Jenna Goodfellow Portfolio

PORTFOLIO STAGE 3 CURATING THE CITY JENNA GOODFELLOW

Table of Contents Illustrated Reflective Diary

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Framing

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Testing & Synthesis - Thinking Through Making

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Thematic Case Study

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Cultural Bibliography

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Bibliography

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Appendix

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Pages marked with a black tab indicates new work

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1. Li Edelkoort on technology, nomadism and tactility at Dezeen Live. [online] Dezeen. Available at: <https://www.dezeen. com/2012/12/28/super-technology-is-going-to-ask-for-supertactility-li-edelkoort-at-dezeen-live/> [Accessed 26 May 2021].

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2. Womenfolk. 2021. TACTILITY FACTORY — Womenfolk. [online] Available at: <https://www.womenfolk.co/tactilityfactory> [Accessed 26 May 2021].

3. Priest, E., 2021. Juhani Pallasmaa on beauty and the beholder. [online] Ribaj.com. Available at: <https://www.ribaj.com/culture/an-interview-with-juhani-pallasmaa> [Accessed 26 May 2021].

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‘The material is really the starting point of the story’ - Lawson, Design in mind, 1994.

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Collage of material samples made during testing phase

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FRAMING Introduction to Saltaire Saltaire is located in West Yorkshire, just North of Bradford. Built in 1851-53, Saltaire was a model town comprising then the largest and most advanced textile mills, with worker’s housing, parks and community amenities all in an impressive and coherent plan.

Saltaire was inscribed by UNESCO on the World Heritage List for being an outstanding example of mid 19th century philanthropic paternalism.

Intensive programs of rehabilitation and conservation of the entire complex have been successful in preserving the towns fabric, making Saltaire appear as a gallery of the past.

Our studio was research led, seeking to understand the key drivers which influenced the creation and development of Saltaire and how it functions today. Developing a framework for change under the lens of critical heritage was essential to be able to develop the site further but in a way that ensured the heritage of the town was understood and respected.

World Heritage Site Boundary line

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Site sections

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Past & Present The physical features and form of the site are the first things that become visually apparent to a tourist. The fabric of the town has been well maintained to the present day. However, this has led tourists to spend more time capturing photographs of the site than seeing things fully, engaging with them and appreciating the context.

This led me to question how can I create a design intervention that will engage with tourists on more than just an objective observation level, but also with the subjective emotion. I sought to test this through concepts of materiality and tactility.

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Experiences in Saltaire

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Urban Development of Saltaire The topography and water features in the Aire Valley were key reasons for Salt to build his town here. Access to the River Aire and canal meant that he could run his textile mill and transport raw, bulky materials. The valley also had large areas of open, green space which Salt recognised were benficial on people’s health and wellbeing.

The timelime shows the coherent layout of Saltaire and the various community amenities that Salt provided for his residents.

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Phase 1 - The Mill (1851 - 53) The mill was built first and the dining hall to provide workers that travelled with cheap meals.

Phase 3 - Community Provisions (1859 - 71) The community provisions Salt provide were remarkable at the time and demonstate his i ncentive to create a town that nurtures the health and wellbeing those who live there.

1 - Congregational Church 2 - Baths and Wash Houses* 3 - School 4 - Club and Institute 5 - Allotment Gardens 6 - Chapel 7 - Almshouses 8 - Infirmary*

Demolition of site

Phase 2 - Residential Housing (1851 - 57) Residential housing was then built on a gridiron layout.

The overall layout and urban form of Saltaire is an antithesis to Bradford’s physical and environmental chaos of the time.

Less than 1% of the original buildings have been lost in the twentieth century.

Two of public buildings that were significant to the community’s health have now been demolished and there is nothing to replace them. These are the Baths and infirmary.

Bath & Wash House

Infirmary

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TIMELINE- UBRAN FORM AND GOVERNANCE Photos of Saltaire

Governance Timeline Urban Governance arrangements have been a major factor affecting Saltaire’s development. The timeline highlights the involvement of roles between the civil society, goverment and private sectors.

The shift in governance of the area after Sir Titus Salt had passed caused many of his original ideologies and core values of Saltaire to be been lost with him.

There became an over riding focus to establish a new economic base for the town once the mill had closed. This was achieved by repurposing the mill into a large art and culture visitors attraction.

However, what became apparent to me was the lack of attention given to the health and wellbeing of the community, which was a core value for Salt when he first built the town.

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Cultural and Heritage led regeneration

Connecting tangibles with the intangibles

John Silver’s governance and heritage-led regeneration of the mill has been successful for several reasons.

Firstly, he has addressed and repurposed the mill and created a new tourist attraction. A key value is to keep things local and this is done by featuring local artist’s work. This encourages tourists and allows them the opertunity to enjoy local art and culture in the area, which is unique and authentic.

From this I realised the importance to create something thats local, site specific and which respects the heritage of the town, whilst also encouraging tourists all year round.

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Looking at Saltaire’s development through the lens of health and wellbeing

Health and wellfare development in Saltaire Salt moved out of the polluted Bradford and set up a new community by the River Aire

Themes Wash House opened in 1863.

This included 24 baths, a turkish bath and a boiling tub.

Infirmary and Dispensary opened in 1868. It was well equipped to perform surgical operations. It provided treatment for local community as well as for mill workers.

Salt was invited to submit a report to the Paris Great Exhibition in 1867, to be judged in a group of model towns, erected to enhance the welfare of workers.

Titus Salt was awarded the French Legion of Honour in 1887.

Spa theories using water and different temperatures

Spa Spa Health, medicine, treatment for the sick and weak

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Health Health

Contribution to wider community

Community Community

Regonised for its Recognised for considerations his consideration towards people’s towards people’s welfare welfare

Wash House demolished (1936) and Infirmary closed (1979)

Part of the New Mill converted into Bradford District Care NHS Foundation Trust

Project Programme Themes:

NHS facility now established in the area

Welfare Wellfare

Assemblage connection - Studio readings Studying the ‘Place, Work, Folk’ triad set out

by Geddes for the society of Saltaire to follow, I will be looking specifically at the role of ‘Folk’. In this theory, Geddes views ‘Folk’ (meaning ‘family’) as the central ‘biological unit of human society’ from which all else develops.

It is often found that in this 21st century, economic pressures force us to put ‘Work’ before ‘Folk’.

According to Geddes, it is from ‘stable, healthy homes’ providing the necessary conditions for mental and moral development that come beautiful and healthy children who are able ‘to fully participate in life’.

It can therefore be said that, if we do not have the necessary conditions for healthy mental, moral and physical development at ‘home’, then we are restricting ourselves and future generations from fully participating in life.

WORK – Is already existing as the various visitor services in the mill conversion.

PLACE – The fabric of Saltaire has been well preserved through various protection policies.

FOLK – Has become less of a priority. Conservation has focused more on the physical fabric of Saltaire and less on maintaining the ideologies that Salt first set, which focussed on improving the mental and physical health of his community.

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Framework for project, identified from research: - Engage with tourists subjective emotion as well as objective observation, creating a unique experience that can ‘break with routine life’.

- Highlight the significance of the natural landscape and celebrate the green space / water features.

- Restore and re-establish Salt’s origional idealogies around health and wellbeing in a program that is suited to the 21st century climate.

Concept image for the project

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Programme Development

SPA Ground floor

CAM First floor

CAM treatment

Spa

There is already an established NHS facility in the area and several medical centres located outside Saltaire. In order to contribute towards the health care in the area and support these existing facilities, without repeating what is already existing, I propose to include Complementary and Alternative Medicine facilities. CAM treatments are increasingly being seen as an important contribution to the health care industry. These treatments are not offered by the NHS but can work alongside tradtional hospital treatment or on their own. This builds on Salt’s origional considerations for the residents and also contributes to the wider region as it once did before.

Hot baths, saunsa, steam rooms, hot springs - spa culture takes on various forms throughout the world, and learning to relax like a local is a top attraction in many destinations. The practice of using heat to release toxins dates back to the Neolithic Age. Saltaire demonstrated many of these spa theories in the bath and wash house for people to cleanse, relax and recharge. I propose to include spa facilities in my programme firslty because this has now deminished in the area. Secondly, it willprovide a place for residents to look after their wellbeing, as initially intended by Salt, and it will attract tourists all year round to the area, offering them a unique and tranquil experience of Saltaire.

Programme

Function

M2

Aromatheraphy Garden Reception Thermotheraphy spa rooms indoor pools Changing rooms Treatment rooms Rest spaces

Terrace garden and ground floor garden Welcome and direct users rooms with various temperatures & humidities plunge pools of various water temperatures male and female facilities offering massage / spa treatments For relaxation

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Reception Waiting room Staff room w/c Treatment rooms Consultation rooms

Meeting / booking Space to wait for appointment kitchen / meeting room for staff Bathrooms CAM / Physio treatments To discuss and book with users

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Spa & Wellness Centre

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Appendix 7 notes that ‘the visual quality of some of the land in this area is degraded in places by poor quality boundary treatments and clutter associated with the allotments’.

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Site Analysis

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Material influence

I was inspired by concrete cast using fabric formwork. The fluid state of the concrete is captured in the formwork, creating interesting and tactile surface finishes. This reflects the fluidity of the River and Canal in the context surrounding my site. These landscape water feature were critical to the curation of the sight and I want to celebrate this in my design.

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Precedent Study: Peter Zumthor, Vals Spa

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Naman Retreat Pure Spa / MIA Design Studio The ground floor contains open spaces with relaxing platforms surrounded by serene lotus ponds and hanging gardens. It is a space where the mind comes to peace.

