focus on the animation and special effects, but the astronomical message gets lost, the communication is different. In the end, you need to tell the people a story, that’s how it should work. In the end of the day, the planetarium should be a small part only, considering how much possibilities you have in the building. The focus should be on the experimentation, hands on, because that way people engage better.

M: Yes, I am actually trying to learn myself how some of these ancient tools work, and considering the possibility of building them myself, tools that can be built with basic technology like laser cut machines, and an understanding of their operational system, that help to predict the movement of the planets, our the relation of the earth and constellations for instance. (…) H: It can be interesting for you too look at the natural history museum in Vienna, they have a Dome Cinema, I don’t like to call it a planetarium because they are our competitors, but they have some projectors in the dome, but the dome is inside the building, so you can see how they adapted the

where it can be pointed out the contrast between how the sky really is and how we see it, because of, for instance, light pollution.

M: Definitely. Actually, that was one of my first impressions when I left the Planetarium, as soon as I walked out; I felt the urge to look at the sky. After the display, I wanted to explore what did I see, what could I recognize, I wanted to play with something, keep discovering. And in the observatory, when the instructors started pulling the ropes to open the gate of the dome, the sound of the gears, and the feeling or disorientation when the domes and the telescope started to rotate…. I felt the goose bumps. There is something magic about all this ‘ritual’ of coordinating the mechanisms in order to look through a little glass in a massive artefact, to eventually, see the light of some stars. I felt inspired, I felt awed. I wanted to move things, rotate, pull, look, and then, remain in silence, just observe. The experience was so powerful.

H: That is a really good approach, but what if the weather isn’t very good? M: I was thinking about that… One of the plans I have in mind is to open up the roof of Bidston Observatory, and make an extension that can be see through. The building is located in the top of a hill so the views are great also. H: Excellent. I think your meeting tomorrow with the Kuffner Observatory technician, Markus, will be very helpful. You can ask him any questions about the instruments in the observatory and the building.

H: This is something we lack actually. When people leave the building, we give them a folder with some background information for example. I was thinking we need an app that not only allow people to book tickets, but also have a more interactive use of the information we are giving them here in the planetarium or in the observatory.

M: Thank you very much for arranging the meeting. (…)

M: I was thinking even some use of the outside area… I mean, making use of all the space available in one session, lets say after the show inside the planetarium, to be guided as a visitor to some other activities that are related to the show in other parts of the building, ending the journey outside,

Fig. 305 100

Kuffner Observatory: The Research

ocated in Austria’s capital, Kuffner Observatory was built in 1886 by Franz von Neumann, a renowned architect in the city. It sits in the west of the city, on the slope of the Gallitzinberg at a 302m altitude. It was originally a private research institution where great investment was given in order to acquire the best equipment. The research carried out in Kuffner made it one of the most important observatories of the AustroHungarian Empire at the end of the 19th Century. The onset of World War I affected the Kuffner family’s economic situation, who owned the building, and by 1915 the observatory had to close. During the Second World War, the Kuffner family migrated to Switzerland since they were of the Jewish faith. At this point, the observatory was expropriated by the Nazis and used for political party purposes.

Fig. 306

After the turmoil of both World Wars, the Observatory was transferred back to the Kuffner family and reopened as an institute of public education. It was later sold to a cooperative, and in the late 1980’s it was purchased by the City of Vienna, meaning that the building was renovated, maintaining its original character. Unfortunately the rapid development of the city and the surrounding district caused a critical increase of the light pollution to a degree that severely obstructed scientific night sky observations. Fig. 307

Today Kuffner Sternwarte* (*German for Observatory) focuses on public education in Astronomy in conjunction with Vienna’s Urania Sternwarte and Vienna’s Planetarium. These three organizations are part of Wiener Volkshochschulen, Vienna’s Adult Education Centre. The Observatory preserves an extensive amount of precious historical equipment for research, often accessible to the public. Currently minor projects in scientific astronomy are carried out, while public observations only take place whenever there is clear sky. The Observatory faces south and sits within a dense residential area. To the west, Vienna’s sixth largest cemetery can be found. The building can be approached by foot, bus and car, although there is no designated parking space for it.

Fig. 308

The Observatory was originally composed of three buildings: two research buildings and the Astronomer’s House. The latter is now occupied by a kindergarten which is accessed though the Observatory Yard, and now inaccessible from interior of the Observatory. Paved paths and amber LED lights integrated into the ground define the circulation through the front garden, connecting the main entrance gate and the two buildings. Amber LED lights allow visibility whilst causing minimum light pollution.

