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Spaces of Remembrance Remembrance

Spaces of Oliver Buckland Newcastle University Curating The City Stage 3

Contents

Illustrated Reflective Diary

Project Framing

Think Corner

Thematic Case Study Report

Project Testing

Aleema Aziz Ollie Buckland Ming Chi Leung Jessica Male

Author: Student Number: Module: Studio: Year:

Oliver Buckland 170183943 ARC3001 Curating The City 2020 | 2021

Project Synthesis

120

Bibliography / References / Illustration List

124

Appendix

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

Illustrated Reflective Diary

Introduction

Inferno

My final project has had me reading articles, researching and getting very close to one of the most sensitive and sombre topics there is. This has been extremely challenging trying to put myself into the emotions and needs of people that are going through these times. This topic has however opened up an area of design that I would not have expected myself to be doing in my final year, allowing me to test myself in the ability to design around a very sensitive theme along with challenging historic site conditions.

An early inspiration for my design was the film Inferno by Ron Howard. This film looks to solve a historic riddle in order to find a virus before it is released. The film finishes in the Basilica Cistern, Istanbul, which has remarkable symmetrical rows of columns and uses artificial light to reflect off and enhance the depth of the water. The lights also create the effect of mystery and are used to show the height and size of the space.

This topic has been more necessary this year in particular with the recent out break of Covid19 and the fact that family members have not been able to be around loved ones in their final moments. The brief for my design although sombre has been very rich. My main focus has been trying to take the users through various emotions while traveling through the building. With the difficulties of leaving the house this year, instead of my usual inspiration taken from my passion to travel, I’ve seen myself taking inspiration more from movies and readings to inform my work.

The idea of a dark space with its architectural features lit up and reflecting off water was one that I wanted to bring into my design project however with the limitation of space and the challenging historic site this idea was not achieved. However the use of artificial lights and the underground effect was something I was trying to use in the underground spaces of my design, especially in the museum. The movie also lead me towards further reading on Dante Alighieri, an Italian poet writer and philosopher.

Figure 1: Basilica Cistern, Istanbul

Museum Part of my design

Cultural Bibliography Alighieri, D. 1888. Inferno. [Accessed 4th November 2020].

Other Movie Inspirations

Futagawa, Y. 2015. GA document 134. Tokyo: A.D.A. Edita. [Accessed 10th March 2020]. Hadid, Z. 2020. Complete works 1979 - today. [Accessed 23rd March 2020]. Hopkins, O. 2014. Architectural styles, a visual guide. [28th February 2020.] Howard, R. Inferno. (Film) Jones, D. 1996. Architecture The Whole History. [20th December 2020.]

Figure 2: The staggered Colosseum rows - Gladiator

The staggered memorial rows - first edition

The staggered memorial rows - final edition

Looked around the memorial garden at Gedling Crematorium. [22nd February 2021.] Looked around Southwell Minster. [6th December 2020.] Nuttgens, P. 1980. The Worlds Great Architecture. [12th February 2020.] Ridley, S. Gladiator. (Film) Scorsese, M. Shutter Island. (Film) Tour of The National Arboretum. [26th September 2020.]

Figure 3: Lighting effects - Shutter Island

Lighting consideration - massing drawing

Lighting consideration - Columbarium

In general, films and movies have shown me a lot about the use of lighting to imitate emotions, create atmospheres and create a sense of meaning to a space. For instance the use of a dull light to show emptiness or sadness, the use of a blue light to produce a cold effect and so on. Lights can also be used as a spotlight to show viewers where to look. All of these effects can then be taken across into architecture. 4

Introduction

Saltaire is an exceptional example of a 19th century industrial town, perfectly reflecting Victorian philanthropic paternalism, and was designated a UNESCO World Heritage site in 2001. The site has been sensitively refurbished with the inclusion of vibrant restaurants, youthful retail outlets and contemporary art galleries, and the regeneration has ensured that the village remains an exciting, vibrant and economically viable place where people still live and work.

Project Framing

Whilst the village is very much a living one, the redevelopment has balanced this by making sure the historical setting of the village, and the people that worked and lived there, from Titus Salt himself to the mill workers, are celebrated and not obscured by over-development. There is great sense of the past and, whether walking around the imposing mill house or seeing the small workers’ houses, it is easy for the visitor to imagine what it was like to live in Victorian times. There is also a great sense of remembrance throughout the village, with memorials, mausoleums, statues and plaques, to enhance the historical story. The remembrance, rather than being a solemn one, is more celebratory, whilst maintaining great respect. This positivity is shown in the whole development where the buildings, instead of being mothballed and treated like museums, have reinvigorated and given new life.

Local Context

Local Context - Timeline

Saltaire was founded by Titus Salt (1803-1876) His plan was to relocate his company and workforce out of the polluted and overcrowded town centre, in order to create a healthier, happier and more productive workforce. Work began in 1851. Salts Mill, an ultra-efficient textile factory, was completed first in 1853. The other constructions were finished in 1876 consisting of 800 homes, 2 churches, a park, a school, an educational centre, hospital, baths and wash house. The timeline illustrates major events regarding the stewardships that affected the urban form of Salts Mill. Through studying the history of Saltaire, it allowed a better understanding of the importance of the site within the manufacturing industry at the time. The timeline also shows how the town gradually became a UNESCO site once the economic base of the mill was removed.

Figure 6: Saltaire Court House

Figure 4: Salts Mill

Figure 5: Saltaire Congressional Church

Figure 7: Salts Mill

Visual Analysis

Visual Analysis - Victoria Road

Historically the working Area was in the centre of the town with the entertainment and living areas located north and south of town. In the modern day with the site now being a UNESCO site, the majority of the visual experience for tourists is down Victoria Road, which is the main central street in Saltaire, this is as Victoria Road possesses the main cultural and historical elements to saltaire and is a huge part to why tourists visit the UNESCO site.

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. Roberts Park

In comparison the visual experience for locals is mainly found around Roberts park in the north and/or the residential section located to the south west of the UNESCO site. These sections are shown in red. My design and refurbishment of the URC Church grounds will produce a new visuality where locals and tourists experience both a modern and historic relationship towards the church and be able to show the importance the church had to the community of Saltaire both past and present. My design will show new vantage points of the congressional church along with providing new views of the canal and openings towards the surrounding environment.

Saltaire’s Residential Area

Section showing Historic Working, Living and Entertainment Zones

Working Area 10

Entertainment and Living Areas 11

Memory Analysis

Memory Analysis - Progressive Conservation

An intensive programme of conservation has occurred throughout the entire complex which has enabled the aims of Titus Salt’s original development to thrive through remembrance. The site has a distinctive, authentic and integral character that directly reflects its historic origins and this historic fabric is highly sensitive to change and has a very limited capacity to accommodate physical changes. Various conservation projects have taken place such as the regeneration of the mill which was converted into an art museum. Another programme in place is the annual festival which celebrates the heritage of the site and encourages tourists to visit the area. The Congressional Church however is one of those that would benefit from more investment and development. Therefore my design looks to develop the Church and its grounds to bring a more personal and recent memory to the area without forgetting or shadowing the past history of Saltaire. I also noticed in my research that there is no memory of the past lives of the workers and will therefore focus my historical remembrance on them. With reading reviews tourists have claimed that saltaire is: • Boring • Disappointing • Lacking in disabled access • Not much to do

Map showing spaces that follow progressive conservation

Map showing spaces that need more work for progressive conservation

Figure 8: Saltaire Model Village and Salts Mill

Eco-assemblage Analysis

• •

Address the related problems of rural depopulation and the runaway growth of towns and cities Capture the primary benefits of a countryside environment and a city environment while avoiding the disadvantages presented -byGarden both. Eco-assemblage Analysis City

Concept Example

Historically Saltaire had varce amounts of greenbelts to the north and south of the town making it a Garden city, which was a movement in that self-contained communities would be surrounded by ‘greenbelts,’ in order to improve quality of life and reduce congestion. These however over the years have been replaced by housing developments. These green expanses, both to the north and south, contribute to the scenic valley views around the town and the reduction in Co2 pollution. Therefore in order to protect the ecological, aesthetic and environmental benefits of the valley, in which the village sits, further development needs to be regulated and these green spaces need to be taken into account. My design will therefore need to take into account that the land surrounding the congressional church needs to be affected as little as possible in order to not damage the historical aims set out by Titus Salt.

Summary of Analysis

Visual analysis was chosen in relation to my theme of death and remembrance as both the tourist and locals have different views of the town with the tourist wanting history and the locals wanting pleasure or in my themes case remembrance. Therefore looking into the tourist’s gaze as well as the locals gaze I can begin to understand the differences and similarities which will play a large role within my design in relation to private and communal spaces in terms of remembrance. This analysis also showed me the importance of framing desired and favourable views around the town. Memory Analysis is the main theme of my project with the direct link towards the past (death) and remembrance. Through this analysis I noticed that the historic workers of the mill were not remembered however the architecture and Salt himself were. Therefore I wanted to bring back the memory of what the town was like for the locals at that time within a museum. This would then link the past and modern day locals and bind them in a relationship/remembrance of the surrounding area. This memory of saltaire will be captured throughout all the spaces of my design taking the visitor on a journey of the past. In terms of Eco-assemblage the idea of healthy living was very important to Salt and therefore I will be using this theme as a general concept around my design to improve the overall wellness of the village. I intend to produce a building that uses little to no heating allowing the visitor to feel the changing temperatures of different seasons meaning one visit is never the same as the other. I will also intend to incorporate a green roof reducing CO2 levels and giving back the landspace taken up by the building.

Think Corner 1

Thematic Case Study Report

How does the case study elaborate on its visual, spatial, and interactive relationships to its context, landmarks, and landscape? Finland has a reputation for being a land of stunning architecture and one such example is JKMM Architects’ Think Corner. Nestled in the urban fabric of Helsinki, Think Corner is a multifunctional event space and university building. With consideration for the building’s visual and spatial qualities, this section analyses the relationship between Think Corner and Finland’s culture, movement, and architecture. Aleema Aziz

Aleema Aziz Ollie Buckland Ming Chi Leung Jessica Male

Aleema Aziz

Progressive Conservation

The university keeps its buildings within the grid layout of the city which is also seen in Think Corner that keeps the integrity of the buildings surrounding it and links to the idea of the walking city.

Ebenezer Howard divised an idea of garden cities in the 19th and 20th centuries. His idea was to divide the cities growth by splitting it into multiple independent units connected to one another and the city through railway links and public transport. In between these independent units there would then be greenbelts. This idea was put in place to solve urbanisation and to promote progressive conservation.

In order to encourage a sense of community and happiness (which are the JKMM’s main aims), the building uses locally sourced timber which with the natural light from the skylights and windows creates a warm contrast from the concrete facade producing a warm, friendly, collaborative space. These, along with the large bright main entrances, draws the public into the facility.

Finland has adopted this idea and is decentralising functions outside the old city centres. The core of the city is formed of historic architecture and designed for a walking city. The growth of the city is also now linked to a similar idea with planning processes in place to guide them. The university also keeps to the idea of a garden city with its developments.

Helsinki is commited to sustainable conservation through the cities developments and teaching on the topic. The Cities strategy for progressive conservation is being guided by becoming carbon neutral by 2035. The strategies in place to implement this are:

Ebenezer Howard’s idea of garden cities surrounding a central city

Helsinkis city plan vision 2050 Large windows allow natural light into the whole facility allowing a harmonious connection to the surrounding nature. Allowing in this natural light and allowing views inside the facility produces a welcoming atmosphere. The windows also allow views towards the surrounding architecture aswell as seamlessly fitting into the surrounding buildings.

• Sustainable traffic solutions: extended electric car charging networks, raising parking fees, reducing emissions from its port operations and promoting public transport. • More energy-efficient buildings: supplying emission-free thermal and wind energy, promoting wooden construction and steering people towards energy-efficient solutions. • Clean energy production: Utilising waste heat, implementing heat pumps, using electricity storage facilities and research and developing energy solutions for the future. • Smart and clean economy: developing climate-friendly products and daring to try new things and create pilots.

External environment connections

The Univeristy of Helsinki, in relation to Helsinki’s conservational plan, has its own programme associated with sustainability and conservation which is seen through a variety of different forms:

The city has a strong connection to nature through its large incorporation of nature with up to 40 percent consisting of green spaces and has 123 km of shoreline. This easy access to nature has encouraged a sustainable way of living for locals and tourists. Aleema Aziz

Oliver Buckland

• The university has joined the climate alliance network, which is a group of universities that have come together to share and present their research on climate change to the wider public. • The university also pays a sum of money to Kenyan families in order to compensate for its employees air travel. • The university is producing facilities that have low emissions and high material efficiency, along with sustainable research and is teaching programmes throughout all the faculties within the university with the overall aim to be carbon neutral.