With the use of local plants, each retreat becomes a healing environment where the guest can enjoy a luxurious wellness in privacy.

The facade is composed of lattice patterns that filter the sunlight into a play of light and shadow on the surfaces inside. The programme orientates around the rectangular ponds in the centre. This void bring light and ventilation into the buidling.

Fabric Formed Concrete. Kenzo Unno.

Kenzo Unno creates fabric formed concrete walls using thin textile sheets. His methods provide large reductions in the material consumed in construction. They have a sensual beauty unlike any concrete wall seen or felt.

Unno uses two methods to restrain the formwork membrane for his cast in place walls. One is the frame method and the other in the Quilt-point method, which creates a quilt-like pattern shown in these images.

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TESTING & SYNTHESIS Once the framework for the project was established during the Framing phase and I had picked up on some programmatic, massing and material influences, I was able to test and synthesis these initial ideas in this next part of the project. I tested various layout proposals that responded to the existing footpath on the east of the site and engaged with the redeveloped allotments on the west of the site. I identified these as key landscape features to address in my design as well as the river and canal.

The material studies were a key part in the development of the design. The concept was identified in the ‘Theory into Practice’ essay, which was then tested in the ‘Thinking Through Making’project. The technical report also aided in exploring the construction details of the project and environmental strategies.

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Initial programme analysis

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Massing exploration

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Additive & Subtractive diagram 34

Hierarchy diagram

Symmetry & Balance diagram

Circulation to Use-Space diagram

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Garden sketches

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Programme Zoning Strategy

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‘With simple forms, all you have to play with are the surfaces’ Nicola Tassie on her Faceted collection for The New Craftsmen. Article from The Spaces.

‘People are drawn to tactility because they are seeking something “real”.

Sebastian Cox’s Underwood collection.

Article from The Spaces.

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Integrated Technical Report In the technical report I was able to explore how the fabric formed wall would be constructed.

The section shows how the wall is constructed as a concrete sandwich panel. This would be done offsite in 5x3m panels. A fabric geotextile is used for the formwork. An advantage of usding fabric formwork is that the geotextile sheet can be re used several times, reducing the demand of materials during the constructionprocess.

*Detail taken from Integrated technical report module. This explores how the technical nature has informed the design process.

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*See thematic case study for further exploration

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Sustainability strategy & Environmental Considerations

*This information is taken from the Technical report. It explores the advantages of fabric formwork and material re use. It also shows measures taken to be efficient with energy consumption and re use.

Material Reduction and Reuse: Fabric Formwork

Sustainability: Material Reduction and Reuse

An advantage of using fabric formwork for some of the exterior walls in the building is that the formwork can be reused many times. The concrete panels can be pre-cast and the supports beneath the sheet of fabric can be altered to produce different designs from the same sheet of reusable fabric.

The uncoated geotextile fabric is inexpensive, reusable, ecologically sound and robust. Uncoated geotextiles act as filters, allowing airbubbles and excess mix water to bleed through the fabric mould-wall, producing an extremely fine finish and a stronger and more impermable concrete surface.

This project uses concrete with recycled aggrgates. In Bradford there is a nearby demolition taking place of a former Mark & Spencers, shown in the image on the right. My project will make use the construction waste from this demolition site by recycling it and reusing it for the construction of my building. The concrete will be crushed into a material with a specified size and quality shown in the diagram below.

Recyling the concrete reduces the amount of material that is sent to landfill. The concrete itself becomes aggregate and any embedded metals can be removed and recycled as well. It also Marks & Spencers, Bradford reduces the need for virgin aggregates. This in turn reduces the impact of aggregate extraction processes.

Examples of precast fabric formed panels and process:

Mark & Spencers location near to Saltaire.

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Resources in-use: Solar heated pools Waste heat from spa

The roof will receive lots of sunlight throughout the year. Therefore it can utilize the energy from the sun by having solar panels on the roof. The indoor pools will be heated using solar energy, which is captured and converted into a useful output.

Heat used for the first floor The spa will be generating a lot of heat. Waste heat produced frmo the Spa will be collected and pass through the heat exchanger. This heat can then be used to heat the floor above.

Diagram showing how the energy from the sun is captured and converted to heat the pools.

29. Simplified sun path site diagram

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Thematic Case Study Joanneumsviertel, Graz, Austria Group members: Jenna Goodfellow Simon Tarbox Lea Udrescu

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Simon Tarbox Jenna Goodfellow Lea Udrescu Introduction dŚĞ :ŽĂŶŶĞƵŵƐǀŝĞƌƚĂů ŝƐ Ă ĐŽŵƉůĞdž ůŽĐĂƚĞĚ ŝŶ ĐĞŶƚƌĂů 'ƌĂnj͕ ƵƐƚƌŝĂ͘ dŚĞ ĐŽŵƉůĞdž ĐŽŵƉƌŝƐĞƐ ŽĨ ƚŚƌĞĞ ŵƵƐĞƵŵƐ͗ ƚŚĞ EĞƵĞ 'ĂůĞƌŝĞ͕ ƚŚĞ EĂƚƵƌĂů ,ŝƐƚŽƌLJ DƵƐĞƵŵ͕ ĂŶĚ ƚŚĞ DƵůƟŵĞĚŝĂ ŽůůĞĐƟŽŶƐ͘ dŚĞƐĞ ƚŚƌĞĞ ŚŝƐƚŽƌŝĐĂů ďƵŝůĚŝŶŐƐ ĂƌĞ ĐŽŶŶĞĐƚĞĚ ƚŚƌŽƵŐŚ Ă ďĞĂƵƟĨƵů ƵŶĚĞƌŐƌŽƵŶĚ ǁŝŶŐ͕ ĚĞƐŝŐŶĞĚ ďLJ ƚŚĞ ^ƉĂŶŝƐŚ ĂƌĐŚŝƚĞĐƚƵƌĞ Įƌŵ EŝĞƚŽ ^ŽďĞũĂŶŽ͘ EŝĞƚŽ ^ŽďĞũĂŶŽ ǁŽŶ Ă ĐŽŵƉĞƟƟŽŶ ŝŶ ϮϬϬϲ ĨŽƌ ƚŚĞ ƌĞĚĞǀĞůŽƉŵĞŶƚ ŽĨ ƚŚŝƐ ƋƵĂƌƚĞƌ ŝŶ 'ƌĂnj ƚŽ ŐŝǀĞ ƉƌŽƉĞƌ ĂĐĐŽŵŵŽĚĂƟŽŶ ƚŽ ƚŚĞƐĞ ƚŚƌĞĞ ŵƵƐĞƵŵƐ͘ ůƚŚŽƵŐŚ ĐŽŶƐƚĂŶƚůLJ ĐŽŶƚĞŵƉŽƌĂƌLJ ŝŶ ĚĞƐŝŐŶ ĂŶĚ ĐŚŽŝĐĞ ŽĨ ĨŽƌŵƐ͕ ƚŚĞ ĂƌĐŚŝƚĞĐƚƵƌĞ Įƌŵ ŚĂǀĞ succeeded in realising an architectural language that is responsive to the historical buildings, yet ŝŶ ĚĞƉĞŶĚĂŶƚ ŽĨ ƚŚĞŵ͘ >ŽĐĂƚĞĚ ĞŶƟƌĞůLJ ƵŶĚĞƌŐƌŽƵŶĚ͕ ƚŚĞ ŶĞǁ ǁŝŶŐ ƉƌŽǀŝĚĞƐ Ă ĐŽŵŵŽŶ ĞŶƚƌĂŶĐĞ ƚŽ ƚŚĞ ƚŚƌĞĞ ŵƵƐĞƵŵƐ ĂƐ ǁĞůů ĂƐ Ă ŶĞǁ ƉƵďůŝĐ ƉůĂnjĂ ǁŚĞƌĞ ĐƵůƚƵƌĞ͕ Ăƌƚ ĂŶĚ ƚŚĞ ĐŝƚLJ ĞŵďƌĂĐĞ ŽŶĞ ĂŶŽƚŚĞƌ͘ dŚĞ ŽůĚ ƚŽǁŶ ŝŶ 'ƌĂnj ŚĂƐ ďĞĞŶ ĚĞƐŝŐŶĂƚĞĚ Ă tŽƌůĚ ,ĞƌŝƚĂŐĞ ^ŝƚĞ͘ hE ^ K ŚĂƐ ƉƌŽƚĞĐƚĞĚ 'ƌĂnj ƐŝŶĐĞ ϮϬϬϰ ĚƵĞ ƚŽ ďĞŝŶŐ ĂŶ ĞdžĞŵƉůĂƌLJ ŵŽĚĞů ŽĨ ůŝǀŝŶŐ ŚĞƌŝƚĂŐĞ͘ EŝĞƚŽ ^ŽďĞũĂŶŽ ǁĞƌĞ ŝŶǀŽůǀĞĚ ŝŶ ƚǁŽ ƉƌŽũĞĐƚƐ ŝŶ 'ƌĂnj Ăƚ ƚŚŝƐ ƟŵĞ͖ ƚŚĞ :ŽĂŶŶĞƵŵ ƵŶĚĞƌŐƌŽƵŶĚ ĞdžƚĞŶƐŝŽŶ ĂŶĚ ƚŚĞ ĐŽŶƐƚƌƵĐƟŽŶ ŽĨ Ă ŶĞǁ ƌŽŽĨ ƐĐĂƉĞ ĨŽƌ <ĂƐƚĞƌ Θ PŚůĞƌ͘ /ƚ ŝƐ ŝŶƚĞƌĞƐƟŶŐ ƚŽ ŶŽƚĞ ƚŚĞ ǁĂLJ ŝŶ ǁŚŝĐŚ ƚŚĞƐĞ ƉƌŽũĞĐƚ ŚĂǀĞ ŝŶĨŽƌŵĞĚ ĞĂĐŚ ŽƚŚĞƌ ĂŶĚ ĞŵďŽĚŝĞĚ EŝĞƚŽ ^ŽďĞũĂŶŽ͛Ɛ ƚŚĞŽƌŝĞƐ ĂŶĚ ĐŽŶĐĞƉƚƐ ĂƐ Ă ƉƌĂĐƟĐĞ͘ /Ŷ ƌĞƐƉŽŶƐĞ ƚŽ ƚŚĞ ƐĞƚ ƋƵĞƐƟŽŶƐ ǁĞ ǁŝůů ŐŽ ŽŶ ƚŽ ĞdžƉůŽƌĞ ƚŚŝƐ ŝŶ ŵŽƌĞ ĚĞƚĂŝů͘

Qu. 1 How does the case study elaborate on its visual, spatial and interactive relationships to its context, landmarks and landscape(s)?

