Jane Li Portfolio by PDF Uploads

NEWCASTLE UNIVERSITY, SCHOOL OF ARCHITECTURE, PLANNING & LANDSCAPE

180393930 CHING YEE JANE LI

STUDIO 08 - CURATING THE CITY

STAGE III ARCHITECTURE PORTFOLIO

ILLUSTRATED REFLECTIVE DIARY 012 - 013 THEMATIC STUDIES

006 - 011 STUDIO INTRODUCTION 014 - 015

016 - 035

FRAMING

TESTING

036 - 045

046 - 103

SYNTHESIS

CONTENT -

BIBLIOGRAPHY / IMAGE REFERENCES 108 - 144

104 - 106 APPENDIX

// THE ECOLOGICAL PALACE //

ILLUSTRATED REFLECTIVE DIARY

NCL STUDIO 08 - CURATING THE CITY

ILLUSTRATED REFLECTIVE DIARY

ILLUSTRATED REFLECTIVE DIARY Stage three architecture has been the most challenging and yet interesting year for me, not only in terms of the workload but also the learning environment during covid and the approach to design themes. In this academic year, I am part of studio 8, Curating the City. The studio mainly focuses on development and conservation around the UNESCO World Heritage Site Saltaire. As Saltaire is a site with deep historical background for the past few centuries, the year started off with plenty of research-based works on the site. During the framing phase, our studio has begun our research on the larger site with themes of tourism, critical heritage, ecology and urban form. I was responsible to model the entire site of Saltaire. Due to the constraints posed by social distancing and studio closures, it is harder to produce physical site models as opposed to before. Under these circumstances, I have taken the time to develop my digital modelling skills through practice. By getting to learn more of the interesting background of the site’s physical, social, cultural and environmental context, the research process has led me to discover my interest of the site and my later project- Ecology. Hence, out of the ten sites of our studio, I have chosen one along the woodland which is deeply linked to the rural life of Saltaire. During the testing phase, I have taken research done on ecology such as Patrick Geddes’ theories forward to further develop my design proposal. While my proposal was mainly based on ecological education through exhibition spaces for human uses, I have also came across different readings and artworks that made me reflect and redefine the idea of ‘nature’. In the Theory into Practice module, I have further researched into the architectural approach to ‘nature’ and ecology through Timothy Morton’s readings and other precedents. Since then, I have developed a different view of the environment we live in. I was given an insight into how human behaviour can impact the ecological environment and the role that architects should play in the future to maintain sustainable biodiversity. Architecture should not be only creating spaces for humans, and it is crucial for us to move beyond the Anthropocentric frame to think from a wider perspective. During the testing phase, I have been changing my design with elements that promote the values of cohabitation of all living things through my project practically and interactively, for instance, the introduction of exhibition spaces where birds, insects and plants can inhabit. On the technical aspect of my project, it is also the first time since the undergraduate program when I have to go in-depth into the tectonic elements of my entire design structure. Through the Integrated Construction module, I have taken the opportunity to tackle climate issues through my design’s ecological building systems, such as sources of sustainable energy through roof solar panels, and also the reusing of materials. On the other hand, I have also linked to the educational aspect by the use of environmentally friendly material in building’s interior spaces, such as the inclusion of exposed wood wool panels to allow visitors to learn about the sustainable building systems by direct interaction in architectural spaces. This graduation project is a valuable learning experience on my architectural journey, and I have understood the importance of learning through process rather than only focusing on the result. I am grateful that under the hard times of covid and remote learning this year, I was still able to work seamlessly with my studio. I would also like to thank my studio tutors Neil Burford, Jianfei Zhu and Andrew Ballantyne who have constantly inspired me and brought me into the field of ecology and heritage which have become my great interest in current and future architecture approaches.

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PROCESS OF DIGITAL MODEL MAKING

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CULTURAL BIBLIOGRAPHY A VISIT TO THE PITZHANGER MANOR

Formerly the home of architect Sir John Soane, Pitzhanger Manor is a English country house built in the 1800s. The visit to this rare and beautiful building has allowed me to learn about its heritage background, and its transition under a major conservation project in restoring this Grade I listed building in its original form. Both the architectual qualities and conservation approach to this house has inspired me in my later projects.

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CULTURAL BIBLIOGRAPHY

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EXHIBITION VISIT- MEMORY PALACE

ACRYLIC PAINTING

Surrounded by a large-scale landscape model in Memory Palace, the exhibition by Es Devlin maps important shifts in human perspective over 75 millennia. Every spot of the artwork reveals unique moments. On the other hand, mirrors inside the exhibition space also allow room for imagination. Through this visit, the artwork has inspired me to take a more creative approach in storytelling and representation in my architectural design.

During spare time, I took the opportunity to practice my painting skills. Through drawing, I was allowed to focus on the atmosphere and lighting of the environment which helped me in later consideration of inhabitation in architectural spaces.

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STUDIO 08

CURATING THE CITY Led by Andrew Ballantyne, Jianfei Zhu and Neil Burford, our studio explores the World Heritage Site Saltaire through the concept of curation. Once a model village for textile activities, the town today still survives in a complete and well-preserved form as witness to the pride of local textile industries during the past centuries. Through engaing with the rich heritage background of the industrial village, it allowed us to focus on the past and present, and hence brought the opportunities to create architectural intervention for a sustainable future.

NCL STUDIO 08 - CURATING THE CITY

THEMATIC STUDIES

THEMATIC STUDIES BACKGROUND RESEARCH OF SALTAIRE WHS

CITY AS GALLERY

CRITICAL HERITAGE

GARDEN-CITY ASSEMBLAGE

URBAN FORM

During the first phase of framing, our studio started with researching the background of Saltaire WHS in order to develop better understanding of the local environment for our design project later. Divided into four main themes related to tourism, heritage, ecology and urban form, we studied the site through critical readings and visualization of ideas. Being in the Urban Form analysis group, I mainly focused on the history of urban planning and the morphological study of the model village. It allowed me to understand the architectural qualities of Saltaire and also the evolution of its urban fabric through major historical events. On the other hand, through studio readings I have also explored my interest in the Garden-City Assemblage studies of Saltaire. Theories related to ecology by Patrick Geddes including the interdependence of culture and nature as well as his depiction of Village Section have given me inspirations for the theme of my design project.

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// FROM BAILDON MOOR TO SALTAIRE //

- Binocle View -

//FRAMING// The Framing phase mainly focuses on developing my design project’s line of enquiry with the main themes of Landscape, Eco-Assemblage, Nature, Memory and Experience. With the chosen site situating along the woodlands and Shipley Glen Tramway, the context has a deep linkage to the collective memories of the pleasure ground in the past century as well as the rich local biodiversity. As human activities have caused rapid exploitation of natural resources and the decimation of cultural and biological diversity, the alarming environmental issues now call for an active preservation of ecology in contemporary societies. Inspired by Patrick Geddes’ theories, I have proposed an ecological education centre to promote the importance of biodiversity conservation. Within the context of woodlands, the site provides great opportunities for visitors to learn through close interaction with different species. Besides, considerations were also put into the interpretation of the former pleasure ground’s character through my design to provide a playful learning atmosphere.

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I. SIR TITUS SALT AND SALTAIRE THE RURAL CONTEXT IN THE 19TH CENTURY

itus Salt founded the Victorian model village of Saltaire with its rural and beautiful setting in the 19th century to improve the living condition and well-being of the workers. At the time when the Salt Mill was first built, it was surrounded by large areas of green areas and woodlands. Salt introduced pollution reduction methods in his mills along with other health measures to maintain the natural environment, trying to bring the workers from the polluted and chaotic environment of Bradford at that time to this rural River Aire Valley, improving the physical and moral health of his workers with fresh air. However, under the rapid land development of Saltaire since the 20th century, it has led to the clearing of many of the green parts of the village, turning into housing, economical and community infrastructures for the people. In the context of Saltaire today, green belts can still be found mainly in the north and south parts, such as Shipley Glen, Baildon Moor and Hirst Hood. As many of them are retained from the past,and some of them are semi-natural woodland after the replanting of some trees, they are ancient woodlands which not only serve as green lungs for the area, but also the habitats of rare species of plants, insects and animals.

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‘It is also, from the beauty of its situation, and the salubrity of the air, a most desirable place for the erection of dwellings. Far be it from me to do anything to pollute the air or the water of the district. I shall do my utmost to avoid these evils, and I have no doubt of being successful. I hope to draw around me a population that will enjoy the beauties of this neighbourhood—a population of well paid, contented, happy operatives.’ -Titus Salt (1853)

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PLANNING AROUND PLACE: THEMES OF DESIGN PROPOSAL

SITE BUILDINGS

FOCUSED SITE AREA

TOPOGRAPHY / TERRAIN

GREEN SPACES

FRAME OF DESIGN Inspired by Patrick Geddes’ theory, where he emphasized the interdependence of culture and Inspi nature, and the role of designers to contribute to the opportunities and challenges to places where people inhabit, the design is ﬁrst initiated by the key themes around the context of Saltaire, from culture to social to envrionmental. As a World Heritage Site, it is essential to remind people of its past as well as introducing a prosperous vision for future by tackling the exisitng climatic and heritage issues. The themes are developed around the word ‘place’, which represents the distinctive character and location of the site.

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II. PROGRAMME PROPOSAL AN ENVIRONMENTAL EDUCATION CENTRE

s proposed by Sir Patrick Geddes, a Scottish biologist and town planner, life should be seen as a whole at different perspectives and relationships. Under the changing lifestyles and rapid urban development, natural resources has be exploited by human along with the decimation of cultural and biological diversity. There are raising concerns on the alarming ecological issues due to climate change in recent years, and it is a great opportunity to introduce an educational programme in Saltaire regarding the issues in its context as well as in contemporary society. As a World Heritage Site, it is essential to emphasize sustainability not only on the heritage part, but also allowing the site to be environmentally sustainable. The significant landscape of Saltaire represents the vision of Titus Salt towards the village, the distinctive character of the area, as well as a natural habitat with rich biodiversity. Hence, the vision of the design programme is to remind locals and visitors of this forgotten face of Saltaire as part of its progressive conservation by providing a range of activies such as exhibition, talks, outdoor learning through observation.

//CONCEPT COLLAGE// CLIMATE CHANGE AND ENVRONMENTAL PRESERVATION Once a rural village surrounded large areas of green lands, most parts of the area have been developed into settlements as we can see in Saltaire today. Rural conservation is an urgent topic to address under the anthropogenic decimation of cultural and biological diversity. Meanwhile, the values of environment preservation can be actively promoted through education for the society, and it is essential not only in the site of Saltaire, but also across the globe.

PROGRAMME AND THEMES

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III. SITE PROPOSAL TRENCH WOOD & WALKER WOOD 53°50’39.8”N 1°47’35.4”W

aving the programme of environmental education centre that aims to revive the forgotten rural landscapes and biodiversity in Saltaire, the proposed site is situated in the woodlands at the northern side of the Saltaire WHS to provide the rural context and atmosphere for users. In between the Trench Wood and Walker Wood, the Shipley Glen Tramway can be found running through them, with memories of the locals for over a century.

I - EXISTING INFRASTRUCTURE S - PROPOSED SITE AREA - GRASSLAND - ARABLE AND HORTICULTURE

SECTION CUTTING THROUGH TRAMWAY FROM NORTH TO SOUTH

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SECTION CUTTING ALONG TRAMWAY FROM SOUTH-EAST TO NORTH-WEST

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IV. SITE ANALYSIS CHARACTERISTICS OF TRENCH WOOD & WALKER WOOD

oth Walker Wood and Trench Wood are ancient semi-natural woodlands designated as a Bradford Wildlife area and managed by the Bradford Metropolitan District Council. Close to the northern side of the Saltaire WHS, the Walker Wood occupies an area of 11.49ha while the Trench Wood is of 4.85ha. Post war housing developments have left the woods now partially surrounded by settlements, and the Titus Salt School at the lower edge of the Trench Wood. Trench Meadows, a Site of Special Scientific Interest of neutral grassland adjoins the southern edge of the Trench Wood. There are footpaths in the woodlands that allow access by the public. The paths for Walker Wood are relatively informal while there are bridleways within the Trench Wood, running approximately from the north to south. One of the bridle paths connects the moors with the lower valley through the wood. However, due to the topography of varying degrees of slopes, there are still difficulties for public access and forestry operations. Meanwhile, both of the woodlands are with rich biodiversity where important and rare species have been found. For instance, there are records of less spotted woodpecker, starling, song thrush, cuckoo, house sparrow and wood warbler and a range of other insects and plants in the woods. As mentioned by the woodland management plan of the Department of Place, the long term vision is to develop a regenerating native broadleaf woodland of good biodiversity providing recreational and educational opportunities for the surrounding community. Hence these reveal the potential of the site for establishing an environmental education centre to promote the values of biodiversity and rural landscape.

CANOPY (20-40M) COMPOSED OF MIXED AGE BIRCH, BEECH, HORSE CHESTNUT, SYCAMORE AND OAK, OF WHICH THERE ARE SOME NOTABLY LARGE EXAMPLES

BIRCHES IN THE TRENCH WOOD

CANOPY ( 20-40M) COMPOSED OF MIXED AGE, BIRCH, BEECH, HORSE CHESTNUT, SYCAMORE AND OAK, OF WHICH THERE ARE SOME NOTABLY LARGE EXAMPLES

DENSE UNDERSTOREY (10-15M)

COMPOSED OF MIXED AGE, BIRCH, BEECH, HORSE CHESTDENSE (10-15M) NUT, UNDERSTOREY SYCAMORE AND OAK, OF WHICH THERE ARE SOME NOTABLYOF LARGE EXAMPLES COMPOSED MIXED AGE, BIRCH, BEECH, HORSE CHESTNUT, SYCAMORE AND OAK, OF WHICH THERE ARE SOME NOTABLY LARGE EXAMPLES

THE SPECIES AND LAYERS OF TREES FOUND IN THE WOODLANDS WILD GARLIC SPOTTED BY VISITORS IN THE WOOD

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V. MEMORIES OF THE PAST

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3.5.2 General view of the construction from beneath

SHIPLEY GLEN PLEASURE GROUNDS

3.5.2 General view of the construction from beneath 3.5.2 General view of the construction from beneath

he Shipley Glen Tramway between the woodland was built in 1895 and operates narrow-gauge ‘toastrack’ cable-hauled trams. It was part of the Shipley Glen Pleasure Grounds built in 1879. The tiny theme parks included Britain’s oldest fairground ride, the Aerial Glide, and was a playground where workers and families in Saltaire spent their weekends in during the last century. The tramway was built with the intention to ease access to the attractions.

3.5.3 The top station

3.5.2 General view of the construction from beneath

3.5.3due The top station Although most parts of the structures are all gone now the plans of housing development, the current Shipley Glen Tramway still serves as a essential part of the recreational resources. The ride offer visitors a journey through the woods as a historic attraction with its bottom station as a small musuem, exhibiting history and artefacts related to Shipley Glen and the tramway. 3.5.3 The top station

Having in mind that the site serves as a important collective memories of the locals in the past century, I would like to make use of the new educational building in developing a character that3.5.5 brings Aroundthe the last corner – attendant visitors a journey through the distinct landscape of Saltaire from the waiting at bottom station past to present by reviving the fun elements and sense of play of the Shipley Glen Pleasure Grounds. 3.6

3.5.4 Away from the top station

3.5.3 The top station

3.5.4 Away from the top station

3.5.4 Away from the top station 3.5.5 Around the last corner – attendant

3.5.6 Back to the top – the passenger walks,

waiting at bottom station

the car is hauled back by motor.

