Jenna Goodfellow Portfolio by PDF Uploads

PORTFOLIO STAGE 3 CURATING THE CITY JENNA GOODFELLOW

Table of Contents Illustrated Reflective Diary

Framing

Testing & Synthesis - Thinking Through Making

31 37

Thematic Case Study

Cultural Bibliography

Bibliography

Appendix

Pages marked with a black tab indicates new work

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].

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].

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

Collage of material samples made during testing phase

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

Site sections

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.

Experiences in Saltaire

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.

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

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.

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.

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

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.

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

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

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

600 80 200 200 100 80 100

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

100 100 80 10 200 50

Spa & Wellness Centre

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’.

Site Analysis

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.

Precedent Study: Peter Zumthor, Vals Spa

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.

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.

Initial programme analysis

Massing exploration

Additive & Subtractive diagram 34

Hierarchy diagram

Symmetry & Balance diagram

Circulation to Use-Space diagram

Garden sketches

Programme Zoning Strategy

‘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.

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. 56

*See thematic case study for further exploration

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.

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

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

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

^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

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

^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

^ŝŵŽŶ dĂƌďŽǆ

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

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]

‘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

Appendix

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.

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 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 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 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 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.

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’.

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

SALTAIRE’S CONNECTIONS

ŕċĚƑƥ ¹ĚƑƑîČĚ ȳǧǮǫǧȹǬǧȴ /ēǅîƑē ¬ƥƑĚĚƥ ȳǧǮǫǪȴ GîŠŠǋ ¬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