Joanneumsviertel, Graz, Austria

Question 1

Qu. 2 How is the case study conceptualised and framed (theorised) and communicated (verbal, graphic, tectonic), for the agenda of curating the site towards a progressive conservation & embodied reading.

How does the case study elaborate on its ƐƉĂƟĂů ĂŶĚ ŝŶƚĞƌĂĐƟǀĞ ƌĞůĂƟŽŶƐŚŝƉƐ ƚŽ ŝƚƐ landmarks and landscape(s)?

Qu. 3 How does the case study relate to the architect’s theoretical position / how does it explore their ideas and preoccupations?

Qu. 4 How does the casestudy relate to other buildings of its type?

Group 4 - Urban Form

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^ŝŵŽŶ dĂƌďŽdž

Joanneumsviertel, Graz, Austria >ŽĐĂƚĞĚ ŝŶ ƚŚĞ ĐĞŶƚƌĞ ŽĨ 'ƌĂnj͕ ƵƐƚƌŝĂ͘ EŝĞƚŽ ^ŽďĞũĂŶŽ ƌĐŚŝƚĞĐƚƐ ŚĂǀĞ ĐƌĞĂƚĞĚ ĂŶ ĞdžƚĞŶŝƐŝŽŶ ĨŽƌ ƚŚĞ :ŽĂŶŶĞƵŵ DƵƐĞƵŵ͕ ŝŶ ƚŚĞ ĐŽƵƌƚLJĂƌĚ ďĞƚǁĞĞŶ ƚŚĞ ƚǁŽ ŚŝƐƚŽƌŝĐ ďƵŝůĚŝŶŐƐ͕ ĞĂĐŚ ĐŽŶƚĂŝŶŝŶŐ ĚŝīĞƌĞŶƚ ĂƐƉĞĐƚƐ ŽĨ ƚŚĞ ŵƵƐĞƵŵ͕ ĐŽŶƚĂŝŶŝŶŐ dŚĞ EĂƚƵƌĂů ,ŝƐƚŽƌLJ DƵƐĞƵŵ͕ dŚĞ ^ƚLJƌŝĂŶ ^ƚĂƚĞ >ŝďƌĂƌLJ͕ ĂŶĚ EĞǁ 'ĂůůĞƌLJ͘ EƵŵĞƌŽƵƐ ƉĞƌĨŽƌĂƟŽŶƐ ĐƌĞĂƚĞ ĂŶ ĞŶƚƌĂŶĐĞ ĂŶĚ ŽƉĞŶŝŶŐƐ ŽĨ ůŝŐŚƚ͘

^ŝŵŽŶ dĂƌďŽdž

ŽŶƚĞdžƚ dŚĞ ĞdžƚĞŶƐŝŽŶ ƉƌĞƐĞƌǀĞƐ ƚŚĞ ŚŝƐƚŽƌŝĐĂů ĐŽŶƚĞdžƚ ďLJ ďƌŝŶŐŝŶŐ ƉĞŽƉůĞ ďĞůŽǁ ƚŚĞ ƐƵƌĨĂĐĞ ŽĨ ƚŚĞ ĐŝƚLJ͕ ĂǁĂLJ ĨŽƌŵ ďƵƐLJ ƵƌďĂŶ ĂƌĞĂƐ͘ ƚ ƚŚĞ ƐĂŵĞ ƟŵĞ͕ ŝƚ ŝŶƚĞƌĂĐƚƐ ǁŝƚŚ ƚŚĞ ĐŽŶƚĞdžƚ by drawing people towards the ďƵŝůĚŝŶŐƐ͘ KƵƌ ŵŽǀĞŵĞŶƚ ŽŶ ƚŚĞ ƐƵƌĨĂĐĞ ďĞĐŽŵĞƐ ĐŽŶŶĞĐƚĞĚ ƚŽ ŵŽǀĞŵĞŶƚ ďĞůŽǁ ƚŚĞ ŐƌŽƵŶĚ͘ dŚĞ museum is now a more accessible ĂŶĚ ĚŽŵŝŶĂŶƚ ĨĞĂƚƵƌĞ ŝŶ ƚŚĞ ĐŽŶƚĞdžƚ ŽĨ ƚŚĞ ĂƌĞĂ͘

,Žǁ ŝƐ ƚŚĞ /ŶƚĞƌĂĐƟŽŶ ǁŝƚŚ ƚŚĞ ƌĞĂ ůĂďŽƌĂƚĞĚ͍ EĂƚƵƌĂů ,ŝƐƚŽƌLJ DƵƐĞƵŵ

>ĂŶĚƐĐĂƉĞ

dŚĞ ĐĂƐĞ ƐƚƵĚLJ ŝƐ Ă ŐŽŽĚ ĞdžĂŵƉůĞ ŽĨ ŚŽǁ Ă ĚĞǀĞůŽƉŵĞŶƚ ĐĂŶ ĐĂƌĞĨƵůůLJ ĐƵƌĂƚĞ Ă ƐŝƚĞ ĂŶĚ ĞŶƐƵƌĞ ƚŚĞ ŚĞƌŝƚĂŐĞ ĂŶĚ ŚŝƐƚŽƌŝĐĂů ǀĂůƵĞƐ ŽĨ ĂŶ ĂƌĞĂ ĂƌĞ ƉƌĞƐĞƌǀĞĚ ĂŶĚ ĐĞůĞďƌĂƚĞĚ͘ dŚĞ ĞdžƚĞŶƐŝŽŶ ƚŽ ƚŚĞ :ŽĂŶŶĞƵŵ DƵƐĞƵŵ ŚĂƐ ƐŚŽǁŶ ƐŝŐŶŝĮĐĂŶƚ ĂƩĞŶƟŽŶ ƚŽǁĂƌĚƐ ƚŚĞ ƐƵƌƌŽƵŶĚŝŶŐ ĐŽŶƚĞdžƚ͕ ŽƚŚĞƌ ůĂŶĚŵĂƌŬƐ ĂŶĚ ƚŚĞ ŽǀĞƌĂůů ůĂŶĚƐĐĂƉĞ ŽĨ 'ƌĂnj͘

dŚĞ ĐĞŶƚƌĞ ŽĨ 'ƌĂnj ŚĂƐ Ă ƌĞƉƵƚĂƟŽŶ ĨŽƌ ŚĂǀŝŶŐ ĂŶ ͚ĞdžƉƌĞƐƐŝǀĞ ƌŽŽĨƐĐĂƉĞ͛͘ dŚĞ ĞdžƚĞŶƐŝŽŶ ƌĞƐƉĞĐƚƐ ƚŚŝƐ ďLJ ŶŽƚ ŝŶƚĞƌĨĞƌŝŶŐ Žƌ ĂůƚĞƌŝŶŐ ƚŚŝƐ ůĂŶĚƐĐĂƉĞ͘ /ƚ ŝƐ ƚŚĞƌĞĨŽƌĞ ďĂƐĞĚ ƵŶĚĞƌŐƌŽƵŶĚ͕ ƐŽ ĚŽĞƐ ŶŽƚ ĂīĞĐƚ ƚŚĞ ƐŬLJůŝŶĞ͕ ĂŶĚ ŝƚ ŝƐ ŶŽƚ ĂŶ ĞLJĞƐŽƌĞ ĨƌŽŵ Ă ĚŝƐƚĂŶĐĞ͘ dŚĞ ƵƌďĂŶ ĨĂďƌŝĐ becomes the backround to the underground ƐƉĂĐĞ͘ 'ŽŝŶŐ ƵŶĚĞƌŐƌŽƵŶĚ ĐƌĞĂƚĞƐ ĂŶ ŝŶǀĞƌƚĞĚ ƌŽŽĨƐĐĂƉĞ͘

EĂƚƵƌĂů ,ŝƐƚŽƌLJ DƵƐĞƵŵ Θ ^ƚLJƌŝĂŶ ^ƚĂƚĞ >ŝďƌĂƌLJ EĞǁ hŶĚĞƌŐƌŽƵŶĚ džƚĞŶƐŝŽŶ EĞǁ 'ĂůůĞƌLJ