Oliver Buckland

Seemless fit into surrounding architecture

Inviting entrance

One of the main objectives of the building's conservation is to recreate the hub of the univeristy and unify the city campus. This was done through the use of openings and windows and having an open ground floor plan with a new entrance creating a natural circulation through the building. The building deals with the privacy and quietness requiered for working by placeing these spaces in the outlying areas of the building, away from the large inviting centre. Oliver Buckland

JKMM architects

Architects’ Idea and Preoccupation

Architects’ Theory Materiality The newly carved, timber-clad entrances and large glazed walls open towards the street. Inside, all paths lead to the former inner courtyard, decked and dressed up with raw concrete and lit by quadrilateral skylights. The abundance of wood-panelled nooks and crannies that have been scooped out in the walls add to the warm, lounge-like ambience, inviting visitors to sit down, stay for a lecture, and encourage to explore the place. The maze of pathways comes together at the wooden staircase, which aids orientation and further enhances unique style of the architecture with its spectacular visual and material presence.

L M

Built in the 1977, the Administration Building was a fairly typical example of that time’s office, nondescript administrative architecture. It was originally designed to be an office building, and featured many visual elements which were typical of the 1970s. The building also reflected a 1970s understanding of what a workspace usually be.

JKMM operates actively in various areas and scales of architecture designing buildings, interiors, furniture, urban environments as well as renovations. Similar design approach has been used in several JKMM’s projects, Such as the sulptural skylight design is commonly applied by JKMM.

When it comes to the architects’ idea and preoccupation of the Think Corner’s design, the issue of the original building is considered, such as the adaptability and the spatial quality. It aims to enhanace the study space environment and matching the theme of Think Corner ‘How to Learn Together’. Materality of the interior and the exterior has been integrated after the renovation. Natural elements contributed throughout the design, also responded to the need of sustainability.

The office floors are designed to be multipurpose with various spaces for different types of working needs. These are located on the first floor with a small, medium and large private space. shown in the image. The building also has open spaces throughout, providing room for any desired working conditions.

Before Renovation

The spaces of the original building did not support the open philosophy of the modern University of Helsinki. The building itself as well as the units housed in it were isolated behind thick walls.

Natural Design approach Archipelagoes and forests can be found just 15 minutes from the city center. The shapes and innovations of mother nature inspired the design work.

Skylight Structure The skylight in the piazza design in a sulpture-like structure. It provides natural light into the double height open study space.

The building has adaptable rooms with all electrical appliances and acoustic solutions hidden behind wooden slats to allow a clean appearance for changing room purposes and future building requirments.

Facade The founding design principle for the new Think Corner was to use large windows to open the street level to the surrounding city. The windows let passers-by see inside Think Corner and invite them to come in. The location of the campus area provides a prominent setting for the renovation. The materials of the façade – natural stone and plaster, are chosen to connect Tiedekulma into the surrounding site.

New Think Corner

Other aspects of sustainability that the building includes is that it has 95 solar panels installed on the rooftop. Service water is partly heated by the building's transformer station, and uses cloth paper and recycling bins in all facilities.

Oliver Buckland

As a whole, the building adds a strong sense of place and presence of materials to the modern age, which is refreshing.

Wesley, Ming Chi Leung

Sculptual Skylight Design Encouraging Interaction with the Public The skylight design is commonly used in JkMM’s architecture design. In Amos-Rex Museum, the skylight creates a public space in the rooftop where the visitors can skate and sit on the sculptual skylight structure.

Traditional University study space

Building Type

I decided to use the Bodleian library at Oxford University to compare to Think Corner as it is an example of a traditional university study space. Typically, work spaces for university students were exclusively libraries, and emphasised more indeoendent, rather than collaborative and interactive, working. The Bodleian library indicates this through its clearlydefined rectilinear spaces for each subject area.

Mixed-use education

Scientific focus

Think Corner • Helsinki JKMM Architects

Fyyri Library • Kirkkonummi JKMM Architects This public library, located in Kirkkonummi, FInland houses books as well as study spaces, reading rooms and a venue for events.

Centrally-located

Dipoli building • Aalto University Raili and Reima Pietilä The main building of Aalto University has a diverse programme including public venues, a cafe and study and social spaces.

Alongside similar programmes, these buildings have similar contexts as both universities are located in or near Helsinki, Finland. They were also both designed by Finnish architects, so have similar cultural backdrops.

University campus building

Wesley, Ming Chi Leung

Dipoli building • Aalto University • Finland

Bodleian Library • University of Oxford

Think Corner • University of Helsinki • Finland

Provide Openess of the Space The high leveled skylight let the natural light projects wider and distribute evenly into the space. The sense of height create by the skylight provide openess in the space, such as for public area and study space in think corner. Enhancing Human Comfort and Health Several studies show that natural light can improve mental health and physical health. In the study space, natural light can improve the concentration and working efficiency. Therefore, skylight design is ideal for study spaces and JKMM has widely used it in their design.

Multi-purpose education space

Collaborative study space

In comparison, Think corner is more open plan, to encourage interaction and collaborative study among students, academics and the general public.

Used by students, academics and public Jessica Male

Jessica Male

Materiality The use of materials in all three of these buildings is very similar. Externally, Dipoli and Kirkkonummi use copper plating, whilst their clean, internal finishes use timber slats, giving a warm, natural feel.

Bibliography 3 951 studenter antogs till Helsingfors universitet | Helsingfors universitet (no date). Available at: https:// www.sttinfo.fi/tiedote/3-951-studenter-antogs-till-helsingfors-universitet? publisherId=1807754&releaseId=69861280 (Accessed: 14 December 2020).

Kirkkonummi Library Copper cladding

Used in Dipoli and Kirkkonummi as a facade material. Despite being preoxidised the copper is Nordic Brown, meaning it still has the traditional bronze colour.

*JKMM Architects, (2017), Aerial view of skylights [ONLINE]. Available at: https://jkmm.fi/work/think-cornerhelsinki-university/ [Accessed 4 December 2020].

Fönster | Think Corner | University of Helsinki (no date). Available at: https://www.helsinki.fi/en/think-corner/ organise-an-event/fonster (Accessed: 14 December 2020).

University of Helsinki, (2017), Stage [ONLINE]. Available at: https://www.helsinki.fi/en/think-corner/organise-anevent/stage [Accessed 4 December 2020].

Finnish Architecture, (2016), Parliament House [ONLINE]. Available at: https://finnisharchitecture.fi/parliamenthouse/ [Accessed 8 December 2020].

Helsinki University Porthania Building · Finnish Architecture Navigator (no date). Available at: https:// finnisharchitecture.fi/helsinki-university-porthania-building/ (Accessed: 14 December 2020).

University of Helsinki, (2017), Fönster [ONLINE]. Available at: https://www.helsinki.fi/en/think-corner/organisean-event/fonster [Accessed 4 December 2020].

Katri Pyynönen, (2016), Finlandia Hall [ONLINE]. Available at: https://www.myhelsinki.fi/en/see-and-do/sights/ quick-guide-architectural-layers-of-helsinki [Accessed 8 December 2020].

Kamppi Chapel / K2S Architects (2012) ArchDaily. Available at: https://www.archdaily.com/252040/kamppichapel-k2s-architects (Accessed: 14 December 2020).

University of Helsinki, (2017), Think Lounge [ONLINE]. Available at: https://www.helsinki.fi/en/think-corner/ organise-an-event/think-lounge [Accessed 4 December 2020].

Antonin Halas, (2012), Kammpi Chapel [ONLINE]. Available at: https://www.architectsjournal.co.uk/specification/ kamppi-chapel-helsinki-by-k2s-architects [Accessed 8 December 2020].

Parliament House · Finnish Architecture Navigator (no date). Available at: https://finnisharchitecture.fi/parliamenthouse/ (Accessed: 13 December 2020).

*Tuomas Uusheimo, (2017), Think Corner entrance [ONLINE]. Available at: https://miesarch.com/work/ 4036 [Accessed 4 December 2020].

Eero Troberg, (1955), Porthania [ONLINE]. Available at: https://finnisharchitecture.fi/helsinki-university-porthaniabuilding/#&gid=1&pid=1 [Accessed 8 December 2020].

*Mika Huisman, (2017), Think Corner entrance [ONLINE]. Available at: https://jkmm.fi/work/think-cornerhelsinki-university/ [Accessed 4 December 2020].

Google Earth, (2020), Axonometric view of Porthania [ONLINE]. Available at: https://earth.google.com/web/ @60.16958648,24.94832656,15.09415316a,229.42344409d,35y,43.9534205h,44.99831832t,360r [Accessed 8 December 2020].

Tha National Museum of Finland (no date). Available at: http://frankmazuca.tripod.com/finland7.html (Accessed: 14 December 2020). The story of Think Corner (2017) University of Helsinki. Available at: https://www.helsinki.fi/en/think-corner/whatis-think-corner/the-story-of-think-corner (Accessed: 14 December 2020). Think Corner Helsinki University (no date) JKMM. Available at: https://jkmm.fi/work/think-corner-helsinkiuniversity/ (Accessed: 14 December 2020). Think Corner Helsinki University / JKMM Architects (2020) ArchDaily. Available at: https://www.archdaily.com/ 940159/think-corner-helsinki-university-jkmm-architects (Accessed: 14 December 2020). Think Corner, University of Helsinki (no date) PuuWoodHolzBois. Available at: https://www.woodarchitecture.fi/de/ projects/think-corner-university-helsinki (Accessed: 14 December 2020). Think Lounge (2019) University of Helsinki. Available at: https://www.helsinki.fi/en/think-corner/organise-anevent/think-lounge (Accessed: 14 December 2020). Tofani, F. (no date) Suomenlinna: Everything you need to know about the biggest sea fortress in Finland via @fotostrasse. Available at: https://fotostrasse.com/suomenlinna/ (Accessed: 13 December 2020).

Dipoli building

Traveller, C. N. (no date) Made in Helsinki, CN Traveller. Available at: https://www.cntraveller.com/gallery/thingsto-see-and-do-in-helsinki (Accessed: 13 December 2020).

*Isabel (Bel Around the World), (2020), Think Corner atrium [ONLINE]. Available at: https:// www.belaroundtheworld.com/things-to-do-in-helsinki-finland/ [Accessed 4 December 2020]. *Tuomas Uusheimo, (2017), Think Corner seating area [ONLINE]. Available at: https://www.archdaily.com/ 940159/think-corner-helsinki-university-jkmm-architects/5ec73844b35765c179000028-think-corner-helsinkiuniversity-jkmm-architects-photo?next_project=no [Accessed 4 December 2020]. Page 2 *Google Earth, (2020), Axonometric satellite view of Tiedekulma [ONLINE]. Available at: https:// earth.google.com/web/ @60.16958648,24.94832656,15.09415316a,229.42344409d,35y,43.9534205h,44.99831832t,360r [Accessed 6 December 2020]. *Google Earth, (2020), Satellite view of Tiedekulma [ONLINE]. Available at: https://earth.google.com/web/ @60.16958648,24.94832656,15.09415316a,229.42344409d,35y,0h,0t,0r [Accessed 6 December 2020]. *Google Earth, (2020), Tiedekulma building form [ONLINE]. Available at: https://earth.google.com/web/ @60.16958648,24.94832656,15.09415316a,229.42344409d,35y,0h,0t,0r [Accessed 6 December 2020]. JKMM Architects, (2017), First Floor [ONLINE]. Available at: https://www.archdaily.com/940159/think-cornerhelsinki-university-jkmm-architects/5ec73884b35765790d00003a-think-corner-helsinki-university-jkmmarchitects-1f-plan?next_project=no [Accessed 6 December 2020]. JKMM Architects, (2017), Third Floor [ONLINE]. Available at: https://www.archdaily.com/940159/think-cornerhelsinki-university-jkmm-architects/5ec73884b35765790d00003a-think-corner-helsinki-university-jkmmarchitects-1f-plan?next_project=no [Accessed 6 December 2020]. JKMM Architects, (2017), Sixth Floor [ONLINE]. Available at: https://www.archdaily.com/940159/think-cornerhelsinki-university-jkmm-architects/5ec73884b35765790d00003a-think-corner-helsinki-university-jkmmarchitects-1f-plan?next_project=no [Accessed 6 December 2020].

Polished concrete The concrete floor is left exposed, giving a raw finish.

Trip.com, (2016), Orthodox Uspenski Cathedral [ONLINE]. Available at: https://www.trip.com/travel-guide/ helsinki/orthodox-uspensky-cathedral-81711/ [Accessed 8 December 2020].

Ateneumin taidemuseo (no date) Senaatti-kiinteistöt. Available at: https://www.senaatti.fi/arvokiinteisto/ ateneumin-taidemuseo/ (Accessed: 13 December 2020).