Fig. 309 101

Highly crafted windows, cornices and dark timber frames adorn the yellowish brickwork faĂ§ade. The meridian aperture on the western end breaks the symmetrical cross shape of the building. The interior is plastered and the ceilings are coffered with treated timber. Forged iron and mahogany-like timber are the predominant materials woven through every detail: doors and windows handles and hinges, staircase handrail and guards. Delicate brass plates on each door introduce the roomâ&#x20AC;&#x2122;s function. The main entrance facing south has stained glass windows that colourfully illuminate the reception during the day.

Fig. 310-320

The lighting is minimal and delicate, avoiding contact with the coffered ceiling. A brick pier rises from the building foundations towards the floor level of the dome where the Heliometer Instrument sits. There are small openings all over the structure to allow ventilation and maintain the temperature. No structure or floor is in contact with it, to avoid transmitting vibration to the instrument and altering its accuracy.

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The Meridian Circle The west end of the building holds the Meridian Circle, a similar instrument to the Transit Telescope. It is accurately aligned with the meridian. The astronomer used to measure the transit of the stars 20-30 times a night. Every observation was recorded manually. The instrument is kept in a made-to-measure timber and glass box, and the vertical hatch in the wall is opened with a wheel rotating system.

The Main Building holds most of the historical instruments, and this is where the public observations take place. A good number of rooms in this building are used as offices.

Main Buildingâ&#x20AC;&#x2122;s Dome

Fig. 321-333

The Great Refractor Telescope is the instrument used for public observations. Its main function is to study the stars due to its high level of magnification. It was acquired in 1896 in Munich from the manufacturers Steinheil, although it was designed by Repsold and Sons in Hamburg.

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Fig. 334-342

Heliometer building:

The current access to the building has been recently added; the original access was through the Astronomer’s House but this has now been blocked to restrict access from the kindergarten. The main entrance has been designed to fit the original building’s look and quality of materials. The basement floor of the Heliometer building serves as a reception for public observations. The host introduces the stars that will be observed during the session and displays background astronomical information that sets the mood and aims to provoke curiosity. The presentation is aided through a projection on a screen. This space has a capacity of approximately 80 people. The room is also hired out for meetings, lectures and conferences. Adequate ventilation has been carefully considered throughout the building to avoid damp and prevent damage to the building and instruments. The first floor is occupied by a circular library, carefully decorated with shelves and cabinets manufactured with the same finish as the ceiling. A second door, also built with treated timber with a mahogany-like finish leads to a small balcony that offers stunning views to the main building and the front garden. A spiral staircase leads to the dome, where the Heliometer* Instrument is kept. According to Markus, the instrument was used to measure star distances. The Astronomer’s chair in the room is the original designed by the architect in 1886; a metal rail in a circular shape has been integrated in the timber floor to allow the pulley-system-based chair structure to move around without much friction.

Heliometer:

“telescope in which the objective lens is cut along its diameter into two halves that can be moved independently. This produces two separate images of an object. In the case of two stars, the distance the lenses must be moved in order to superimpose the two images together can be used to derive their angular separation or parallax. In the case of the Sun, the distance at which the two images of the Sun touch can be used to derive its diameter.” (Encyclopaedia Britannica, 2016) 104

Fig. 343-350

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The Experience

Fig. 351

The Telescope to be used that night was located in the main building, so we had to exit the Heliometer building and cross the front garden in the dark to access it. This was a good opportunity to check the sky before the observation, and make sense of what had just been explained.

fter living in heavily light-polluted cities for over 15 years, as many other people do, I was disconnected from the night sky. I have always had a certain interest in astronomy, but the observation experience at Kuffner Sternwarte was mind opening from beginning to end. My personal emotional response throughout the entire journey became one of the biggest drivers for the development of this project.

The way to the main building’s dome was through a spiral staircase around the telescope pier. In total there were 10 people, from lone enthusiasts, to couples, from kids to seniors… ten faces full of Curiosity.

The visitors are received in the basement floor of the Heliometer building, where a 15-minute introduction takes place. Aided with a screen projection of a computerized simulation of the live night sky, the host contrasts the location’s night sky without light pollution and then what we can actually see. The scale of the Earth and the Solar System are also compared with other celestial objects. This generated rather overwhelming thoughts, triggering feelings of intimidation mixed with inspiration. A couple of stars, a galaxy and the Moon were the subjects of observation that night. Finally, Joe (the host) talked us through some technical details about each celestial object, and then took us to the Dome.