3.5.4 Away from the top station 3.6 In addition to the Aerial Glide, there were many other rides added and there were other attractions. At one time there was even a bear and a lion in cages not much 3.5.5 Around the last corner – attendant 3.5.6 Back to the top – the passenger walks, bigger than the animals. The heyday of the Pleasure Grounds was the 1930s and waiting at bottom station the car is hauled back by motor. 1950s and it is clear that some of the existing rides are from that period. A vintage 3.5.6 Back to the topset – the passenger swing-boat still remains.walks, Some original penny slot machines also survive

the car isalongside hauled back by motor.counterparts. modern 3.6 In additiontheir to the Aerial Glide, there were many other rides added and there were 3.7

othercurrent attractions. At one thereTeale was even a bear and a lion House. in cages His not father much The landowner is time Mr Paul who resides in Vulcan

bigger the animals. The heyday of the Pleasure the 1930s and the house and Grounds in 1966 and Grounds was the was operator. Mr Paul In addition to the Aerial Glide, there were manybought other than rides added andPleasure there were

1950s and ait lion is clear that some the existing ridesleased are from period.Grounds A vintage succeeded father. Inof1986, Mr Teale the that Pleasure to other attractions. At one time there was even aTeale bear and inhis cages not much 3.5.5 Around the last corner – attendant 3.5.6 Back to the top – the passenger walks, swing-boat set was still the remains. bigger than the animals. The heyday of the Pleasure Grounds 1930s Some and original penny slot machines also survive waiting at bottom station the car isalongside hauled back bymodern motor. counterparts. their 1950s and it is clear that some of the existing rides are from that period. A vintage

3.6

7 swing-boat set still remains. Some original penny slot machines 3.7 The current landowner also is Mrsurvive Paul Teale who resides in Vulcan House. His father alongside modern the house Grounds in 1966 and was the operator. Mr Paul In additiontheir to the Aerialcounterparts. Glide, there were manybought other rides addedand andPleasure there were

3.7

succeeded father. In 1986, Mr Teale leased the Pleasure Grounds to other attractions. At one thereTeale was even aTeale bear and a lion House. inhis cages not father much The current landowner is time Mr Paul who resides in Vulcan His bigger the animals. The heyday of the Pleasure the 1930s and bought than the house and Pleasure Grounds in 1966 andGrounds was the was operator. Mr Paul 1950s succeeded and it is clear someInof 1986, the existing ridesleased are from period.Grounds A vintage Teale histhat father. Mr Teale the that Pleasure to swing-boat set still remains. Some original penny slot machines also survive alongside their modern counterparts.

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The current landowner is Mr Paul Teale who resides in Vulcan House. His father bought the house and Pleasure Grounds in 1966 and was the operator. Mr Paul Teale succeeded his father. In 1986, Mr Teale leased the Pleasure Grounds to

//PLEASURE GROUND MEMORIES//

PLEASURE GROUND LOCATION

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WALKWAY REDESIGN

EXISTING WALKWAY AND TRAMWAY HIGHLIGHTED

Next to the Shipley Glen Tramway, there is a well used tarmac path running along the northwestern side of the Walker Wood and parallel to the tramway, allowing visitors to walk through the woods. Hence, the walkway could potentially be redesigned for a provision of access and linkage between the tramway and the new building,

REIMAGINING THE WALKWAY

Due to the topography of the site, the walkway is at a sloped angle and views are blocked by trees on nearby, and they could be reasons that discourage use by visitors. As a site proposed for tourist and locals, a redesgin of the pathway can serve as a attraction of the area. Besides, as the proposed new buildings will be situated on both sides of the tramway, the path could provide more convenient acess for visitors to travel across the tramway. The first stage of the reimagination is a elevated walkway that go across the tramway, allowing access and views above the trees.

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VI. PRECEDENT STUDY THE FOREST TOWER- CAMP ADVENTURE PARK, EFFEKT

INTRODUCTION- DESIGN THEORY The Forest Tower in Camp Adventure Park was designed by the EFFEKT in 2017. With a 900m boardwalk connected to a 45m tall observation tower, they provides a unique experience for visitors as well as a opportunity to walk through the wood and appreciate the aesthetic of nature at different perspectives. The tower and the walkway are seamlessly connected by a continuous ramp, allowing the site to be accessible to all. The walkway through the wood was built with consideration to avoid and minize disturbance of the environment. Beside, considering there are different user groups visiting, the walkway is seperated into two parts at different levels, allowing a series of activites suitable for different groups. The tower has provided visitors a obervation desk at 45m, providing stunning views above the forest. On the other hand the tower is also composed of interesting geometry to enhance the visual experience of visitors, while culminating feature of the walk is the tower and observation deck located 45 meters above the ground. The geometry of the tower is shaped to enhance the visitor experience. The typical cylindrical shape in favor of a curved profile with a slender waist and enlarged base and crown. This has increased the stability of the tower and also allowed larger observation deck area at the top of the tower, providing a better connection to the forest canopy.

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// CONCEPT COLLAGE // SIGHTSEEING AND ENVIRONMENTAL EDUCATION Inspired by the Forest Tower, an elevated walkway above the Trench Wood and Walker wood is proposed not only to allow access across the tramway, but also functioning as a observation desk that offers a different perspectives to the woodland and the Saltaire WHS. As depicted in the Valley Section by Patrick Geddes, he showed the valley at different levels where various communities could be seen. The WHS of Saltaire is situated at the lower level of the landscape, where visitors and locals spent most of their time in. The elevated walkway at a higher point of the landscape allow them to see the Saltaire from at a different viewpoint from distance, and also to look at a different pattern of settlement of the woodland.

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ART BIOTOP GARDEN, JUNYA ISHIGAMI

// CONCEPT COLLAGE //

INTRODUCTION- DESIGN THEORY The Art Biotop Water Garden is an artificial landscape by Junya Ishigami near the Nasu Mountains in Japan. It is attached to the Art Biotop which is an artist’s retreat and is originally designed for meditation and contemplation. In the project, Ishigami proposed replanting each tree in a meadow which is formerly rice fields and, before that, a densely wooded forest.

OUTDOOR ENVIRONMENTAL EDUCATION AND NATURE APPRECIATION Given the rural context of the site of woodlands, providing outdoor learning and observation are great opportunities for users to understand and be in close contact with a variety of species. As shown by the successful case of Art Biotop Garden, the artificial ponds has provided great habitats of aquatic plants and animals. Therefore, introducing ponds on less steep land at the higher point of the woodlands can perform the dual function of landscape enhancement and education.

Ishigami made use of the traditional tools for levelling water, and transformed the area into a woodland landscape with 160 small ponds with moss laid out fill the spaces in between. The garden are now habitats for aquatic plants and animals, and has successfully revealed how human intervention can enhance a landscape, rather than damaging it.

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// FROM BAILDON MOOR TO SALTAIRE //

- Binocle View -

// TESTING // During the Testing phase, massing drawings and digital modelling were done to experiment different representations of the architectural form for the ecological education centre. Inspired by the structure of the Aerial Glide in the 1900s, as well as the Fun Palace by Cedric Price, I have developed a detailed framework for my building structure in linkage with collective memory and ecology. On the other hand, my greatest takeaway from the Testing phase is the exploration of different architectural and art approaches to ecology. Through research I came across the ecological theories proposed by Timothy Morton which allowed me to redefine the meaning of ‘Nature’ and to reinterpret the bonding between humans and non-human. I demonstrated my reflection on the topic by moving beyond a human centric point of view and introduced architectural spaces for the human and non-human cohabitation.

DRAFT FLOOR PLAN SKECTHES

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VI. INITIAL SITE PLANNING DEVELOPMENT SKETCHES AND MODELS In the beginning of my massing design, I was exploring different structures for the education centre in providing a more playful environment. My first design for the building was dominated by arches and curves to create a inviting and open envrionment. I have also considered linkage to my treetop walkway through my building structure. However, through further consideration the design was abandoned due to the lack of linkage to the site background and physical landscape.

SPATIAL PLANNING THROUGH DIFFERENT PERSPECTIVES OF THE SITE

SKETCHES OF THE INITIAL DESIGN

MASSING DEVELOPMENT THROUGH PLANS

DIGITAL MASSING MODEL OF THE INITIAL DESIGN FLOOR PLANS AT DIFFERENT PHASES OF TESTING

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STRUCTURAL INSPIRATIONS I THE AERIAL GLIDE - SHIPLEY GLEN PLEASURE GROUNDS

Aerial Glide, the oldest surviving static amusement park ride in the United Kingdom, was part of the facilities of the Shipley Glen Pleasure Ground. It was built around 1900 as the only surviving example of its type, and it is unique in terms of structure and historic background. The large ride was built on a gentle slope at the Southeastern part of the park. The journey begins by riders taking their seats at the highest point of the ride. The suspended chairlift-style cars in the station are then released and they travel down an extended U-shaped track to the lowest point of the ride under the station. Riders leave the cars at this point, and they will be hoisted back up the lift hill back to the top station.

// CONCEPT COLLAGE // -

A JOURNEY ON THE AERIAL GLIDE

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Although the ride was demolished, the great historic interest of the Aerial Glide served as a remarkable social and cultural icon, and it offered great linkage to the neighbourhood’s memories. In order to remind the locals and tourists of the valuable collective memories of the site, I was inspired to celebrate the steel structure of the ride by making use of it as the structural frame of the visitor centre. In addition, polycarbonate skin was also chosen later to allow a transparent view from the outside to the overall skeleton of the building.

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The Fun Palace was a project initiated by Cedric Price and Joan Littlewood. The innovative proposal was considered as a “laboratory of fun” with spaces for dancing, music, drama and fireworks. It incorporated different perspectives of contemporary discourses and theories, for instance the emerging sciences of cybernetics, situationism, game theory, situationism and theater to construct a new form of improvisational and performative architecture. Unlike other conventional buildings, the Fun Palace was designed as a socially interactive machine adapting to the changing needs of individuals.

STRUCTURAL INSPIRATIONS II FUN PALACE, CEDRIC PRICE

Structurally, the design makes use of a flexible framework in which programmable spaces can be inserted, and its goal is to offer the possibility of changes. By the use of an unenclosed steel structure, the building is composed of prefabricated walls, platforms, floors, stairs, and ceiling modules that can be adjusted and reassembled by the cranes, making every part of the structure to be changeable.

// INITIAL STRUCTURAL FRAME //

In my design, I have incorporated this structural idea in creating a steel skeleton as my primary structure that allows exhibition spaces and other services to be freely plugged in and rearanged later, In this way, spatial arrangement in the visitor centre can be more flexible and adaptable to different social conditions.

// CONCEPT COLLAGE // HELICOPTER VIEW OF THE ECOLOGICAL PALACE

FLOOR PLAN AND SECTION OF THE FUN PALACE

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PERSPECTIVE DRAWING OF THE INTERIOR OF FUN PALACE

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REFLECTION ON CLIMATE CRISIS

ARCHITECTURE IN THE ANTHROPOCENE Anthropocene, the geological period happening now where humans are put at the center of inquiry, and the age of man-made climate and environment, reveals the overlooking of the existence of all living and nonliving things and the effects of our activities which have been substantially transforming the earth. Moreover, as mentioned by Timothy Morton, the concept of Nature also came up from the Anthropocene age, where we attempt to make ourselves exclusive from the non-human when everything is supposed to be part of Nature.7 However, the truth is that human behavior has brought great effect to every single element of Nature. With the change in weather patterns, the genes and habitats of living things are also altered. We are all interconnected, as no nature stands apart from human beings, and we as one of the species is part of nature too.8 Morton describes ecology as a symbiosis relationship, and in the connection, we cannot simply define which species is the top entity. In this way, human beings are just a species among other species with equal importance. RESEARCHES AND INFLUENCES : - ECOLOGY WITHOUT NATURE, TIMOTHY MORTON - CCCB LAB’S INTERVIEW WITH TIMOTHY MORTON -HUMANKIND, TIMOTHY MORTON - DO YOU LIKE WHAT HAPPENS IN MILPA ALTA? FERNANDO PALMA RODRIGUEZ - BEING ECOLOGICAL, LECTURE BY TIMOTHY MORTON - HOW FORESTS THINK, EDWARDO KOHN - PUBLIC SMOG, AMY BALKIN

The term Anthropocene also has a great linkage to our architectural practice today, where there appears to be an Architecture's anthropocentrism as most designs are putting their focus on humans for their usage or inhabitation, and there is little consideration of the actual impact and program for non-human creatures. As we face the phenomenon today that the global environment is under complete change, we need to start changing our behavior on architectural practice - reflect on how we should face ecological challenges under today's economical, political and social effects through Architecture, and how we cope with climate change without distancing ourselves from Nature. It is important for architectural practices to be environmentally conscious as well, not only to focus on the needs of humans but also non-human. As ecology is composed of diverse species, and the need to address climate issues through design programs, materials, and construction. Architectural practice not only provides us an opportunity to reconsider the coexistence of humans, animals, and plants, but also to form a new way or system for us to coexist and support one another. The term post-human decenters humans from a point of view, which provides a different perspective to our approach and pioneers a range of new possibilities that include all other elements from human to non-human. It suggests that our thinking should not start solely for human interest, and its application to architecture can allow the current model to evolve in a meaningful way that is ecologically sustainable. - FROM REFLECTIVE ESSAY OF MODULE ARC3013

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// SYNTHESIS // Synthesis is the final phase of the year when I refined my design in a more complex form and focused on the tectonic aspect as well as representation of the project. By the integration of my site research in the Framing stage and ecological theories and structural inspirations in the Testing stage, my final proposal was developed as an ecological education centre linked to an elevated walkway with fragments for human and non-human cohabitation. To demonstrate my considerations on programmes and structural elements, sets of drawings were done to reveal the details and inhabitation of spaces. In this stage, I have also further reflect on the buildings’ impact on different scales from the neighbourhood to the wider society. Other than educational and ecological values of the design, a public space was introduced as a mid point to connect the communities of Baildon and Saltaire. On the other hand, the building’s existence in the future was also imagined to reflect on the relationship between human and nature in the architectural environment.

WALKWAY SECTION

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FRAGMENT 01 ELEVATED WALKWAY Beginning at the bottom Glen Tramway station, the elevated walkway spans across the woodland. It connects with several treetop platforms and ends at the third storey of the visitor centre. The walkway not only provide access to the exhibition spaces but also experiences of interaction to the woodland biodiversity, linkage to the Shipley Glen Tramway, as well as distanced views to Saltaire. Ramps and lifts are provided at the mid-point and end of walkway to allow access for all.

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// FROM THE ECOLOGICAL PALACE TO SALTIRE//

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// WALKWAY STORYBOARD // VISITORS’ JOURNEY FROM SALTS MILL TO VISITOR CENTRE

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INITIAL CONCEPT MODEL FOR THE BIRD NESTING SPACE

Through my research and reflection on ecological theories, the imperativeness to get rid of anthropocentric thinking has been stressed which allowed me to start reconsidering ecology in a way without putting humans as the measure of things, but also from the strange stranger perspective of how they experience this world and what they need. At the same time, I have also understood that ecology is an ongoing evolution that requires us to think about the impact of our actions not only for the moment. If the term nature is no longer applicable in today’s world already, there is still a need in this post-natural world to enhance the cohabitation of all living creatures. Hence, I have introduced additional components to my ecology center, which is the bird nesting space and the biodomes as habitable worlds for both humans and non-human. The Birds Palace, the platform where I include recyclable birdhouses with food and water supply is one of my approaches to welcome birds of multi-species. In my design, I focus on providing spaces for the birds of nearby woodland including song thrush, starling, cuckoo, woodpecker, and house sparrow. Different dimensions of nesting boxes and entrance holes will be provided according to their habitat. Recyclable materials such as wood chips, wheat straw, scobs, and dead tree branches will also be used to provide the birds’ spaces with natural materials and colors. The bird settlements will be surrounded by a torus-shaped visitors space where human and bird interaction can be facilitated. Information on the habitats of birds in the woodland will also be provided for visitors to gain knowledge of the species.