EĞǁ 'ĂůůĞƌLJ

^ƚLJƌŝĂŶ ^ƚĂƚĞ >ŝďƌĂƌLJ

ϭ Ͳ 'ƌĂnj EĞǁ 'ĂůůĞƌLJ Ϯ Ͳ ƌƵƐĞƵŵ ;ZĞƐĞĂƌĐŚ Θ džŚŝďŝƟŽŶ ĚĞĚŝĐĂƚĞĚ ƚŽ 'ƺŶƚĞƌ ƌƵƐͿ ϯ Ͳ EĂƚƵƌĂů ,ŝƐƚŽƌLJ DƵƐĞƵŵ ϰ Ͳ ^ƚLJƌŝĂŶ ^ƚĂƚĞ >ŝďƌĂƌLJ Ͳ ŶƚƌĂŶĐĞ Ͳ >ĞǀĞů ŶƚƌĂŶĐĞ tŝƚŚ ŝƐĂďůĞĚ ĐĐĞƐƐ Ͳ /ŶĨŽ ĂŶĚ ^ŚŽƉ Ͳ >ŝďƌĂƌLJ EĞƵĞ 'ĂůĞƌŝĞ 'ƌĂnj ; ŽŶƚĂŝŶƐ ŵĂƚĞƌŝĂů ĨƌŽŵ ϭϵƚŚ͕ ϮϬƚŚ Θ ϮϭƐƚ ĐĞŶƚƵƌŝĞƐͿ Ͳ ĂĨĠ & Ͳ ƵĚŝƚŽƌŝƵŵ ' Ͳ >ĞƐůŝĞŚŽĨ; ŽƵƌƚLJĂƌĚ Ͳ ϲϴϬ ŵϸͿ

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KƚŚĞƌ >ĂŶĚŵĂƌŬƐ The landmarks, including dŚĞ EĞǁ 'ĂůůĞƌLJ͕ ƚŚĞ EĂƚƵƌĂů ,ŝƐƚŽƌLJ DƵƐĞƵŵ͕ ĂŶĚ ƚŚĞ ^ƚLJƌŝĂŶ ^ƚĂƚĞ >ŝďƌĂƌLJ͕ ŶŽǁ interact with one another ƚŚƌŽƵŐŚ ƚŚĞ ĞdžƚĞŶƐŝŽŶ͕ ǁŝƚŚ ĞĂƐLJ ĂĐĐĞƐƐ ĂŶĚ ŝŶĨŽƌŵĂƟŽŶ ĐŽůůĞĐƟŽŶƐ͘ dŚĞ ŝĚĞŶƟƚLJ ŽĨ other landmarks has been preserved, and makes it ĞĂƐŝĞƌ ĨŽƌ ƚŽƵƌŝƐƚƐ ƚŽ ŝŶƚĞƌĂĐƚ with the buildings, as they ĂƌĞ ĞĂƐŝĞƌ ƚŽ ǀŝƐŝƚ͘

^ŝŵŽŶ dĂƌďŽdž

>ĂŶĚƐĐĂƉĞ

^ŝŵŽŶ dĂƌďŽdž

ŽŶƚĞdžƚ

EĂƚƵƌĂů ,ŝƐƚŽƌLJ DƵƐĞƵŵ Θ ^ƚLJƌŝĂŶ ^ƚĂƚĞ >ŝďƌĂƌLJ EĞǁ hŶĚĞƌŐƌŽƵŶĚ džƚĞŶƐŝŽŶ

The buildings are now connected and directly ůŝŶŬ ƚŽŐĞƚŚĞƌ͘

Ϭ -1 ͲϮ

Ͳϭ ĐĐĞƐƐ͕ ƌĞĐĞƉƟŽŶ ƐƉĂĐĞƐ͕ Ă ĐŽŶĨĞƌĞŶĐĞ ŚĂůů͕ ƌĞĂĚŝŶŐ ĂƌĞĂƐ͕ ĂŶĚ ƐĞƌǀŝĐĞƐ͘ ͲϮ ƌĐŚŝǀĞƐ ĂŶĚ ƐƚŽƌĂŐĞ͘ ĞĨŽƌĞ džƚĞŶƐŝŽŶ

dŚĞ ƐƉĂĐĞ ŝƐ ƵƐĞĚ ĞĸĐŝĞŶƚůLJ ƐŽ ƚŚĂƚ ƚŚĞ ƐƵƌĨĂĐĞ ŝƐ ůĞŌ ĂǀĂŝůĂďůĞ ĨŽƌ ŚŽƌŝnjŽŶƚĂů ŵŽǀĞŵĞŶƚ ďĞƚǁĞĞŶ ƚŚĞ ďƵŝůĚŝŶŐƐ͘ dŚĞ ǀŽŝĚƐ ƐƵďƚůLJ ďůĞŶĚ ŝŶ ĂƐ ĂŶ ŽƌŐĂŶŝƐĂƟŽŶĂů ĚĞǀŝĐĞ ƐĞƉĞƌĂƟŶŐ ƉƵďůŝĐ ĂŶĚ ƉƌŝǀĂƚĞ ƐƉĂĐĞ͘ The surrounding historic landscape ƌĞŵĂŝŶƐ ƚŚĞ ĨŽĐƵƐ͕ ďƵƚ ƚŚĞƌĞ ŝƐ Ă ĐůĞĂƌ ƐĞƉĞƌĂƟŽŶ ďĞƚǁĞĞŶ ŶĞǁ ĂŶĚ ŽůĚ ĂƌĐŚŝƚĞĐƚƵƌĞ͘

ŽŶƚĞdžƚ 'ƌŽƵŶĚ &ůŽŽƌ ;ϬͿ

dŚĞ ĞdžƚĞŶƐŝŽŶ ŝƐ ƐƵďƚůLJ ďůĞŶĚĞĚ ŝŶƚŽ ƚŚĞ ƐƵƌƌŽƵŶĚŝŶŐ ĐŽŶƚĞdžƚ͘ /ƚ ĞůĂďŽƌĂƚĞƐ ƚŚĞ ǀŝƐƵĂůŝƚLJ ŽĨ ƚŚĞ ĨĂĐĂĚĞƐ ǁŝƚŚ ƚŚĞ ƵƐĞ ŽĨ ŐůĂƐƐ͕ ƌĞŇĞĐƟŶŐ ƚŚĞ ƚƌĂĚŝƟŽŶĂů architecture through the day, and ŝůůƵŵŝŶĂƟŶŐ ŝƚ Ăƚ ŶŝŐŚƚ͘

ŌĞƌ džƚĞŶƐŝŽŶ

,Žǁ ŝƐ ƚŚĞ sŝƐƵĂůŝƚLJ ŽĨ ƚŚĞ ƌĞĂ ůĂďŽƌĂƚĞĚ͍

,Žǁ ŝƐ ƚŚĞ ^ƉĂƟĂů ƐƉĞĐƚ ŽĨ ƚŚĞ ƌĞĂ ůĂďŽƌĂƚĞĚ͍ KƚŚĞƌ >ĂŶĚŵĂƌŬƐ

>ĂŶĚƐĐĂƉĞ

KƚŚĞƌ >ĂŶĚŵĂƌŬƐ >ŽŽŬŝŶŐ EŽƌƚŚ

džƚĞŶƐŝŽŶͬ ĂƐĞŵĞŶƚ ;ͲϭͿ

džƚĞŶƐŝŽŶͬ ĂƐĞŵĞŶƚ ;ͲϮͿ

EĂƚƵƌĂů ,ŝƐƚŽƌLJ DƵƐĞƵŵ Θ ^ƚLJƌŝĂŶ ^ƚĂƚĞ >ŝďƌĂƌLJ WƵďůŝĐ ^ƉĂĐĞ Ͳ ZĞĐĞƉƟŽŶ ƐƉĂĐĞƐ͕ ĐŽŶĨĞƌĞŶĐĞ ŚĂůů͕ ƌĞĂĚŝŶŐ ĂƌĞĂƐ WƌŝǀĂƚĞ ^ƉĂĐĞ Ͳ ƌĐŚŝǀĞƐ ĂŶĚ ƐƚŽƌĂŐĞ

Two buildings now linked visually

EĞǁ 'ĂůůĞƌLJ

>ŽŽŬŝŶŐ ^ŽƵƚŚ

dŚĞ ŽƉĞŶ ƐƉĂĐĞ ŽŶ ƚŚĞ ƐƵƌĨĂĐĞ makes it easy to reach other ůĂŶĚŵĂƌŬƐ͘ dŚĞƌĞ ĂƌĞ ĮǀĞ seperate entrances within ƚŚĞ ĞdžƚĞŶƐŝŽŶ ůŝŶŬŝŶŐ ŝƚ ƚŽ ƚŚĞ landmarks on either side, as well ĂƐ ƚŚĞ ůĂƌŐĞ ĞdžƚĞƌŝŽƌ ĞŶƚƌĂŶĐĞ͘ dŚĞ ƐŝƚĞ ŝƐ ǁĞůů ƉůĂŶŶĞĚ͕ ǁŝƚŚ ĂĐĐĞƐƐ ĨƌŽŵ ƚŚĞ ŶŽƌƚŚ ĂŶĚ ƐŽƵƚŚ ĚŝƌĞĐƚůLJ ĨƌŽŵ ƚŚĞ ƐƚƌĞĞƚƐ͘ dŚĞ ŽƉĞŶ ĐŽƵƌƚLJĂƌĚ ŚĂƐ ďĞĞŶ ƉƌĞƐĞƌǀĞĚ͕ ďƵƚ ŝƐ ŶŽǁ ǁĞůů ůŝƚ Ăƚ ŶŝŐŚƚ͘ dŚĞ ƉƌŽŐƌĂŵŵĞ ŽĨ ƚŚĞ ĞdžƚĞŶƐŝŽŶ ŝƐ ǁĞůů organised, with public areas restricted to ƚŚĞ ǁĞůů ůŝƚ ŇŽŽƌ ĚŝƌĞĐƚůLJ ďĞŶĞĂƚŚ ƚŚĞ ŐƌŽƵŶĚ ƐƵƌĨĂĐĞ͘