~¹¹~s Ts'À¬¹¤Þ s' s/¹Ø~¤e gTse¬

H¤T'/~s g Þ~À¹ ¡g s ȳ¬ g¹ T¤/ȴ

¹ĺĚ ØO¬ Ŀƙ ŕūČîƥĚē îƥ ƥĺĚ ċîƙĚ ūĲ ƥĺĚ ƑĿǄĚƑ îŠē ƙƭƑƑūƭŠēĚē ċǋ ƑĿƙĿŠĳ ĳƑūƭŠē ĿŠ îŕŕ ēĿƑĚČƥĿūŠƙȦ ¹ū ƥĺĚ ŠūƑƥĺ îŠē ƥĺĚ ƙūƭƥĺȡ ƥĺĚ ĺĿŕŕƙ ŕĿĚ ĿŠ ČŕūƙĚ ƎƑūǊĿŞĿƥǋȦ ¹ū ƥĺĚ ŠūƑƥĺȡ ǋūƭ ČîŠ ƙĚĚ ƥĺĚ ƙƥĚĚƎ ƙŕūƎĚƙ ūĲ îĿŕēūŠ OĿŕŕ ǅĿƥĺ Ŀƥƙ ċîŠēƙ ūĲ ǅūūēŕîŠēȡ ƥūƎƎĚē ċǋ îĿŕēūŠ qūūƑȹ î ƎîƑƥĿČƭŕîƑŕǋ ēūŞĿŠîŠƥ ŕîŠēƙČîƎĚ ĲĚîƥƭƑĚȦ ~Š ƥĺĚ Ěîƙƥ îŠē ƥĺĚ ǅĚƙƥ ƑƭŠƙ ƑĚŕîƥĿǄĚŕǋ ǜîƥ ǄîŕŕĚǋ ċūƥƥūŞƙ ƙƭƑƑūƭŠēĚē ċǋ ƙƥĚĚƎ ǄîŕŕĚǋƙȦ ¹ū ƥĺĚ Ěîƙƥȡ ƥĺĚ ƎƑĚēūŞĿŠîŠƥ ǄĿĚǅ Ŀƙ ūĲ sūƑƑ OĿŕŕ îŠē OîƑēĚŠ qūūƑȡ ǅĺĿŕĚ ƥū ƥĺĚ ǅĚƙƥȡ ƥĺĚ HîĿƙċǋ OĿŕŕȡ ØƑūƙĚ OĿŕŕȡ îŠē TēŕĚ OĿŕŕ ČūŠƥƑūŕ ƥĺĚ ǄĿĚǅȦ ¹ĺĚ ƙĿƥĚɄƙ ƙƭƑƑūƭŠēĿŠĳƙ ČūŠƥĿŠƭĚē ƥū ĳƑūǅ ƭŠƥĿŕ ǨǦǦǧȡ ǅĺĚŠ Ŀƥ ǅîƙ ēĚČŕîƑĚē î ØūƑŕē OĚƑĿƥîĳĚ ¬ĿƥĚȦ ~Š ƥĺĚ Ěîƙƥ ƙĿēĚȡ ƥĺĚ ŠĚĿĳĺċūƑĿŠĳ ƥūǅŠ ČūŠƥĿŠƭĚƙ ƥĺĚ ƙîŞĚ ŕîǋūƭƥ îŠē ŞîƥĚƑĿîŕ ČĺūĿČĚ îƙ ¬îŕƥîĿƑĚȦ TŠ ČūŠƥƑîƙƥȡ ƥĺĚ ǅĚƙƥ ƙĿēĚ ČĺūūƙĚƙ ƥū ēĚƥîČĺ ĲƑūŞ ƥĺĚ ǄĿŕŕîĳĚȡ ČƑĚîƥĿŠĳ ČĺîūƥĿČ ƙĚƥƥŕĚŞĚŠƥƙȦ Øĺîƥ ǅîƙ ċĚĲūƑĚ ¬îŕƥîĿƑĚ ǅîƙ ċƭĿŕƥȧ TŠ ǧǬǩǫȡ ØĿŕŕĿîŞ sĿǊūŠȡ î ÞĚūŞîŠ ȳ î ŞîŠ ǅĿƥĺ î ƙŞîŕŕ ĚƙƥîƥĚȴȡ ĚƙƥîċŕĿƙĺĚē ƥĺƑĚĚ ŞĿŕŕƙ ŠĚǊƥ ƥū ƥĺĚ ƑĿǄĚƑ ĲūƑ ĿƥɄƙ ǅîƥĚƑ ĳĚŠĚƑîƥĚē ƎūǅĚƑȦ ¹ĺĚ ƙƭƑƑūƭŠēĿŠĳ ŕîŠē ǅîƙ ƭƙĚē ĲūƑ ĲîƑŞĿŠĳ ūîƥƙȡ ĺîǋȡ îŠē ƎîƙƥƭƑĚ îŠē ēĿǄĿēĚē ċǋ ēƑǋ ƙƥūŠĚ ǅîŕŕƙ ĿŠ ƑĚČƥîŠĳƭŕîƑ ǛĚŕēƙȦ ¹ĺĿƙ ŞîƥĚƑĿîŕ Ŀƙȡ Şūƙƥ ŕĿŒĚŕǋȡ ƥĺĚ ƙîŞĚ ŞîƥĚƑĿîŕ ƭƙĚē in the houses found in Saltaire as it is known that Titus Salt ƭƙĚē ŕūČîŕ ŞîƥĚƑĿîŕƙ ƥū ċƭĿŕē ƥĺĚ ǄĿŕŕîĳĚȦ TŠ ǧǮǨǫ îŠē ǧǮǨǭȡ ƥĺĚ ĲūƑŞĚƑ eĚĿĳĺŕĚǋ îŠē ƑîēĲūƑē ¹ƭƑŠƎĿŒĚ ¤ūîēȡ Šūǅ ¬îŕƥîĿƑĚ ¤ūîēȡ îŠē ƥĺĚ ¬ĺĿƎŕĚǋ îŠē ƑîŞŕĚǋ ¹ƭƑŠƎĿŒĚ ¤ūîēȡ Šūǅ ĿŠĳŕĚǋ ¤ūîēȡ ǅĚƑĚ ċƭĿŕƥȦ gîƥĚƑȡ ĿŠ ǧǮǪǭȡ ƥĺĚ gĚĚēƙ îŠē Ƒîēford railway was extended through the site and parallel to ƥĺĚ ČîŠîŕȦ ¹ĺĚƙĚ ƎƑĚǄĿūƭƙ ČūŠƙƥƑƭČƥĿūŠƙ ēĿČƥîƥĚē ƥĺĚ ƙƥƑĚĚƥƙɄ ŕîǋūƭƥ îƙ ƥĺĚ ĳƑĿēĿƑūŠ ƎîƥƥĚƑŠ Ŀƙ ĿŠƥĚƑƑƭƎƥĚē ċǋ ƥĺĚ ƥǅū ƑūîēƙȦ

¬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

H¤T'/~s g Þ~À¹ ¡g s ȳ¬OT¡g/Þȴ

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

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.