- FROM REFLECTIVE ESSAY OF ARC3015

INITIAL SKETCHES AND MATERIAL CONSIDERATION FOR THE BIRD NESTING SPACE

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TOP SECTION OF THE BIRD NESTING SPACE

FRAGMENT 02 BIRD NESTING & EXHIBITION SPACE Through previous reflection on the ecological theories by Timonthy Morton, I saw the responsibilities for architects to consider the habitats of not only human but all living things to provide an inclusive environment. The main client of this treetop platforms are human and birds and it aims to provide a space for cohabitation. Connected to the walkway, this elevated platform is composed of two storeys. Visitors can access the lower storey at the walkway level and the upper storey through the circular ramp that wraps around the structure. The center part of the platform is a bird nesting space in the form of tree branches. Food and water supply will be provided to attract the birds from the surrounding environment. Meanwhile, visitors accessing the lower storey of the platform are able to obeserve the birds in a distance. On the other hand, the exhibition space in a torus shape aims to provide information on different species of bird from the woodland. The space is constructed by prefabricated timber frame with polycarbonate openings for the outer wall. These openings allow sufficient ventilation of the space and let sounds in so visitors can hear the birds. In addition, the inner wall is constructed by glass glazing and it allows bird-watching from the interior space.

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AXONOMOETRIC SECTION OF THE BIRD NESTING SPACE

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01 // BIRD PALACE ACCESS & INHABITATION

02 // BIRDS & HUMAN INTERACTION

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DIGITAL CONCEPT MODEL OF THE TREETOP BIODOMES STRUCTURE

FRAGMENT 03 TREETOP BIODOMES The three connected biodomes platform serves as habitable for both plants and human. Inspired by the Eden Project, these biodomes housing different species of plants will simulate environments under various climates for research and learning of plants growing conditions. Visitors can access to each domes from the walkway level. They provide great educational opportunities for visitors to understand the habitats of plants as well as the interdependence between plants and humans.

VIEW OF THE EDEN PROJECT

SECTION OF THE EDEN PROJECT

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SECTION RENDER OF THE EXHIBITION SPACE SHOWING ITS RELATIONSHIP WITH THE BUILDING INTERIOR AND OUTDOOR ENVIRONMENT

FRAGMENT 02 ECOLOGICAL EDUCATION (VISITOR) CENTRE Positioned at the end of the walkway, the visitor centre is composed of three main parts: the indoor activity space, exposed exhibition space, and the public stairs. Composed of four storeys. the function of this building is mainly for the provision of exhibition spaces related to the theme of ecology. The framework of the building is inspired by the steel structure of the Aerial Glide with a transparent polycarbonate skin to provide hint of the structure from the exterior. At the same time, similar structure of the Fun Palace by Cedric Price has also inspired me in the planning of spaces in connection with the steel skeleton. On the other hand, the external exhibition areas provides information mainly related to the habitats of insects. Butterfly houses will be hanged at a distance on the steel frame to allow the inhabitation of insects and to provide close observation of them by the visitors. Last but not least, public stairs in front of the exhibition areas serves as a midpoint between the neighbourhood of Baildon and Saltaire to foster interactions between locals and visitors. It also provides a space for them to rest and relax during different time of the day.

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PROCESS OF REFINING THE BUILDING STRUCTURE THROUGH MASSING MODELS

The site of the visitor centre was originally an unoccupied land surrounded by residential housings. As the visitor centre is positioned on a sloped site, a single aspect basement is introduced to provide direct entry to the basement from the Prod Lane. On the west side of the structure, an existing ramp provides access from the Prod Lane to the Woodlands Grove. Visitors can either enter the exhibition spaces by going up the external lift or stairs at the lower level, or from the back entrace at the upper level. Besides, walkway linkages are provided between the exposed exhibition space, indoor exhibition space and treetop walkway.

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LINKAGE OF THE DESIGN TO LOCAL INFRASTRUCTURE

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PERSPECTIVE SECTION RENDER WITH INHABITATION

ACCESS TO SCREENING AREA

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ENTRANCE AND PLANTING ELEMENTS

VIEW TOWARDS HANGING EXHIBITION AND ACCESS TO EXTERNAL COURTYARD

HANGING EXHIBITION PLATFORM WITH PLANTING ELEMENTS

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+ Lighting analysis

As the visitor centre is at a higher elevation point without any tall building strucutres around it, the interior spaces can receive sufficient daylighting by the penetration of sunlight through the translucent polycarbonate skin that wraps around the building structure as. Meanwhile, glass glazing on the roof and west facade can also allow direct sunlight to light up the interior. Furthermore, since the surrounding area of the site are mainly residential housing, it is likely to be a quiet area without noise pullution.

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DESIGN PROGRAMME BRIEF

DIAGRAM DEMONSTRATING THE FREQUENCY OF ACTIVITIES AT DIFFERENT TIMES OF A DAY

The indoor exhibtion space composed of four storeys offers a range of activities for the visitors. Outside the Prod Lane entrance, a cafe is located on the east side of the building for the visitors and staffs. By entering the basement from Prod Lane, a reception will be positioned upon entrance to provide guidance for the visitors. In this double storey basement, visitors can participate in crafting sessions at the workshop to create their own works by recycled materials. Next to the workshops are two lecture rooms where guest talkers will be invited during different time of the day to share their views and experiences in the field of ecology. Staff office and storage are located on the east side of the basement where management of the building activities and meetings are held everyday. FUNCTION

On the upper levels of the buildings, exhibition spaces are inserted into the steel frame where visitor can have the chance to understand ecological theories through representation of artworks. Meanwhile, a screening area will be positioned at the north end of the second level where less lighting is received. Vertical circulation at the corners of the building and walking platforms linked to them will provide views and access to the exhibition spaces. At the south end of the third level, a external walkay provides access between the visitor centre and the treetop walkway.

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FLOOR AREA

DESCRIPTION

Cafe

35m2

Located at the entrance in Prod Lane

Vertical viewing cores

192m2

Three viewing cores with vertical circulation throughout the building

Outdoor exhibition

494m2

Outdoor spaces created by steel scaffolding on the west

Lecture rooms

135m2

Two double height room for talks in the basement

Workshop

117m2

A double height workshop located in the basement

Public space

200m2

The large staircase seating area on the north entrance of the centre

Exhibtion spaces

192m2

Seven small individual spaces inverted into the steel structure

Screening space

54m2

A suspended platform from the steel truss roof for film watching

Walkways

119m2

Connection between outdoor, the centre and the elevated walkway

Basement vertical circulations

14m2

Two staircases and one elevator providing access to upper floors

Staff room

50m2

Staff working office and storage area on the basement floor

Restrooms

43m2

A male and female restroom (21.5m2) on the basement floor

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// STRUCTURE DIAGRAMS //

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STRUCTURAL INSPIRATION The Concept of Free Plan by Le Corbusier Inspired by the concept of Free Plan by Le Corbusier, I have designed my building with an open plan. While the steel frames are the primary supporting structure of the entire building, exhibition spaces constructed by CLT walls are freely inserted into the building. These non-load-bearing walls slice up the interior spaces to create partitions for different sizes of exhbition rooms, but at the same time being independent from the steel support columns. Through this approach, it provides the flexibility to plan interior spaces without constrains of the structural wall or support locations, creating possibilities of various circulation flow inside the building. While the exhibition structures are mainly independent of the steel skeleton, I have created linkage between some exhibition spaces and the structural frame. For instance, in order to make good use of some double storey areas and direct roof light entry, the screening area, a exhibition platform and some exhibition frames will be hanged from the steel struss at the ceiling.

PLAN OF THE BARCELONA PAVILION

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PLAN OF VISITOR CENTRE HIGHLIGHT THE STRUCTURAL COLUMNS

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PERSPECTIVE RENDER SHOWING THE HANGING EXHIBITION AND INTERIOR LIGHTING

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PERSPECTIVE RENDER SHOWING THE HANGING EXHIBITION AND INTERIOR LIGHTING

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1:20PHASE ELEVATION AND SECTION OF THE VISITOR CENTRE 3 - SYNTHESIS NCL STUDIO 08 - CURATING THE CITY

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STRUCTURAL STRATEGY AND CONSTRUCTION SEQUENCING In the Integrated Construction module, I have developed a series of drawings on the construction sequencing of the project. They demonstrate the process from the building of foundation to the finished structure. The drawings have allowed me to develop a better understanding of the composition and connections of various building elements. ---------------------------------

During the first phase of the project, the site will be accessed before construction starts for its ground and site condition to ensure a safe construction to workers and locals.

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1. Foundation & Excavation - Sheet pile foundation will be inserted to the ground and excavation will be carried out to provide space for the single aspect basement

6. Concrete Roof - Precast concrete roof with window openings will be constructed on top of the steel frame structure

7. CLT Floor & Wall - CLT panels will be inserted into the steel frame to provide walkway and exhibition spaces

2. Foundation- Pile foundation will be drilled into the ground to provide structural support for the basement

3. Basement - Basement level structure, including the concrete foundation walls and ceiliing will be constructed to prepare for the

8. Facade - Polycarbonate facade will be installed on the exterior of the steel frame structure

9. Glazing - Steel frames and glass windows will be installed on to the walls and roof of the building. The building is now weathertight with a completed structure

4. Steel Frame - The construction of the steel primary structure will begins on top of the concrete basement

5. Steel Truss Roof - Installation of the struss provides structural stability to the concrete roof as

10. UV Panels- The solar panel system and other interior elements will be constructed to prepare the building for services

11. External Space- Temporary scaffoldding structure can be introduced on the west side of the centre to serve as an external exhibition space.

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The Potential of Steel Scaffolding For Inhabitation Inspired by the scaffolding exhibition created by Peter Fattinger, Veronika Orso, Michael Rieper, and students from the Vienna University of Technology in Austria, I have started to investigate the potential of steel scaffolding for the cohabitation of insects and human for my ecological education centre. The part of research focuses on how to arrange floor and to insert wall in creating internal spaces with circulation. To test my ideas, a series of render were made in the testing phrase to look into the atmospere of the exhibition spaces, lighting and interaction with the structure.

THINKING THROUGH MAKING

SCAFFOLDING CONSTRUCTION SEQUENCE & INHABITATION 1. Site area for the construction of steel scaffolding

2. Installing base plate on the ground

3. Constructing the standards of ground floor

SELFWARE by Peter Fattinger, Veronika Orso, Michael Rieper, and students from the Vienna University of Technology, Institute of Architecture and Design

Through research, an alternative perspective on scaffolding was discovered and the model unfolds the great potential to arrange space around the temporary scaffolding structure. In this way, steel scaffolding is proposed in my design as something more than its usual role for construction phrase.

Insect hotel mounted on the scaffolding structure

A view inside the scaffolding exhibition space

SELFWARE by Peter Fattinger, Veronika Orso, Michael Rieper, and students from the Vienna University of Technology, Institute of Architecture and Design 4. Constructing the ledgers which runs parrallel to the standards

5. Adding boards for walkable spaces

6. Installing the standards of the first storey

7. Installing the ledges of the first storey

Exhibition Spaces

A view to the shelter on the first storey

Steel Staircases 8. Adding floor panels of the first storey and a steel staircase from the ground level

9. Installing the handrails of the first storey

10. Installing the standards of the second storey

11. Installing the ledges of the second sto rey

Horizontal Bracing

12. Installing the floor panels of the second storey

12. Buttresses added to secure the extended part of the structure

13. Constructing standards, ledges and handrails of the remaining part

14. Finishing the structure for exhibition Sheltered boxes will be inserted into the scaffolding structure to provide inhabitation as well as offering viewpoints to Saltaire. The structure also offers access to the upper walkway of the visitor centre to facilitate circulation.

Floor Panels

For my Thinking Through Making project, I tried to construct a physical model to demonstrate the construction process of steel scaffoldings to understand the composition for different structural elements. The process allowed me to imagine scaffolding as an architectural elements that allow inhabitation and the way organize exhibition spaces for insect and human cohabitation.

Initial axonometric section of the building cutting through the scaffoldings

Vertical Columns

Base Plates Initial drawing of the scaffolding details

Exposed structure of the steel scaffolding

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EXTERNAL PLANTING COURTYARDS IN BUILDINGS After the Synthesis Review, I have considered to partially deconstruct the structure of the visitor centre to provide a more interesting structure for inhabitation. As one of my project’s aim is to promote the cohabitation between human and other living species. I reflected on the linkage between the visitor centre and the woodland, and I decided to extend the woodland area by introducing trees and plants into the visitor centre. By the erosion of the building’s skin, external planting courtyards are created on different levels of the visitor centre. Vertical circulation cores and walking platforms provide access to these courtyards. Inside these spaces, visitor can have a closer observation at the greeneries as well as view to the external and internal areas of the building. This approach have allowed me to redefine the relationship between planting and interior architectural spaces, On the other hand, planting elements are also introduced at the Prod Lane entrance to the basement, the public stairs, as well as the outdoor courtyard between the exhibition spaces. These provide visitors an experience of immersing in nature in a manmade architectural environment.

STRUCTURE OF THE EXTERNAL COURTYARD ON THE EAST SIDE

STRUCTURE OF THE EXTERNAL COURTYARD ON THE WEST SIDE

INHABITATION OF THE COURTYARD

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// VISITORS’ ENGAGEMENT WITH THE EXTERNAL ENVIRONMENT WITH PLANTING ELEMENTS //

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IMAGINING THE BUILDING AS A RUIN IN

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2121

“This year is 2121. The Ecological Palace has fulfilled its role in educating people and is no longer inhabited by humans. Surrounding housings were demolished, local environment was restored, and nature has once again become the domination of the landscape. Meanwhile, the palace stands as the last man-made structure in Baildon that have witnessed the changes over the century.”

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BIBLIOGRAPHY

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IMAGE REFERENCES

BIBLIOGRAPHY

IMAGE REFERENCES

City of Bradford MDC, Saltaire World Heritage Site Management Plan (Bradford, 2014)

P. 013 - Print, Salts, “Salts Mill Screen Print”, Julia Ogden, 2021 <https://juliaogden.com/products/salts-mill-screenprint?variant=49352282063> [Accessed 3 June 2021]

Forestry Commission England, Trench Wood Community Woodland Management Plan (Bradford, 2011) Forestry Commission England, Walker Wood Community Woodland Management Plan (Bradford, 2011)

P. 018 - “Illustration Of Saltaire, A Model Village Founded For Textile Workers Near Bradford”, The British Library, 2021 <https:// www.bl.uk/collection-items/illustration-of-saltaire-a-model-village-founded-for-textile-workers-near-bradford#> [Accessed 3 June 2021]

Morton, Timothy, Ecology Without Nature (Cambridge, Mass.: Harvard University Press, 2009) “Sir Titus Salt Biography |”, Biography Online, 2016 <https://www.biographyonline.net/business/sir-titussalt.html> [Accessed 9 January 2021] Young, Robert F., ““Free Cities And Regions”—Patrick Geddes’S Theory Of Planning”, Landscape And Urban Planning, 166 (2017) <https://doi.org/10.1016/j.landurbplan.2017.03.007>