dŚĞ ĞdžƚĞŶƐŝŽŶ ĚŽĞƐ ŶŽƚ ĂīĞĐƚ ƚŚĞ ǀŽůƵŵĞ ŽĨ ƚŚĞ ĞdžŝƐƟŶŐ ďƵŝůĚŝŶŐƐ͘ /ƚ preserves the original landscape, ǁŝƚŚŽƵƚ ĐƌĞĂƟŶŐ Ă ŵŽĚĞƌŶ ĞLJĞƐŽƌĞ that does not relate to the original ůĂŶĚƐĐĂƉĞ͘

dŚĞ ĨĂĐĂĚĞƐ ŽĨ ƚŚĞ ŚŝƐƚŽƌŝĐ ůĂŶĚŵĂƌŬƐ ƌĞŵĂŝŶ ŽŶ ĚŝƐƉůĂLJ͕ ĂŶĚ ĂƌĞ ŶŽǁ ĐŽŶŶĞĐƚĞĚ ĂŶĚ ůŝŶŬĞĚ ǀŝƐƵĂůůLJ͘ tĞ ĂƌĞ ŶŽǁ ĚƌĂǁŶ ƚŽ ƚŚĞŵ as we pass through the courtyard, moving up and down the ĞƐĐĂůĂƚŽƌƐ͘ dŚĞ ĞdžƚĞŶƐŝŽŶ ĚŽĞƐ ŶŽƚ ĐŽŵƉĞƚĞ ǁŝƚŚ ƚŚĞ ůĂŶĚŵĂƌŬ͛Ɛ ǀŝƐƵĂůŝƚLJ͕ ŝƚ ŝƐ ŵŽƌĞ ĨƵŶĐƟŽŶĂů͕ ĂůůŽǁŝŶŐ ƵƐ ƚŽ ĞĂƐŝůLJ ǀŝƐŝƚ ƚŚĞ ƐŝƚĞ ĂŶĚ ĂƉƉƌĞĐŝĂƚĞ ƚŚĞ ŚŝƐƚŽƌŝĐ ǀŝƐƵĂůŝƚLJ͘

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66

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^ŝŵŽŶ dĂƌďŽdž

dŚĞ ĞdžƚĞŶƐŝŽŶ ĨƌĂŵĞƐ ƚŚĞ historical buildings that ƐƵƌƌŽƵŶĚ ƚŚĞ ƐŝƚĞ͘ dŚĞ ǀĂƌŝŽƵƐ ĞůĞǀĂƟŽŶƐ ĐĂŶ ďĞ seen across the courtyard, without the development ĂůƚĞƌŝŶŐ ƚŚŝƐ͘

dŚĞ ĞdžƚĞŶƐŝŽŶ ƚĂŬĞƐ ĨƵůů ĂĚǀĂŶĂƚĂŐĞ ŽĨ ƚŚĞ ƐƵƌƌŽƵŶĚŝŶŐ ĂƌĞĂ ďLJ ƵƐŝŶŐ ƚŚĞ ƵƌďĂŶ ĨĂďƌŝĐ ŽĨ 'ƌĂnj ĂƐ ƚŚĞ ďĂĐŬĚƌŽƉ͘ dŚĞ ǀŝƐƵĂůŝƚLJ ŽĨ ƚŚĞ ŵƵƐĞƵŵ͛Ɛ surroundings has been preserved, ĂŶĚ ƚŚĞ ƵƌďĂŶ ĨĂďƌŝĐ ŚĂƐ ŶŽƚ ďĞĞŶ ďƌŽŬĞŶ Žƌ ĚŝƐƚƵƌďĞĚ͘

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^ŝŵŽŶ dĂƌďŽdž

dŚĞ ĐŽŶĞ ƉĞƌĨŽƌĂƟŽŶƐ ĂƌĞ ƐƉƌĞĂĚ ŽƵƚ ĂĐƌŽƐƐ ƚŚĞ ĞdžƚĞŶƐŝŽŶ ƚŽ ĮůƚĞƌ ůŝŐŚƚ ŝŶƚŽ Ă ƐŝŐŶŝĮĐĂŶƚ ĂŵŽƵŶƚ ŽĨ ƐƉĂĐĞ͘ dŚĞLJ ĂƌĞ ĂůƐŽ ƉŽƐŝƟŽŶĞĚ ƐŽ ƚŚĂƚ ƚŚĞƌĞ ŝƐ ĞŶŽƵŐŚ ƐƉĂĐĞ ĨŽƌ ŵŽǀĞŵĞŶƚ ďĞƚǁĞĞŶ ĞĂĐŚ ŽŶĞ ŽŶ ƚŚĞ ƐƵƌĨĂĐĞ͘ dŚĞ ĐŚŽŝĐĞ ĨŽƌ ĐŽŶĞƐ ĂƐ Ă ƐŚĂƉĞ ŝƐ ǀĞƌLJ ĂĞƐƚŚĞƟĐĂůůLJ pleasing, and communicates well with the ƐƵƌƌŽƵŶĚŝŶŐƐ ďLJ ŶŽƚ ƌƵŝŶŝŶŐ ƚŚĞ ƵƌďĂŶ ůĂLJŽƵƚ͘ They are not so large that they create a ŶŽƟĐĂďůĞ Ɖŝƚ ŝŶ ƚŚĞ ŐƌŽƵŶĚ͕ ďƵƚ ĂƌĞ ŽĨ Ă ƐŝnjĞ where enough natural light can reach the ďĂƐĞŵĞŶƚ ŇŽŽƌƐ͘

'ůĂƐƐ ŚĂƐ ďĞĞŶ ƵƐĞĚ ǁŚŝĐŚ ĂůůŽǁƐ ůŝŐŚƚ ƚŽ ƉĂƐƐ ƚŚƌŽƵŐŚ ŝŶƚŽ ƚŚĞ ĞdžƚĞŶƐŝŽŶ ĂŶĚ ƉƌŽũĞĐƚ ƚŚĞ ƐƵƌƌŽƵŶĚŝŶŐ ŚŝƐƚŽƌŝĐ ĂƌĐŚŝƚĞĐƚƵƌĞ͘ dŚĞ ǀĂůƵĞ ĂŶĚ ƐŝŐŶŝĮĐĂŶĐĞ ŽĨ ƚŚĞ ƵƌďĂŶ ƐƉĂĐĞ ŚĂƐ ďĞĞŶ ĞŶŚĂŶĐĞĚ͕ ďLJ ĐŽŶŶĞĐƟŶŐ ĂƌĞĂƐ ďĞůŽǁ ƚŚĞ ŐƌŽƵŶĚ ĚŝƌĞĐƚůLJ ƚŽ ƚŚĞ ƐƵƌĨĂĐĞ͘

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^ŝŵŽŶ dĂƌďŽdž

dŚĞ ĞdžƚĞŶƐŝŽŶ ĨƌĂŵĞƐ ƚŚĞ historical buildings that ƐƵƌƌŽƵŶĚ ƚŚĞ ƐŝƚĞ͘ dŚĞ ǀĂƌŝŽƵƐ ĞůĞǀĂƟŽŶƐ ĐĂŶ ďĞ seen across the courtyard, without the development ĂůƚĞƌŝŶŐ ƚŚŝƐ͘

dŚĞ ĞdžƚĞŶƐŝŽŶ ƚĂŬĞƐ ĨƵůů ĂĚǀĂŶĂƚĂŐĞ ŽĨ ƚŚĞ ƐƵƌƌŽƵŶĚŝŶŐ ĂƌĞĂ ďLJ ƵƐŝŶŐ ƚŚĞ ƵƌďĂŶ ĨĂďƌŝĐ ŽĨ 'ƌĂnj ĂƐ ƚŚĞ ďĂĐŬĚƌŽƉ͘ dŚĞ ǀŝƐƵĂůŝƚLJ ŽĨ ƚŚĞ ŵƵƐĞƵŵ͛Ɛ surroundings has been preserved, ĂŶĚ ƚŚĞ ƵƌďĂŶ ĨĂďƌŝĐ ŚĂƐ ŶŽƚ ďĞĞŶ ďƌŽŬĞŶ Žƌ ĚŝƐƚƵƌďĞĚ͘

^ŝŵŽŶ dĂƌďŽdž

dŚĞ ĐŽŶĞ ƉĞƌĨŽƌĂƟŽŶƐ ĂƌĞ ƐƉƌĞĂĚ ŽƵƚ ĂĐƌŽƐƐ ƚŚĞ ĞdžƚĞŶƐŝŽŶ ƚŽ ĮůƚĞƌ ůŝŐŚƚ ŝŶƚŽ Ă ƐŝŐŶŝĮĐĂŶƚ ĂŵŽƵŶƚ ŽĨ ƐƉĂĐĞ͘ dŚĞLJ ĂƌĞ ĂůƐŽ ƉŽƐŝƟŽŶĞĚ ƐŽ ƚŚĂƚ ƚŚĞƌĞ ŝƐ ĞŶŽƵŐŚ ƐƉĂĐĞ ĨŽƌ ŵŽǀĞŵĞŶƚ ďĞƚǁĞĞŶ ĞĂĐŚ ŽŶĞ ŽŶ ƚŚĞ ƐƵƌĨĂĐĞ͘ dŚĞ ĐŚŽŝĐĞ ĨŽƌ ĐŽŶĞƐ ĂƐ Ă ƐŚĂƉĞ ŝƐ ǀĞƌLJ ĂĞƐƚŚĞƟĐĂůůLJ pleasing, and communicates well with the ƐƵƌƌŽƵŶĚŝŶŐƐ ďLJ ŶŽƚ ƌƵŝŶŝŶŐ ƚŚĞ ƵƌďĂŶ ůĂLJŽƵƚ͘ They are not so large that they create a ŶŽƟĐĂďůĞ Ɖŝƚ ŝŶ ƚŚĞ ŐƌŽƵŶĚ͕ ďƵƚ ĂƌĞ ŽĨ Ă ƐŝnjĞ where enough natural light can reach the ďĂƐĞŵĞŶƚ ŇŽŽƌƐ͘