Stage (2019) University of Helsinki. Available at: https://www.helsinki.fi/en/think-corner/organise-an-event/stage (Accessed: 14 December 2020).

Think Corner

Jussi Hellsten, (2012), Senate Square [ONLINE]. Available at: https://www.myhelsinki.fi/en/see-and-do/sights/ quick-guide-architectural-layers-of-helsinki [Accessed 8 December 2020].

Tuomas Uusheimo, (2020), Think Corner [ONLINE]. Available at: https://www.archdaily.com/940159/think-cornerhelsinki-university-jkmm-architects [Accessed 4 December 2020]. *Google Maps, (2020), Tiedekulma satellite view [ONLINE]. Available at: https://www.google.com/maps/place/ Tiedekulma/@60.1697194,24.9403367,1785m/data=!3m1!1e3!4m5!3m4! 1s0x46920bcef51b7701:0x347cf9e985f9fc6b!8m2!3d60.1697197!4d24.9490915 [Accessed 4 December 2020].

Saint Olaf’s Church | (2016) Alluring World. Available at: http://www.alluringworld.com/saint-olafs-church-2/ (Accessed: 14 December 2020).

Timber slats- Finnish pine

Suomen Ilmankuva Oy, (2012), Fortress of Suomenlinna [ONLINE]. Available at: https://whc.unesco.org/en/list/ 583/ [Accessed 8 December 2020].

Page 1

AJ Contributor (2013) Kamppi Chapel, Helsinki by K2S Architects, The Architects’ Journal. Available at: http:// www.architectsjournal.co.uk/specification/kamppi-chapel-helsinki-by-k2s-architects (Accessed: 14 December 2020).

Quick guide: Architectural layers of Helsinki | My Helsinki (no date). Available at: https://www.myhelsinki.fi/en/ see-and-do/sights/quick-guide-architectural-layers-of-helsinki (Accessed: 13 December 2020).

Locally-sourced timber creates a nordic feel to the internal finishes of all 3 buildings. It is warm, natural and clean.

List of Figures

*JKMM Architects, (2017), Section [ONLINE]. Available at: https://www.archdaily.com/940159/think-cornerhelsinki-university-jkmm-architects/5ec73884b35765790d00003a-think-corner-helsinki-university-jkmmarchitects-1f-plan?next_project=no [Accessed 6 December 2020].

Abroad Indians, (2016), The Ateneum [ONLINE]. Available at: http://m.abroadindians.com/news/ateneum-artmuseum-helsinki/10354 [Accessed 8 December 2020]. Helsinki Marketing, (2016), The National Museum of Finland [ONLINE]. Available at: https://www.myhelsinki.fi/en/ see-and-do/sights/quick-guide-architectural-layers-of-helsinki [Accessed 8 December 2020].

Google Earth, (2020), Axonometric view of Tiedekulma [ONLINE]. Available at: https://earth.google.com/web/ @60.16958648,24.94832656,15.09415316a,229.42344409d,35y,43.9534205h,44.99831832t,360r [Accessed 8 December 2020]. Frank Mazuca, (2016), Stonework of the National Museum of Finland [ONLINE]. Available at: http:// frankmazuca.tripod.com/finland7.html [Accessed 8 December 2020]. University of Helsinki, (2020), Think Corner facade [ONLINE]. Available at: https://www.helsinki.fi/en/thinkcorner/what-is-think-corner/the-story-of-think-corner [Accessed 8 December 2020]. Tuomas Uusheimo, (2020), Kamppi Chapel wood interior [ONLINE]. Available at: https://www.archdaily.com/ 252040/kamppi-chapel-k2s-architects [Accessed 8 December 2020]. Tuomas Uusheimo, (2020), Kamppi Chapel concrete interior [ONLINE]. Available at: https://www.archdaily.com/ 252040/kamppi-chapel-k2s-architects [Accessed 8 December 2020]. Tuomas Uusheimo, (2017), Think Corner interior [ONLINE]. Available at: https://jkmm.fi/work/think-cornerhelsinki-university/ [Accessed 8 December 2020]. Page 5 Noemia Goudal, (2019), Finnish Museum of Photography [ONLINE]. Available at: https://noemiegoudal.com/thefinnish-museum-of-photography/Noe [Accessed 12 December 2020]. Ollie Laasanen, (2012), National Library of Finland [ONLINE]. Available at: https://ollilaasanen.wordpress.com/ 2012/11/22/the-symmetry-of-the-national-library-of-finland/ [Accessed 12 December 2020]. Discovering Finland, (2016), The Kindergarten Museum [ONLINE]. Available at: https:// www.discoveringfinland.com/destination/kindergarten-museum/ [Accessed 12 December 2020]. Serg A Nik, (2012), The Finnish National Opera [ONLINE]. Available at: http://www.visit-plus.com/node/ 1524 [Accessed 12 December 2020]. Joaquim Alves Gaspar, (2012), the Ateneum [ONLINE]. Available at: https://en.wikipedia.org/wiki/Ateneum#/ media/File:Helsinki_July_2013-26a.jpg [Accessed 12 December 2020].

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JKMM Architects, (2018), Amos Rex Museum [ONLINE]. Available at: https://jkmm.fi/work/amos-rexmuseum/ [Accessed 12 December 2020].

VisitFinland, (2020), Uni Helsinki Think Corner [ONLINE]. Available at: https://www.visitfinland.com/fcb/ fcb_newsletter/finland-ranks-among-the-worlds-top-20-most-popular-congress-countries/uni-helsinki-thinkcorner/ [Accessed 8 December 2020].

Pirje Mykkänen, (2019), Finnish National Gallery [ONLINE]. Available at: https://www.inexhibit.com/case-studies/ helsinki-glance-kiasma-museum-steven-holl/ [Accessed 12 December 2020].

*JKMM Architects, (2017), First Floor [ONLINE]. Available at: https://www.archdaily.com/940159/think-cornerhelsinki-university-jkmm-architects/5ec73884b35765790d00003a-think-corner-helsinki-university-jkmmarchitects-1f-plan?next_project=no [Accessed 6 December 2020].

ABC10, (2013), Pyhän Sydämen Kappeli [ONLINE]. Available at: https://commons.wikimedia.org/wiki/ File:Pyh%C3%A4n_Syd%C3%A4men_kappeli_(1)_2013.jpg [Accessed 12 December 2020]. HTM, (2016), Church of the Deaconess Institute [ONLINE]. Available at: https://commons.wikimedia.org/wiki/ File:Church_of_the_Deaconess_Institute_Helsinki_1.jpg [Accessed 12 December 2020].

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Natural stone

In Dipoli, stone is roughly applied in its unsulpted form, whilst the facade of Think Corner applies the material in a rectilinear, more processed form.

Jessica Male

Matthew Duncan, (2011), Temppeliaukio Church [ONLINE]. Available at: https://commons.wikimedia.org/wiki/ File:Temppeliaukio_Church.jpg [Accessed 12 December 2020]. Jussi Tiainen, (2016), Töölö Church [ONLINE]. Available at: https://finnisharchitecture.fi/toolo-church/ #&gid=1&pid=1 [Accessed 12 December 2020]. Serg A Nik, (2012), Helsinki Cathedral [ONLINE]. Available at: http://www.visit-plus.com/node/1509 [Accessed 12 December 2020]. Ranerana, (2018), German Church [ONLINE]. Available at: https://commons.wikimedia.org/wiki/ File:Saksalainen_kirkko,_Helsinki_IMG_0159.jpg [Accessed 12 December 2020]. Marc Goodwin, (2017), Mikael Agricola Church [ONLINE]. Available at: https://divisare.com/projects/365956-larssonck-marc-goodwin-mikael-agricola-church [Accessed 12 December 2020]. Fia Fotograf, (2020), Helsinki Synagogue [ONLINE]. Available at: https://commons.wikimedia.org/wiki/ File:Helsinki_Helsingfors_Synagogue_04.png [Accessed 12 December 2020]. Mika Huisman, (2018), Think Corner interior [ONLINE]. Available at: https://www.archdaily.com/940159/thinkcorner-helsinki-university-jkmm-architects/5ec737fcb35765c179000025-think-corner-helsinki-university-jkmmarchitects-photo?next_project=no [Accessed 12 December 2020].

Introduction - Aims and Overview

Project Testing

The aim of my project is to create a Contemporary space where tourists and locals can come to remember the past lives of Saltaire both, recent and historic. This will be done by creating a facility with a columbarium that incorporates a museum for the historic mill workers of Saltaire as well as a memorial garden for the deceased. The aim is to create spaces that allows the visitors to experience their own emotions depending on their individual reasons for visiting, providing both personal and shared experience of reflection. The facility is not to damage or interrupt the surrounding historic environment however to enhance it with a connection between past and present, in both design and programme.

Key Questions

Emotions of Remembrance

Can I create a space that is local, convenient and personal to remember loved ones? Can I create a space that integrates both the past and the recently deceased seamlessly in one facility? Can I change the perspective of death on the locals and tourists of Saltaire? Can a tourist attraction be a sensitive space for remembrance?

The Programme A museum promoting the life stories of the original inhabitants of Saltaire, a columbarium for the more recently deceased and a memorial site. These programmes will allow the history to be stored and presented to the public giving visitors an in-depth historic experience of the past lives of Saltaire, while allowing the community of Saltaire to remember there loved ones. Local and personal ways of remembering the deceased are becoming more scarce with the limited land space for burials and the locational issues with crematoriums. Therefore I’m wanting to create a columbarium embedded in the heart of the community, along side a museum and memorial garden, to further add to the idea of remembrance. This will provide the community with a place for a personal remembrance in a recognised, known and local facility. The Remembrance Garden will also link to the columbarium as well as the museum providing families of the deceased with an area for reflection alongside the memorials of local mill workers. The facility will integrate both the past and present seamlessly creating a place where all members of Saltaire’s past are remembered and celebrated equally.

Google Earth Image, 2021

The programme of the buildings will integrate with the surrounding historic architecture with its materiality however bring a subtle contemporary architecture to the area. The combination of programmes needs to be sensitive to the mourners entering the columbarium but also educational for visitors to the museum. The buildings will be welcoming to visitors, and engender a sense of optimism whilst providing areas for quite personal reflection.

Figure 9: West Yorkshire Archive, Congressional Church Plan, late 19th Century

Site Location

Site Analysis

Pedestrian flow and density

Key Views

Sound Analysis

The pedestrian flow is prominently down Victoria road which is the access point to the Congressional Church. There is also a flow along the canal to the north of the Congressional Church

Key views surrounding my site are important to the historic integrity of Saltaire and is therefore important to limit the impact of these however frame my own views into and out of the facility where appropriate.

Noise levels surrounding my site are important due to the sensitive nature of my programme. Surrounding my site the noise levels are ok and become increasingly louder the more south you go. 39

Site Plan

Site Sections

Railway Canal

10m 72m Section AA

College Building

Section BB

Views Surrounding The Congressional Church

Buildings and Materiality Around the Site

The Congressional Church is a grade 1 listed building and is surrounded by preserved trees under the town and country planning act, 1967. 42

The Evolution of Death Perception

The Building in 100 and 1000 Years Time Historic

Present

Museum

Historic

Figure 11: Anastasis Church of the Holy Saviour Chora

Figure 12: Overgrown Graveyard

Historic

1000

Present

1000

Columbarium

Historic

Museum

Figure 10: King Tuts Tomb

100

Columbarium

Historic

Museum Ancient burial practises believed in preparing the deceased for the afterlife in forms of mummification and burying them with all their riches. 44

Between the 6th to 12th Century, death was accepted as a natural occurrence, and with the churches teachings the afterlife was a huge belief and there was hope associated with death.

Between the 19th to 20th Century death began to be viewed as fearful and with modern sciences religious beliefs and practices began to fade leaving a void in many peoples ability to deal with death.

Present

Columbarium

In 100 years and 1000 years time the present will become historic leading to the facilities museum being filled with the generations of lives of Saltaire that have passed through the facility. The facility with being located next to the Congressional Church and on a World Heritage Site will gain from the measures taken to restore the area meaning the building needs to be Long lasting and fit in to the surrounding context seamlessly. 45

Precedent Study - El Fossar de les Moreres

Precedent Study - San Cataldo Cemetery

Location: Barcelona

Location: Italy

Architect: Carme Fiol

Architect: Aldo Rossi

Year: 1989

Year: 1971

The site of The Fossar de les Moreres, Barcelona, was originally a burial ground for the citizens that fought defending the city during the siege of Barcelona in 1714 and was also a medieval burial ground. The burial ground then stopped being used in the early 19th Century when Poblenou cemetery was built. Houses overtime were then developed on top of the burial grounds and the remains and memory were forgotten by the general public gaze.