“Sir Titus Salt Bart. Sons & Co Limited Archives - Saltairecollection.Org”, Saltairecollection.Org, 2021 <https://www.saltairecollection.org/collection-tag/sir-titus-salt-bart-sons-co-limited/> [Accessed 3 June 2021] “Lagniappe Farm Alpacas | Alpacas, Fiber, And More”, Lagniappe-Farm.Com, 2014 <http://lagniappe-farm.com/blog1/> [Accessed 3 June 2021] P. 019 - “Sir Titus Salt”, 2011 <https://www.harrogateclub.co.uk/history/sir-titus-salt/> [Accessed 3 June 2021] P. 024 - “Shipley Glen”, Paul Marfell, 2013 <http://www.marfell.me.uk/wordpress/places/shipley-glen/> [Accessed 3 June 2021] P. 028 - Joylandbooks.Com, 2003 <https://www.joylandbooks.com/shipleyglen/Documents/aerialglidelisting.pdf> [Accessed 3 June 2021] P. 029 - “Shipley Glen Pleasure Grounds: Photo Gallery”, Joylandbooks.Com, 2003 <https://www.joylandbooks.com/shipleyglen/gallery.htm> [Accessed 3 June 2021] P. 031 - “Woodland Path Shipley Glen”, Lomography.Com, 2021 <https://www.lomography.com/cameras/3356752-boots-700mz/photos/21821699> [Accessed 3 June 2021] P. 032 - “Camp Adventure Park”, Effekt, 2021 <https://www.effekt.dk/foresttower> [Accessed 3 June 2021] P.034 - “Junya Ishigami + Associates · ART BIOTOP WATER GARDEN”, Divisare, 2019 <https://divisare.com/projects/415578-junya-ishigami-associates-art-biotop-water-garden> [Accessed 3 June 2021] P. 043 - “Fun Palace”, Medium, 2018 <https://medium.com/@michelle.yocelyn/fun-palace-8566c3adefae> [Accessed 3 June 2021] P. 044 - “Timothy Morton: Ecology Without Nature”, 2016 <https://lab.cccb.org/en/tim-morton-ecology-without-nature/> [Accessed 3 June 2021] Johnson, Frank, “RIGHTS OF NATURE: Art And Ecology In The Americas │ Nottingham Contemporary → 15 March 2015 - A ŚORT SPEL”, A ŚORT SPEL, 2015 <https://ashortspell.com/rights-of-nature-art-and-ecology-in-the-americas-%E2%94%82-nottingham-contemporary-%E2%86%92-15-march-2015/> [Accessed 3 June 2021] “Book Review: Humankind: Solidarity With Nonhuman People By Timothy Morton”, LSE Review Of Books, 2017 <https://blogs. lse.ac.uk/lsereviewofbooks/2017/11/03/book-review-humankind-solidarity-with-nonhuman-people-by-timothy-morton/?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+LseReviewOfBooks+%28LSE+Review+of+Books%29> [Accessed 3 June 2021] “Public Park In The Sky Seeks To Protect Atmosphere | KQED”, KQED, 2021 <https://www.kqed.org/arts/11105426/public-parkin-the-sky-seeks-to-protect-atmosphere> [Accessed 3 June 2021] “How Forests Think”, University Of California Press, 2021 <https://www.ucpress.edu/book/9780520276116/how-foreststhink> [Accessed 3 June 2021] “Being Ecological | Lecture By Philosopher Timothy Morton”, Youtube.Com, 2018 <https://www.youtube.com/watch?v=Yv4W4M8Z8VQ> [Accessed 3 June 2021] P. 045 - Kathryn Yusoff, “Epochal Aesthetics: Affectual Infrastructures Of The Anthropocene”, E-Flux Architecture, 2020 <https://www.e-flux.com/architecture/accumulation/121847/epochal-aesthetics-affectual-infrastructures-of-the-anthropocene/> [Accessed 7 February 2021]

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APPENDIX

IMAGE REFERENCES P, 063 - Architects, Grimshaw, “Project Gallery – GRIMSHAW”, Grimshaw.Global, 2001 <https://grimshaw.global/projects/ gallery/?i=577&p=96118_N126_a3> [Accessed 4 February 2021] P. 078 - “Free Plan - Wikipedia”, En.Wikipedia.Org, 2020 <https://en.wikipedia.org/wiki/Free_plan> [Accessed 3 June 2021] “Open Concepts: Le Corbusier’s Free Plan”, Archdaily, 2021 <https://www.archdaily.com/955461/open-concepts-le-corbusiers-free-plan> [Accessed 3 June 2021] P. 088 - From ARC 3013 Report P. 090-092 - From ARC 3013 Report P. 093 - Ayoubi, Ayda, “Scaffolding As An Architectural Material”, Architect, 2017 <https://www.architectmagazine.com/ design/exhibits-books-etc/scaffolding-as-an-architectural-material_o> [Accessed 3 June 2021]

APPENDIX -

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APPENDIX

THEMATIC STUDIES STUDIO 8 CURATING THE CITY

GMIT FURNITURE COLLEGE, O’DONNELL+TUOMEY

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GMIT Furniture College Letterfrack, Ireland - O’Donnell + Tuomey Ching Yee Jane Li Jamie Ryan Bone Karolina Lutterova Yuen Man Cheng

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APPENDIX

As part of the renevations required by the client, there was a proposal for two new buildings to add to the site. This made it easier for the Architects to fit the brief as they could start from fresh. Therefore, they created two matching buildings that almost mirrored the shape of the landscape. they took the varying edges to replicate the varied contours present in the context. This idea is shown by this simple massing diagram, showing the resemblence. Then the image to the right shows this idea in practice. The newly designed building can be seen at the right side of the image and shows the relevance this shape has to the landscape.

INTRODUCTION

A12

he GMIT Furniture College, located in Letterfrack, Ireland, is a educational institution for furniture and technology located on a significant landscape of the Letterfrack village. Designed by O’Donnell + Tuomey, it was formerly an industrial school with an unforgettable history. By retain the past elements and progressing towards the future, the new face given to the building has provided improvements and careful considertations on different aspects. This report will introduce the crucial elements on the site context, history, the architects’ theoretical position while comparing with other practices, investigating how the furniture has transformed the site into an dominant educational resource in the 21st century. Through researching, it also provides a better understanding on our own studio themes of heritage and environmental issues.

A11

A10

The renovations can be seen in parts of the section and elevation drawn. Although not they’ve not been coloured, you are able to see where the Irish Green Oak has been used. As said above, this is done to add more relevance to the site of the surroundings and this is done throughout the site.

The next way the Architect linked the building to the site was its exterior finish. You can see for the rest of the site, the buildings are constructed by brick finished in a light paint. The issue with this is that it does not relate to the surroudning site context. Therefore, O’Donnell and Tuomey created a new aesthetic by using Irish green oak as a finishing material for the exterior of the building, which came with many advantages. Importantly, the colour matched the landscape and the colour of the wood would age and weather in time with the landscape.

A14

A13

The two images above are taken at different times of the year at different times of the day. They are both great examples of how the new structures react with the landscape, allowing a new and modern building to blend in well with a historic site. This was the Architects full intention. As well as the addition of two new buildings, the remaining site had plans to be renovated, both on the interior and exterior. Although there was little flexibility for the shape of the existing buildings to be changed, the idea was to change the appearance of the facades. By doing this, it allowed users of the college to have a more inviting experience of the site with warmer materials to be used such as wood rather than cold traditional methods such as Brick. Gmit Furniture College, O’Donnell + Tuomey

Q1, How does the case study elaborate on its visual, spatial and interactive relationships to its context, landmarks and landscape(s)?

GMIT Furniture College Letterfrack, Ireland O’Donnell + Tuomey Located in Letterfrack, Ireland is the GMIT Furniture college. Letterfrack is a small village located on the West Coast of Ireland with a small popultion. The Architects were tasked with renovating college to fit better with its surroundings. This is due to the college having a bad repuation for itself as it was seen as non-inviting and did not provide a positive feeling. A1

With Letterfrack being in such a secluded area, the Architects did not have to give so much consid-

Below is a West Site Section and an East Site Elevation. These too also show the landscape and context in relation to the site. The section is cut through two of the buildings on site. The elevation shows how dominant the landscape is on the site and how the new buildings have been shaped to corrospond to this.

A4 E

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Jamie Bone

CHING YEE JANE LI

West Site Section

East Site Elevation

Gmit Furniture College, O’Donnell + Tuomey

TOWARDS A PROGRESSIVE CONSERVATION AND EMBODIED READING

‘There had been no intervention on the site for 100 years…We had to find some way of owning it that would protect it for the future.’

- Kieran O’Donohue, Director of Connemara West ‘Some buildings have savage histories. Histories that can leave a place in need of a kind of architecture exorcism, a project of redemption. In Letterfrack, life was overshadowed for much of the last century by a repressive industrial school at its heart.’ Since its closure in the 1970s, the village and the institution is being redesigned by the community to secure its future. O’Donnell + Tuomey, the architects who has long connection with Connemara, has look into to the site both practically and emotionally to provide positive conservation of the history in their design and at the same time giving it a modern and forward-looking identity, so that the proposed function and architectural design could combine to transform the outdated 19th century institutional building into an dominant educational resource for the 21st century.

the history and heritage of the site was preserved. The Architects worked closely with officials of the area to agree what changes would be done to the site to preserve the history but provide a better aesthetic. O’Donnell and Tuomey had the desire to add new buildings to have something linking directly to the site, as well as adding their own touch. Being a very rural area, it was important to not over-haul the area with modern Architecture that would not fit in. O’Donnell and Tuomey were chosen to undertake this as they had proved to be very good at this type of Architcture before. Jamie Bone

Gmit Furniture College, O’Donnell + Tuomey

CHING YEE JANE LI

On this page are diagrams showing the topography and lanscape of the site. In the centre is where the campus of the College is located, where massing of the main buildings of the campus have been modelled. As can be seen, when looking west on the site, a backdrop of the lanscape is not visible due. This is due to the landscape levelling off to sea level meeting the coast. When looking East on the site, the hilly landscape is visible and dominates the view of the campus. This is why the eastern view was one of the most important for the Architect as this was the view affecting the site they had to work with the most. This is a similar case with the southern view, but the effect is not as dramatic as the one caused by the East. The northern view again does cause impact the Architects design as the landscape gradually increases in height and does not directly effect the site like the view from the East. This can be seen in the Section and Elevation on in the drawings below.

eration for neighbouring landmarks but mainly its relationship to context and the landscape. As the landscape was the main focus, it was important for O’Donnel + Tuomey to provide their project with a strong relationship to this. They did this by firstly designing two new buildings to be added to the site making up two workshops. The remaining buildings were to remain but to be renovated to provide a new aesthetic. A variety of Architectual skills were used to create this new aesthetic which are explored in this section of the booklet. The site was close to demolition. With the site providing such negative opinions and reminiscing on a poor area that was Letterfrack. O’Donnell and Tuomey saw potential in the site. These are both Architects that work well with providing a site with a new aesthetic. When officials came to the conclusion that the site was to remain and not be demolished, rules were set to what could and could not be done to the site. This was to ensure that

Jamie Bone

A15

The image to the above shows a building on the College campus that has been renovated. The building was pre-exisiting to the site but has been renovated both in and out. Again, Irish Green Oak has been used on the exterior as a means of relating the the building to the surrounding site and context, also shown in the large drawing of the section at the top of this page.

etterfrack was a poor and neglected area until the James and Mary Ellis settled there in 1849 and founded the town as a relief to the horrors visited on the locality during the Famine. Under Ellis’ goverance, the land had became a village with better living condition and vibrant social and educational development. However, when James Ellis’ health failed in 1857, he sold the land to John Hall, an advocate of the Irish Church Mission Society. Later in 1882, the Christian Brothers were asked by the Archbishop of Tuam to establish an industrial school at the site. The school opened in 1887, forming three sides of a square of 50 metres each direction, and was composed of three dormitories, aband room, five classrooms, kitchen, refectory, washroom and laundry. The institution was built as part of a nationwide program of penal reform, providing skills training and discipline for children from the urban slums. The harshness and cruelty that became endemic in this system of incarceration is one of the social scandals of modern Irish society. After the reformatory closed in 1974, the Connemara West, a community-owned development organisation in County Galway has bought the site, with an intention to transform the site into a more positive future.

Sheila O’Donnell and John Tuomey, who were appointed to redesign the site, tried to learn more about the landscape forms, textures and colours, and the community’s needs on both practical and emotional aspects. Demolition was an consideration first came up, as the terrible background of the building had to be taken out of the village and be reconstructed, so that its clear and simple spaces could be free from the previous sorrow and allow a more positive and productive future. However, after a series of public meetings the community thought that the building should be kept, as it was crucial to retain aspects of each different sides of the site’s history. Nonetheless, the first move was to take away some of the forbidding formality of the school, along with the designs of dramatic view buildings, including the machine hall, furniture restoration hall, library and cafeteria, which are now completed and in use. They formed a second phase of development, a redemptive programme of subtraction for the previous building,

‘We don’t want to leave ghosts in the old building. We have to take the old building with us.’

- Tuomey

In Donnell and Tuomey’s design, the new furniture college for Letterfrack not only created a place for learning, but also a whole context for the story of Letterfrack and its people.

Fig 1 - A drawing done by Donnell and Tuomey during their visit in Letterfrack, illustrating the view from mountain and their first thoughts of design strategy.

The first noticeable change in the site is the entry into the area. The once rigidly straight path leading from the village to the front door is removed (Fig 2), and the symmetry has been shifted with the axis changing into a curved line in the site, forming a softer, more circuitous approach (Fig 3), the new forecourt upon entry opens up the enclosed form of the courtyard plan, which has effectively helped with changing the atmosphere of at first sight. On the other hand, the architects were interested in creating aspects of character and atmosphere for buildings in conserving the sense of place and different approaches had been carried out to these senses in the furniture college. They wanted the building to embody the spirit of the endeavor that the people who used the building were involved in, and some of the ways they tried to work with was by considering material, texture and color in buildings. At the same time , the context of Letterfrack had provided a particular opportunity with its significant landscape that the building is situated in.

Besideds, there are also old buildings around the site that have their own character and atmosphere, in order to link and combine them with the new college, the architects not only looked at the forms in the landscape but also at the colors and the textures. For instance, they collected stones and shells on the local beaches, and making them part of the issues to introduce for the definition of the place. They started to work more with materials which are self-colored to relate to the colours and textures of the landscape, for instance a render for the walls of the building which uses the colors of the stones instead of painted, the color comes from sand and the shells are in the aggregate of the concrete as well as the building. Other external materials like Irish green oak andterne coated stainless steel are also used. Having this kind of color and texture has close linkage with the original landscape, it registered the passage of time in that the buildings weather naturally because they’re not painted rand they’re not coated so they change in time (Fig 5).

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YUEN MAN CHENG

CHING YEE JANE LI

APPENDIX

13 7

When O’Donnell + Tuomey was selected to represent Ireland at the Venice Architecture Biennale in 2004, they showed the first-phase constructions of the college by installations based on the project. The works they exhibited have great linkage with the current furniture college structural and verbal communication. The timber structure, the cross-braced frame containing a stairs, the red-ovide steel, the tin shed in the landscape, all these motifs first appeared in the Irish Pavilion. In response to the theme of Metaporphosis of the biennale, Ireland’s Pavilion was a transformation of the ongoing redevelopment project of the industrial school in the past century, linking with its later incorporation within a community-generated campus, and displaying the story and changes of the institution. The works attempted to tell the story of the past, present and future of the site. From the installation, we can understand the initiative behind the architects’ design for the furniture college, which is not focused only on the architecture of the new Furniture College but also to provide an overview of the history, culture and landscape of Connemara West to provide a progressive conservation of the area. For instance, the new buildings at Letterfrack stands fofr a reconsideration of the relationship betweeen the former penal institution and the place. Ireland’s Pavilion created elements of the architectural project to introduce characteristics of confinement and release, closed institutions and frameworks for evolution. Principles of form and construction was presented in an abstract form from the built structure of the furniture college, evoking memories of chapels and shrines, lobster pots and the skeletal carcasses of upturned boats.

Open Frame (Fig 7) The timber framed structure of the Machine Hall workshops (Fig 8) was an important principle of building construction in Letterfrack. The Open Frame utilizes similar structural principles, representing an elegant economy, a leaning lattice. In the biennale, the installation of frame is put to work to support three levels of exhibition information (Fig 8); As mentioned by Donnell in Saving Letterfrack, the idea of open frame represents the new buildings, which serves as a deliberate opposition to the Scary House. By calling it the open frame, it means something about the structuring support system that the community project gives in Letterfrack. Scary House (Fig 9 & 10) A different kind of structure stands in contrast to the Open Frame, displaying a more intimate and complex in respond to the previous form. This smaller building is a representation of the built transformation of the site as an industrial school in the past. It was made of two layers with one inside the other, offering the character of a lobster pot- it’s easy to get in but it’s not easy to get out, which the architects considered it as a symbolism of the character of the institution. During the construction, the architects had also refered to the form and structure of some early churches in the west of Ireland like the chapel to St. Magdaro. On the other hand, the construction of the frame relates to boat building techniques from the west of ireland for the traditional characters. Together, these abstract installtion at the exhibition created a forecourt, a point of orientation: the old religious prison as a scary house to be remembered as nightmare of the past with its fearful tilted symmetry, and the open framework of a community college in the wild, opening to endless possibilities, telling the story of an institution transformed.