'ůĂƐƐ ŚĂƐ ďĞĞŶ ƵƐĞĚ ǁŚŝĐŚ ĂůůŽǁƐ ůŝŐŚƚ ƚŽ ƉĂƐƐ ƚŚƌŽƵŐŚ ŝŶƚŽ ƚŚĞ ĞdžƚĞŶƐŝŽŶ ĂŶĚ ƉƌŽũĞĐƚ ƚŚĞ ƐƵƌƌŽƵŶĚŝŶŐ ŚŝƐƚŽƌŝĐ ĂƌĐŚŝƚĞĐƚƵƌĞ͘ dŚĞ ǀĂůƵĞ ĂŶĚ ƐŝŐŶŝĮĐĂŶĐĞ ŽĨ ƚŚĞ ƵƌďĂŶ ƐƉĂĐĞ ŚĂƐ ďĞĞŶ ĞŶŚĂŶĐĞĚ͕ ďLJ ĐŽŶŶĞĐƟŶŐ ĂƌĞĂƐ ďĞůŽǁ ƚŚĞ ŐƌŽƵŶĚ ĚŝƌĞĐƚůLJ ƚŽ ƚŚĞ ƐƵƌĨĂĐĞ͘

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Conclusion ŶĂůLJƐŝŶŐ ƚŚĞ :ŽĂŶŶĞƵŵƐǀŝĞƌƚĞů ŝŶ ĐŽŶƚĞdžƚ ĂŶĚ ĐŽŵƉĂƌŝŶŐ ŝƚ ƚŽ ƐŝŵŝůĂƌ ĞdžƚĞŶƐŝŽŶƐ ĚĞŵŽŶƐƚƌĂƚĞƐ ƚŚĞ ŝŶŶŽǀĂƟǀĞ ĂŶĚ ƐĞŶƐŝƟǀĞ ĂƉƉƌŽĂĐŚ EŝĞƚŽ ^ŽďĞũĂŶŽ ŚĂǀĞ ǁŽƌŬĞĚ ŝŶ ƚŚŝƐ ĚĞƐŝŐŶ͘ /ƚ ĐƌĞĂƚĞƐ Ă ĚŝĂůŽŐƵĞ ǁŝƚŚ ƚŚĞ ĞdžŝƐƟŶŐ ĂƌĐŚŝƚĞĐƚƵƌĞ ďƵƚ ĚŽĞƐ ŶŽƚ ĂůƚĞƌ ŝƚ͘ tŽƌŬŝŶŐ ǁŝƚŚŝŶ ƚŚĞ ƐƚƌŝĐƚ ůŝŵŝƚƐ ŽĨ Ă tŽƌůĚ ,ĞƌŝƚĂŐĞ ^ŝƚĞ͕ ƚŚĞ ĚĞƐŝŐŶ ƌĞƐƉĞĐƚƐ ƚŚĞ ƐƵƌƌŽƵŶĚŝŶŐ ŚĞƌŝƚĂŐĞ ŽŶůLJ ƉƵŶĐƚƵƌŝŶŐ ƚŚĞ ƐƵƌĨĂĐĞ ŝŶƚĞƌŵŝƩĞŶƚůLJ͘ dŚĞ ĂƌĐŚŝƚĞĐƚƵƌĞ Įƌŵ͛Ɛ ŝŶƚĞƌĞƐƚ ŝŶ ƚŚĞ ŐƌŽƵŶĚ ĂŶĚ ƚŚĞŝƌ ƚŚĞŽƌŝĞƐ ŽĨ ƚŚĞ ǀŽŝĚ ĂƌĞ ĞdžƉůŽƌĞĚ ŝŶ ƚŚŝƐ ĚĞƐŝŐŶ͘ WĂƩĞƌŶ ĂŶĚ ŐĞŽŵĞƚƌLJ ĂƌĞ ƌĞƉƌĞƐĞŶƚĞĚ ŝŶ ƚŚĞ ĐŽŶĞƐ͕ ǁŚŝĐŚ ĨƵŶĐƟŽŶ ĂƐ ƐƉĂƟĂů ŽƌŐĂŶŝƐĞƌƐ ďƌŝŶŐŝŶŐ ůŝŐŚƚ ŝŶƚŽ ƚŚĞ ƌŽŽŵƐ ďĞůŽǁ͘ ƵĞ ƚŽ ƚŚĞ ďƵŝůĚŝŶŐ ďĞŝŶŐ ƵŶĚĞƌŐƌŽƵŶĚ͕ ĚĞƐŝŐŶŝŶŐ Ă ƐƉĂĐĞ ƚŚĂƚ ĨĞůƚ ĂŝƌĞĚ ĂŶĚ ƐƉĂĐŝŽƵƐ ĂŶĚ Ăƚ ƚŚĞ ƐĂŵĞ ƟŵĞ ǁĞůů ůŝƚ ĂŶĚ ŝŶǀŝƟŶŐ ǁĂƐ Ă ĐŚĂůůĞŶŐĞ͘ dŚĞ ǀĂƌŝĂƟŽŶ ŽĨ ƚŚĞ ƐŝnjĞ ĂŶĚ ĚĞƉƚŚ ŽĨ ƚŚĞ ĐŽŶĞƐ ǁŽƌŬƐ ƚŽ ƌĞƐŽůǀĞ ƚŚŝƐ ƉƌŽďůĞŵ͘ dŚĞ ŶŽƟŽŶ ŽĨ ŵĞŵŽƌŝĞƐ ĂŶĚ ĐŚŝůĚͲůŝŬĞ ŚŝĚĚĞŶ ƐƉĂĐĞƐ ĞŵĂŶĂƚĞƐ ĨƌŽŵ ƚŚŝƐ ǁŽƌŬ͘ /ƚ ĞǀŽŬĞƐ ŽƵƌ ĨĂƐĐŝŶĂƟŽŶ ŽĨ ŐŽŝŶŐ ƵŶĚĞƌŐƌŽƵŶĚ ǁŚĞŶ ǁĞ ĂƌĞ ƐŽ ƵƐĞĚ ƚŽ ŐŽŝŶŐ ƵƉ͘ EŝĞƚŽ ^ŽďĞũĂŶŽ ƐƵĐĐĞƐƐĨƵůůLJ ƉƌŽƚĞĐƚ ƚŚĞ ŚĞƌŝƚĂŐĞ ŽĨ ƚŚĞ ƐŝƚĞ ǁŚŝůƐƚ ĐŽŶŶĞĐƟŶŐ ƚŚĞ ƚŚƌĞĞ ŵƵƐĞƵŵƐ ŝŶ ĂŶ ŽƌŝŐŝŶĂů ĂŶĚ ĐƌĞĂƟǀĞ ǁĂLJ͘

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References ‘AD Classics: Le Grand Louvre / I.M. Pei’, ArchDaily, 2010 <https://www.archdaily.com/88705/ad-classics-le-grande-louvre-i-m-pei> [accessed 14 December 2020] author/dominic-mercier-for-aia-architect, ‘The Ancien Régime’s Fatal Blow’, Architect, 2017 <https://www.architectmagazine.com/aia-architect/ aiafeature/the-ancien-regimes-fatal-blow_o> [accessed 14 December 2020] author/elizabeth-evitts-dickinson, ‘Louvre Pyramid: The Folly That Became a Triumph’, Architect, 2017 <https://www.architectmagazine.com/awards/ aia-honor-awards/louvre-pyramid-the-folly-that-became-a-triumph_o> [accessed 14 December 2020] ‘EUMiesAward’ <https://www.miesarch.com/work/516> [accessed 14 December 2020] ‘JOANNEUM MUSEUM EXTENSION’ <https://modulo.net/en/realizzazioni/joanneum-museum-extension> [accessed 14 December 2020] ‘Joanneum Museum Extension by Nieto Sobejano Arquitectos and Eep Architekten’, Dezeen, 2012 <https://www.dezeen.com/2012/01/02/joanneummuseum-extension-by-nieto-sobejano-arquitectos-and-eep-architekten/> [accessed 14 December 2020] ‘Joanneum Museum Quarter Graz | Architect: Nieto Sobejano’, Inexhibit <https://www.inexhibit.com/mymuseum/joanneum-museum-quarter-graz/> [accessed 14 December 2020] ‘Joanneumsviertel Center / Nieto Sobejano Architects ArchEyes’, ArchEyes, 2016 <https://archeyes.com/joanneumsviertel-nieto-sobejano/> [accessed 14 December 2020] ‘JR Creates Optical Illusion to Celebrate 30th Anniversary of IM Pei’s Louvre Pyramid’, Dezeen, 2019 <https://www.dezeen.com/2019/04/02/louvrepyramid-jr-artist-paris-museum-optical-illusion/> [accessed 14 December 2020] ‘Louvre Museum, Paris - Musée Du Louvre’, Inexhibit <https://www.inexhibit.com/mymuseum/louvre-museum-paris/> [accessed 14 December 2020] ‘Louvre Pyramids’, Ian Ritchie Architects <https://www.ianritchiearchitects.co.uk/projects/louvre_pyramid/> [accessed 14 December 2020] ‘Madinat Al Zahara Museum / Nieto Sobejano Arquitectos’, ArchDaily, 2013 <https://www.archdaily.com/354522/madinat-al-zahara-museum-nietosobejano-arquitectos> [accessed 14 December 2020] ‘MADINAT AL ZAHRA MUSEUM | Nieto Sobejano Arquitectos’, Archello <https://archello.com/project/madinat-al-zahra-museum> [accessed 14 December 2020]