The entrance to the Dome is covered by a heavy hatch at the end of the staircase, becoming part of the dome floor when closed. The light is dim, the room is cold, and the telescope is astonishing: the materials, the intricacy, the dimensions… Joe explains the procedure while his assistant starts pulling the rope that activates the gears and opens the roof incision of the dome. The host is explaining what needs to be done to align the telescope with the object to be observed, but all I

106

can hear is the friction of the roof opening, and my eyes can’t stop looking at the dozens of gears working with each other. It seems that not only did we lose our connection to the night sky, but as children of the digital age we are no longer used to such large scale mechanical operations and a physicality which involves more than the swipe of a fingertip. Once the roof is opened they commence articulating different parts of the telescopes, select the appropriate lenses; measure, adjust, move, measure, adjust, move; set. The light goes off. It takes some time for my eyes to adjust to the darkness, a time where curiosity and excitement keeps building up thanks to the enthusiastic talk coming from the host. Everything is ready; we all discretely queue to be the first. The chair and its rather unique moveable frame are adjusted, and the first person takes a seat. It takes a couple of attempts to position the eye in the viewer, and immediately, a deep silence drowns the room. I can’t wait, it’s my turn. I am very excited, scared and nervous. I sit, I don’t adjust my chair, my position is very awkward, I don’t want to waste any second. I place my eye in the viewer and hold my breath, my head is muted, my thoughts fade away, time does not exist. I just want to stay there forever, looking at every little crater, understanding every shadow, fascinated with the perfection of the glowing sphere that we call Moon. It was not merely the images we saw through the telescope. It was the whole idea behind it, the knowledge that we are right here right now looking at an object so far away, that it exceeds our imagination. This is something no special effect, no software, no digital simulation can achieve. Every time a new object was to be observed, the telescope had to be adjusted, the dome had to be rotated. It was not science; it was a ritual. We were all absorbed into silence, every single time and none of the procedures lost any of their fascination.

Fig. 352-354

The observation is unfortunately over and like at a great concert I want to ask for one more song. Pulling ropes to work large-scale mechanisms, looking through analogue lenses to get a real image... Nothing is processed, nothing is simulated. It appeals to parts of our human nature that aren’t addressed by today’s technology. A haptic truism that makes it a spiritual experience.

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Design Precedents

Roden Crater Occidens Museum Jantar Mantar

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Roden Crater, By James Turrell

Arizona Painted Desert, USA 35°25’33.10”N, 111°15’31.71”W

ames Turrell is an artist whose background include years of research into human visual and psychological perception. His work has always dealt with light, mostly artificial in interior spaces. Although his numerous “Skyspaces” placed in different international locations, (including Yorkshire Sculpture Park) already deal with natural light and sky framing, Roden Crater, the “Magnus Opus” of his work, originated in his interest with working in large scale with natural light, particularly star light and moon light. Located in Arizona’s Painted Desert, James Turrell has been working in this architectural light/art installation since 1977.

One of the conceptual drives for “Inner Space”, particularly at the underground tunnels, is to create a controlled atmosphere that naturally encourages the contemplation of light through a journey that questions perception. In this scenario, James Turrell work offers the best inspiration material.

“My desire is to set up a situation to which I take you and let you see. It becomes your experience.”

Fig. 355-357 James Turrell’s Skyspaces

(Turrell, 2012)

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Fig. 359

oden Crater is composed by a set of tunnels and apertures that work in harmony with the landscape. The tunnels conduct light, while the apertures capture the light from the sun, moon and stars. This idea refers back to naked eye observatories dating of ancient times, like Mayan, Incas or the Indian Jantar Mantar. In fact, Turrell has studied carefully these monuments and adapted essential features into his design. He was also assisted by noted astronomers to help him calculate the excavation locations and alignments of the tunnels and apertures. The alignments will cover from familiar celestial events like solstices to more esoteric events.

Fig. 360

Fig. 358

Fig. 361 110

Fig. 362

111

Fig. 363

Fig. 364

A highlight of the spectacular design of the crater is the connection between the East Portal, The Alpha (east) tunnel and the Sun/Moon Chamber. Together they work as a Camera Obscura or Pin hole camera. The east tunnel becomes a monumental Refractor telescope that can be walked into. An interesting feature about how this monument plays with perception occurs in the East space. While accessed through the East Tunnel, the circular shape that appears at the end of the tunnel at the East Portal becomes an ellipse the closer it is approached. The light from the Sun and Moon travels all the way from the East Portal through the Alpha tunnel and arriving to the Sun/Moon chamber, where the image is displayed in the large basalt triangular wall with a white marble circle that becomes the â&#x20AC;&#x153;image stoneâ&#x20AC;?. Many celestial events are visible in this wall, in a daily to yearly basis; for example, one of the solstices. Fig. 365-367 Sun Light aligning with the Image stone 112

Fig. 368-374 113

Platforms throughout the space are designed to provide comfort to the viewers of the sky. â&#x20AC;&#x153;For the effect of the celestial vaulting a flat pavement around the outside perimeter of the chamber is designed to have four stone reclining benches with headrests to help viewers find the best positions for lying down and observing the sky.â&#x20AC;? (Hapgood, 1987)

Fig. 375

Fig. 376

Fig. 377

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Fig. 378-380

When complete, the project will contain 21 viewing spaces and six tunnels, each dedicated to the observation and experience of specific atmospheric phenomena.