Aldo Rossi much like Carme Fiol with El Fossar de les Moreres built on the grounds of an ancient cemetery which contained large amounts of statues and tombstones. Aldo used the original architects ideas and fused them with Jewish cemeteries of the era to come up with his design. The design was influenced not only by these cemeteries but also by his own view of his body, which was that it was fractured and needed to be put back together. This was his view as at the time he was in hospital due to a car crash which left his body ‘broken’. He then used these ideas to transform and rearrange the old cemeteries and his ideas to formulate his own plan.

However, in 1989, architect Carme Fiol decided to destroy the buildings that stood over the historic burial grounds and replaced them with red brick, symbolising the blood shed. Then in 2001, Alfons Viaplana decided to add to the square and created a monument mounted with a lit cauldron providing a constant remembrance of the sacrifice these men made. A plaque then runs next to the red bricks and monument with a message reading, ”In the graveyard of the mulberry trees no traitor shall be buried; even if our flags are lost, it will be the urn of honour”. The Fossar de les Moreres is a great example of regaining the memory of these men once forgotten, and restoring it not only to the locals gaze but to the tourists gaze also.

Rossi’s design of the cemetery has no roof, windows or doors, to create voids allowing access and views through the facility. These voids also represent the gaps in lives that are created by death and allow the visitor to be confronted with the emotions and thought of death. Within the facility there are then box spaces which host the individuals memorials The cemetery however has a couple concerns with that it has little room to host the deceased. Charlie Clemoes in an article of failed architecture mentions that the general reception/office does not evoke any memories or consider the sensitive nature of a cemetery, along with the site being unsettling.

Summary of Precedents

Looking at the examples above of the Cemetery’s, they tend to use open space and voids to allow light into the cemeteries in a controlled and sensitive manor reflecting the experience of loss and remembrance. These are key aspects of the designs in order to replicate the facilities purpose. The examples also have a sensitive relationship to the external environment through the use of certain materials and topography. They use a selection of spaces, open and closed, to further increase the relationship towards the environment and to provide the visitor with different feelings depending on which part of the building they are in. The idea of providing the visitor with communal spaces as well as quiet rooms is another key part in enhancing the emotions of the visitor. A key principle is also that remembrance does not have to be a closed facility but merely a place where respect and/or reflection can be given in a safe and meaningful location.

Initial Massing Sketches

• Massing ideas using pencil showing shadows to promote the sense of light and dark spaces. • Mass wrapping around the church, not interrupting the views of the church from Victoria Road. 50

Massing Development

• Massing ideas are now based on a grid layout keeping with the precision of the church, along with the grid layout of the town. • These also allow views of the canal to the north. 52

• Massing provides views towards the canal at various different angles and up towards the housing complex south of the church. • Massing allows room around the church for walking. • Views are not interrupted from Victoria Road. • Provides different closed spaces for personal remembrance. 53

Massing Analysis

Initial Massing - Schedule of Accommodation

Ground Floor

Local Memorial Plots

Memorial Garden

Circulation

Floor -1

• Views along Victoria Road have full vision of the church. • Access joins the journey up towards the church bringing a sense of importance. • Access to the allotment gardens are not hindered. • Trees help building blend into the surrounding environment. • Building is orientated so that the trees are not effected. 54

Circulation

Cafe and shop

Foyer and Toilets

Office and Storage

Massing Development

• The change in topography of the site has influenced the mass for the building with the ground floor following the decline and the top floor doing the opposite. • The massing idea also works around the trees and gives impressive views all around the surrounding landscape, whether they are close or far away. • This massing idea will require the use of stilts to hold the large top floor masses. 56

Facade Voids - Light and Shadow Taken From ARC3015

Light can give power in architecture that affects the interior space and atmosphere. Louis Kahn was known, as the master of light in architecture, and says that it is the “giver of all presences.” I am researching light as I believe that in the act of remembrance light has a critical part to play in the emotions of humans and that light, similar to emotions, is not only seen but felt. I will be using light and shadow to enhance the emotions of all visitors, whether tourists, mourners or friends of the deceased, and influence their emotions throughout the building. The goal I will be aiming to achieve will be a fine line between art and enhanced emotions through the use of voids in the facade.

Figure 13: Plaza Cubierta Figure 14: Private Home Visperterminen Figure 15: National Assembly Figure 16: Abu Dhabi Louvre Concept

Further Massing Development Museum

Foyer

Exhibition space

Storage

Cafe

Columbarium

Memorial Plaques

Ceremonial Space Section

Living Memorial

Reflection Space Ground Floor

First Floor

The Tree

Early Development Sketches

Ground Floor

First Floor

SketchUp

Voids Within Remembrance

Voids are a focus on the absence of a space, helping bring the visitor and the building closer together within the relationship of loss. • Visitors can be invited to fill these voids with the memory of lost ones and are invited to leave their mourning at the site. (San Cataldo Cemetery) • Voids can be a statement piece of the loss and are not filled with personal remembrance. (Ground Zero Memorial) • There could be a void in the facade to allow light into the facility, enhancing the relationship between nature and the visitor. (National Memorial Arboretum) • There could be voids in terms of openness which can allow a healing through communal remembrance. Void is a place where simultaneous histories (past, present and future) are presented to represent individual and collective memory to highlight the fact that history is not chronological and memory is not linear.

Figure 17: Ground Zero Figure 18: National Arboretum Figure 19: National Arboretum Figure 20: San Cataldo Cemetery Figure 21: Museum Lighting Figure 22: Holocaust Memorial

1:500 Plan Drawings

Sections and Elevation

Key Spaces

Plans 1:200

Section & Perspective

Ground Floor

First floor

Facade Voids - Light and Shadow Testing

“Every building must have... its own soul” - Louis Kahn

Key Features of Massing

Project Synthesis

Grid Layout

Lighting of spaces

360 views

Circulation

Methods of Remembrance

The method of Remembrance Thinking Through Making

A living memorial is a tree, shrub or garden planted in memory of a person who has died. These allow a continual growth and produce a renewal of the surrounding nature displaying a positive element in the remembrance of a loved one.

Through thinking through making I have concentrated on the curation of the artefacts of memory through the use of voids. This is in order to enhance a visitors experience and emotions depending on there individual reason for visiting.

Eco-memorials

My design looks to separate the tourists and the family members of the deceased but provide them both with the opportunity for reflection. This will provide the family members with a more private and quiet space for a more sensitive and personal act of remembrance. Having this space also allows the family members to approach the urns and add items to the memorials as desired.

Living memorials

With the growing popularity of green funerals, many people think about how to give back to the environment after they die. Biodegradable urns are the perfect example of this, designed to return to nature without harming the environment. A memorial plaque or headstone Even with the large increase in cremations this doesn’t mean that they can’t have a physical location that can be visited. Columbarium Storing a cremation urn in a columbarium gives you a location where you can visit a loved one, pay your respects and know that their final resting place is being taken care of. Monuments or sculptures

The visitors would then circulate through the centre of the columbarium in an open public space. The walls either side however will be lined with framing holes that will allow the visitor to view the memorials on the exterior wall. These framing holes will mean that the visitor will actively have to approach the wall and peek in in order to see the memorials, which will make the visitor have to stop. Putting them in a more reflective mindset. Since only a single person is able to look through a hole, the view is a totally personal one that no one else is experiencing and this leads to a unique experience unshared by others which encourages the viewer to have their own personal thoughts separate of others.

These can be a great way to celebrate a loved one and promote their life. Figure 23: Banner family Memorial Figure 24: Biodegradable Urn Figure 25: Nelson Mandela Memorial Figure 26: Golders Green Columbarium Figure 27: Tombstone

The exterior wall will provide the visitors on the outside of the building with both individual and collective remembrance. This will be done by having recesses in the wall where the plinths are and inscriptions of the names of the deceased on the ends. These will reflect the names of the deceased on the inside and show how the individuals come together to produce the collective.

Dimensions of Part of The Wall

Scale 1:5

Lighting Strategies - Columbarium

Lighting Strategies - Columbarium Final

Figure 28: Lighting Concrete

Grid Layout Concept - Religious Buildings

Figure 29: Süleymaniye Mosque plan.

Figure 30: Durham Cathedral plan.

Grid Layout Concept - Early Grid Development

Figure 31: Monastery of Santa Maria da Vitoria plan.

My massing concept has been developed on a grid frame much like many religious buildings including the congressional church. The idea of a grid layout or symmetricality of such buildings derives from the concept that god, who in many religious traditions, “brings order from chaos,” and the pattern is a way to control the flow of movement while appealing to our senses for order. 80

Plan Development

Final Floor plans

Plan developed into a perimeter surrounding the site, using the trees to develop its linear shape. The plan uses the space between the building and the Congressional Church as a memorial garden instead of using it within the architectural design. 82

Precedent Study - Igualada Cemetery

Precedent Study - Design Ideas

Location: Barcelona Architects: Enric Miralles, Estudio Carme Pinós Year: 1994 The Igualada Cemetery was imagined as a new type of resting place where its poetic ideas would inform visitors that the cycle of life is natural and can be accepted. This is done by bringing visitors closer to the dead and producing links between the past, present and future. This was then emphasised with the burial of Enric Miralles himself being at the cemetery and therefore his past, present and future coming together. The building was designed to fluidly blend into the surrounding landscape as if the building was a natural feature. This is done through the use of materials such as stone, wood and concrete. This is another emphasis that the building and functions within, is a natural progression of life and that the building has been apart of the landscape for a long time. The building has key features that promotes visitors feelings at certain moments within the journey through the complex. The main burial area, in the lower excavation part, does this by being surrounded by walls secluding the visitor from the surroundings making only the sky visible in order to allow the visitor to reflect and consolidate. Another feature of the building is the use of voids to retain the experience of reflection and consolidation.

Final Design - Ground Floor Plan

Final Design - First Floor Plan

• Visitor is guided into the reception by large Corten steel walls creating voids between them and hiding the mass of the building. • The reception is very open and light with framed views out across the canal and up towards the Congressional Church • The visitor is then guided towards and around the communal memorial tree with Corten steel walls again creating voids within the space. • The memorial tree holds names and dates of all the deceased within the facility and allows a collective act of remembrance.

• The room then opens up forming a foyer and small museum exhibition space with the memorial tree being the large feature within the room. • Flowing south the visitor is guided into a large long room with an existing site tree coming through the ground and out of the roof filling the room with light. • The site tree is encased by glass allowing a view to nature and is effective in all seasons to bring the weather inside the building. • Either side of the columbarium are private rooms where family members of the deceased can enter and be away from the general public for private reflection (Thinking Through Making). • At the end of the columbarium is the museum which is underground with darker lighting bring the effect of age and history into the space. • The museum carries around the outside of the staggered plaques with images and writing of old mill workers. • The visitor then follows around and exits at the top of the memorial garden to the east.

Final Design - Rooftop Plan

Programme

• The rooftop follows the same linear shape of the buildings design. • Visitors have spaces to sit throughout the journey along the rooftop and are welcomed by a specific collection of plant species to allow colour all year round. • The roof provides new vantage points of the congressional church and the allotment gardens, along with the memorial garden below.

The Journey

Entrance from Victoria Road

Entrance - Final Concept

Reception - Framed Views

Reception - Final Concept

1:20 Detail Section - Taken from ARC3013

Columbarium - Final Concept

Museum Development

Museum - Final Concept

Early memorial staggered plaque idea

Development of shape

Materiality - Images Surrounding Saltaire

Materiality - Main Materials in My Design

Concrete

100

Corten Steel

Yorkshire Stone

101

Material Exploration - Precedent Location: Turkey Architect: Yalin Architectural Design Year: 2011

The building is described as an excavated artifact, as if it had been pulled out of the ground with the excavation of Troy. The artifacts for the museum are then curated into a chronological timeline and integrates an exhibition for younger vsitors to understand the history surroudning the building. "The formation of rust on the building’s shell represents both the long lapse of time and the connection of past and present in the history of Troy."1

Material Exploration - Corten Steel • • • • • •

Minimal maintenance Long lifespan 100 percent recyclable Economical design solution Strong and durable Contrasts well in architectural landscapes • Matches industrial context • Easily stamped • Easily Bent

Figure 32: Levels of Rust

1 ArchDaily. 2021. Museum of Troy / Yalin Architectural Design. [online] Available at: <https://www.archdaily.com/911479/museum-of-troy-yalin-architectural-design> [Accessed 25 May 2021].