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‘Nieto Sobejano’ <https://www.nietosobejano.com/> [accessed 14 December 2020] ‘Nieto Sobejano | Project | JOANNEUMSVIERTEL’ <http://www.nietosobejano.com/project.aspx?i=4&t=JOANNEUMSVIERTEL> [accessed 14 December 2020] ‘Nieto Sobejano | Project | MADINAT AL-ZAHRA MUSEUM’ <http://www.nietosobejano.com/project.aspx?i=1&t=MADINAT_AL-ZAHRA_ MUSEUM> [accessed 14 December 2020] ‘Nieto Sobejano Arquitectos: Five Themes - The Architectural League of New York’ <https://archleague.org/article/nieto-sobejano-arquitectoscurrent-work/> [accessed 14 December 2020] ‘Nieto Sobejano Arquitectos, Madrid - Exhibition | Kunsthaus Graz’ <https://www.museum-joanneum.at/en/kunsthaus-graz/exhibitions/exhibitions/ events/event/1430/nieto-sobejano-arquitectos-madrid-1> [accessed 14 December 2020] ‘Nieto Sobejano’s Underground Joanneumsviertel Museum | Floornature’ <https://www.floornature.com/architectural-solutions/nieto-sobejanoasunderground-joanneumsviertel-museum-14328/> [accessed 14 December 2020] ‘Pyramid of the Louvre: History, Architecture, Legends - Louvre Museum Paris - PARISCityVISION’ <https://www.pariscityvision.com/en/paris/ museums/louvre-museum/the-louvre-pyramid-history-architecture-legend> [accessed 14 December 2020] Slessor, Catherine, ‘Madinat Al-Zahra Museum by Nieto Sobejano, Córdoba, Spain’, Architectural Review, 2009 <https://www.architectural-review. com/today/madinat-al-zahra-museum-by-nieto-sobejano-cordoba-spain> [accessed 14 December 2020] ‘Stanton Williams Completes Renovation of Beaux-Arts Museum in Nantes with Stone and Marble Extension’, Dezeen, 2017 <https://www.dezeen. com/2017/06/28/stanton-williams-completes-renovation-beaux-arts-museum-nantes-architecture-cultural-france-extensions/> [accessed 14 December 2020] ‘Stanton Williams’ Redesigned Musee d’arts de Nantes Opens’, Designboom | Architecture & Design Magazine, 2017 <https://www.designboom.com/ architecture/stanton-williams-musee-darts-de-nantes-art-museum-france-06-22-2017/> [accessed 14 December 2020] ‘World Trade Center 911 and Ground Zero Walking Tour 2021 - New York City’ <https://www.viator.com/en-HK/tours/New-York-City/WorldTrade-Center-911-and-Ground-Zero-Walking-Tour/d687-44983P1> [accessed 14 December 2020]

Illustrated Cultural Bibliography

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Appendix

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Additional images of site model

SITE MAP WITH HIGHLIGHTED WHS ZONE

VIDEO SCENES

SITE TOPOGRAPHY LAYER The 3D buffer zone massing model was made to study the site of Saltaire in detail. With the Victoria Road and George Road where major infrastructures are located, parallel sections cutting through them are made to study the site’s connections.

During the process of model making, a short video was also made to present a walkthrough within the buffer zone, visiting the sites that we were given. It allowed a better understanding of the overall site’s characteristics, including its topography, major routes, building heights, vegetation and water resources.

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In Appendix 7 – Setting Survey Evaluation 2012 in Saltaire World Heritage Site Management Plan, it has evaluated the overview of Saltaire’s topographical and landscape setting and the effects of development through different viewpoints, including key views, distant views and the rural backdrops.

Therefore, the buffer zone model was also used to study these visual setting of Saltaire that contributes to the site character. While the views are classǛĚē îƙ ČƑƭČĿîŕȡ ĿŞƎūƑƥîŠƥ îŠē contributory, the analysis focuses on the crucial and important ones.

VIEW 1

View 1 is from the Roberts Park North Shelter looking south, serving as the most extensive southward view within Saltaire WHS to allow the appreciation of the park, the village and its rural parts.

VIEW 6

View 3.1 is the axial view between the East and West Shelters, and View 3.2 is the axial view between the East and West Shelters. Both views are between the park shelters at either end of the promenade which reveals the park’s plan and its great architectural quality and uniformity. It is a view of particular historic and aesthetic character that has often been included in historic images.

VIEW 3.1

View 4 is from Roberts Park looking south-east, it is often drawn in postcard images and allows the appreciation of the scenes of the park and the village’s ensemble of mills, housing and public buildings and open spaces.

The view also proves the Site’s identity of rural valley location and good and uniform architectural character. At the background of the view also shows Idle Hill, Wrose Hill and Gaisby Hill which is the rural part of Saltaire.

VIEW 16 View 6 is looking at the south-east direction across the River Aire, like view 4, it is also often shown in contemporary photographs and artworks due to the demolition of the historic footbridge connecting Victoria Road with the park.

The view illustrates the Site’s rural valley location and the integration of the River Aire into the urban and industrial plan. It also reveals the high architectural quality of the village.

VIEW 3.2

VIEW 17

View 16, 17 and 20 are all key distant views to Saltaire. View 16 from Crook Farm looking south-east to Saltaire shows on major public routes to the south west of the Crook Farm Caravan Park. This distant view effectively shows the topography of Saltaire’s rural valley properties, with the Aire Valley guiding the sight to Bradford at the left hand side.

View 17 from Hope Hill looking south to Saltaire is another critical distant view situating on a public route on Baildon Moor, providing the most gorgeous view where public can access and the highest vantage point to admire the WHS. Saltaire’s planning and ordered grid layout is revealed at this viewpoint, showing the changes and development around the site.

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VIEW 4

VIEW 20

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View 20 is situated to the north east of Baildon Green, allowing the appreciation of the village’s urban and industrial development from an elevated vantage point of Baildon Bank.

Further research and analysis of Saltaire Appendix 7 - Site analysis I have used Appendix 7 as a key report to understand the critical visual analysis and planning policys of Saltaire. I have used it to carefully select and justify my site.

The site I have chosen is within this area which is described as largley undeveloped and poor in its visual quality. Considering that my site is along one of the to critical approaches to Saltaire and inbetween critical historical features, I believe this site woud benefit from being re-developed, which would positivley contribute to the experiance of Saltaire.

Critical Historical Features:

Key views:

Figure 11 marks critical historical features. This shows the historical significance of the canal and river to the mill.

They are considered in many views are are therefore are considered of critical significance.

The canal corridor is also a critical approach as it relates to the historic significance of the site and provides a regularly used approach to the site for walkers, cyclists and boats.

View 26 in the Appenidx is the only view that directly concerns itself with my site. It is marked as contributory and but not critical. It offer numerous views across the playing fields and beyond this, the bell tower of the church, Salts mill chimney and the tower of Victoria church are visible. They break the line of the horizon and trees to the north and south frame the view.

Critical Gateway and Approachs

Zones

Figure 12 marks the western approach, which passes my site, as a critical to Saltaire.

Zone E in Figure 13 includes three areas of open space dived by the river and canal.

The northern part is an area of floodplain currently under pasture.

The central area between the river and canal is dominated by an active sports facility which are acceptable in terms of their impact on the setting of the site.

‘The canal corridor in Zone E is particularly important in terms of people’s approach to the site’.