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Occidens Museum by Vaillo + Irigaray Pamplona’s Cathedral, Spain 42°49’10.98”N, 1°38’27.76”W

“OCCIDENS is not an exhibition; it’s a reflection about the West. West is neither a civilization nor a geography, but a mental territory. The Museum is conceived as a narrative project closer to a cinematographic discipline than to the conventional schemes of the museum through a discourse deployed through different frames and different reading levels: signs, images, objects, sounds, text, projections, codes, smells and atmospheres.” (Vaillo and Irigaray, 2012)

he Occidens Museum is built inside the Pamplona’s Cathedral complex in the north of Spain. 12 rooms spread in 4500m2 explore the origins of the West. The cathedral has archaeological remains “dating between centuries II. C. and VIII d. C., and Romanesque and Gothic constructions” (BMIAA, 2015); a challenging context to create a unified atmosphere which suits every age in the exhibition. This is an important aspect that has attracted my attention since “Inner Space” deals with the exhibition of elements of different times in history.

Fig. 381-383

The way Vaillo and Irigaray has achieved a homogeneous design is through the use of the uniform language created by a black steel structure that is first sighted in the inviting main entrance. The same material is used as a defined walkway, the shaping of benches, lamps and exhibition stands. The old architecture in terms of shape colour and texture is highlighted by the dark tones and smooth surface of the new insertion. The walkway appears to float without touching the historic footprints, also aided by hidden lighting under the platform. It is a rather light structure, being only 10mm thick. According to the architects, the use of faint music backs the atmospheric journey.

116

The Drilled text in the walkway explain while lighting, guiding and giving content to the journey; resulting in a great way to drag visitors attention to the ground. This is an important factor for this project, since I aim to design an exhibition where the focus of attention will be gradually going from the ground to the sky as each floor is approached.

Fig. 384-389

Finally, the use of rough gravel alongside the walkway adds a level of depth and gives contrast to the space juxtaposed with the smooth finish of the steel. At â&#x20AC;&#x2DC;Inner Spaceâ&#x20AC;&#x2122;, gravel will be used in a similar way, in this case to soften the transaction between the landscape and the interior at basement levels.

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Jantar Mantar

by Rajput king Sawai Jai Singh Jaipur, India 26°55’28.88”N, 75°49’28.44”E

antar Mantar can be considered one of the biggest naked eye observatories in the world. It is located in Jaipur, India; and despite its modern appearance its construction dates of the 18th century. It also holds the status of a UNESCO world heritage site (Unesco world heritage centre, 2016) It includes the largest stone sundial in the world alongside 20 other unique fixed instruments. Each element of the observatory has been carefully designed in consideration of particular celestial phenomena for different reasons, for instance to indicate the apparent solar time or local time of a place. “On a clear day, as the sun journeys from east to west, the shadow of the Samrat gnomon sweeps the quadrant scales below from one end to the other. At a given moment, the time is indicated by the shadow’s edge on a quadrant scale “(M. Zaki, 2013) The aesthetic characteristics of this temple of astronomy appear timeless, and the dimensions of the structures are overwhelming. The fascination for Jantar Mantar comes from it being a walkable manifestation of astronomical events. The forms and deliberate shapes of the structures are of great inspiration for possible interventions in Bidston hill’s sandstone outcrop.

Fig. 390 a- e

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119

Concept Work

120

Site Combine

A highlight of the most important elements of Bidston Observatory and Bidston Hill: Its construction with the stone excavated from the site, its visibility from the sea and Liverpool port, its topography and the connection with the sky.

121

122

Mashup Concept

Concept piece studying the emotional attribute of the different spaces and functions. To be read from bottom to top, every sphere represents the immersive and envolvent feeling each space should induce. Floating spherical shapes are chosen in order to break with the rigid cellularity of the quadrangular building. The gradient from darkness to light is a philosophy that emerged in the project in a very early stage, and adapts strongly to the emotional response of the learning experience. The four selected spaces are: Question, Explore, Experiment and Reflect. The emotional responses corresponding to each space have been layed out in the previous pages.