Figure 33: Corten Steel, Kinley

Figure 34: Corten Steel, Kinley

Figure 35: Corten Steel, Kinley

Figure 36: Corten Steel, Kinley

Corten Steel develops a self-protecting layer of rust when exposed to weathering and keeps its strength, this means that it requires little to no maintenance as an external material. In the images above, at Kinley, East Sussex Corten Steel is used as planters and produces an elegant juxtaposition. 102

103

Material Exploration - Elevation

Material Exploration - Concrete Exterior Columbarium Space Exterior 2/157 Fichtelberg

104

Circulation/ Museum Space Exterior 2/121 Cheyenne 1-7

In order to produce my long elevation of concrete the form work must be done in sections to allow the concrete to settle and harden. The concrete will also develop to a more textured finish through the length of the external wall. Lower Wall

Cafe Space Exterior

Corten Steel

Yorkshire Stone

“A rock pattern with slight irregularities. Viewed as a whole, it still appears very even though.”1 This texture will allow the facade to have a mild texture however allow the indents to be clearly visible and not take away from the purpose of the wall while still producing a contrasting texture to the wall.

“This rock pattern was formed off of a mountain and lends a natural, wild look to the facade.”1 This texture will, as the interior, contrast the collumbarium section in order to reflect the internal space, however still seem similar enough to flow from one to the other seamlessly. Both textures also have a rock pattern bringing a more natural feel to the building

Corten Steel has a “weathered look and rusty orange colouring.”1 The material matches the industrial context surrounding the town and shows a connection to the mill workers working conditions.

“A horizontally running brickwork pattern in a sandstone look. Varyingly wide rocks with irregular edges are arranged adjacently.”1 This texture was chosen to mimic the Congressional Church and the surrounding buildings materiality.

1 https://www.reckli.com/en/products/ concrete-formliners/select/wood/223-alster

1 https://greenfuture.io/sustainable-liv- 1 https://www.reckli.com/en/products/ ing/corten-steel/ concrete-formliners/select/wood/223-alster

105

Elevation

106

107

Material Exploration - Section

Material Exploration - Concrete Interior Lower Wall

Columbarium Space

Museum Space

Corten Steel

Yorkshire Stone

2/23 Alster

2/47 Rhein

“A vertically running wood pattern with robust grains. The boards are evenly rowed with inconspicuous joints.”1 This particular texture will create a more settling atmosphere for the private family members of the deceased, while also giving a subtle hint to nature.

“A vertically running wood pattern. Small, length-wise diced wooden elements on different levels create a lively, rough surface.”1 This will immediately contrast the collumbarium texture, showing through materiality the change of purpose to the room, however still keeping to the ordered nature of the overall design.

1 https://greenfuture.io/sustainable-liv- 1 https://www.reckli.com/en/products/ ing/corten-steel/ concrete-formliners/select/wood/223-alster

1 https://www.reckli.com/en/products/ concrete-formliners/select/wood/223-alster

Corten Steel has a “weathered look and rusty orange colouring.”1 The material also matches the industrial context surrounding the town and shows a connection to the mill workers working conditions.

108

All textures hold a lineal quality relaying the planar design of the building.

109

Section

110

111

Section

112

113

Rooftop Development Sketches

Green Roof Advantages - Taken from ARC3013 Buildings often cause environmental problems within urban ecosystems. These environmental problems “can be partially mitigated by altering the buildings’ surficial properties.”1 “Roofs can represent up to 32% of the horizontal surface of built-up areas”2 and play important roles within building energy flux and water relations. With the addition of vegetation, roofs can reduce energy required by internal spaces with its thermal retention and dissipation. They can also reduce sound pollution, increased water retention and improve air quality, while creating new utilization spaces and increased in wildlife. The benefits of a green roof are detailed below.

Green roof sound reduction

1 Oberndorfer, E., 2007. Green Roofs as Urban Ecosystems: Ecological Structures, Functions, and Services. BioScience, 57(10), p.823. 2 Frazer L. 2005. Paving paradise. Environmental Health Perspectives 113: 457–462.

Green roof water retention

Green roof summer cooling

Green roof dust reduction

Green roof winter heating effect

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115

Rooftop Precedent - Taken from ARC3013

Rooftop Existing Site Tree - Taken from ARC3013

Project Name: The Barbican Location: Silk St, Barbican, London Planting Designer: Nigel Dunnet

The Barbican uses a range of plantings to give “continuous and successive waves of colour over long periods of time.”1 The barbicans 3 main plant communities consist of:

Image showing a section of the proposed plantings

The depth of the substrate is in relation to the loading tolerance of different parts of the roof and from this and the micro climatic information a planting strategy was developed.

Steppe plantings - “Colourful diverse foliage suitable to dry conditions.”2 Shrub steppe - “Similar to steppe planting but with the addition of shrubs.”3

In the centre of the columbarium there is a preserved tree which is designed to come through the building and out of the roof. In order to keep the aesthetics of the tree and the connection to nature whilst also making sure that the building is waterproof, I intend to encase the tree within glass as seen in Figure 37. The glass will then come through the roof top garden and provide a glass balustrade for safety. The tree will also provide natural shading for the roof top as well as providing natural ventilation into the columbarium.

Light woodland - Where the substrate is deep enough for trees to grow. 1 Dunnett, N., 2021. The Barbican. [online] Available at: <https://www.nigeldunnett.com/barbican/> [Accessed 24 April 2021]. 2 Ibid 3 Ibid

Diagram illustrating proposed planting zones based off shade and sun analysis

Figure 37: Casa Vogue by Alessandro Sartore

Image showing proposed planting design idea

116

Section illustrating plantings and typical depth of substrate

1:20 Rooftop section showing the encased tree

117

General Rooftop Build up - Taken from ARC3013

Rooftop Sections 1:20 - Taken from ARC3013

Section AA Section BB

Section AA - Circulation block 1:20 detail

Section BB - Columbarium 1:20 detail

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ArchDaily. 2021. Gallery Of AD Classics: Igualada Cemetery / Enric Miralles + Estudio Carme Pinos - 5. [online] Available at: <https://www.archdaily.com/375034/adclassics-igualada-cemetery-enric-miralles-carme-pinos/519598e0b3fc4bc89b00008aad-classics-igualada-cemetery-enric-miralles-carme-pinos-photo?next_project=no> [Accessed 20 January 2021]. ArchDaily. 2021. Gallery Of AD Classics: San Cataldo Cemetery / Aldo Rossi - 5. [online] Available at: <https://www.archdaily.com/95400/ad-classics-san-cataldocemetery-aldo-rossi/55e60769e58eceb7f10002aa-ad-classics-san-cataldo-cemeteryaldo-rossi-photo> [Accessed 13 January 2021]. Barcelona Lowdown. 2021. El Fossar De Les Moreres | Barcelona Lowdown. [online] Available at: <https://barcelonalowdown.com/fossar-de-les-moreres/> [Accessed 12 January 2021].

Bibliography

Barcelonaturisme.com. 2021. The Fossar De Les Moreres - Visit Barcelona. [online] Available at: <https://www.barcelonaturisme.com/wv3/en/page/1216/the-fossar-deles-moreres.html> [Accessed 12 January 2021].

Ilkleycameraclub.co.uk. 2021. Saltaire United Reformed Church |. [online] Available at: <http://ilkleycameraclub.co.uk/andree-freeman/saltaire-united-reformed-church/> [Accessed 18 January 2021]. Mairs, J., 2021. Postmodernism In Architecture: San Cataldo Cemetery By Aldo Rossi. [online] Dezeen. Available at: <https://www.dezeen.com/2015/07/30/san-cataldocemetery-modena-italy-aldo-rossi-postmodernism/> [Accessed 13 January 2021]. Moreres, F., 2021. Fossar De Les Moreres In Barcelona - Curiosities In Spain. [online] Espanarusa.com. Available at: <https://espanarusa.com/en/hedonist/ad/hedonist/ categories/Soul/curiosities/507262> [Accessed 12 January 2021]. Picfair.com. 2021. Back Street Saltaire. [online] Available at: <https://www.picfair.com/ pics/08392304-back-street-saltaire> [Accessed 18 January 2021]. Pinterest. 2021. Archdaily On Instagram: “Igualada Cemetery, Designed By Architects Enric Miralles And Carm… | Sacred Architecture, Barcelona Architecture, Brutalist Architecture. [online] Available at: <https://www.pinterest.com.au/ pin/642114859353229508/> [Accessed 20 January 2021].

carrersbcn, V., 2021. EL FOSSAR DE LES MORERES / THE GRAVE OF MULBERRIES. [online] Carrers BCN. Available at: <https://carrersbcn.com/2019/02/03/el-fossar-de- Pr2020.aaschool.ac.uk. 2021. Architectural Association School Of Architecture Projects les-moreres-the-grave-of-mulberries/> [Accessed 12 January 2021]. Review 2020. [online] Available at: <https://pr2020.aaschool.ac.uk/Seonghyuk-Hong> [Accessed 20 January 2021]. Facebook.com. 2021. Fundació Enric Miralles. [online] Available at: <https://www. Saltaire Village Experience. 2021. What To Do & See. [online] Available at: <https:// facebook.com/FundacioEnricMiralles/posts/igualada-cemetery-1994-the-igualadawww.saltairevillageexperience.co.uk/what-to-see-do/> [Accessed 18 January 2021]. cemetery-is-a-project-that-challenges-the-tr/2394356047320148/> [Accessed 20 January 2021]. Saltaire village information. 2021. The Saltaire Village Website, World Heritage Site. Glot, S., 2021. Saltaire World Heritage Site 1803-1876: Talk By Maria Glot (2019-04- [online] Available at: <https://saltairevillage.info> [Accessed 18 January 2021]. 05). [online] Visitotley.co.uk. Available at: <https://www.visitotley.co.uk/event/saltaireworld-heritage-site-1803-1876-talk-by-maria-glot/> [Accessed 18 January 2021].

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List of Figures

Figure 1: Image of Basilica Cistern. Taken from: Inferno Figure 21: Image of Museum Lighting. Taken from: https://www.pinterest.de/gabriFigure 2: The staggered Colosseum rows. Taken from: Gladiator el0809/museen/ Figure 3: Image of The lighting effect. Taken from: Shutter Island Figure 22: Image of Holocaust Memorial. Taken from: https://blogs.canterbury.ac.uk/ Figure 4: Image of Salts Mill. Taken from: https://www.saltairevillageexperience.co.uk/ expertcomment/holocaust-memorial-day-2021/ what-to-see-do/ Figure 23: Image of Banner family Memorial. Taken from: https://www.forestofdeanFigure 5: Image of Saltaire Congressional Church. Taken from: https://www. crematorium.co.uk/memorials/living-memorials-family.php picturesofengland.com/England/West_Yorkshire/Saltaire Figure 24: Image of Biodegradable Urn. Taken from: https://deathcareindustry.com/ Figure 6: Image of Saltaire Court House. Taken from: https://saltairevillage.info will-biodegradable-urns-help-the-death-care-industry-towards-sustainability/ Figure 7: Image of Slats Mill. Taken from: https://saltairevillage.info Figure 25: Image of Nelson Mandela Memorial. Taken from: https://www.ignant. Figure 8: Image of Saltaire Model Village and Salts Mill. Taken from: https://canalriver- com/2017/02/24/nelson-mandela-memorial-by-marco-cianfanelli/ trust.org.uk/enjoy-the-waterways/walking/canal-trails/bingley-to-saltaire/salts-mill-and- Figure 26: Image of Golders Green Columbarium. Taken from: http://www.thelondonnew-mill cremation.co.uk/golders-green-crematorium/the-columbaria/ Figure 9: Image of West Yorkshire Archive, Congressional Church Plan, late 19th Cen- Figure 27: Image of Tombstone. Taken from: https://marbletree.co.uk/pet-headstone/ tury. Taken from: the Archives Figure 28: Image of Lighting Concrete. Taken from: https://www.camFigure 10: Image of King Tuts Tomb. Taken from: https://mashable.com/2015/11/04/ bridge.org/core/books/designing-memory/dual-role-of-memorial-architecking-tut-discovery/?europe=true ture/6319BA06472127CA822598CDA0B13BC2 Figure 11: Image of Anastasis Church of the Holy Saviour Chora. Taken from: https:// Figure 29: Image of Süleymaniye Mosque plan. Taken from: https://www.researchgate. www.alamy.com/stock-photo-the-anastasis-fresco-the-church-of-the-holy-saviour-in- net/figure/Floor-plan-of-the-Sueleymaniye-mosque-Redrawn-by-the-author-based-onchora-kariye-122374867.html images-from-Arapi_fig1_316104737 Figure 12: Image of Overgrown Graveyard. Taken from: https://www.istockphoto.com/ Figure 30: Image of Durham Cathedral plan. Taken from: https://www.shutterstock. photo/overgrown-graveyard-gm1063021706-284197124 com/image-vector/plan-durham-cathedral-example-english-gothic-1339910324 Page 46: Images of El Fossar de les Moreres. Taken from: https://barcelonalowdown. Figure 31: Image of Monastery of Santa Maria da Vitoria plan. Taken from: http://www. com/fossar-de-les-moreres/ artandarchitecture.org.uk/images/conway/f9564d64.html Page 47: Images of San Cataldo Cemetery. Taken from: https://www.dezeen. com/2015/07/30/san-cataldo-cemetery-modena-italy-aldo-rossi-postmodernism/ Figure 13: Image of Plaza Cubierta. Taken from: https://ombresetmotifs.wordpress. com/2015/02/23/mashrabiya/ Figure 14: Image of Private Home Visperterminen. Taken from: https://www.researchgate.net/figure/Private-Home-at-Visperterminen_fig2_339915267 Figure 15: Image of National Assembly. Taken from: https://suzannelovellinc.com/ blog/light-building-material-louis-kahn/ Figure 16: Image of Abu Dhabi Louvre Concept. Taken from: https://www.archdaily.com/510226/light-matters-mashrabiyas-translating-tradition-into-dynamic-facades/5383c50fc07a80317a00004a-light-matters-mashrabiyas-translating-tradition-into-dynamic-facades-image Figure 17: Image of Ground Zero. Taken from: https://fivelittledoves.com/travel/newyork-9-11-memorial-museum-ground-zero/ Figure 18: Image of National Arboretum. Taken from: https://thenma.org.uk Figure 19: Image of National Arboretum. Taken from: https://thenma.org.uk Figure 20: Image of San Cataldo Cemetery. Taken from: https://www.dezeen. com/2015/07/30/san-cataldo-cemetery-modena-italy-aldo-rossi-postmodernism/ Figure 21: Image of Museum Lighting. Taken from: Figure 22: Image of Holocaust Memorial. Taken from:

123

Appendix

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

Theories and Analysis

125

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

Visual Representation

B O O K S READING THINKING

126

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.