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

Saltaire • Bus routes

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

Ý~s~q/¹¤T ¬T¹/ g Þ/¤¬

HUVDO YDOXH

+DOO LQFOXGLQJ %HOORZKHDG 'HUYLVK 6KRZ RI +DQGV DQG $OWDQ

ERUQ DUWLVW 'DYLG +RFNQH\ VLQFH

PLQXWHV OLQNLQJ WKH FUHDWLRQ RI JLQ WR LWV SRSXODULW\ WRGD\

&XUUHQW SURJUHVVLYH FRQVHUYDWLRQ ZRUNV

6HFWLRQ RI SRWHQWLDO UHVWRUHG )DFWRU\

'LVSDULW\

6LWH FRQWULEXWH KDUDFWHU 7KH D VHULHV RI ]RQHV ZQ LQ )LJXUH

0DS _ %XLOGLQJV 6SDFHV WKDW IROORZ WKH SURJUHVVLYH FRQVHUYDWLRQb WKHRU\ DORQJ ZLWK ZKDW WKH\ KDYH GRQH WR DFKLHYH WKLV

2XW RI WKH ]RQHV KDYH SUREOHPV WKDW GHJUDGH RU FDQ SRWHQWLDOO\b GHJUDGH WKH VLWH V VHWWLQJV 0RVW RI WKH KDUP LV FKDUDFWHULVHG E\ PRGHUQb GHYHORSPHQW WKDW GR QRW UHVSHFW WKH VLWH V IDEULF ZLWK LWV DUFKLWHFWXUH RU WKHb ODFN RI FDUH WRZDUGV UHSOLFDWLQJ WKH 6LWH V IDEULF &KDOOHQJH $$3

0DS _ %XLOGLQJV 6SDFHV WKDW QHHG PRUH ZRUN GRQH WR DFKLHYH WKHb 3URJUHVVLYH &RQVHUYDWLRQ WKHRU\

6DOW V 0LOO 1HZ 0LOO

7KH 'LQLQJ 5RRP 5DLOZD\ 6WDWLRQ

9LFWRULD +DOO 7KH 6FKRRO

0HWKRGLVW &KXUFK 7KH +RVSLWDO

5LYHU $LUH &RQJUHJDWLRQ &KXUFK /HHGV /LYHUSRRO &DQDO b7KH KRXVHV

7KH $OPVKRXVHV 7KH :DVK +RXVH

DWLRQ LQ PRUH GHWDLO VXFK DVb FDQF\ RI EXLOGLQJ ZKLFK ZLOOb WR WKHLU RULJLQDO VWDQGDUG

+HULWDJH 7KH 3UREOHP RIb0HPRU\ LQ 6DOWDLUH

)XWXUH SRVVLEOH LQWHUYHQWLRQV

&ULVLV RI $FFXPXODWLRQ RI 0HPRU\ LQ D ZRUOG RI KHULWDJLVDWLRQ 2XU PLQGV DUHbVDWXUDWHG ZLWK PHPRULHV OLPLWLQJ RXU DELOLW\ WR IRUP QHZ FROOHFWLYHb PHPRU\ :H DUH SUHYHQWLQJ VW &HQWXU\ FXOWXUH IURP PDQLIHVWLQJ DQG EHFRPLQJ IXWXUHb KHULWDJH DQG KLVWRU\ 6DOWDLUH 9LOODJHbKHULWDJH ODFNV JUHDWHU SXUSRVH DQG DPELWLRQ LWV PDQDJHPHQW LV OD]\b DQG ZLWKRXW H[SHULPHQWDWLRQ DQG LPSURYHPHQW

ΖW LV DOVR LPSRUWDQW WR IXOO\ UHVHDUFK DQG GHEDWH LVVXHVb 3UHVHUYLQJbVDPSOH VLWHV RI KHULWDJH H J 6DOWV VFKRRO FKXUFK LQVWHDG RI YLOODJH VXUURXQGLQJ ZKHWKHU 6DOW VKRXOG EH UHPHPEHUHG DVb 5HSDWULDWH PDWHULDOV EDFN WR WKH FRPPXQLW\ WXUQ WKH YLOODJHbEDFN LQWR D PRGHUQLVHG b SRVLWLYHO\ DV KH LV EXW WKLV UHVHDUFK LV DOO EDVHG RQb ZRUNLQJ IDFWRU\ ZRUNHU YLOODJH FRQWURYHUV\ DQG IRUPHG RSLQLRQV DQG FDQ QRW EH WDNHQ DVb 6DOWDLUH RQO\ HQFRPSDVVHV RXU PRGHUQ YDOXHV LI LW VHUYHV WKH SXUSRVH IRU ZKLFK LWb IXOO\ IDFWXDO 7KLV PD\ D΍HFW KRZ VWURQJO\ ZH ZDQW WRb ZDV GHVLJQHG 8VHG DV D WRXULVW GHVWLQDWLRQ bLW LV EHLQJ XVHG LQVWUXPHQWDOO\ IROORZ WDQJLEOH KHULWDJH 3UHVHUYLQJ WKH IDFWRU\ ZLOO UHVWRUH FRPPXQLW\ VSLULW DQGbUHLQVWDWH WKH LQWDQJLEOHb KHULWDJH WDQJLEOH KHULWDJH LV RQO\ D VWDJH IRU WKH YDOXH RI WKHbLQWDQJLEOH