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¹O/ /×~gÀ¹T~s ~G ¬ g¹ T¤/ ¬îŕƥƙ qĿŕŕ ċƭĿŕƥ ȳǧǮǫǧȹǫǩȴ

SALTAIRE’S CONNECTIONS

ŕċĚƑƥ ¹ĚƑƑîČĚ ȳǧǮǫǧȹǬǧȴ /ēDžîƑē ¬ƥƑĚĚƥ ȳǧǮǫǪȴ GNj ¬ƥƑĚĚƥ ȳǧǮǫǪȴ OĚƑċĚƑƥ ¬ƥƑĚĚƥ ȳǧǮǫǪȴ ØĿŕŕĿîŞ OĚŠƑNj ¬ƥƑĚĚƥ ȳǧǮǫǪȴ ¹Ŀƥƭƙ ¬ƥƑĚĚƥ ȳǧǮǫǪȴ HĚūƑijĚ ¬ƥƑĚĚƥ ȳǧǮǫǪȴ

ALPACA WOOL IMPORT ROUTE

qîƑNj ¬ƥƑĚĚƥ ȳǧǮǫǭȴ OĚŕĚŠ ¬ƥƑĚĚƥ ȳǧǮǫǭȴ ēî ¬ƥƑĚĚƥ ȳǧǮǫǭȴ ¹ƑîĿŠ ¬ƥîƥĿūŠ ȳǧǮǫǬȴ ūŠijƑĚijîƥĿūŠîŕ ĺƭƑČĺ ȳǧǮǫǯȴ îƥĺ îŠē Øîƙĺ OūƭƙĚ ȳǧǮǬǩȴ

gūDžĚƑ ¬Čĺūūŕ ¬ƥƑĚĚƥ ȳǧǮǬǮȴ ÀƎƎĚƑ ¬Čĺūūŕ ¬ƥƑĚĚƥ ȳǧǮǬǮȴ gūČŒDžūūē ¬ƥƑĚĚƥ ȳǧǮǬǮȴ sĚDž qĿŕŕ ȳǧǮǬǮȴ qĚƥĺūēĿƙƥ ĺîƎĚŕ ȳǧǮǬǮȴ OūƙƎĿƥîŕ ȳǧǮǬǮȴ ¹ĺĚ TŠƙƥĿƥƭƥĚȬ ×ĿČƥūƑĿî Oîŕŕ ȳǧǮǭǧȴ ¬Čĺūūŕ ȳǧǮǬǮȴ ŕŞƙĺūƭƙĚƙ ȳǧǮǬǮȴ

~ss/ ¹T~s¬ s' ¹¤ s¬¡~¤¹ ¹T~s

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¬îŕƥîĿƑĚ Džîƙ DžĚŕŕ ČūŠŠĚČƥĚē ƑĚijĿūŠîŕŕNj îŠē ĿŠƥĚƑŠîƥĿūŠîŕŕNjȦ Tƥ Džîƙ îċŕĚ ƥū ƭƥĿŕĿƙĚ Ŀƥƙ ŕūČîƥĿūŠ ŠĚNJƥ ƥū ƥĺĚ ƑĿDŽĚƑ ƥū ĿŞƎūƑƥ ƑîDž ŞîƥĚƑĿîŕƙ IJūƑ ƥĺĚ ŞĿŕŕȦ ¹ĺĿƙ ĺĿijĺŕĿijĺƥƙ ƥĺĚ ČŕĚîƑ ǜūDž ūIJ îNJĿƙ îŠē ƙĺūDžƙ ƥĺĚ ĚIJǛČĿĚŠƥ ƭƑċîŠ ēĚƙĿijŠ ƎƑĿŠČĿƎŕĚ ūIJ ƥĺĚ ijƑĿēĿƑūŠȦ ĿŠijŕĚNj Ƒūîē îŠē ¬îŕƥîĿƑĚ Ƒūîē DžĚƑĚ ċƭĿŕƥ ċĚIJūƑĚ ƥĺĚ ƙĿƥĚ îŠē DžĚƑĚ ŒĚNj Ƒūîēƙ IJūƑ ƥƑîŠƙƎūƑƥȦ ¹ĺîƥ Ŀƙ DžĺNj ƥĺĚNj ƙŕĿijĺƥŕNj ēĿƙƑƭƎƥĚē ƥĺĚ ƑĚijƭŕîƑĿƥNj ūIJ ƥĺĚ ƙĿƥĚȦ ¹ĺĚ ūDŽĚƑîŕŕ ŕîNjūƭƥ îŠē ƭƑċîŠ IJūƑŞ ūIJ ¬îŕƥîĿƑĚ Ŀƙ îŠ îŠƥĿƥĺĚƙĿƙ ƥū ƑîēIJūƑēɄƙ ƎĺNjƙĿČîŕ îŠē ĚŠDŽĿƑūŠŞĚŠƥîŕ Čĺîūƙ ūIJ ƥĺĚ ƥĿŞĚȦ

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Sir Patrick Geddes (1854-1932)

Regionalism

Biologist and Sociologist who applied his theories to town planning

The theory of stable regional economies linked to the ecology and heritage of the area, supported by local industry and production

He championed the concepts of:

Wider scale • International trade 45.5% of U.K. Exports 1926

Textiles

Watersheds Geddes was also the first to suggest that local watersheds indicated the appropriate regional planning scale.

• Bioregionalism • Holistic methodology for design that considers and integrates diverse fields of human knowledge • Transdisciplinary education

England and Wales roughly divided into water basin regions Geddesian principles, which strove for sustainable human life, are even more relevant today than 100 years ago, as humanity has reached a critical turning point in climate change.

Transdisciplinary and Integrated Solutions Transdisciplinary education- all education disciplines must be studied holisitcally to gain a well-rounded understanding of the subject matter

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The Valley Section

Geddes’s theory of the Valley Section was a schematic representation that suggested a hierarchy of forms of human settlements from croft, to village, to market town to city. It cut through a valley to indicate different forms of human production and consumption adapted to the environment This integration of settlements delineated by the local watershed, later formed the 4 conceptual basis of bioregionalism.

72.7% of U.K. Exports 2019

Transportation and Machinery

Britain has a long history of importation.

Contrary to Geddesian principles, production and consumption has become increasingly globalised as international relations have developed. Given transport emissions caused by global shipping, this has had a detrimental effect on the environment.

Textiles was a large part of the U.K.’s trade in the 1920’s with Leeds at the forefront and Saltaire having the largest mill at the time. The main country’s that England traded with were Australia and the U.S. and now the main exports of the U.K. is transportation and machinery with exports being predominantly to Europe. This change came from the international competition from India on the textile trade with a very rapidly decline after the war of Britain’s global cotton shares to 5%.

Therefore Saltaire is now not a large part of the U.K.’s economy which it once was, and the importance of the area has gone from being a valued town to now being a historic centre for its once booming industry.

I believe Saltaire couldn’t adapt to the industry of transportation however as expansion would be required, and due to its size and topography around it expanding would be difficult. This strain would then not be worth it as better locations with better transportation links can now be found. Nevertheless for its period the town was perfect for textile manufacturing due to its water access and exceptional transportation links.

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Transport to Saltaire

Transport to Saltaire

Industry in the UK

Saltaire • Roads

CO2 emissions by transport

Survey of visitor transport to Saltaire

Transport has one of the largest impacts on the environment in the UK.

The survey indicated that 40% of visitors asked travelled by car. The impact of this on the environment of Saltaire is negative, causing traffic, air and noise pollution.

Saltaire • Rail

Bradford in 20 mins Leeds in 35 mins

Saltaire • Cycling

There is a 12mile cycle path from Leeds to Saltaire running alongside the canal

Map indicating traditional industries of regions in England and Wales

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Saltaire • Bus routes

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The Garden City Movement

~q¡ ¤T¬~s¬ ¹~ ~¹O/¤ q~'/g ×Tgg H/¬

Preserving Saltaire’s Green Belts

¬T¹/ ¹~¡~H¤ ¡OÞ s' O ¤ ¹/¤T¬¹T ¬

Currently there are still green belts to the north and south of the site, athough housing estates have been delevoped between Saltaire and these rural spaces. To protect the ecological, aesthetic and environmental benefits of the valley in which the village sits, any further development into these spaces should be closely regulated. ¹~¡~H¤ ¡OÞ ~s¬¹¤ Ts¹ ~q¡ ¤T¬~s

Preserve existing green spaces surrounding Saltaire by preventing further development, especially of large housing estates.

Garden City movement Eco-assemblage was thoroughly explored in the Garden City movement of the 20th century. New cities were meticulously planned with integrated green space and surrounded by green belts.

Saltaire vs the Garden City concept Saltaire was not designed as a Garden City but rather a model industrial village.

However Titus Salt specifically chose a rural location outside of Bradford due to the aesthetic and health benefits of nature.

Roberts Park Roberts park is the key green space within the Saltaire WHS boundary.

Located to the north of the site, the 14 acre park has an estimated 3,000 visitors per day.

GENERAL MAPPING

SUN DIAGRAM

New Lanark is another model town built ĿŠ î DŽîŕŕĚNj ċNj î ƑĿDŽĚƑ ċƭƥ ūŠ î DŽĚƑNj ƙƥĚĚƎ ƙĿƥĚȡ DžĺĿČĺ ŞĚîŠƥ ƥĺĚƑĚ Džîƙ î ŕūDž IJūūƥ ƎƑĿŠƥ ƥū ċƭĿŕē ūŠȦ ¹ĺĿƙ ƑĚƙƭŕƥĚē ĿŠ î DŽĚƑNj DŽĚƑƥĿČîŕ ƙĚƥƥŕĚŞĚŠƥ DžĿƥĺ ǭȬǮ ƙƥūƑĚNj ĺĿijĺ ċƭĿŕēĿŠijƙȦ ¹ĺĚ ƙĿƥĚ ūIJ ¬îŕƥîĿƑĚ Džîƙ DžĚŕŕ ČūŠƙĿēĚƑĚē DžĿƥĺ ĚŠūƭijĺ ǜîƥ ŕîŠēȦ ¹ĺĚƑĚfore the buildings were all 2-3 storeys DžĺĿČĺ îŕŕūDžĚē ƎŕĚŠƥĿIJƭŕ ŕĿijĺƥ îŠē DŽĚŠƥĿŕîƥĿūŠ îƑūƭŠē ƥĺĚ ċƭĿŕēĿŠijƙȦ The north-south facing streets would ĺîDŽĚ ƥĺĚ ƙƭŠŕĿijĺƥ ēĿƑĚČƥŕNj ēūDžŠ ƥĺĚŞ îƥ midday and the east-west streets would ijĚƥ ƙƭŠŕĿijĺƥ ĿŠ ƥĺĚ ŞūƑŠĿŠijƙ îŠē ĚDŽĚŠĿŠijƙȦ

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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.

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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

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ARTS MEDIA 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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