Conceptual studies of light and shadow. 123

Wearable Concept This wearable is inspired by the Armillary Sphere An object that is usually looked at from the outside as part of a science where distances are a minimum of a light year. This concept is reducing the distance between the human and the science itself. The point of view changes, the onlooker becomes an â&#x20AC;&#x153;inlookerâ&#x20AC;?, drawn straight into the matter.

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Figure Reference

Part II. Figures: 1: J. C. Sheridan (1976) Bidston Observatory Plans [image]. 2: Wright Associates, (2013). Bidston Observatory Plans. [Image courtesy of author]. 3-13: Etchart, M. (2016) Own Image: Bidston Observatory Exterior [Photograph]. 14: Pickles, S. (2012). Bidston Observatory Inspection. [Image courtesy of author]. 15-17: Etchart, M. (2016) Own Image: Bidston Observatory Interior [Photograph]. 18: Wright Associates, (2013). Bidston Observatory Survey. [image courtesy of author]. 19: Pickles, S. (2012). Bidston Observatory Inspection. [image courtesy of author]. 20: Etchart, M. (2016) Own Image: Bidston Observatory Interior [Photograph]. 21: Pickles, S. (2012). Bidston Observatory Inspection. [image courtesy of author]. 22: Pickles, S. (2012). Bidston Observatory Inspection. [image courtesy of author]. 23: Pickles, S. (2012). Bidston Observatory Inspection. [image courtesy of author]. 24-27: Etchart, M. (2016) Own Image: Bidston Observatory Interior [Photograph]. 28: Pickles, S. (2012). Bidston Observatory Inspection. [image courtesy of author]. 29-33: Etchart, M. (2016) Own Image: Bidston Observatory Interior [Photograph]. 34: Etchart, M. (2016) Own Images: Original Plans of Bidston Observatory at Merseyside Maritime Museum Archives [Photograph]. 35 - 44: Pickles, S. (2012). Bidston Observatory Inspection. [Image courtesy of author]. 45: Etchart, M. (2016) Own Image: Bidston Observatory Tower Sections [Rendered Plan]. 46-54: Etchart, M. (2016) Own Image: Bidston Observatory Interior [Photograph]. 55-58: Etchart, M. (2016) Own Images: Original plans of Bidston Observatory at Merseyside Maritime Museum Archives [Photograph]. 59-63: Etchart, M. (2016) Own Image: Bidston Observatory Interior [Photograph]. 64: Etchart, M. (2016) Own Image: Bidston Observatory Roof [Photograph]. 65-67: Etchart, M. (2016) Own Images: Photographs taken of records at the Wirral Archive [Photograph]. 65a: Etchart, M (2016) Own Images: Graph based on Weather Record Photographs (65-67) [Graphic] 66-67: Etchart, M. (2016) Own Image: Bidston Observatory Roof [Photograph]. 68: Etchart, M. (2016) Own Image: Bidston Hill Approaches & Vistas [Digital Collage] 69-73: Etchart, M. (2016) Own Image: Bidston Hill Approaches [Photograph] 74: Google Earth (2016) Bidston Hill Aerial [Google Earth]. 75: Etchart, M. (2016) Own Image: Bidston Hill Routes & Paths [Digital Collage] 76-84: Etchart, M. (2016) Own Image: Bidston Hill Features [Photograph] 85: Etchart, M. (2016) Own Image: Bidston Hill Viewpoints [Digital Collage] 86-89: Etchart, M. (2016) Own Image: Bidston Hill Views [Photograph] 90a: Etchart, M. (2016) Own Image: Bidston Hill Building/Site Accesses [Digital Collage] 90-99: Etchart, M. (2016) Own Image: Bidston Hill Features [Photograph] 100: Etchart, M. (2016) Own Image: Bidston Hill Air Raid Shelter Tunnels & possible connections with the building [Digital Collage] 101-102: Etchart, M. (2016) Own Image: Bidston Hill Features [Photograph] 103: Etchart, M. (2016) Own Image: Bidston Hill possible tunnel connection with the building [Digital Collage] 104-105: Etchart, M. (2016) Own Images: Photographs taken of plans at the Wirral Archive [Photograph]. 105a: Inside the Air Raid Shelters (2008) [Online image]. Available from: <http://i1234.photobucket.com/albums/ff411/Degenotron/Bidston%20Hill%20Deep%20Shelter/Bid-30.jpg > [Accessed 14 December 2015 ] 105b: Inside the Air RAid Shelters. Ventilation Shaft (2008) [Online image]. Available from: <http://www.wikiwirral.co.uk/forums/ubbthreads.php/ubb/download/Number/10024/filename/BIDDY%20TUNNEL%20 128