On the other hand, the tectonic communication of the furniture college has also shows aspects of conserving the history while embracing the future. While demolitation was not carried out for the original site, the architects had worked on various detail aspect to take away the original forbidding formality. Along with the dramatic view buildingsmachine hall, furniture restoration hall, library and cafeteria- that are now completed and in use, they formulated a second phase of development, a redemptive programme of subtraction for the old building.

To remove the sorrowful atmosphere of the space while keeping its form, the secretive staircases and gloomy wainscoting were taken out and the mean central porch and the finial crosses were removed, As a symbolic deconstruction, the high windowsills were cut down to floor level so that the building would be as open to its new forecourt and garden and the greeneries as what happened inside it should be opened to the local community.

Donnell and Tuomey also revealed some subtleties of design: a tall rectangular-sectioned chimney rises from boiler houses on the lower level between the two new buildings, to precisely the height of the small chimneys on either end of the old building, and also with same spacing as them, which decentred the formidable symmetry of the old and adjusting it to the new college. The new library (Fig 14), with a cafeteria below it, was built to take away the gloomy marshalling yard by laying it out up to the glass frontages of the cafeteria as an ‘academic garden’. Besides, Tuomey designed the workshops to lean away from the wind and towards the complex. Leaning towards north allows light to get into the building. Slits of shielded light enters where the roofs change pitch, and internal wall and ceiling lining are sheets of orientated strand board and birchfaced plywood butting together, providing a brighter and warmer space for the interior. Externally, there are nofascias, soffits and gutters except at the entrances which are protected by short lengths of large, clip-on box guttering, left opened at one end to create a water spout. At the same time of all these expressive structures, the past character this place is revealed at some point as a conservation of history. For instance the experience of users in the ibrary, where its lid is raised to provide a view at the mountain (Fig 13). Boys who died in the past institution were buried in the hill above, and the design functions as an memorial to the past, letting users past by the remember this place and reflecting its history before moving on.

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YUEN MAN CHENG

Case study in relation to other buildings of its type

RESPONSE TO THE LANDSCAPE AND ENVIRONMENT Centro di Formazione ProfessionaleSSIC / Durisch + Nolli

TIMBER EXPRESSION SSIC centre valley

Lake Maggiore

The building in relation to its site and surroundings 1.

Ireland’s Pavilion, Biennale 2004 , VeniceItaly Concepts of ‘Scary House’ and ‘Open Frame’

The centre for vocational training by Durish and Nolli brigs a new function to the tourism dominated area of Lake Maggiore without disrupting its identity and similarly to GMIT furniture college it introduces a different economic model based on knowledge transfer independent from the migration to the area. The building is built on a site in a valley, which has a very flat character. The building responds by its linearity acting as a membrane beUniform natural light provision tween the rural and urban landscape and its form is very sensitive to the contours of the land. Similarly to the GMIT College it responds to the nature of the undersite by utilising concrete structure for the base of the building since the site is often flooded. Furthermore, position of the building is affected by providing the natural light for the working space. Furthermore it also utilises very distinctive material strategy for the metal cladding, due to which the building appears undisrupBuildings concrete platform as means of flood prevention tive in its context. In terms of sustainability, wood might be a greener alternative, however, the programme of the vocational training centre involves activities related to metal cutting and joinery, which might be a potential risk to fire safety.

O’Donnell and Tuomey / Sandford Park School, Dublin

Drawing from the Exhibition of the Irish Pavilion in the Venice Bienale, where O’Donnel and Tuomey demonstrated and conceptualised their use of timber form as a means of expression, this approach might be characterised as an important feature of the building type in GMIT furniture college. The use of timber in a similar form as in the GMIT furniture college can be observed in other projects of O’Donnell and Tuomey as well. The way they approach the traditional material relating to the context of the site is more expressive producing a more contemporary effect as well as structural capacity. The timber acts as an evocative element that refers to the site context and history of the traditional building, however it is also means of expression of the new challenging form. This approach to the form of the structure can be observed in the Sandford Park School. Other examples of structural timber trusses communicating aesthetic value might be seen in Alvar Aalto’s Säynätsalo Town Hall.

Säynätsalo Town Hall / Alvar Aalto

GMIT workshop facilities

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WORKSHOP + TRAINING FACILITY Programme + response

Karolina Lutterova

Building blending in with the landscape

Workshop facilities

11.

Classrooms

12.

This case study relates to the programme of the GMIT college. It is a centre for vocational training accommodating metal workshop, woodworking workshop and building technology workshop and classrooms for other teaching activity. While this building utilises steel beams to support the large span needed over the workshop facility without additional vertical supports (see fig.), GMIT college, in contrast, utilises more complex timber frame construction (see fig.).

10.

SSIC workshop facilities

Karolina Lutterova

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NCL STUDIO 08 - CURATING THE CITY

ADDITION + REPURPOSING OF A HISTORICAL BUILDING

PLACE AND MEMORY

Corte Bertesina / Traverso-VighyArchitetti This case study is a project encompassing environmental, social and agricultural values combining various pr grammes such as an agricultural food processing centre and shop, a bed and breakfast, a visitor’s centre for educational activities and residences. It is also a refurbishment located in a rural area near Viczenza, Italy putting emphasis on the interaction with the landscape as well as historical context. The choice of this precedent wasinspired by the relation of the repurposing of the old strucutre and creating new functions within it. This reconstruction integrates the new structures more deeply into the original one rather than being a pure addition to the existing building volume (see fig. ). The components used in the addition are mostly cross laminated beams and pannels, forming components inserted into the existing structure. However, the building also works with other materials deeply rooted in the context of the place such as the local stone. In the reconstruction of the historical building there was also a consideration for the outdoor space in the immediate proximity of the building cultivating the land and preserving the forest which is a nesting ground for a variety of wildlife. The buildings work in the views of the fields and forests. Furthermore there is also a strong emphasis on the space of the coutryar (see fig. ).

Blakstad Haffner Arkitekter / Memorial And Learning Centre, Utoya Designing with memory. Re-establishing values of site.

13.

The building creates a strategy for the re-establishing of a political camp on the island, after the terrorist attacks on Utøya 22 July 2011. The ambition was to reflect and reinforce values such as commitment, solidarity, diversity and democracy, both through form and function. This has been done by establishing a small village with small streets, belfry and a town square on the very top of the island. The village consists of many small units that together ad up to a bigger community. One of the guiding principles of the design that is promoting values of democracy was that violence, threats and hate can only be met by knowledge, debate and tolerance, both as individuals and as a society. The building deals with a very complicated footprint of the past and preservation of the values. In terms of spatial demonstration of this it Memorial and the rest of the village addresses the new buidlding of the memorial site erected in the place as an isolated lement which differs from the rest of the camp (see fig. ). It accommodates the ruins of the original building that stood in that place on the site. The zone between the 69 inner pillars and outer fence creates a cloister. The outer fencing shields the interior of the preserved part of the building. They filter the entry into the building through a charged spatial sequence. The cloister is open between each pillar in the fence for visibility and transparency. But it is also a fence with direction and reticence and clear entries and exits, one feels trapped in the building’s symbolic constituents. Openings to the outside are constant but placed irregularly, they are difficult to find immediately. It cold be seen as another way of addressing conservation and reemberance of the past while at the same time liberating the site of the negative stigma and focusing on the meaning of the values. The structure honours the ones lost on 22.7.11. through telling their stories. This memory will forever be part of Utøyas identity, and will be important 21. also for future generations. The design tries to allow them to create The building complex on the site The original building given a new new, positive memories, so that the history of the place can continue. meaning as a memorial

original structure addition courtyard

Buildign addition strategy in GMIT furniture college

16.

14.

Integration of the new structural elements in the original structure

15.

Corte Bertesina in relation to the surrounding vegetation

original structure addition

19.

20.

Buildign addition strategy in Corte Bertesina 23. 17.

24.

original structure addition

22.

Karolina Lutterova

The interaction of the two buildings 18.

Plan of the memorial building

Layering of the building envelope to emphasise the experience of the place

Karolina Lutterova

LIST OF FIGURES: Question 1 A1 - Aerial view of Letterfrack Furniture College. Available at: https://discover.digitalglobe.com/ A2 - General photograph showing the sites new structures on site. Available at: https://odonnell-tuomey.ie/index. php/furniture-college-letterfrack A3 - South facing screenshot of massing site model. By author, Jamie Bone A4 - East facing screenshot of masssing site model. By author, Jamie Bone A5 - Overall screenshot of massing site model. By author, Jamie Bone A6 - West facing site section. By author, Jamie Bone A7 - East facing Elevation. By author, Jamie Bone A8 - Massing drawing showing shape of new buildings in relationship to the landscape. By author, Jamie Bone A9 - Overall site photograph showing site in relation to its surroundings. Available at: https://odonnell-tuomey.ie/ index.php/furniture-college-letterfrack A10 - Photograph showing colour of building in relation to its surroundings: Available at: https://odonnell-tuomey. ie/ index.php/furniture-college-letterfrack A11 - Photograph showing colour of building in relation to its surroundings: Available at: https://odonnell-tuomey. ie/ index.php/furniture-college-letterfrack A12 - Zoomed in section drawing of the site showing facade detail to relate to surrounding context. By author, Jamie Bone A13 - Zoomed in section drawing of the site showing facade detail to relate to surrounding context. By author, Jamie Bone A14 - Photograph showing how the facade of the building on site has been designed to reflect and fit into its surroundings. Available at: https://www.architectureattheedge.com/sunday/2017/9/15/gmit-letterfrack A15 - Sketch by Architects O’Donnell + Tuomey shoing their proposed renovations to site. Available at: https:// odonnell-tuomey.ie/index.php/furniture-college-letterfrack Question 2 Fig 1- A drawing of design strategy by O’donnell and Tuomey. Available at: https://odonnell-tuomey.ie/index.php/ furniture-college-letterfrack Fig 2- Former entrance path of the institution. Available at: https://uk-database.net/2012/05/09/st-josephs-industrial-school-letterfrack/ Fig 3- Current entrance path of the furniture college. Available at: https://odonnell-tuomey.ie/index.php/furniture-college-letterfrack Fig 4- A view of the site and landscape. Available at: https://odonnell-tuomey.ie/index.php/furniture-college-letterfrack Fig 5- Drawings of the sense of landscape. Available at: O’Donnell + Tuomey: contemporary crafts, p.39 Fig 6- Exterior materials of the college. Available at: https://odonnell-tuomey.ie/index.php/furniture-college-letterfrack Fig 7- Interior of the machine hall. Available at: https://odonnell-tuomey.ie/index.php/furniture-college-letterfrack Fig 8- Concept of the machine hall. Available at: O’Donnell + Tuomey: contemporary crafts, p.42 Fig 9- The Open Frame model at Venice Architecture Biennale. Available at: https://odonnell-tuomey.ie/index. php?p=irelands-pavilion Fig 10- Concept of the open frame model exhibition. Available at: https://odonnell-tuomey.ie/index.php?p=irelands-pavilion Fig 11- The Scary House model at Venice Architecture Biennale. Available at:https://odonnell-tuomey.ie/index. php?p=irelands-pavilion Fig 12- Drawings of the Scary House structure. Available at: https://odonnell-tuomey.ie/index.php?p=irelands-pavilion Fig 13- A view of the furniture college. Available at: O’Donnell + Tuomey: contemporary crafts, p.41 Fig 14- View from the library to the mountain. Available at: O’Donnell + Tuomey: contemporary crafts, p.42 Fig 15- Library’s lid structure. Available at: https://www.gettyimages.co.uk/photos/letterfrack-furniture-college?phrase=letterfrack%20furniture%20college&sort=best

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6. Edited, ‘Gordola’, Google Earth<https://earth.google.com/web/search/gordola+/@46.17347937,8.8913998,202.0 9108449a,27 107.10507968d,35y,0h,0t,0r/data=CigiJgokCb8jJqh4CUtAEXAsb6EF4EpAGdpQf8JQ-vq_Icr8RwxXsAHA> [accessed 14 December 2020]. 7. ‘C Durisch+Nolli - Centro Formazione Professionale SSIC’ <https://archeyes.com/wp-content/uploads/2016/01/ Centro-di-Formazione-Professionale-SSIC-Gordola-Durisch-Nolli-04-1.jpg> [accessed 14 December 2020]. 8. ‘ Durisch+Nolli - Centro Formazione Professionale SSIC’ <https://archeyes.com/wp-content/uploads/2016/01/ Centro-di-Formazione-Professionale-SSIC-Gordola-Durisch-Nolli-09-1.jpg> [accessed 14 December 2020]. 9. ‘Centro Di Formazione Professionale SSIC / Durisch + Nolli’, ArchEyes, 2016’ p. <https://archeyes.com/wp-content/uploads/2016/01/Centro-di-Formazione-Professionale-SSIC-Gordola-Durisch-Nolli-09-1.jpg> [accessed 14 December 2020]. 10. ‘Centro Di Formazione Professionale SSIC / Durisch + Nolli, ArchEyes, 2016’ <https://archeyes.com/wp-content/uploads/2016/01/Centro-di-Formazione-Professionale-SSIC-Gordola-Durisch-Nolli-10.jpg> [accessed 14 December 2020]. 11. ‘Centro Di Formazione Professionale SSIC / Durisch + Nolli’, ArchEyes, 2016’ <https://archeyes.com/wp-content/uploads/2016/01/Centro-di-Formazione-Professionale-SSIC-Gordola-Durisch-Nolli-04-1.jpg> [accessed 14 December 2020]. 12. ‘Centro Di Formazione Professionale SSIC / Durisch + Nolli’, ArchEyes, 2016’ <https://archeyes.com/wp-content/uploads/2016/01/Centro-di-Formazione-Professionale-SSIC-Gordola-Durisch-Nolli-04-1.jpg> [accessed 14 December 2020]. 13. Edited, ‘2001 – O’Donnell + Tuomey: Letterfrack Furniture College, County Galway – Archiseek – Irish Architecture’ <https://archiseek.com/2002/odonnell-tuomey-letterfrack-furniture-college-county-galway/> [accessed 14 December 2020]. 14. Chemollo, Alessandra, ‘Traverso-Vighy Architetti, · Corte Bertesina · Divisare’ <https://divisare.com/projects/368529-traverso-vighy-architetti-alessandra-chemollo-corte-bertesina> [accessed 29 November 2020]. 15. Chemollo, Alessandra, ‘Traverso-Vighy Architetti,· Corte Bertesina’, Divisare <https://divisare.com/projects/368529-traverso-vighy-architetti-alessandra-chemollo-corte-bertesina> [accessed 14 December 2020] 16. ‘Traverso-Vighy Architetti,· Corte Bertesina’, Divisare <https://divisare.com/projects/368529-traverso-vighy-architetti-alessandra-chemollo-corte-bertesina> [accessed 14 December 2020] 17. Chemollo, Alessandra, ‘Traverso-Vighy Architetti,· Corte Bertesina · Divisare’.‘Traverso-Vighy Architetti,· Corte Bertesina’, Divisare <https://divisare.com/projects/368529-traverso-vighy-architetti-alessandra-chemollo-corte-bertesina> [accessed 14 December 2020] 18. Chemollo, Alessandra, ‘Traverso-Vighy Architetti, · Corte Bertesina · Divisare’.‘Traverso-Vighy Architetti,· Corte Bertesina’, Divisare <https://divisare.com/projects/368529-traverso-vighy-architetti-alessandra-chemollo-corte-bertesina> [accessed 14December 2020] 19. Carlsen,Are, ‘Blakstad Haffner Arkitekter · Memorial and Learning Centre · Divisare’ <https://divisare-res.cloudinary.com/ images/c_limit,f_auto,h_2000,q_auto,w_3000/v1485171238/vaimorcgvy931gb46nfx/blakstad-haffner-arkitekter-memorial-and-learning-centre.jpg> [accessed 14 December 2020]. 20. Carlsen,Are, ‘Blakstad Haffner Arkitekter · Memorial and Learning Centre · Divisare’<https://divisare-res.cloudinary.com/ images/c_limit,f_auto,h_2000,q_auto,w_3000/v1485171219/roxcc0hhlvwzgedz2tl7/blakstad-haffner-arkitekter-memorial-and-learning-centre.jpg> [accessed 14 December 2020] 21. Edited site plan,‘Blakstad Haffner Arkitekter · Memorial and Learning Centre · Divisare’ <https://divisare-res. cloudinary. com/images/c_limit,f_auto,h_2000,q_auto,w_3000/v1485171313/gnoelbk9myu2h2y5wslp/blakstad-haffnerarkitekter-memo-rial-and-learning-centre.jpg> [accessed 14 December 2020]