127

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."

Historicand Modern Photography

Visual Experiences (Tourists and Locals)

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

128

129

Visuality of Salts Mill

130

131

Visual Journey of Victoria Road

132

Moments and Gaze

133

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

CRITICAL HERITAGE IN SALTAIRE

Progressive Conservation & Critical Heritage

of Salts Mill

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

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

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

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

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

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

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

GROUP 2 - MEMORY

CRITICAL HERITAGE IN SALTAIRE

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

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

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

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

1980s SALTAIRE A period of uncertainty and doubt

Existing Salt's Mill

Facing demolition

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

END

A 'ghost village'

ney of Victoria Road

A cultural and heritage-led regeneration

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

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

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

Elevation of (potential) restored Factory The Boundary

Connecting the Tangibles with the Intangibles

Keeping the Site intact

Salts Mill | Visual Arts

Victoria Hall | Dance and Music

The Whole Site | Street Life

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

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

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

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

Current progressive conservation works

The potential harm of modern development

Section of (potential) restored Factory

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Appendix 7 | Figure 13

Disparity

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

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

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

1 Salt's Mill 2 New Mill

3 The Dining Room 4 Railway Station

5 Victoria Hall 6 The School

7 Methodist Church 8 The Hospital

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

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

13 The Almshouses 14 The Wash House

Heritage & The Problem of Memory in Saltaire Crisis of Accumulation of Memory in a world of 'heritagisation'. Our minds are saturated with memories, limiting our ability to form new collective memory. We are preventing 21st Century culture from manifesting and becoming future heritage and history.

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

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

135

Disparity

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

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

GROUP - MEMORY degrade the2site's settings. Most of the harm is characterised by modern development that do not respect the site's fabric with its architecture or the lack of care towards replicating the Site's fabric. (Challenge AAP)

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

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

3 The Dining Room 4 Railway Station

5 Victoria Hall 6 The School

7 Methodist Church 8 The Hospital

GROUP 2 - MEMORY

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

13 The Almshouses 14 The Wash House

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

e detail, such as ding which will nal standard.

+ future?

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

Preserving sample sites of heritage: e.g, Salts 'school', 'church', instead of 'village'. GROUP 2 - MEMORY Repatriate materials back to the community: turn the village back into a modernised, working, factory worker village. hasvalues progressive heritage been for employed Saltaire only encompasses our How modern if it serves the purpose which it in Saltaire? was designed. Used as a tourist destination, it is being used instrumentally. Learning from the group reading on progressive heritage Preserving the factory will restore community spirit and reinstate the intangible heritage- tangible heritage is only a 'stage' for the value of the intangible.

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

GROUP 2 - MEMORY

CRITICAL HERITAGE IN SALTAIRE

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

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

As well as the issues surrounding the heritage of the site, there are issues which arise from reading TripAdvisor reviews which claim that the site is: boring disappointing too expensive lacking in disabled access not much to do

Option 1 | Embracing its original identity

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

Option 1 | Embracing its original identity

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

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

What the future plans must include

The end of the industrial era in Britain marked the decline of the mill in Saltaire, which lead to a rapid decline in the economy and industry there. This severely impacted the town’s community and stability, described as a ‘ghost town’, and it clear that maintaining the site as is was not an option for the growth and success of the future. A new era of more progressive heritage allowed the mill to be redeveloped and altered into an external arts and shopping building, where semi-local artists and new businesses could install themselves into the small village. Thereby, preserving the image of what

Saltaire has been known as? heritage rules and was forced to The village itself stillalways followed strict remain historically accurate following the UNESCO world heritage site rules, following the site attaining this badge in 2001. Option 3 | Forget the textile industry, Saltaire will adapt to the changing world

The arts scene in Saltaire is key to its survival, and has become more embellished and progressive over the years. Events such as the Saltaire Arts Trail and the Day of Dance festival have honoured the culture of celSome see the conservation of the architecture as a hinderance to the potentialebration Saltaire can and community whih pre-existed before the industrial collapse ofitsthe achieve if it wasn't held back by pastmill. They also endevour to create community pride and celebration.

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

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

Option 4 | Harmonisation between the past, present and future

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

However, this is sometimes missed at street level for the average tourist. This shows how progressive heritage can be applied to Saltaire, as the town no longe relies fully on its history for hope for the future, but the progressive heritage approach does have limitations.

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

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

Option 2 | Using the arts to establish a new heritage for Saltaire With the arts-led regeneration, it eﬀectively turned Saltaire into a thriving town again

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

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

rom reading

Future possible interventions

The current conservation of heritage in Saltaire is limited to very READING 1 Progressive heritage physical conditions of the site and avoiding any difference from the way the site would have looked a few yearsSome ago. The physical issues for debate within the life of Titus Salt: fabric of the site has a few discrepancies to the original site, such Was new as signs and shopfront which are not historically inkeeping. TheseLanark a better place ideologically? are minor issues, and focus very much on the tangible elements Was Saltaire a 'soft prison' with too many rules, restrictions and regulations? of the site. The physical value of these is important, but there are Did Salt abandon Bradford to enact his own capitalist powers? things that many tourists and residents would not be concerned with. Underage workers were employed in the mills regularly

In order to deeply understand the relationship between vision and moment/gaze. I chose ten interesting moments in the Saltaire which belongs to the " Exhibition road part", " Roberts park", " Residential streets" respectively. Meanwhile, I also sketch these moments in my way by using the pen and pencil to express the initial experience of moment personally. And then, by a thorough analysis of the different aspects at the moment to demonstrate the character of the site, at the same time, exploring the weakness of the site and provide a solution to do it. In term of the analysis of the perspective of the image, What I found which is the most of moment providing a feeling of depth to people. Because of the perspective structure of the moment is one point of perspective, it is useful for people to enjoy through the site. The second point I focus on which is the viewpoint of the picture. The interesting thing which is the viewpoint of the picture is always relevant to the architecture where in Saltaire. In term of the skyline of the moment, half moments of the skyline are on the two-thirds of the way above the screen. That is means the visual experience of the moment still needs to carefully consider as a significant point. For the analysis of the different elements in Saltire, for instance: Grey element: Artificial Creatures; Green element: Nature element but artificially modified; Blue elements: Nature element. As a result, the site also existing with two and more element, it is good for people to communicate with nature and environment, not just only living with "Artificial Creatures".

136

Heritage & The Problem of Memory in Saltaire

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

What the future plans must include

137

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

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

GROUP 2 - MEMORY

ical heritage n add value, culturally and

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

1 Salt's Mill 2 New Mill

GROUP 2 - MEMORY

of change and must make and well-considered way ure - progressive conservation to

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

CRITICAL HERITAGE IN SALTAIRE

Critical Heritage - Could the site be more open to new ideas and leaving the psat behind?

The Boundary

Appendix 7 | Figure 13 'The immediate surroundings of the World Heritage Site contribute signiﬁcantly to its visual setting, its ambience and character. The immediate setting has been analysed and divided into a series of zones with distinctive land-use types and building forms shown in Figure 13.'

5 Victoria Hall 6 The School

7 Methodist Church 8 The Hospital

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

13 The Almshouses 14 The Wash House

GROUP 2 - MEMORY

School and Church as preserved potential sites amongst a

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

Connecting the Tangibles with the Intangibles

3 The Dining Room 4 Railway Station

CRITICAL HERITAGE IN SALTAIRE

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

Heritage & The Problem of Memory in Saltaire

Future possible interventions

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

CRITICAL

Preserving sample sites of heritage: e.g, Salts 'school', 'church', instead of 'village'. Repatriate materials back to the community: turn the village back into a modernised, working, factory worker village. Saltaire only encompasses our modern values if it serves the purpose for which it HERITAGE IN SALTAIRE GROUP 2 - MEMORY was designed. Used as a tourist destination, it is being used instrumentally. Preserving the factory will restore community spirit and reinstate the intangible heritage- tangible heritage is only a 'stage' for the value of the intangible.

CRITICAL HERITAGE IN SALTAIRE

Elevation of (potential) restored Factory

tion looks beyond age, history ﬀers tools to enhance social, meaning within a site

olutions Saltaire oﬀers in terms of e: n the 1980's into a museum/gallery e with a buﬀer zone ngs nd areas which are a cause for t critical heritage. These include hich threaten the history or

Keeping the Site intact

Salts Mill | Visual Arts

Victoria Hall | Dance and Music

The Whole Site | Street Life

Current progressive conservation works

The potential harm of modern development

Existing Salt's Mill

Section of (potential) restored Factory

READING 2 Memory

Appendix 7 | Figure 13

Disparity

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

1 Salt's Mill 2 New Mill

3 The Dining Room 4 Railway Station

5 Victoria Hall 6 The School

7 Methodist Church 8 The Hospital

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

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

13 The Almshouses 14 The Wash House

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

Heritage & The Problem of Memory in Saltaire

Future possible interventions

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

Some issues for debate within the life of Titus Salt: Was new Lanark a better place ideologically? Was Saltaire a 'soft prison' with too many rules, restrictions and regulations? From further group reading, we canDid gauge that Saltaire is at risk of an accumulation crisis, in which its requirement Salt abandon Bradford tovillage enact hisitself own capitalist powers? Underage workers were in the mills regularly for physical memory and maintenance saturates theemployed viewers mind and hinders the ability to create new memories. This also

prevents celebration of the 21st century, and perhaps idolises a false interpretation of the past.

The reading allows us to see that the tangible heritage (buildings, spaces, history) in Saltaire is very over-protected, and that there is a lack of options for the intangibles (arts, community and spirit) to develop further.

a visionary called Jonathan ill embarked on a journey helped kick-start the revival gnated in 1971 by focusing d Hockney's work instead of

The collages above illustrate ways in which the mill could be developed further past its well maintained exterior shell, and how the arts scene in Saltaire could begin to adapt to explore community and spirit of the village further. School and Church as preserved potential sites amongst a regenerated Mill.

Elevation of (potential) restored Factory

the relationship between vision and moment/gaze. I s in the Saltaire which belongs to the " Exhibition road ntial streets" respectively. Meanwhile, I also sketch sing the pen and pencil to express the initial experience n, by a thorough analysis of the different aspects at the haracter of the site, at the same time, exploring the de a solution to do it. In term of the analysis of the I found which is the most of moment providing a ause of the perspective structure of the moment is one for people to enjoy through the site. The second point Life nt of the picture. The interesting thing which is the al takes place organised by trict into a tourist attraction. ys relevant to the architecture where in Saltaire. In e being urged to turn history ps in the world heritage site.' ent, halfclothing moments of the skyline are on the two-thirds y historic Yorkshire ned at Salts Mill...' of Gin. A is talk ofmeans around 45 hat the visual experience of the moment still popularity today.' a significant point. For the analysis of the different e: Grey element: Artificial Creatures; Green element: modified; Blue elements: Nature element. As a result, and more element, it is good for people to communicate not just only living with "Artificial Creatures".