145_600x450.jpg > [Accessed 14 December 2015 ] 105c: Inside the Air RAid Shelters (2008) [Online image]. Available from: <http://i1234.photobucket.com/albums/ff411/Degenotron/Bidston%20Hill%20two/BiddyTwoStack.jpg > [Accessed 14 December 2015 ] 105d:Inside the Air RAid Shelters (2008) [Online image]. Available from: < http://i185.photobucket.com/albums/x217/tyler-riley/IMG_9955.jpg > [Accessed 14 December 2015] 105e: Inside the Air RAid Shelters (2008) [Online image]. Available from: < http://farm9.staticflickr.com/8390/8551062115_457f593afe_b.jpg > [Accessed 14 December 2015] 105f: Inside the Air RAid Shelters (2008) [Online image]. Available from: < http://i770.photobucket.com/albums/xx345/ojay1234/Other/Bidston/4.jpg > [Accessed 14 December 2015 ] 105g: Inside the Air RAid Shelters (2008) [Online image]. Available from: < http://i770.photobucket.com/albums/xx345/ojay1234/Other/Bidston/3.jpg > [Accessed 14 December 2015 ] 105h: Inside the Air RAid Shelters. Emergency Exit (2008) [Online image]. Available from: < http://i770.photobucket.com/albums/xx345/ojay1234/Other/Bidston/1.jpg > [Accessed 14 December 2015 ] 106-124: Etchart, M. (2016) Own Image: Bidston Hill Features [Photograph] 125a: Google Earth (2016) Night Sky Captions [Digital Collage] 125-129: Historic Climate at Bidston Hill (2016) [Online image]. Available from: <http://www.myweather2.com/City-Town/ United-Kingdom/Wirral/Bidston-Hill/climate-profile.aspx> [Accessed 12 Feb 2016 ] 130a,b: Etchart, M. (2016) Own Image: Bidston Observatory Sunpaths & Prevailing Winds [Illustration] 131: Earth night lights from Space (2012) [Online image] Available from: <https://www.nasa.gov/sites/default/files/ images/712130main_8246931247_e60f3c09fb_o.jpg > [Accessed 3 Mar 2016] 132: Effect of light pollution in the night sky (2007) [Online image] Available from: < http://www.astrotx.com/Light%20 Pollution%20Comparison.jpg > [Accessed 28 Feb 2016] 133: View from Bidston Hill at Night(2012) [Online image]Available from: <https://farm1.staticflickr. com/96/228999695_4eea9c8b07_o.jp > [Accessed 28 Feb 2016] 134 - 136: Avex (2009) UK light pollution map. [Online image] Available at: <http://www.avex-asso.org/dossiers/ wordpress/?page_id=127> (Accessed: 26 February 2016). 137: Digimap (2016) Geology at Bidston Hill. [Online image] Available at: <http://digimap.edina.ac.uk/> (Accessed: 23 February 2016). 138-139: Etchart, M. (2016) Own Image: Bidston Hill Features [Photograph] 140: Etchart, M. (2016) Own Image: The Wirral Elevation [Illustration] 141: Etchart, M. (2016) Own Image: Process Drawing of Spaces & Functions [Illustration] 142-143: Bidston Hill Tunnels [Digital Collage] Eduardo Chillida Mount Tindaya (2012) [Online image]Available from: < https://s-media-cache-ak0.pinimg.com/564x/9a/43/ e4/9a43e4c7e1d911c36b03944795441bdb.jpg > [Accessed 1 Mar 2016] 145: United Visual Artists. Parallels(2014) [Online Image] Available from: , http://www.designboom.com/wp-content/ uploads/2014/04/MINI-UVA-parallels-designboom05.jpg> [Accessed 1 Mar 2016] 146: Anthony McCall. 5 Min. of pure Sculpture (2012) [Online image]Available from: < http://www4.pictures.zimbio.com/gi/ Anthony+McCall+Installation+Opens+Berlin+3VCe73hqjD6l.jpg > [Accessed 28 Feb 2016] 147: United Visual Artists. Momentum (2014) [Online image]Available from: < http://assets.itsnicethat.com/system/ files/022014/52fb7c855c3e3c2d1d0174ec/images_slice_large/UVA_BARBICAN_PRESS_140212_9797.jpg?1438274856 > [Accessed 21 Feb 2016] 148: Steven Holl. Simmons Hall (2012) [Online image]Available from: < http://www.coffeewithanarchitect.com/wp-content/ uploads/2010/05/SH-10.jpg > [Accessed 21 Feb 2016] 149: Etchart, M. 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(2016) Own Images: Tidal predicting instruments at Joseph Proudman Oceanographic Centre [Photograph]. 162: Etchart, M. (2016) Own Images: Globe Museum Vienna [Photograph]. 163: Etchart, M. (2016) Own Images: Tidal predicting instruments at Joseph Proudman Oceanographic Centre [Photograph]. 164-167: Etchart, M. (2016) Own Images: Liverpool World Museum [Photograph]. 168: Etchart, M. (2016) Own Image: Transit Telescope at Liverpool World Museum [Photograph]. 129