22. Carlsen,Are, ‘Blakstad Haffner Arkitekter · Memorial and Learning Centre · Divisare’ <https://divisare-res.cloudinary.com/ images/c_limit,f_auto,h_2000,q_auto,w_3000/v1485171211/bpivaubi7ejmepoxee43/blakstad-haffner-arkitekter-memorial-and-learning-centre.jpg> [accessed 14 December 2020]. 23. Edited plan, ‘Blakstad Haffner Arkitekter · Memorial and Learning Centre · Divisare’ <https://divisare-res.cloudinary.com/ images/c_limit,f_auto,h_2000,q_auto,w_3000/v1485171295/zzy1usg2x1hmertwxmud/blakstad-haffner-arkitekter-memorial-and-learning-centre.jpg> [accessed 14 December 2020] 24. Carlsen,Are, ‘Blakstad Haffner Arkitekter · Memorial and Learning Centre · Divisare ‘<https://divisare-res.cloudinary.com/ images/c_limit,f_auto,h_2000,q_auto,w_3000/v1485171214/njojl0lc33usk8fupfqq/blakstad-haffner-arkitekter-memorial-and-learning-centre.jpg> [accessed 14 December 2020]

BIBLIOGRAPHY: Question 3 p.1 Stella O’donnell+ John Tuomey, https://odonnell-tuomey.ie/team/john-tuomey Initial Sketch of the GMIT Furniture College, https://odonnell-tuomey.ie/furniture-college-letterfrack p.2 Layout of the former industrial school ,http://www.childabusecommission.ie/rpt/01-08.php Letterfrack Industrial School, http://www.childabusecommission.ie/rpt/pdfs/CICA-VOL1-08.PDF New design of the entrance, https://www.gmit.ie/sites/default/files/public/furniture/docs/gmit-letterfrack-newsletter-2019-2020.pdf Comission to inquire into Child Abuse, http://www.childabusecommission.ie/rpt/01-07.php St Joseph’s Industrial School,https://katekelsen.com/2018/03/15/ireland-31-days-31-pictures-day-15-letterfrack/ Initial Sketch of the GMIT Furniture College by O’donnell + Tuomey, https://odonnell-tuomey.ie/furniture-college-letterfrack GMIT Furniture College Letterfrack, https://odonnell-tuomey.ie/index.php/furniture-college-letterfrack p.3 Letterfrack college and its landscape, https://odonnell-tuomey.ie/index.php/furniture-college-letterfrack Leicester University engineering building, https://www.e-architect.com/england/university-leicester-engineering-department Steinberg Heerrmann hat factory at Luckenwalde, https://archinect.com/news/article/132034420/let-j-rgenmayer-h-help-plan-your-nexttrip-to-berlin-with-his-own-travel-tips

(2020) ‘ Commission to Inquire into Child Abuse ‘, Letterfrack Industrial School (‘Letterfrack’), 1885–1974, 1(), pp. [Online]. Available at: http://www.childabusecommission.ie/ (Accessed: 2 DEC 2020).

‘Hampshire Cam UK - The Photographic Rambles of a Retired Photographer’ <http://www.hampshirecam.co.uk/ travels06/travels_nov606.html> [accessed 1 December 2020]

Children’s Home () st Joseph Industrial School, Letterfrack, Co. Galwa, republic of Ireland, Available at: http://www. childrenshomes.org.uk/LetterfrackIS/ (Accessed: 2 DEC 2020). Fernández-Galiano, Luis. O’Donnell Tuomey : Contemporary Crafts. 2016.

‘In Conversation: Sheila O’Donnell + John Tuomey with Kenneth Frampton’, The Architectural League of New York <https://archleague.org/article/conversation-sheila-odonnell-john-tuomey-kenneth-frampton/> [accessed 26 November 2020]

GMIT Furniture College Letterfrack — O’Donnell + Tuomey’ <https://odonnell-tuomey.ie/index.php?p=furniture-college-letterfrack> [accessed 13 December 2020]

‘L&L Luce&Light lights up the Corte Bertesina farm’, Archiproducts <https://www.archiproducts.com/ ru/%D0%BD%D0%BE%D0%B2%D0%BE%D1%81%D1%82%D0%B8/l-l-luce-light-lights-up-the-corte-bertesinafarm_61344> [accessed 13 December 2020]

Odonnell + Tuomey (2002) GMIT Furniture College Letterfrack Galway, Available at: https://odonnell-tuomey.ie/ index.php?p=furniture-college-letterfrack (Accessed: 2 DEC 2020). O’Doherty, B. & Tipton, G., 2005. Space: Architecture for Art. s.l.:Circa Art Magazine. O’Donnell, S. & Tuomey, J., 2006. O’Donnell + Tuomey: Selected Works. s.l.:Princeton Architectual Press.

‘Snapshot’ <https://archiseek.com/2002/odonnell-tuomey-letterfrack-furniture-college-county-galway/> [accessed 27 November 2020]

O’Donnell + Tuomey, 2020. GMIT Furniture College Letterfrack. [Online] Available at: https://odonnell-tuomey.ie/ index.php/furniture-college-letterfrack

‘Ssic-Gordola.Pdf ’ <https://www.montana-ag.ch/referenzbilder/schweiz/ssic-gordola/ssic-gordola.pdf> [accessed 28 November 2020]

O’Toole, S., 2002. Redemption in Letterfrack. Arish Arts Review Autumn 2002, 19(2), pp. 88-92.

‘Traverso-Vighy Architetti, Alessandra Chemollo · Corte Bertesina · Divisare’ <https://divisare.com/projects/368529-traverso-vighy-architetti-alessandra-chemollo-corte-bertesina> [accessed 29 November 2020]

Patsy McGarry (2002) 100 died at Letterfrack school, say Brothers, Available at: https://www.irishtimes.com/ news/100-died-at-letterfrack-school-say-brothers-1.1104242 (Accessed: 1 DEC 2020).

Collage by author Irish Pavilion, http://odonnell-tuomey.ie/irish-pavilion Sketch of Blackwood Golf Centre, https://odonnell-tuomey.ie/index.php/blackwood-golf-centre Model of GMIT Furniture College Letterfrack,https://odonnell-tuomey.ie/furniture-college-letterfrack p.4 Interior of the machine hall, https://www.gettyimages.hk/%E5%9C%96%E7%89%87/letterfrack-furniture-college?phrase=letterfrack%20 furniture%20college&sort=mostpopular

Robinson, T., 2009. Connemara: The last pool or darkness. Second Edition ed. s.l.:Penguin. Saving Letterfrack (Steve Simons, 2005)

external view of machine hall, https://www.gettyimages.hk/%E5%9C%96%E7%89%87/letterfrack-furniturecollege?phrase=letterfrack%20furniture%20college&sort=mostpopular

WorkGroup, ‘Award-Winning Practice Based in Dublin, Cork...’, O’Donnell + Tuomey (O’Donnell + Tuomey, 2020), https://odonnell-tuomey.ie/ <https://odonnell-tuomey.ie/index.php/index.php> [accessed 13 December 2020]

Plan of the Letterfrack College, https://s3-eu-west-1.amazonaws.com/odonnell-tuomey-static/publications/2002IARLetterfrack.pdf Section of analysis of the machine hall by author

‘2001 – O’Donnell + Tuomey: Letterfrack Furniture College, County Galway’, Archiseek - Irish Architecture, 2002 <https://archiseek.com/2002/odonnell-tuomey-letterfrack-furniture-college-county-galway/> [accessed 27 November 2020]

Question 4

‘AD Classics: Säynätsalo Town Hall / Alvar Aalto’, ArchDaily, 2016 <https://www.archdaily.com/783392/ad-classicssay-natsalo-town-hall-alvar-aalto> [accessed 13 December 2020]

1. ‘Irelands Pavilion— O’Donnell + Tuomey’ <https://s3-eu-west-1.amazonaws.com/odonnell-tuomey-static/ projects/_w1800/ A093_Irelands_Pavilion_02_Photo.jpg> [accessed 14 December 2020]. 2. ‘Irelands Pavilion— O’Donnell + Tuomey’ <https://s3-eu-west-1.amazonaws.com/odonnell-tuomey-static/ projects/_w1800/ A093_Irelands_Pavilion_04_Photo.jpg> [accessed 14 December 2020]. 3. ‘Sandford Park School — O’Donnell + Tuomey’ <https://s3-eu-west-1.amazonaws.com/odonnell-tuomey-static/ projects/_ w1800/A153_Sandford_11.jpg> [accessed 14 December 2020]. 4. ‘Furniture-College— O’Donnell + Tuomey’ ‘, p. 06 <https://s3-eu-west-1.amazonaws.com/odonnell-tuomey-static/projects/_ w1800/A046_06_Furniture-College_Photograph.jpg> [accessed 14 December 2020]. 5. ‘Gallery of AD Classics: Säynätsalo Town Hall / Alvar Aalto - 4’, ArchDaily <https://www.archdaily.com/783392/ ad-classicssaynatsalo-town-hall-alvar-aalto/56de4112e58eced2d4000136-ad-classics-saynatsalo-town-hall-alvar-aaltoimage> [accessed 14 December 2020].

‘Sandford Park School — O’Donnell + Tuomey’ <https://odonnell-tuomey.ie/index.php?p=sandford-parkschool-1> [accessed 13 December 2020]

Shane O’Toole (2002) ‘Redemption in Letterfrack’, , 19(), pp. [Online]. Available at: https://s3-eu-west-1. amazonaws.com/odonnell-tuomey-static/publications/2002IARLetterfrack.pdf (Accessed: 30 NOV 2020). WorkGroup, ‘Award-Winning Practice Based in Dublin, Cork...’, O’Donnell + Tuomey (O’Donnell + Tuomey, 2020), https://odonnell-tuomey.ie/ <https://odonnell-tuomey.ie/index.php/index.php> [accessed 13 December 2020]

‘Blakstad Haffner Arkitekter · Memorial and Learning Centre · Divisare’ <https://divisare.com/projects/335665-blak-stad-haffner-arkitekter-memorial-and-learning-centre> [accessed 29 November 2020] ‘Centro Di Formazione Professionale SSIC / Durisch + Nolli’, ArchEyes, 2016 <https://archeyes.com/centro-formazione-professionale-ssic-durisch-nolli/> [accessed 26 November 2020] ‘Cities Connection Project | VOCATIONAL EDUCATION CENTER SSIC. GORDOLA’ <http://www.citiesconnectionproject.com/project/vocational-education-center-ssic-gordola/> [accessed 28 November 2020] ‘Corte Bertesina’, Traverso-Vighy Architetti <https://www.traverso-vighy.com/en/project/corte-bertesina/> [accessed 13 December 2020] ‘Durisch+Nolli - Centro Formazione Professionale SSIC’ <https://durischnolli.ch> [accessed 14 December 2020] ‘GMIT Furniture College’, Ex-Centric / Architektura Mimo Centra <http://www.ex-centric.eu/cs/galerie/gmit-furniture-college1?type=foto> [accessed 26 November 2020]

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VISUALITY City as Gallery Julian Djopo Yat Hei Asher Hon Yuen man Cheng Xiaoqian Zhou Hannah Fordon

THEMATIC STUDIES AN ANALYSIS OF SALTAIRE WHS

Theories and Analysis

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Tutorial Outcomes · Turn the research into a visual and diagrammatic analysis of the ideas and questions. · Need to read Appendix 7 to fully understand Saltaire. · How does tourism and local context come together. · How is visual culture manifested in Saltaire right now? The visual representation and structure of Saltaire/Discourse. · Study the visual design of the settlements and buildings, then apply the themes/issues we are focusing on (tourist gaze and experiences). · Look into the controversies that arise from a “constructed tourist gaze” – authenticity, pilgrim

Visual Representation

ARTS MEDIA

B O O K S READING THINKING

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Jenny Freckles and Dan Bailey (local photographers) - Do not use typical perspectives in their photos. Highlights that locals experience the perspectives in Saltaire differently than those prescribed to tourists by the media. Clare Caulfield and Neil Lanford (not local) - Centralised around the mill – a prescribed view. Representations through social media - Salts Mill has many different perspectives due to individual experience. More to view than the exterior. Church – the same types of pictures were posted from the same perspective – shows a generalised expected v i s u a l . I n t e re s t i n g h o w t h e church does not have as many Arts and Culture attractions.

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FILM SERIES "It is an ideal location, it's completely untouched, so you get a real sense of what it was like in these industrial towns in 1912, when the play is set, and it looks amazing on camera." Producer of An Inspector Calls, Yorkshire lad Howard Ella, told The Yorkshire Post that when it came to selecting a filming location, there was no comparison

Historicand Modern Photography

Visual Experiences (Tourists and Locals)

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Visuality of Salts Mill

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Victoria Road is one of the main street in Saltaire, where the tourist attraction and listed world heritage located. With their important cultural and historical value, these place has become one of the main reason for people to visit Saltaire. The following diagrams try to simulate the tourist gaze and visual experience when they walk along the Victoria Road to serval destination.

Visual Journey of Victoria Road

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Moments and Gaze

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Question 1: What is the current theoretical debate around the speciﬁc issue (theme)?

CRITICAL HERITAGE IN SALTAIRE

Progressive Conservation & Critical Heritage The past and its memories can be preserved through the efforts of conservation. Conservation can be defined in many ways but for this studio, we will be focusing on the operative definition in the policy, English Heritage’s Conservation Principles, described as: ‘the process of managing change to a significant place in its setting in ways that will best sustain its heritage values, while recognising opportunities to reveal or reinforce those values for present and future generations.’ Continual change is inevitable in most old buildings and as architects, we are the agents and managers of that change and we should create that change in a careful and well-considered way. Considered change offers the potential to enhance and add value to places, as well as generating the need to protect their established heritage values. It is the means by which each generation aspires to enrich the historic environment. But what happens when that change is governed by one academia (the West / Global North)? Where most of its work focuses more on the prescriptive definition instead of the operative? Literatures such as critical heritage studies begin to emerge.

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

1. It should also be about addressing the critical issues that face the world today. Heritage now has a stake in, and can act as a positive enabler for, the complex, multi-vector challenges that face us today such as: o cultural and environmental sustainability o economic inequalities o conﬂict resolution o social cohesion o the future of cities

While most of the work today being produced under the banner of critical heritage is about criticising professional practise and organisations like UNESCO, critical approaches to heritage can even be anti-heritage. While critiques of policy approaches and paradigms will always be important:

2. It should also be about recognising there are critical challenges and beneﬁts related to the safeguarding of culture and the preservation of heritage itself. An issue critical heritage theory too quickly dismisses or passes over.