6RPH LVVXHV IRU GHEDWH ZLWKLQ WKH OLIH RI 7LWXV 6DOW :DV QHZ /DQDUN D EHWWHU SODFH LGHRORJLFDOO\" :DV 6DOWDLUH D VRIW SULVRQ ZLWK WRR PDQ\ UXOHV UHVWULFWLRQV DQG UHJXODWLRQV" 'LG 6DOW DEDQGRQ %UDGIRUG WR HQDFW KLV RZQ FDSLWDOLVW SRZHUV" 8QGHUDJH ZRUNHUV ZHUH HPSOR\HG LQ WKH PLOOV UHJXODUO\

ΖQ RUGHU WR GHHSO\ XQGHUVWDQG WKH UHODWLRQVKLS EHWZHHQ YLVLRQ DQG PRPHQW JD]H Ζb FKRVH WHQ LQWHUHVWLQJ PRPHQWV LQ WKH 6DOWDLUH ZKLFK EHORQJV WR WKH ([KLELWLRQ URDGb SDUW 5REHUWV SDUN 5HVLGHQWLDO VWUHHWV UHVSHFWLYHO\ 0HDQZKLOH Ζ DOVR VNHWFKb WKHVH PRPHQWV LQ P\ ZD\ E\ XVLQJ WKH SHQ DQG SHQFLO WR H[SUHVV WKH LQLWLDO H[SHULHQFHb RI PRPHQW SHUVRQDOO\ $QG WKHQ E\ D WKRURXJK DQDO\VLV RI WKH GL΍HUHQW DVSHFWV DW WKHb PRPHQW WR GHPRQVWUDWH WKH FKDUDFWHU RI WKH VLWH DW WKH VDPH WLPH H[SORULQJ WKHb ZHDNQHVV RI WKH VLWH DQG SURYLGH D VROXWLRQ WR GR LW ΖQ WHUP RI WKH DQDO\VLV RI WKHb SHUVSHFWLYH RI WKH LPDJH :KDW Ζ IRXQG ZKLFK LV WKH PRVW RI PRPHQW SURYLGLQJ Db IHHOLQJ RI GHSWK WR SHRSOH %HFDXVH RI WKH SHUVSHFWLYH VWUXFWXUH RI WKH PRPHQW LV RQHb SRLQW RI SHUVSHFWLYH LW LV XVHIXO IRU SHRSOH WR HQMR\ WKURXJK WKH VLWH 7KH VHFRQG SRLQWb Ζ IRFXV RQ ZKLFK LV WKH YLHZSRLQW RI WKH SLFWXUH 7KH LQWHUHVWLQJ WKLQJ ZKLFK LV WKHb YLHZSRLQW RI WKH SLFWXUH LV DOZD\V UHOHYDQW WR WKH DUFKLWHFWXUH ZKHUH LQ 6DOWDLUH ΖQb WHUP RI WKH VN\OLQH RI WKH PRPHQW KDOI PRPHQWV RI WKH VN\OLQH DUH RQ WKH WZR WKLUGVb RI WKH ZD\ DERYH WKH VFUHHQ 7KDW LV PHDQV WKH YLVXDO H[SHULHQFH RI WKH PRPHQW VWLOOb QHHGV WR FDUHIXOO\ FRQVLGHU DV D VLJQLȴFDQW SRLQW )RU WKH DQDO\VLV RI WKH GL΍HUHQWb HOHPHQWV LQ 6DOWLUH IRU LQVWDQFH *UH\ HOHPHQW $UWLȴFLDO &UHDWXUHV *UHHQ HOHPHQW b 1DWXUH HOHPHQW EXW DUWLȴFLDOO\ PRGLȴHG %OXH HOHPHQWV 1DWXUH HOHPHQW $V D UHVXOW b WKH VLWH DOVR H[LVWLQJ ZLWK WZR DQG PRUH HOHPHQW LW LV JRRG IRU SHRSOH WR FRPPXQLFDWHb ZLWK QDWXUH DQG HQYLURQPHQW QRW MXVW RQO\ OLYLQJ ZLWK $UWLȴFLDO &UHDWXUHV