169: Etchart, M. (2016) Own Image: Bidston Observatory Records at Liverpool World Museum Archives [Photograph]. 170: Mecenat Art Museum / naf architect & design (2012) [Online image] Available from: http://images.adsttc.com/media/ images/5031/a048/28ba/0d18/3000/09d5/large_jpg/stringio.jpg?1414253817 [Accessed 1 Mar 2016] 171: Jean Nouvel Louvre Museum Abu Dhabi (2012) [Online image] Available from: http://www.archdaily.com/298058/thelouvre-abu-dhabi-museum-ateliers-jean-nouvel/ajn_abu_dhabi_louvre_view2 [Accessed 1 Feb 2016] 172: Etchart, M. (2016) Own Image: James Turrell’s Skyspace at YSP [Photograph]. 173: Etchart, M. (2016) Own Images: Exploration Sketches [Sketchbook] 174: Google Earth (2016) Greenwich Observatory [Google Earth] 176: Google Earth (2016) Greenwich Observatory [Google Earth]178: 1676’s Plan of Greenwich Observatory (2005) [Online image] Available from: https://pictures.royalsociety.org/assets/object_images/5/87/6785/v0_web.jpg [Accessed 1 Feb 2016] 179: 1760 Plan of Greenwich Observatory (2014) [Online image] Available from: http://www.royalobservatorygreenwich.org/ articles.php?article=989 [Accessed 1 Feb 2016] 180: 1788 Plan of Greenwich Observatory(2014) [Online image] Available from: http://www.royalobservatorygreenwich.org/ articles.php?article=989 [Accessed 1 Feb 2016] 181: 1845 Plan of Greenwich Observatory (2014) [Online image] Available from: http://www.royalobservatorygreenwich.org/ articles.php?article=989 [Accessed 1 Feb 2016] 182: 1863 Plan of Greenwich Observatory (2014) [Online image] Available from: http://www.royalobservatorygreenwich.org/ articles.php?article=989 [Accessed 1 Feb 2016] 183: 1888 Plan of Greenwich Observatory (2014) [Online image] Available from: http://www.royalobservatorygreenwich.org/ articles.php?article=989 [Accessed 1 Feb 2016] 184: 1901 Plan of Greenwich Observatory (2014) [Online image] Available from: http://www.royalobservatorygreenwich.org/ articles.php?article=989 [Accessed 1 Feb 2016] 185: 1902 Plan of Greenwich Observatory (2014) [Online image] Available from: rmg http://www.royalobservatorygreenwich.org/articles.php?article=989 [Accessed 1 Feb 2016] 186: 1903 Plan of Greenwich Observatory (2009) [Online image] Available from: <http://www.royalobservatorygreenwich.org/ articles.php?article=1192>. 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(2007) Astronomy enters the bronze age Available at: http://www.bdonline.co.uk/astronomy-enters-thebronze-age/3088619.article (Accessed: 8 March 2016). ).[ Online Image] 224: Etchart, M. (2016) Own Images: Greenwich Observatory [Photograph] 225: O’Hare, V. (2015) Party ingredients event Caterers Available at: http://www.partyingredients.co.uk/venue/peter-harrisonplanetarium (Accessed: 8 March 2016). 226-228: Etchart, M. (2016) Own Images: Greenwich Observatory [Photograph] 229: Greenwich Planetarium Section (2013) [Online image] Available from: http://www.bdonline.co.uk/Journals/Graphic/h/ x/e/section-new-planet.gif [Accessed 1 Feb 2016] 230-244: Etchart, M. (2016) Own Images: Greenwich Observatory [Photograph] 245: The prime meridian at Greenwich (2015) Available at: http://www.rmg.co.uk/discover/explore/prime-meridian-greenwich (Accessed: 8 March 2016). ).[ Online Image] 246-258: Etchart, M. (2016) Own Images: Greenwich Observatory [Photograph] 259: The great equatorial telescope (2016) Available at: http://www.rmg.co.uk/see-do/we-recommend/attractions/greatequatorial-telescope (Accessed: 8 March 2016).[ Online Image] 260: The great equatorial telescope (2016) Available at: http://www.rmg.co.uk/see-do/we-recommend/attractions/greatequatorial-telescope (Accessed: 8 March 2016). ).[ Online Image] 261: Etchart, M. (2016) Own Images: Greenwich Observatory [Photograph] 262: The great equatorial telescope (2016) Available at: http://www.rmg.co.uk/see-do/we-recommend/attractions/greatequatorial-telescope (Accessed: 8 March 2016). ).[ Online Image] 263-265: Etchart, M. (2016) Own Images: Greenwich Observatory [Photograph] 266: The royal observatory Greenwich - where east meets west: The astronomical basis of timekeeping (2014) [Online Image]. Available at: http://www.royalobservatorygreenwich.org/articles.php?article=1087 (Accessed: 8 March 2016). 267-284: Etchart, M. (2016) Own Images: Greenwich Observatory [Photograph] 285: Meridian line & historic royal observatory (2016) [Online Image]. Available at: http://www.rmg.co.uk/royal-observatory/ meridian-line-and-historic-observatory (Accessed: 8 March 2016). 286: Etchart, M. (2016) Own Images: Greenwich Observatory [Photograph] 287: January meeting – the Greenwich time ball (2013) [Online Image]. Available at: http://slbbhi.co.uk/?p=344 (Accessed: 8 March 2016). 288-293: Etchart, M. (2016) Own Images: Greenwich Observatory [Photograph] 294: Accessible day out in Greenwich (2016) [Online Image]. Available at: http://www.visitlondon.com/things-to-do/ sightseeing/one-day-itineraries/london-days-out-accessible (Accessed: 8 March 2016). 130