A solution proposed by Tim Winter, as a response to this, is for critical heritage studies to take on a more post-western perspective. By applying a post-western perspective, it is not a counter for Western theory but as a position that stresses pluralisation and a theoretical approach to heritage that better addresses the socio-cultural pasts and futures for diﬀerent regions of the world and recognises the need to de-centre Europe and the West in the way heritage is thought about and read as a series of interconnections between the human and non-human, past and present. In relation to this, Progressive Conservation serves an ever-more pluralist and global society. Progressive Conservation extends beyond issues of age, history, and aesthetics to oﬀer a framework of theory and research tools encompassing social, political, and cultural meaning. Progressive Conservation is a term that emphasises that our approach must look towards the future.

Current debate within critical heritage Retaining heritage can add value, culturally and economically Architects are agents of change and must make changes in a careful and well-considered way Look towards the future - progressive conservation to add value to spaces Progressive conservation looks beyond age, history and aesthetics and oﬀers tools to enhance social, political and cultural meaning within a site

GROUP 2 - MEMORY

CRITICAL HERITAGE IN SALTAIRE

When reading into critical heritage debates more carefully, we became aware that maintaining heritage has signiﬁcant limitations and can lead to diﬃculties in the future. A key point to come of this research is choosing to maintain the intangibles of a space, such as the spirit, atmosphere and history; rather than the tangibles.

Group 2 - Memory Dominic Saliendra, Rosie Joyce, Mary-Anne Murphy and Tessa Lewes Looking at Saltaire model village through the lens of Critical Heritage

Question 2: How does this issue manifest itself in Saltaire right now?

This map presents current solutions Saltaire offers in terms of critical heritage. these include: The rebirth of Saltaire in the 1980's into a museum/gallery The protection of the site with a buffer zone The listing of key buildings It also shows the buildings and areas which are a cause for concern when thinking about critical heritage. These include specific buildings or areas which threaten the history or atmosphere of the site.

1980s SALTAIRE A period of uncertainty and doubt

Existing Salt's Mill

Facing demolition

Salts Mill was to be considered as “the centerpiece – indeed the raison d’être – of Sir Titus Salt’s world famous model village”. In spite of its signiﬁcance, there were no deﬁnite redevelopment plans when Salts Mill ceased its production in February 1986. There were already redundant mills all over the country which were becoming derelict and facing demolition. Not every single industrial building could be saved, and those that remained standing would have to be given a new relevant purpose in order to survive.

A 'ghost village' A cultural and heritage-led regeneration

The rebirth of Salts Mill in 1987 is attributable to a visionary called Jonathan Silver. The local entrepreneur who bought the mill embarked on a journey of cultural and heritage-led regeneration, which helped kick-start the revival of the Saltaire conservation area, which was designated in 1971 by focusing on turning Salt's Mill as an art museum for David Hockney's work instead of focusing on the textile past.

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

School and Church as preserved potential sites amongst a regenerated Mill.

Elevation of (potential) restored Factory The Boundary

Connecting the Tangibles with the Intangibles

Keeping the Site intact

Salts Mill | Visual Arts

Victoria Hall | Dance and Music

The Whole Site | Street Life

The World Heritage Site Boundary coincides with the extent of Titus Salt's original development. An intensive programme of sensitive rehabilitation and conservation of the entire complex has meant its attributes: form and design materials and substance function (in terms of a living community) ...continue to thrive and express its outstanding universal value

Instead of dwelling on Salts Mill’s past, Silver chose to renew its purpose by inserting contemporary art into this former space of industrial production, which became a place of cultural consumption. The mill would thus have the potential to attract a larger audience than if it had been converted into an industrial museum. However, the original layout of the mill was preserved as much as possible as its vast open space was particularly suited to the opening of an art gallery, which has been exhibiting the works of Bradfordborn artist David Hockney since 1987.

Day of Dance - An annual fundraising event for Yorkshire CND. The everpopular community event features over 30 types of dances over four timeslots throughout the day, with modern crazes paired up with some timeless classics. Saltaire Live - Since its emergence, it has allowed Saltaire to be a major folk music venue. It took place back in 2003, and over the years many of the top folk bands, particularly those of the Celtic variety, have appeared at Victoria Hall, including Bellowhead, Dervish, Show of Hands, and Altan.

To celebrate Saltaire's heritage, an annual festival takes place organised by local people to turn this part of the Bradford district into a tourist attraction. Activities - History Trail 'Shoppers in Saltaire are being urged to turn history detectives to help uncover the stories behind shops in the world heritage site.' Exhibitions - 'An exhibition of fashion inspired by historic Yorkshire clothing and Bradford’s textile heritage has opened at Salts Mill...' Workshops - 'Fern Place BD18 4HB: A History of Gin. A talk of around 45 minutes linking the creation of gin to its popularity today.'

Current progressive conservation works

The potential harm of modern development

Section of (potential) restored Factory

Appendix 7 | Figure 13

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'The immediate surroundings of the World Heritage Site contribute signiﬁcantly to its visual setting, its ambience and character. The immediate setting has been analysed and divided into a series of zones with distinctive land-use types and building forms shown in Figure 13.'

This map presents issues of physical conservation in more detail, such as

Disparity Out of the 11 zones, 7 have problems that degrade or can potentially degrade the site's settings. Most of the harm is characterised by modern development that do not respect the site's fabric with its architecture or the lack of care towards replicating the Site's fabric. (Challenge AAP)

Map 1 | Buildings / Spaces that follow the progressive conservation theory along with what they have done to achieve this

1 Salt's Mill 2 New Mill

3 The Dining Room 4 Railway Station

5 Victoria Hall 6 The School

7 Methodist Church 8 The Hospital

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

9 River Aire 11 Congregation Church 10 Leeds-Liverpool Canal 12 The houses

13 The Almshouses 14 The Wash House

Heritage & The Problem of Memory in Saltaire Crisis of Accumulation of Memory in a world of 'heritagisation'. Our minds are saturated with memories, limiting our ability to form new collective memory. We are preventing 21st Century culture from manifesting and becoming future heritage and history. Saltaire Village heritage lacks greater purpose and ambition; its management is lazy and without experimentation and improvement.

Future possible interventions Preserving sample sites of heritage: e.g, Salts 'school', 'church', instead of 'village'. Repatriate materials back to the community: turn the village back into a modernised, working, factory worker village. Saltaire only encompasses our modern values if it serves the purpose for which it was designed. Used as a tourist destination, it is being used instrumentally. Preserving the factory will restore community spirit and reinstate the intangible heritage- tangible heritage is only a 'stage' for the value of the intangible.

It is also important to fully research and debate issues surrounding whether Salt should be remembered as positively as he is, but this research is all based on controversy and formed opinions, and can not be taken as fully factual. This may aﬀect how strongly we want to follow tangible heritage.

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Existing Salt's Mill Question 2: How does this issue manifest itself in Saltaire right now?

This map presents current solutions Saltaire offers in terms of critical heritage. these include: The rebirth of Saltaire in the 1980's into a museum/gallery The protection of the site with a buffer zone The listing of key buildings It also shows the buildings and areas which are a cause for Facing demolition concern when thinking about critical heritage. These include specific buildings or areas which threaten the history or atmosphere of the site.

1980s SALTAIRE A period of uncertainty and doubt

Section of (potential) restored Factory

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igure 13

Map 1 | Buildings / Spaces that follow the progressive conservation theory along with what they have done to achieve this

Disparity

World Heritage Site contribute ambience and character. The nd divided into a series of zones lding forms shown in Figure 13.'

Out of the 11 zones, 7 have problems that degrade or can potentially

GROUP - MEMORY degrade the2site's settings. Most of the harm is characterised by modern

CRITICAL HERITAGE IN SALTAIRE 1 Salt's Mill 2 New Mill

development that do not respect the site's fabric with its architecture or the lack of care towards replicating the Site's fabric. (Challenge AAP)

3 The Dining Room 4 Railway Station

5 Victoria Hall 6 The School

7 Methodist Church 8 The Hospital

Heritage & The Problem of Memory in Saltaire

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

ney of Victoria Road

GROUP 2 - MEMORY

9 River Aire 11 Congregation Church 10 Leeds-Liverpool Canal 12 The houses

Future possible interventions

13 The Almshouses 14 The Wash House

What can we learn about Saltaire’s heritage priorities when examining the site closely? Facing demolition

Crisis of Accumulation of Memory in a world of 'heritagisation'. CRITICAL HERITAGE IN SALTAIRE Our minds are saturated with memories, limiting our ability to form new collective memory. We are preventing 21st Century culture from manifesting and becoming future heritage and history. Saltaire Village heritage lacks greater purpose and ambition; its management is lazy and without experimentation and improvement.

Existing Salt's Mill

A 'ghost village'

Preserving sample sites of heritage: e.g, Salts 'school', 'church', instead of 'village'. Repatriate materials back to the community: turn the village back into a modernised, working, factory worker village. Saltaire only encompasses our modern values if it serves the purpose for which it was designed. Used as a tourist destination, it is being used instrumentally. Preserving the factory will restore community spirit and reinstate the intangible heritage- tangible heritage is only a 'stage' for the value of the intangible.

It is also important to fully research and debate issues surrounding whether Salt should be remembered as GROUP 2 - MEMORY positively as he is, but this research is all based on controversy and formed opinions, and can not be taken as fully factual. This may aﬀect how strongly we want to Critical Heritage - Could the site be more open to new ideas and leaving the psat behind? follow tangible heritage.

The current conservation of heritage in Saltaire is limited to very physical conditions of the site and avoiding any difference from the way the site would have looked a few yearsSome ago. The physical issues for debate within the life of Titus Salt: Salts Mill was to be considered as “the centerpiece – indeed fabric of the site has a few discrepancies to the original site, such the raison d’être – of Sir Titus Salt’s world famous model Was new Lanark a better place ideologically? asnosigns village”. In spite of its signiﬁcance, there were deﬁnite and shopfront which are not historically inkeeping. These redevelopment plans when Salts Mill ceased its minor issues, and focus very much on the tangible elements are Was Saltaire a 'soft prison' with too many rules, restrictions and production in February 1986. of the site. The physical value of these is important, but there are Did Salt abandon Bradford to enact his own capitalist powers? There were already redundant mills all overthings the country that many tourists and residents would not be concerned which were becoming derelict and facing demolition. Not with. every single industrial building could be saved, and those Underage workers were employed in the mills regularly

A cultural and heritage-led regeneration

CRITICAL HERITAGE IN SALTAIRE

GROUP 2 - MEMORY

CRITICAL HERITAGE IN SALTAIRE

School and Church as preserved potential sites amongst a regenerated Mill.

Elevation of (potential) restored Factory The Boundary

cal conservation in more detail, such as ngs and vacancy of building which will e features to their original standard.

APPENDIX

Connecting the Tangibles with the Intangibles

Question 1: What is the current theoretical debate around the speciﬁc issue (theme)? Progressive Conservation & Critical Heritage

The past and its memories can be preserved through the efforts of conservation. Conservation can be defined in many ways but for this studio, we will be focusing on the operative definition in the policy, English Heritage’s Conservation Principles, described as: ‘the process of managing change to a significant place in its setting in ways that will best sustain its heritage values, while recognising opportunities to reveal or reinforce those values for present and future generations.’ Continual change is inevitable in most old buildings and as architects, we are the agents and managers of that change and we should create that change in a careful and well-considered way.

of Salts Mill

that remained standing would have to be given a new relevant purpose in order to survive.

Considered change oﬀers the potential to enhance and add value to places, as well as generating the need to protect their established heritage values. It is the means by which each generation aspires to enrich the historic environment. But what happens when that change is governed by one academia (the West / Global North)? Where most of its work focuses more on the prescriptive deﬁnition instead of the operative? Literatures such as critical heritage studies begin to emerge.

Also, keeping the site historically accurate can bring up many social issues such as the boredom and alck of vibrancy within the site, and also the notable lack of disabled access. Below this is compared with new developments in similar working town New Lanark, which incorporates and celebrates a modern looking ramp 1980s to ensure adequate disabled access. SALTAIRE

regulations?

Question 2: How does this issue manifest itself in Saltaire right now?

A 'ghost village'

toria Road

This map presents current solutions Saltaire offers in terms of critical heritage. these include: The rebirth of Saltaire in the 1980'sand into a museum/gallery A cultural heritage-led The protection of the site with a buffer zone The listing of key buildings It also shows the buildings and areas which are a cause for concern when thinking about critical heritage. These include specific buildings or areas which threaten the history or atmosphere of the site.

A period of uncertainty and doubt

Question 4: What are your recommendations (Framework of Intervention) for now + future?

regeneration

Keeping the Site intact

Salts Mill | Visual Arts

Victoria Hall | Dance and Music

The Whole Site | Street Life

Current progressive conservation works

The potential harm of modern development

Option 1 | Embracing its original identity

Option 2 | Using the arts to establish a new heritage for Saltaire

As uncertain. well as the issues surrounding the heritage of the site, there are issues which arise from reading In the 1980s, the future of Saltaire’s main mill was According to a local journalist, TripAdvisor reviews which claim that Saltaire seemed to be a “ghost village” in the early 1980s, when the demise of industry was the site is: becoming inevitable. The local community and authorities had to start thinking about an boring alternative economy. disappointing

What the future plans must include

With the arts-led regeneration, it eﬀectively turned Saltaire into a thriving town again

The rebirth of Salts Mill in 1987 is attributable to a visionary called Jonathan By turning Salts Mill into a traditional museum that exhibits Silver. The local entrepreneur who bought the mill embarked on a journey the contents of thehelped former mill, will be better or for worse? of cultural and heritage-led regeneration, which kickstart theitrevival of the Saltaire conservation area, which was designated in 1971 by focusing on turning Salt's Mill as an art museum for David Hockney's work instead of focusing on the textile past.

Should Saltaire have stuck to its original roots of being linked to the British textile industry?

Existing Salt's Mill

School and Church as preserved potential sites amongst a regenerated Mill.

Section of (potential) restored Factory

too expensive lacking in disabled access not much to do

READING 2 Memory

The Boundary

Appendix 7 | Figure 13

Disparity

Out of the 11 zones, 7 have problems that degrade or can potentially degrade the site's settings. Most of the harm is characterised by modern development that do not respect the site's fabric with its architecture or the lack of care towards replicating the Site's fabric. (Challenge AAP)

Map 1 | Buildings / Spaces that follow the progressive conservation theory along with what they have done to achieve this

1 Salt's Mill 2 New Mill

3 The Dining Room 4 Railway Station

5 Victoria Hall 6 The School

7 Methodist Church 8 The Hospital

Heritage & The Problem of Memory in Saltaire

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

9 River Aire 11 Congregation Church 10 Leeds-Liverpool Canal 12 The houses

Some issues for debate within the life of Titus Salt: Was new Lanark a better place ideologically? Was Saltaire a 'soft prison' with too many rules, restrictions and regulations?

A cultural and heritage-led regeneration

nts and Gaze

Keeping the Site intact

he site, there are issues which arise from reading

Option 1 | Embracing its original identity

By turning Salts Mill into a traditional museum that exhibits the contents of the former mill, will it be better or for worse?

GROUP 2 - MEMORY

CRITICAL HERITAGE IN SALTAIRE

Salts Mill | Visual Arts

Victoria Hall | Dance and Music

The Whole Site | Street Life

With the arts-led regeneration, it eﬀectively turned Saltaire into a thriving town again

GROUP 2 - MEMORY

Learning from the group reading on progressive heritage

CRITICAL HERITAGE IN SALTAIRE

nts and Gaze

Some see the conservation of the architecture as a hinderance to the potential Saltaire can achieve if it wasn't held back by its past

Section of (potential) restored Factory

GROUP 2 - MEMORY

theory along with what they have done to achieve this Out of the 11 zones, 7 have problems that degrade or can potentially degrade the site's settings. of thecolour harm is characterised by modern Due Most to the is another unique element when we discuss the image, so I made 1 Salt's Mill 3 The Dining Room 5 Victoria Hall 7 Methodist Church development that do not respect the site's fabric with its architecture or the some study of colour at this moment as well. I have2 signed diﬀerent colour 6inThe each New Mill 4 Railway Station School lack of care towards replicating the Site's fabric. (Challenge AAP) 8 The Hospital

This map presents issues of physical conservation in more detail, such as the loss of speciﬁc details of buildings and vacancy of building which will have to be managed to retain these features to their original standard.