4XHVWLRQ b:KDW DUH \RXU UHFRPPHQGDWLRQV )UDPHZRUN RI ΖQWHUYHQWLRQ IRU QRZ IXWXUH"

$V ZHOO DV WKH LVVXHV VXUURXQGLQJ WKH KHULWDJH RI WKH VLWH WKHUH DUH LVVXHV ZKLFK DULVH IURP UHDGLQJb 7ULS$GYLVRU UHYLHZV ZKLFK FODLP WKDW WKH VLWH LV ERULQJ GLVDSSRLQWLQJ WRR H[SHQVLYH ODFNLQJ LQ GLVDEOHG DFFHVV QRW PXFK WR GR

2SWLRQ _b(PEUDFLQJ LWV RULJLQDO LGHQWLW\

2SWLRQ _b8VLQJ WKH DUWV WR HVWDEOLVK D QHZ KHULWDJH IRU 6DOWDLUH

%\ WXUQLQJ 6DOWV 0LOO LQWR D WUDGLWLRQDO PXVHXP WKDW H[KLELWVb WKH FRQWHQWV RI WKH IRUPHU PLOO ZLOO LW EH EHWWHU RU IRU ZRUVH"

6KRXOG 6DOWDLUH KDYH VWXFN WR LWV RULJLQDO URRWVb RI EHLQJ OLQNHG WR WKH %ULWLVK WH[WLOH LQGXVWU\"

:LWK WKH DUWV OHG UHJHQHUDWLRQ LW H΍HFWLYHO\ WXUQHG 6DOWDLUHb LQWR D WKULYLQJ WRZQ DJDLQ

7KHVH FRPPHQWV FDXVH XV WR TXHVWLRQ ZKHWKHU IROORZLQJ WKH KHULWDJH URXWH GLUHFWO\ LV WRR ROGb IDVKLRQHG DQG WKDW ZH VKRXOG PD\EH XSGDWH 6DOWDLUH WR NHHS LW DOLYH DQG DFFHVVLEOH

'XH WR WKH FRORXU LV DQRWKHU XQLTXH HOHPHQW ZKHQ ZH GLVFXVV WKH LPDJH VR Ζ PDGHb VRPH VWXG\ RI FRORXU DW WKLV PRPHQW DV ZHOO Ζ KDYH VLJQHG GL΍HUHQW FRORXU LQ HDFKb PRPHQW WR VWXG\ WKH SURSRUWLRQ RI GL΍HUHQW FRORXUV DW GL΍HUHQW PRPHQWV :KDW Ζb IRXQG ZKLFK LV WKH FRORXU \HOORZ LV DOZD\V H[LVWLQJ DW HYHU\ PRPHQW ZKLFK LV D FRORXUb RI WUDGLWLRQDO (QJOLVK DUFKLWHFWXUH $QG KDOI RI WKH PRPHQW KDYH JUHHQ DV ZHOO WKHb JUHHQ QDWXUDO HQYLURQPHQW KDSSHQHG DW WKLV PRPHQW 3HUVRQDOO\ EDVHG RQ WKH VWXG\b RI FRORXU Ζ IRXQG WKH 6DOWDLUH FRXOG DGG PRUH FRORXU RU ODQGPDUN WR HQKDQFH WKHb PHPRULHV RI HDFK PRPHQW DOWKRXJK WKH VLWH SUHVHQWV D TXLWH ZHOO LQ FRORXU EDODQFH b ΖQ WHUP RI WKH ȴQDO DVSHFW WKDW Ζ H[SORULQJ ZKLFK LV WKH 7\SRJUDSK\ FKDQJH RI WKHb PRPHQW :K\ Ζ QHHG WR VWXG\ WKH 7\SRJUDSK\ FKDQJH DW WKH PRPHQW EHFDXVH RIb ZKHQ SHRSOH ORRNLQJ DW RQH SRLQW LQ WKH SLFWXUH RU PRPHQW WKH KLJKHU SRLQW ZLOO HDVLO\b FDSWXUH WKH IRFXV SRLQW RI SHRSOH DQG PDNH WKDW PRPHQW LV GL΍HUHQW WKDQ RWKHU 7KLVb FKDQJH LV UHODWLYHO\ VXEMHFWLYH