295-298: Etchart, M. (2016) Own Images: Greenwich Observatory [Photograph] 299: Map of Royal Museums Greenwich (2014) [Online image] Available from: <rmg http://www.rmg.co.uk/plan-your-visit/maps-facilities-access/maps-floor-plans> [Accessed 1 Feb 2016] 300: Google Earth (2016) Kuffner Observatory and Planetarium Vienna [Google Earth] 301: Richter, H. (2016) Photograph courtesy of the author. [Photograph] 302: Etchart, M. (2016) Own Images: Planetarium Vienna [Photograph] 303 - 304: BV, I.O. (2014) ESO headquarters extension, Garching [Online Image]. Available at: http://www.a10.eu/news/ headlines/eso-headquarters-extension-garching.html (Accessed: 8 March 2016). 305: Etchart, M. (2016) Own Images: Planetarium Vienna [Photograph] 306: Google Earth (2016) Kuffner Observatory [Google Earth] 307-354: Etchart, M. (2016) Own Images: Kuffner Observatory [Photograph] 355-357: Turrell, J. (2016) Skyspaces Available at: http://jamesturrell.com/work/type/skyspace/ (Accessed: 2 January 2016). 358-364: Skystone Foundation (2012) Roden crater construction Available at: http://therodencrater.org/cnstruct/p1/index. htm (Accessed: 1 March 2016). 365-367: LACMA (2013) James Turrellâ&#x20AC;&#x2122;s Roden crater. Available at: https://vimeo.com/67926427 (Accessed: 12 March 2015). [Still Images] 368 - 369: Moon / Sun Chamber (2012) [Online image] Available from: <http://theredlist.com/media/database/architecture/ across_the_landscape/james-turrell-roden-crater-project/010-roden-crater-project-james-turrell-the-red-list.jpg>. [Accessed 10 Dec 2015] 370 - 372: East Portal (2014) [Online image] Available from: < http://rodencrater.com/wp-content/uploads/2015/10/ EastPortal_evening-1440x2583.jpg,>. [Accessed 10 Dec 2015] 373: Sun Light Entering East Tunnel (2012) [Online image] Available from: <http://lh3.googleusercontent.com/-6FPG5tejal0/ VbHj-4pxtII/AAAAAAABEes/mShP8M3_XY4/roden-crater-9%25255B3%25255D.jpg>. [Accessed 10 Dec 2015] 374: Halfway through the East Tunnel(2012) [Online image] Available from: <http://www.stilemetadesign.it/wp-content/ uploads/2014/05/Roden-Crater.8.jpg>. [Accessed 10 Dec 2015] 375 - 380: Foundation, S. (2016) Roden Crater. Available at: http://www.Rodencrater.com (Accessed: 3 January 2016). 381- 389: Bescos, R.P. (2013) Occidens museum / Vaillo + Irigaray Available at: http://www.archdaily.com/398449/occidensmuseum-vaillo-irigaray (Accessed: 1 March 2016). 390 a- e: Volwahsen, A. (2001) Jantar Mantar [Scan]. 390:Etchart, M. (2016) Own Images:Site Combine Concept Model [Mixes Media] 391-392:Etchart, M. (2016) Mashup Concept Model [Photograph]

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