Elevation of (potential) restored Factory

Or can we explore the option of keeping the integrity of the WHS boundary?

Current progressive conservation works

Appendix 7 | Figure 13 This map presents issues of physical conservation in more detail, such as 'The building immediate surroundings of the World Heritage Site contribute the loss of speciﬁc details of buildings and vacancy of which will signiﬁcantly to its visual setting, its ambience and character. The immediate setting has been analysed and divided into a series of zones have to be managed to retain these features to their original standard. with distinctive land-use types and building forms shown in Figure 13.'

To achieve this, the regeneration had to essentially forget what Saltaire used to be, with the architecture of the village being the only aspect left of its 19th century life.

exterior shell, and how

Option 4 | Harmonisation between the past, present and future

In order to deeply understand the relationship between vision and moment/gaze. I chose ten interesting moments in the Saltaire which belongs to the " Exhibition road part", " Roberts park", " Residential streets" respectively. Meanwhile, I also sketch What the future plans must include these moments in my way by using the pen and pencil to express the initial experience Question 4: What are your recommendations (Framework of Intervention) for now + future? Option 1 | Embracing its original identity Option 2 | Using the arts to establish a new heritage for Saltaire of moment personally. And then, by a thorough analysis of the different aspects at the With the arts-led regeneration, it effectively turned Saltaire Should Saltaire have stuck to its original roots By turning Salts Mill into a traditional museum that exhibits moment to demonstrate the character of the site, at the same time, exploring the into a thriving town again of being linked to the British textile industry? the contents of the former mill, will it be better or for worse? As well as the issues surrounding the heritage of the site, there are issues which arise from reading Heritage & The Problem of Memory in Saltaire Future possible interventions weakness of the site and provide a solution to do it. In term of the analysis of the TripAdvisor reviews which claim that the site is: Disparity Map 1 | Buildings / Spaces that follow the progressive conservation Map 2 | Buildings / Spaces that need more work done boring to achieve the perspective of the image, What I found which is the most of moment providing a disappointing theory along with what they have done to achieve this Progressive Conservation theory too expensive feeling of depth to people. Because of the perspective structure of the moment is one Crisis of Accumulation of Memory in a world of 'heritagisation'. Preserving sample sites of heritage: e.g, Salts 'school', 'church', instead of 'village'. Out of the 11 zones, 7 have problems that degrade or can potentially lacking in disabled access not much to do of perspective, it is useful for people to enjoy through the site. The second point degrade the site's settings. Most of the harm point is characterised by modern Our minds are saturated with memories, limiting our ability to form new collective Repatriate materials back to the community: turn the village back into a modernised, I focus onarchitecture which is the of the picture. The interesting the comments us to question whether following the heritage route directly is too old development that do not respect the site's fabric with its orviewpoint the 9 River Aire 11 Congregation ChurchThese 13 Thecause Almshouses 1 Salt's Mill thing 3 Thewhich DiningisRoom 5 Victoria Hall 7 Methodist Church Section of (potential) restored Factory fashioned, and that we should maybe update Saltaire to keep it alive and accessible. memory. working, factory worker village. of the picture is always relevant to the architecture in Saltaire. lack of care towards replicating the Site'sviewpoint fabric. (Challenge AAP) 8 The Hospital 10 Leeds-Liverpool Canal 12 The houses 14 The Wash House 2 New Mill where 4 Railway StationIn 6 The School term of the skyline of the moment, half moments of the skyline are on the two-thirds We are preventing 21st Century culture from manifesting and becoming future Saltaire only encompasses our modern values if it serves the purpose for which of the way above the screen. That is means the visual experience of the moment still was designed. Used as a tourist destination, it is being used instrumentally. heritage and history. needs to carefully consider as a significant point. For the analysis of the different Saltaire Village heritage lacks greater purpose and ambition; its management is lazy Preserving the factory will restore community spirit and reinstate the intangible elements in Saltire, for instance: Grey element: Artificial Creatures; Green element: and without experimentation and improvement. heritage- tangible heritage is only a 'stage' for the value of the intangible. Nature element but artificially modified; Blue elements: Nature element. As a result, the site also existing with two and more element, it is good for people to communicate Heritage & The Problem of Memory in Saltaire Future possible interventions with nature and environment, not just only living with "Artificial Map 1 | BuildingsCreatures". / Spaces that follow the progressive conservation Map 2 | Buildings / Spaces that need more work done to achieve the Disparity

READING 1 Progressive heritage

Option 3 | Forget the textile industry, Saltaire will adapt to the changing world

as a hinderance to the potential Saltaire can achieve if it wasn't held back by its past

local people to turn this part of the Bradford district into a tourist attraction. Activities - History Trail 'Shoppers in Saltaire are being urged to turn history detectives to help uncover the stories behind shops in the world heritage site.' Exhibitions - 'An exhibition of fashion inspired by historic Yorkshire clothing and Bradford’s textile heritage has opened at Salts Mill...' Workshops - 'Fern Place BD18 4HB: A History of Gin. A talk of around 45 minutes linking the creation of gin to its popularity today.'

Keeping the Site intact

How has progressive heritage been employed in Saltaire?

Thereby, preserving the image of what Saltaire has always been known as?

timeless classics. Saltaire Live - Since its emergence, it has allowed Saltaire to be a major folk music venue. It took place back in 2003, and over the years many of the top folk bands, particularly those of theof Celtic have appeared at Victoria Some see the conservation thevariety, architecture Hall, including Bellowhead, Dervish, Show of Hands, and Altan.

Appendix 7 | Figure 13

lowing the heritage route directly is too old aire to keep it alive and accessible.

Option 3 | Forget thethroughout textile industry, will crazes adaptpaired to theupchanging timeslots the day,Saltaire with modern with some world

If Saltaire does pursue this, will the new heritage continue to beneﬁt the village or will it eventually lose its value? Will it still be remembered as the above illustrate ways in which the mill could be developed further past its well maintained The collages textile village to house its workers or a tourist attraction the arts? theforarts scene in Saltaire could begin to adapt to explore community and spirit of the village further.

Current progressive conservation works

Option 2 | Using the arts to establish a new heritage for Saltaire

Should Saltaire have stuck to its original roots of being linked to the British textile industry?

The rebirth of Salts Mill in 1987 is attributable to a visionary called Jonathan Silver. The local entrepreneur who bought the mill embarked on a journey The Whole Site | Street Life of cultural and heritage-led regeneration, which helped kick-start the revival School and Church as preserved of the Saltaire conservation area, which was designated in 1971 by focusing potential sites amongst a on turning Salt's Mill as an art museum for David Hockney's work instead of heritage, an annual festival takes place organised by To celebrate everSaltaire's regenerated Mill. focusing on the textile past.

Day of Dance - An annual fundraising event for Yorkshire CND. The popular community event features over 30 types of dances over four

on Salts Mill’s past, Silver chose to renew its purpose by inserting contemporary art into this former space of industrial production, which became a place of cultural consumption. The mill would thus have the potential to attract a larger audience than if it had been converted into an industrial museum. However,Connecting the original layoutwith of the mill was preserved the Tangibles the Intangibles as much as possible as its vast open space was particularly suited to the opening of an art gallery, which has been exhibiting the works of Bradfordborn artist David Hockney since 1987.

The potential harm of modern development

ramework of Intervention) for now + future?

The reading allows us to see that the tangible heritage (buildings, spaces, history) in Saltaire is very over-protected, and that there is a lack of options for the intangibles (arts, community and spirit) to develop further. To achieve this, the regeneration had to essentially forget what Saltaire used to be, with the architecture of the village being the only aspect left of its 19th century life.

Thereby, preserving the image of what Saltaire has always been known as? Victoria Hall | Dance and Music

Salts Mill | Visual Arts

The World Heritage Site Boundary coincides with the original development. An intensive programme of sensitive rehabilitation and conservation of the entire complex has meant its attributes: form and design The Boundary materials and substance function (in terms of a living community) ...continue to thrive and express its outstanding universal value

From further group reading, we canDid gauge that Saltaire is at risk of an accumulation crisis, in which its requirement Salt abandon Bradford tovillage enact hisitself own capitalist powers? Underage workers were in the mills regularly for physical memory and maintenance saturates theemployed viewers mind and hinders the ability to create new memories. This also prevents celebration of the 21st century, and perhaps idolises a false interpretation of the past.

A 'ghost village'

ney of Victoria Road

Future possible interventions

Crisis of Accumulation of Memory in a world of 'heritagisation'. Our minds are saturated with memories, limiting our ability to form new collective memory. We are preventing 21st Century culture from manifesting and becoming future heritage and history. Saltaire Village heritage lacks greater purpose and ambition; its management is lazy and without experimentation and improvement.

13 The Almshouses 14 The Wash House

There were already redundant mills all over the country which were becoming derelict and facing demolition. Not every single industrial building could be saved, and those that remained standing would have to be given a new relevant purpose in order to survive.

Due to the colour is another unique element when we discuss the image, so I made some study of colour at this moment as well. I have signed different colour in each moment to study the proportion of different colours at different moments. What I found which is the colour yellow is always existing at every moment which is a colour of traditional English architecture. And half of the moment have green as well, the green, natural environment happened at this moment. Personally, based on the study of colour, I found the Saltaire could add more colour or landmark to enhance the memories of each moment, although the site presents a quite well in colour balance. In term of the final aspect that I exploring which is the Typography change of the moment. Why I need to study the Typography change at the moment, because of when people looking at one point in the picture or moment, the higher point will easily capture the focus point of people, and make that moment is different than other. This change is relatively subjective.

Elevation of (potential) restored Factory

Connecting the Tangibles with the Intangibles

These comments cause us to question whether following the heritage route directly is too old Facing demolition fashioned, and that we should maybe update Saltaire to keep it alive and accessible.

moment to study the proportion of different colours at different moments. What I found which is the colour yellow is always existing at every moment which is a colour of traditional English architecture. And half of the moment have green as well, the green, natural environment happened at this moment. Personally, based on the study of colour, I found the Saltaire could add more colour or landmark to enhance the memories of each moment, although the site presents a quite well in colour balance. In term of the final aspect that I exploring which is the Typography change of the moment. Why I need to study the Typography change at the moment, because of when people looking at one point in the picture or moment, the higher point will easily capture the focus point of people, and make that moment is different than other. This change is relatively subjective.

Progressive Conservation theory

9 River Aire 11 Congregation Church 10 Leeds-Liverpool Canal 12 The houses

13 The Almshouses 14 The Wash House

CRITICAL HERITAGE IN SALTAIRE

Preserving sample sites of heritage: e.g, Salts 'school', 'church', instead of 'village'. Repatriate materials back to the community: turn the village back into a modernised, working, factory worker village. Saltaire only encompasses our modern values if itof serves the purpose for which it Thereby, preserving the image what Saltaire has always been known as? used instrumentally. was designed. Used as a tourist destination, it is being Preserving the factory will restore community spirit and reinstate the intangible heritage- tangible heritage is only a 'stage' for the value of the intangible. Option 3 | Forget the textile industry, Saltaire will adapt to the changing world

Some see the conservation of the architecture

GROUP 2 - MEMORY

What the future plans must include

CRITICAL HERITAGE IN SALTAIRE

It is also important to fully research and debate issues surrounding whether Salt should be remembered as positively as he is, but this research is all based on

Some issues for debate within the Titus Salt: controversy andlife formedof opinions, and can not be taken as fully factual. This may aﬀect how strongly we want to Was new Lanark a better place ideologically? follow tangible heritage. Was Saltaire a 'soft prison' with too many rules, restrictions and regulations? Did Salt abandon Bradford to enact his own capitalist powers? Underage workers were employed in the mills regularly

as a hinderance to the potentialSalt: Saltaire can Some issues for debate within the life of Titus achieve if it wasn't held back by its past Was new Lanark a better place ideologically? Was Saltaire a 'soft prison' with too many rules, restrictions and regulations? Did Salt abandon Bradford to enact his own capitalist powers? Underage workers were employed in the mills regularly

To achieve this, the regeneration had to essentially forget what Saltaire used to be, with the architecture of the village being the only aspect left of its 19th century life.

If Saltaire does pursue this, will the new heritage continue to beneﬁt the village or will it eventually lose its value? Will it still be remembered as the textile village to house its workers or a tourist attraction for the arts?

Option 4 | Harmonisation between the past, present and future

Or can we explore the option of keeping the integrity of the WHS boundary?

Option 4 | Harmonisation between the past, present and future

Or can we explore the option of keeping the integrity of the WHS boundary?

The end of the industrial era in Britain marked the decline of the mill in Saltaire, which lead to a rapid decline in the economy and industry there. This severely impacted the town’s community and stability, described as a ‘ghost town’, and it clear that maintaining the site as is was not an option for the growth and success of the future. A new era of more progressive heritage allowed the mill to be redeveloped and altered into an external arts and shopping building, where semi-local artists and new businesses could install themselves into the small village. The village itself still followed strict heritage rules and was forced to remain historically accurate following the UNESCO world heritage site rules, following the site attaining this badge in 2001. The arts scene in Saltaire is key to its survival, and has become more embellished and progressive over the years. Events such as the Saltaire Arts Trail and the Day of Dance festival have honoured the culture of celebration and community whih pre-existed before the industrial collapse In They orderalso to deeply understand thecommunity relationshippride between and moment/gaze. I of the mill. endevour to create andvision celebrachose ten interesting moments in the Saltaire which belongs to the " Exhibition road tion. part", " Roberts park", " Residential streets" respectively. Meanwhile, I also sketch

However,these this ismoments sometimes missed at using streetthe level forand thepencil average tourist.the initial experience in my way by pen to express This shows how progressive heritage canbybe applied toanalysis Saltaire, as the of moment personally. And then, a thorough of the different aspects at the town no longe relies fully on its history for hope for the future, but the moment to demonstrate the character of the site, at the same time, exploring the progressive heritage approach does have limitations. weakness of the site and provide a solution to do it. In term of the analysis of the perspective of the image, What I found which is the most of moment providing a feeling of depth to people. Because of the perspective structure of the moment is one point of perspective, it is useful for people to enjoy through the site. The second point I focus on which is the viewpoint of the picture. The interesting thing which is the viewpoint of the picture is always relevant to the architecture where in Saltaire. In term of the skyline of the moment, half moments of the skyline are on the two-thirds of the way above the screen. That is means the visual experience of the moment still needs to carefully consider as a significant point. For the analysis of the different elements in Saltire, for instance: Grey element: Artificial Creatures; Green element: Nature element but artificially modified; Blue elements: Nature element. As a result, the site also existing with two and more element, it is good for people to communicate with nature and environment, not just only living with "Artificial Creatures".

128

Question 4: What are your recommendations (Framework of Intervention) for now + future?

Option 2 | Using the arts to establish a new heritage for Saltaire

Should Saltaire have stuck to its original roots of being linked to the British textile industry?

By turning Salts Mill into a traditional museum that exhibits the contents of the former mill, will it be better or for worse?

What the future plans must include

With the arts-led regeneration, it eﬀectively turned Saltaire into a thriving town again

These comments cause us to question whether following the heritage route directly is too old fashioned, and that we should maybe update Saltaire to keep it alive and accessible.

Question 4: What are your recommendations (Framework of Intervention) for now + future?

Option 1 | Embracing its original identity

As well as the issues surrounding the heritage of the site, there are issues which arise from reading TripAdvisor reviews which claim that the site is: boring disappointing too expensive lacking in disabled access not much to do These comments cause us to question whether following the heritage route directly is too old fashioned, and that we should maybe update Saltaire to keep it alive and accessible.