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

Option 1 | Embracing its original identity

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

Should Saltaire have stuck to its original roots

- Salt abandoned and failed Bradford - Saltaire’s workers were overworked still by today’s conditions, and many of the workers were children - Saltaire was considered a ’soft prison’ by some, as the workers lifestyle was melded to create the most efficient worker possible for maximum profit - Village had rules such as no drinking, and workers were not given a second chance to work - Salt used Saltaire to enact his own dreams and expectations to his own financial greatness ultimately

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

By turning Salts Mill into a traditional museum that exhibits

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

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

To look critically at the strong maintenance of tangible heritage in Saltaire, it is essential to be critical of Salt, who is so dearly honour by the village and by those who maintain it. It isWhat important to note that these points rely on controversy and difference the future plans must include of opinion, so cannot be clearly taken as fact, but show the zeitgeist of a time which is celebrated so fantastically, despite there being reasons not to. The main points are as follows:

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

Option 1 | Embracing its original identity

Option 2 | Using the arts to establish a new heritage for Saltaire With the arts-led regeneration, it eﬀectively turned Saltaire into a thriving town again

What the future plans must include

GROUP 2 - MEMORY

CRITICAL HERITAGE IN SALTAIRE

GROUP 2 - MEMORY

CRITICAL HERITAGE IN SALTAIRE

What are the options for Saltaire in the future?

now + future?

rise from reading

GROUP 2 - MEMORY

CRITICAL HERITAGE IN SALTAIRE

Developing a framework for change through the lens of critical and progressive heritage

Option 1 | Embracing its original identity

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

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

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

What the future plans must include

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

ly is too old e.

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

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

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

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

END

Option 4 | Harmonisation between the past, present and future

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

Developing a framework for change under the lens of critical heritage is essential to developing the site further, and not letting the community of Saltaire fade as the years go by. Our framework relies on key points addressed by our research process. The first is making sure that Saltaire is modernised accordingly, as such for access for all and understanding that there are newer priorities in the modern world. The second is recognising that there may be elements of the history of Saltaire that should not be honoured by the physcial maintenance of the streets at a surface level, and such actions may continue an aura of control and order that the village should shed in order to flourish. The third is that the village itself does not translate as well into the modern world as the mill has, and struggles to keep up with the arts scene. Vibrancy, creativity and celebration is missing in the streets of Saltaire at a perceivable level, and there is great potential among a very creative community to change this. The lifecycle and capacity of the arts scene in Saltaire is limited by the strict order and restrictions put in place by external heritage organisations. The fourth is that the historical upkeep of the site is still important, but that there may be ways to do this which can educate and increase interest in the site. There are several options of what to do in Saltaire in the future, and these are illustrated above. These all have different advantages and disadvantages, and all present levels of heritage preservation within the critical heritage debate.

The final point is that there must be projects which facilitate a culture of historic visionary and community, reflecting the strength of Saltaire as a working community but in a modern context.

Should we be forgetting the past to embrace a new culture, harmonisng the past and present with no clear identity, completely redeloping the site and allowing the village to catch up or returning back to the insutrial past?

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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:

Introduction

• Bioregionalism

Assemblage has been perceived and interpreted in many different terms, such as network, apparatus, and emergence. It is an ontological framework used to dissect social complexities. Though developed by Gilles Deleuze, this booklet focuses on the idea of assemblage through the conceptual lens of Patrick Geddes, a biologist, botanist, sociologist, and geographer regarded as the founder of modern town and regional planning. Using his ideas of paleotechnics and neotechnics, we attempt to understand the reasoning behind Saltaire’s urban fabric in relation to its inhabitants.

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

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

In particular, the following work looks at the role of ecoassemblage in the conception of Saltaire, looking at how the city was built from the ground up with regards to exchangeability and welfare of the residents. As a World Heritage Site, the people of Saltaire have put a greater emphasis on conservation and so it is interesting to see how the city continues to develop while preserving its historical character.

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

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

England and Wales roughly divided into water basin regions

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.

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

Industry in the UK

Textiles

Composition of Saltaire

Original (1860s)

72.7% of U.K. Exports 2019

Transportation and Machinery

Green spaces on site (within the WHS boundary)

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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Map indicating traditional industries of regions in England and Wales

Modern

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The Garden City Movement

Preserving Saltaire’s Green Belts

Transport to Saltaire CO2 emissions by transport

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.

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.

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

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

Transport to Saltaire Survey of visitor transport to Saltaire

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 • Roads

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

Saltaire • Bus routes

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Conclusion Saltaire was highly developed in the industrial period, building its urban landscape from its textile industry. Garden City concept has been developed during industrial period as well as the conurbation concept, which used to improve the connection and the development between cities. Transportation development allows to complete the textile production line and cooperate with the neighboring cities, Leeds and Liverpool. Railways and canal are well developed in Saltaire. In addition, Garden cites planning has been partly applied in Saltaire. In terms of the green belt planning around Saltaire, it limited the expansion of this industrial city, giving a breathing space for Saltaire with the natural elements. And the green belt has also been preserved in the nowadays development of Saltaire. Nowadays, Saltaire became a tourist city, instead of heavily involved in the industrial production line of textile. The network built in the past is still giving Saltaire a high potential for the assemblage of tourist and probably capable of new built industry in the future.

END

List of Bibliography City in Environment (2013) https://cityinenvironment.blogspot. com/2013/02/the-valley-section.html Ferretti, F. (2016) https://www.tandfonline.com/doi/abs/10.1080/00221 341.2016.1204347 CELA (2004) https://journals.lincoln.ac.nz/index.php/lr/article/ view/219 Ward, S. (1992) The Garden City: Past, Present and Future Lewis, J. (2014) Preserving and maintaining the concept of Letchworth Garden City Keeble, D. (1978) Industrial Decline in the Inner City and Conurbation Dewhirsk, L. (1960) Saltaire, Town Planning Review

STUDIO 8 CURATING THE CITY GROUP 4- URBAN FORM Ching Yee Jane Li Jenna Goodfellow Lea-Monica Udrescu Simon Benjamin Tarbox

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TIMELINE- UBRAN FORM AND GOVERNANCE

INTRODUCTION Saltaire is a prime example of mid-19th century philanthropic paternalism and had a substantial influence on the ‘garden city movement’. Titus Salt created a whole village based around his textile mill, with various important amenities in a harmonious architectural style. His efforts were extremely innovative at the time and showed a desire to integrate a workplace, homes, and community facilities. The quality architecture and well-structured urban layout of the village substantially helped in achieving his aims. Our groups thematic theme was based around Saltaire’s ‘urban form’. This document therefore examines the history of urban planning and the design the settlement. Our morphological study has examined how Titus Salt formed his model village to suit his needs, by providing a healthy and sustainable working and living environment for workers. We have analyzed the way in which Saltaire’s urban fabric has developed through time, and how it appears, relating to critical regionalism. As well as this, we have studied and compared Saltaire’s urban form and its characteristics to similar model villages across the UK and globally. Various underlying factors about why the original urban form remain intact today have been uncovered in our research, as we have studied the architectural styles and urban layout that were used in the settlement’s creation.

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Urban governance arrangements has been a major factor affecting Saltaire’s development and especially for Salts Mill. The timeline illustrates major events regarding the stewardships that affected the urban form of Salts Mill. Different highlighted sections of the timeline present the involvement of roles between civil society, government and private sectors. Through studying the history, it allowed a better understanding of the town’s place in the manufactoring industry of the UK. The evolution through time has also revealed how Saltaire’s original economic base was removed, turning into a World Heritage Site we see today.

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URBAN DEVELOPMENT FROM THE 19TH CENTEURY

THE EVOLUTION OF SALTAIRE

SALTAIRE’S CONNECTIONS Salts Mill built (1851-53)

Albert Terrace (1851-61) Edward Street (1854) Fanny Street (1854) Herbert Street (1854) William Henry Street (1854) Titus Street (1854) George Street (1854)

ALPACA WOOL IMPORT ROUTE

Evolution on the site: The urban form of the site demonstrates Salts utopian vision. The Mill was built first right by the canal for loading and delivery purposes. The water from the canal was also used as a cooling system for the machinery. Following this, the residential streets and housing was built for the workers as well as the main street, Victoria street which is an important axis. Then many community provisions were built for the workers including a chapel, school, hospital, washhouse and park. He was one of the first people to value well-being, health and education. ‘He brought a social conscience to capitalism.’ The town was built on a gridiron layout with Victoria Road, George Street and Caroline street providing key axis that split the village and gave it it’s clear structure. Most of the community provisions were built along Victoria street. Keeping in mind the urban planning only emerged as a discipline in 1900s, Salt was way ahead of his time in creating this model town. This highlights the clear flow of axis and shows the efficient urban design principle of the gridiron. Bingley road and Saltaire road were built before the site and were key roads for transport. That is why they slightly disrupted the regularity of the site. The overall layout and urban form of Saltaire is an antithesis to Bradford’s physical and environmental chaos of the time.

Mary Street (1857) Helen Street (1857) Ada Street (1857) Train Station (1856) Congregational Church (1859) Bath and Wash House (1863)

CONNECTIONS AND TRANSPORTATION

Lower School Street (1868) Upper School Street (1868) Lockwood Street (1868) New Mill (1868) Methodist Chapel (1868) Hospital (1868) The Institute/ Victoria Hall (1871) School (1868) Almshouses (1868)

COTTON INDUSTRY AND NETWORK LINKS

GRIDEON LAYOUT PLAN (SALTAIRE)

The WHS is located at the base of the river and surrounded by rising ground in all directions. To the north and the south, the hills lie in close proximity. To the north, you can see the steep slopes of Baildon Hill with its bands of woodland, topped by Baildon Moor- a particularly dominant landscape feature. On the east and the west runs relatively flat valley bottoms surrounded by steep valleys. To the east, the predominant view is of Norr Hill and Harden Moor, while to the west, the Gaisby Hill, Wrose Hill, and Idle Hill control the view. The site’s surroundings continued to grow until 2001, when it was declared a World Heritage Site. On the east side, the neighboring town continues the same layout and material choice as Saltaire. In contrast, the west side chooses to detach from the village, creating chaotic settlements. What was before Saltaire was built? In 1635, William Nixon, a Yeoman ( a man with a small estate), established three mills next to the river for it’s water generated power. The surrounding land was used for farming oats, hay, and pasture and divided by dry stone walls in rectangular fields. This material is, most likely, the same material used in the houses found in Saltaire as it is known that Titus Salt used local materials to build the village. In 1825 and 1827, the former Keighley and Bradford Turnpike Road, now Saltaire Road, and the Shipley and Bramley Turnpike Road, now Bingley Road, were built. Later, in 1847, the Leeds and Bradford railway was extended through the site and parallel to the canal. These previous constructions dictated the streets’ layout as the gridiron pattern is interrupted by the two roads.

Saltaire was well connected regionally and internationally. It was able to utilise its location next to the river to import raw materials for the mill. This highlights the clear flow of axis and shows the efficient urban design principle of the gridiron. Bingley road and Saltaire road were built before the site and were key roads for transport. That is why they slightly disrupted the regularity of the site. The overall layout and urban form of Saltaire is an antithesis to Bradford’s physical and environmental chaos of the time.

GRIDEON LAYOUT PLAN (SHIPLEY)

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COMPARISONS TO OTHER MODEL VILLAGES

SITE TOPOGRAPHY AND CHARACTERISTICS

SALTAIRE’S HOUSING DEVELOPMENT AND ARCHITECTURAL STYLE

The mill has large windows for extra light and ventilation, making it a healthier place to work. It is extremely symmetrical, with a cast iron beam frame, simply decorated iron columns, and lightweight roof-trusses.

SALTS MILL HAND DRAWING

TOPOGRAPHY CONSTRAINT COMPARISON

GENERAL MAPPING

HOUSING HEIGHT AND STREETS WIDTH

OSBORNE HOUSE, ISLE OF WIGHT - AN CLASSIC EXAMPLE OF ITALIANATE ARCHITECTURE

Osborne House shares many architectural similarities to the buildings in Saltaire, for example the curved windows, overhanging eaves and square tower.

SUN DIAGRAM

New Lanark is another model town built in a valley by a river but on a very steep site, which meant there was a low foot print to build on. This resulted in a very vertical settlement with 7/8 storey high buildings. The site of Saltaire was well considered with enough flat land. Therefore the buildings were all 2-3 storeys which allowed plentiful light and ventilation around the buildings.

HOUSING STYLE DRAWING

The north-south facing streets would have the sunlight directly down them at midday and the east-west streets would get sunlight in the mornings and evenings.