7KHUHE\ SUHVHUYLQJ WKH LPDJH RI ZKDWb 6DOWDLUH KDV DOZD\V EHHQ NQRZQ DV"

7R DFKLHYH WKLV WKH UHJHQHUDWLRQ KDG WR HVVHQWLDOO\ IRUJHWb ZKDW 6DOWDLUH XVHG WR EH ZLWK WKH DUFKLWHFWXUH RI WKH YLOODJHb EHLQJ WKH RQO\ DVSHFW OHIW RI LWV WK FHQWXU\ OLIH

2SWLRQ _b+DUPRQLVDWLRQ EHWZHHQ WKH SDVW SUHVHQW DQG IXWXUH

2SWLRQ _b)RUJHW WKH WH[WLOH LQGXVWU\ 6DOWDLUH ZLOO DGDSW WR WKH FKDQJLQJ ZRUOG

6RPH VHH WKH FRQVHUYDWLRQ RI WKH DUFKLWHFWXUHb

2U FDQ ZH H[SORUH WKH RSWLRQ RI NHHSLQJ WKHb

DV D KLQGHUDQFH WR WKH SRWHQWLDO 6DOWDLUH FDQb LQWHJULW\ RI WKH :+6 ERXQGDU\" DFKLHYH LI LW ZDVQ W KHOG EDFN E\ LWV SDVW

HUYHQWLRQ IRU QRZ IXWXUH"

LVVXHV ZKLFK DULVH IURP UHDGLQJb

2SWLRQ _b(PEUDFLQJ LWV RULJLQDO LGHQWLW\

2SWLRQ _b8VLQJ WKH DUWV WR HVWDEOLVK D QHZ KHULWDJH IRU 6DOWDLUH

%\ WXUQLQJ 6DOWV 0LOO LQWR D WUDGLWLRQDO PXVHXP WKDW H[KLELWVb WKH FRQWHQWV RI WKH IRUPHU PLOO ZLOO LW EH EHWWHU RU IRU ZRUVH"

6KRXOG 6DOWDLUH KDYH VWXFN WR LWV RULJLQDO URRWVb RI EHLQJ OLQNHG WR WKH %ULWLVK WH[WLOH LQGXVWU\"

:KDW WKH IXWXUH SODQV PXVW LQFOXGH

:LWK WKH DUWV OHG UHJHQHUDWLRQ LW H΍HFWLYHO\ WXUQHG 6DOWDLUHb LQWR D WKULYLQJ WRZQ DJDLQ

DJH URXWH GLUHFWO\ LV WRR ROGb H DQG DFFHVVLEOH

7KHUHE\ SUHVHUYLQJ WKH LPDJH RI ZKDWb 6DOWDLUH KDV DOZD\V EHHQ NQRZQ DV"

2SWLRQ _b)RUJHW WKH WH[WLOH LQGXVWU\ 6DOWDLUH ZLOO DGDSW WR WKH FKDQJLQJ ZRUOG

6RPH VHH WKH FRQVHUYDWLRQ RI WKH DUFKLWHFWXUHb

7R DFKLHYH WKLV WKH UHJHQHUDWLRQ KDG WR HVVHQWLDOO\ IRUJHWb ZKDW 6DOWDLUH XVHG WR EH ZLWK WKH DUFKLWHFWXUH RI WKH YLOODJHb EHLQJ WKH RQO\ DVSHFW OHIW RI LWV WK FHQWXU\ OLIH

2SWLRQ _b+DUPRQLVDWLRQ EHWZHHQ WKH SDVW SUHVHQW DQG IXWXUH

2U FDQ ZH H[SORUH WKH RSWLRQ RI NHHSLQJ WKHb

ΖI 6DOWDLUH GRHV SXUVXH WKLV ZLOO WKH QHZ KHULWDJH FRQWLQXH WR EHQHȴW WKHb YLOODJH RU ZLOO LW HYHQWXDOO\ ORVH LWV YDOXH" :LOO LW VWLOO EH UHPHPEHUHG DV WKHb WH[WLOH YLOODJH WR KRXVH LWV ZRUNHUV RU D WRXULVW DWWUDFWLRQ IRU WKH DUWV"

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.

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

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.

100

101

102

END

103