AXONOMETRIC SITE LAYERS

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The buildings across Saltaire were designed by local architects Henry Lockwood and Richard Mawson, who worked with structural engineer, Sir William Fairbairn. Lockwood and Mawson were amongst Bradford’s most prolific architects and became one of the most successful firms in the Victorian era. There is a strong visual coherence across Saltaire, as all buildings are inspired by the 15th century Italian Renaissance style. The characteristics of this movement tended to include two or three storeys, low pitched roofs and overhanging eaves with large decorative brackets. There are also tall narrow windows, arched or round headed tops and large keystones, and the occasional square tower or cupola. These features are very noticeable in the architectural language of Saltaire’s buildings. The style easily fitted into the informal, rural ideas of the picturesque movement. Lockwood and Mawson use local sandstone and welsh slate as the main building material. Today the buildings are mostly physically unaltered.

STREET DRAWING

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SALTAIRE’S VIEWS

CONCLUSION We began our research by looking at Saltaire’s history. The primary papers that influenced our perspective were Appendix 7, Appendix 1, and the Historical Collection of Saltaire. Other sources that helped us understand more about the site’s historical heritage were the UNESCO website, the Bradford council website, and the Saltaire village website. Firstly, we analyzed the process of development on the site- construction started from 1851 to 1853 with the erection of Salts Mill, followed by the first row of workers houses on the left side of the mill, then by some public structures like the Congregational Church, the Bath and Wash House, and was completed in 1876. Secondly, we studied the development around the site. Until 2001 when it was first proclaimed a World Heritage Site, both Saltaire and neighboring villages developed at a steady pace. On the east side, the neighboring village chose to continue Titus Salt’s concept using the same material choices and layout. However, on the west side, the developments dismissed the idea and chaotically created houses. To understand the context and selection of the specific site, we delved into Salt’s textile business. In our diagrams, you can see a complete timeline of Salts Mill, marking all significant moments. Moreover, we discovered that the canal was used to transport bulky raw materials, including alpaca wool. He found the material in a warehouse in Liverpool by accident, and through adapting his machinery to spin this new strand of yarn, he soon became one of the major textile influencers of the time. It is essential to mention that his biography states that his Methodist faith “brought a social conscience to capitalism” and that, even though, he was a successful industrialist, his intentions were to offer a clean environment where hispeople can prosper. Next, we compared the utopian village to others of its type- more specifically, New Lanark in Scotland and New Earswick in North Yorkshire. The former was built a century apart, while the latter was created alongside Saltaire. What is significant to remember is that Saltaire was inspired by New Lanark and inspired New Earswick. To this day, the town is considered the most complete model village ever created. Consequently, by trying to understand the context in which Saltaire manifested, we diverted from our urban form theme. So, for the last part of our research, we refocused our attention on understanding why Saltaire was considered a utopian village-it had fresh air, clean water, and no sign of cholera. Also, we tried to understand the influencing immaterial factors that the site is challenged with now, like pollution, traffic, lack of maintenance, etc. Lastly, we looked at the buildings’ heights organized on the site’s natural gradient, the footprint, and sustainability factors affecting the village.

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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.

END

STUDIO 8 CURATING THE CITY GROUP TASK FORCE - SITE MODELING Ching Yee Jane Li Jamie Ryan Bone Karolina Lutterova Yuen Man Cheng

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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 classfied as crucial, important and 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 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 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 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 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 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.

Site 1 is a linear site located at the northern border of the WHS zone border. Different from other 9 sites , site 1 is relatively far away from the saltaire conservation area. The site measures at approximately 6750 square meters. It is formed by the two ends and the tracks of the Shipley glen tramway. Shipley glen tramway was Opened in 1895, it is Britain’s oldest working funicular offers a steep ride up to the sprawling site of long gone fairgrounds. The tramway runs up through Walker Wood to its terminal at the end of Prod Lane, along which people once walked no more than half a mile past a collection of amusements that included a “circular railway” at the Old Glen House and a little farther on a “switchback railway” at Bracken Hall. The two places are now a good pub and a museum respectively. The most challenging part to put an intervention on site 1 is to consider how the narrow tramway surrounded by the dense woodland can be used and how can it be linked to its two ends . The two end of the tramway (site 1a and 1b) is quite big in contrast in terms of its context .The upper part of the site is mainly residential use buildings while the lower part of the site is a large open space with no intervention.

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SITE 5

SITE 4

SITE 4 Site boundary

SITE 4

Buildings visible from site

Site boundry

Other surrounding buildings

Buildings visible from site

Other surrounding buildings

SITE 5

SITE 5 SITE 5

SITE 5

Site 2 can be found on the north-east border of the WHS zone border. The site measures at approximately 6700 square meters. The boundary of site 2 come across two sides of the river bank of River Aire, it comes across the parking area next to new mills on the southern river bank and the Saltaire Skatepark on the north. Saltaire skatepark is a medium sized concrete park at the edge of Robert’s Park, it is a great local spot that is arranged in a loop layout with street and transition elements. Overall, site 2 is a quite quiet area with sufficient parking space, not much developments can be found on site. Careful consideration should be given to the linkage of the two sides of the river bank.

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Site 3 is a large green open space right next to the Robert’s park where currently for sports uses and where the Salts Sports Association sits. It locates at the western border of the WHS zone border and the site measures at around 16400 square meters. The pitches, courts and greens of the association are surrounded by mature trees which directly blocked the views to salts mill and Saltaire URC church on the east . It covers a large area between the Leeds-Liverpool Canal and the River Aire and is split between Saltaire Conservation Area and the Leeds Liverpool Canal Conservation Area. The edge of the sports club property is lined with trees which enhance the setting of the canal, while the outdoor leisure activities complement the activity along the canal. The greenery of the pitches and greens can be seen in places from the towpath, apart from the cricket pitch which is bounded by an unsightly tall rusted corrugated iron fence. The tennis pavilions lie within Saltaire Conservation Area and the Arts and Crafts architecture of these small buildings is complemented by that of the cricket pavilion.

Site 4 lies further West from the boundaries of the WHS. It is located in a less urbanised area of Saltaire. The site is approximately 3700 square meters and is relatively flat. It is currently occupied by allotments and a greenhouse. From the North and the South, it is framed by river Aire from and Leeds Liverpool canal. Furthermore, there is extensive vegetation around the site especially from the side of the river as well as from the east, where the trees divide the site from the sport grounds. The main point of access to the site is through the bridge over the canal which leads there from the parking on the other side of the canal. Further routes that lead to it are pedestrian ones along the canal and the river. Building that surround the site are mainly residential houses including former Hirst Mill. Another characteristic structure on the border of the site on the canal is the Hirst Lock, where the level of water and terrain drop approximately 3 meters. Other infrastructure in the proximity of the site that might be a point of consideration in the design process are the aqueduct, pipeline, and footbridge across the river Aire.

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Site 5 is challenging in terms of consideration of the historical buildings as it lies within the area of the WHS. It is relatively large with approximately 7900 square meters. At the moment it is accommodating allotments as well as Caroline Street Social Club and a parking lot, which are not contributory to the visual character of the site, however there is a considerable amount of greenery, which could potentially contribute to the overall environment. The site is sloping down towards the railway, although at the top the terrain remains relatively flat. The most important access points to the site are from the Victoria road, which needs to be carefully considered for its views of the Victoria Road outlined in the Appendix 7 as critical and any building on the site might affect them. Furthermore, the site is positioned directly between the Victoria Road and the Salts Mill and its chimney, which is also considered to be a key view in the WHS. Other access points are from Caroline Street, which at the moment also offers good contributory views of the Salts mill from the South. The key surrounding buildings are mainly residential houses from the South of the site, retail and hospitality provisions on the Victoria Road and Salts Mill with its very prominent chimney from the North. An important aspect that needs to be considered for the building design is also the railway in the immediate proximity of it, therefore the design and programme of the building needs to respond to the effects of the existing rail traffic.

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SITE 6

Site 9

Site 8

Site 7

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Site 7 is located at the South-east border of the WHS zone border. Of the 10 available study sites, this is one of the largest at around 8,000 sq.m. It is currently an open space being used as a playing field. Other than this use, there are no buildings or structures occupying any space on the site. Although the area is sloping downwards in the Northern direction, the site is relatively flat. Evidence suggests and when looking at the topography, it appears the site could have been a mining site for the source of materials for the Salts Mill.

Site 6 is located right next to the site 5 at the edge of the WHS zone border. It is a sloped site framed by the railway from the north. It measures approximately 3800 square meters. It is currently occupied by a PRU educational unit, car park and a park for children. It provides a moderate amount of vegetation. The built environment around the site has a low-rise character dominate by the residential development in four rows of terraced houses, the site being a continuation of one of them. The exception from the low-rise would be a chimney that is in a proximity of the site and is visible in the northern part of it. From the East and North-East the surroundings consist mainly of parking lots. Apart from the PRU, there is also a Primary School to the South-East from the site, therefore educational provisions might be a point of consideration there.

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Site 8 is located closely west of Site 7 on the South-East border of the WHS zone border. The site measures at approximately 2,800 sq.m. The space is currently being used for a hand car wash a medical practice and a small car park for these. The site is situated on the slope towards the north, however, due to the existing car park, car wash and medical practice, is already a flat site.

The site has good access points with Bingley Road running alone the South border and a side road Park Street running along the East border. This is the largest open green area in this area of Saltaire, however, designing a building there will not necessarily take this away. The site is located relatively close to local schools and colleges which will work well for projects aiming to work with surrounding schools and colleges. As the brief is requiring a maximum building size of 1,500 square meters, there will still be enough space to leave a large amount of the existing green space. The first issue of the site is that the area is surrounded by residential settlements, therefore, consideration of this will be required in the design process. A design on this site must consider the impact that the proposal would have on the neighbourhood, looking at it from their perspective. Another issue is the size of the site. This is because interventions to the site would have to be made to allow the building to fit in with its surroundings. Careful consideration should be taken when positioning a building on this site as, due to its size, there is a large number of positioning opportunities and vital to choose the most justifiable position. Finally, along the South border of the site, which is the highest point on site, there is a row of large thick trees. If the project is requiring a lot of sunlight from the South, the building would have to be positioned towards the Northern side of the site to maximise sunlight without having to remove trees from site.

As seen in Site 7, the area has good access points again as it’s located on Bingley Road which runs along the northern border of the site with side roads along the west and east border, Richmond Road and Grosvenor Road. A great positive of this site is that a view all the way down Victoria Road is visible from the site, a key view part of the Appendix 7 document. To the west of the site, there is a large number of retail and hospitality buildings, therefore, a proposal would tie in well with these. Like Site 7, the area is extremely residential, therefore, the same consideration for residents must be made as those identified in Site 7 such as how the site will affect them personally. Another issue with this site is that it is all currently being used for the things as mentioned above. Therefore, reasons for removing these from the area for a proposal must be justified.

1:1000 Site 8 - Internal View Analysis

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Site 9 is located at the south-west border of the WHS zone border. The site measures at approximately 3,750 sq.m. The space is currently occupied by the large ‘Salt Beer Factory’ with the remaining space of the site occupied by a car park for the beer factory and another for the neighbouring school. The site has a gradient sloping in the northern direction whereas the location of the beer factory will be relatively flat. In general, the use of surrounding buildings is mixed where building uses include various types of retail, industrial, educational and residential buildings. The site is located in the centre of a main junction providing excellent access points for a proposal. In addition, the site is surrounded by car parks, therefore, will be helpful for people using the site. In contrast to the good access points is the sites main disadvantage. There will be a large amount of vehicular traffic traveling past each border or the site meaning this site would not be suitable where a large number of people would be frequently visiting the building or for a place where younger children would be surrounded by main roads. On the north boundary of the site on the other side of the road is Saltaire Primary School, therefore, consideration must be made about how this may impact students and whether it would be a suitable proposal to be in close proximity of the school, i.e., loud machinery, large vehicles entering etc. On the south border of the site is a petrol station. This will again attract more vehicular traffic to the site and should be taken into consideration whether this would affect a proposal at Site 9.

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Site 10

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Site 10 is located along the east border of the WHS zone border, located just north of Site 7. The site measures at approximately 1,350 sq.m making it the smallest site out of the 10. The space is currently occupied by a car park with no existing buildings or structures. The site has a significant gradient sloping in the northern direction, therefore, something to be considered when designing. The site is bordered by a row of trees meaning some will likely have to be removed when the proposal is put into place. The site has good access with Saltaire Road running along the southern border and Exhibition Road, a smaller side road, running along the west border of the site. Something to be considered in the design is that the site is densely populated with residential properties meaning that these buildings should largely be taken into consideration in the design process, as with Site 7. Other than the residential buildings, there isn’t any other building uses in particular that restrict the site. As with site 7, the site is in close proximity to a number of schools and colleges, therefore, would be a good choice of site for projects that aim to work with schools.

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